Recording the Semara Pegulingan has a few technical problems due to the volume of various instruments.
The sweet melodies of the Semara Pegulingan were believed to be a musical aphrodisiac.
The scale is seven tone pelog. From the addition of two tones to the scale, many more different modes are possible. The mode of any given section of the music will only use five of the tones at a time, creating the illusion of "key change" when one of those tones is substituted for another. Semar Pegulingan was essentially lost to history until early this century when a visionary Balinese musician named Lotring recreated the repertoire based on accounts of older musicians and written records.
The Terompong often starts the music. with a short solo
Richard recorded a Semara Pegulingan group in Celuk,Sukawati Gianyar, BALI in 2007 with his mobile Protools studio.
This is one of the few new groups in Bali reviving this music which was almost lost. Led by I Komang Mustika ( who plays Kendang) the quality of their music is astounding. The music is slower and more melodious than other traditional gamelans,therefore, more pleasing to the untrained ear. There is a CD available of this recording in the archives.( CD10pegulingan )
The music played on this CD is:
1: Lengker
2: Sinom Ladrang
3: Tabuh Gari
4: Godeg Miring
5: Langsing Tubah
6: Slisir Selendro
7: Kakang Kakang
The Jegog and Calung plays a melody 'bass' part in the music.
Semar Pegulingan - chamber music
Semar Pegulingan (Seh-Mahr Peh-Goo-Ling-Ahn) is the cream of Pelog Gamelan. The name, although difficult to say, means something just as beautifully complex. Semar means love. Guling (Goo-Ling) means to lie down. Pe-guling-an changes the meaning to... lie down for the purpose of. Semar Pegulingan is a musical aphrodisiac, played for the king and queen as they would lie down for the purpose of love, in their private chambers of course.
Beyond the sweet intentions, Semar Pegulingan has many advanced characteristics.
The scale is seven tone pelog. From the addition of two tones to the scale, many more different modes are possible. The mode of any given section of the music will only use five of the tones at a time, creating the illusion of "key change" when one of those tones is substituted for another. Semar Pegulingan was essentially lost to history until early this century when a visionary Balinese musician named Lotring recreated the repertoire based on accounts of older musicians and written records."
The Rambat, a lower tuned instrument, helps with the melody
The Rebab, played by I Made Subandi.
I Nyoman Mustika plays kendang and leads the group
The Pemade and Kantilan (tuned one octave higher than the pemade) plays the Kotekan, positioned in alternate polos/sangsih parts
This is the layout of this Semara Pegulingan.
