Imbal
Template:Short description Template:Refimprove Template:Language with name/for[1] or Script error: No such module "Lang". (Script error: No such module "Lang"., Script error: No such module "Lang".) is a technique used in Indonesian Javanese gamelan. It refers to a rapid alternation of a melodic line between instruments, in a way similar to hocket in medieval music or kotekan in Balinese gamelan. "A style of playing in which two identical or similar instruments play interlocking parts forming a single repetitive melodic pattern."[2]
In Javanese gamelan, it is used especially for the sarons and the bonangs. On the bonangs, an imbal pattern is divided between the bonang panerus and bonang barung, in the octave or so of range that both instruments have. When played on sarons, generally two of the same instrument are used. Both bonang and saron patterns generally are made of scalar passages that end on the seleh at the end of the gatra. Each key is dampened as soon as the other instrument plays, and it allows the melody to be played faster or more smoothly than is possible by a single performer. "Basically, there are two bonang-playing techniques: imbal-imbalan and pipilan. Imbal-imbalan (interlocking) refers to the playing technique in which bonang barung and bonang panerus play interlocking patterns."[3]
On the bonangs, an imbal passage is usually followed by a sekaran.
See also
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References
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- ↑ Kunst, Jaap (2013). Music in Java: Its history, Its Theory and Its Technique, p.169. Springer. Template:ISBN.
- ↑ Becker, Judith O. (1984). Karawitan: source readings in Javanese gamelan and vocal music : interim glossary, Volume 1. Center for South and Southeast Asian Studies, University of Michigan.
- ↑ Sumarsam (1995). Gamelan: Cultural Interaction and Musical Development in Central Java, p.217. University of Chicago. Template:ISBN.
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