EASTERN REBELLION - WITH GAMELAN AS INSPIRATION FOR NEW MUSICAL EXPRESSIONS
2.3. COMPOSITIONS FOR....
SOLO GAMELAN &
DUO FOR VIBRAPHONE/MARIMBA
Background
This part of the research aims to unite a soundscape that often is associated with classical contemporary music, with sound and conceptual ideas from gamelan music. Through this perspective, I will strive to develop new musical concepts and compositions.
Through the project “Basement session” I looked at myself as a jazz composer and musician, where the search was a new musical expression in the meeting between modal-jazz and gamelan music. In my second project, “Mantra” the focus was me as a contemporary musician and through working with a composer, Ellen Lindquist, I designed the gamelan framework for the composition.
A third direction I wanted to investigate was to compose music with a more classical contemporary approach. “Classical contemporary” is a wide range of musical expressions. Still, as a musician working within this field, I would say it is characterized by a "detailed" score and musicians who are educated in the craftsmanship of performing classical music. These “detailed” scores hold a huge diversity, from some of John Cage's compositions with handwritten instructions on a piece of paper, like “Branches"(1976), to Ligeti`s rich world of details, such as in his “Piano Concerto"(1986). Even though the musicians do not necessarily need to be classically trained to play some of John Cage`s works, there is a tradition for these musicians to perform his music.
If I continue to use the term “classical contemporary” music, composing music in this direction will combine my knowledge about this field, both as a musician in performance practice as well as in understanding the written score. I would put this knowledge into a context of inspiration from gamelan instruments, inspiration from other western composers working with gamelan, and gamelan composers working with contemporary music. With these elements, I would try to make a musical expression that is unique and reflects my background working within the contemporary music scene.
To extend my knowledge of composition, I participated in a course at the Department of Music, NTNU, with supervisor Ellen Lindquist. This gave me more strategies, for example, form and structural development. An important benefit was related to notation and use of software, as well as being careful about details in the score. This new knowledge I have taken further into my work.
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Objectives of the project
I had 2 directions I wanted to pursue:
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use principles from gamelan music as a foundation for compositions for western percussion instruments.
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develop and compose solo pieces for gamelan
These two directions I wanted to distinguish from each other. The reason for this is that I would like to find ways of taking the gamelan instruments out of their context and thus create new music for these instruments. If I remove the musical frames for these instruments, what opportunities do I have left?
On the other hand, I wanted to compose for western melodic percussion instruments based on compositional concepts from gamelan.
In this way, these directions became conceptual opposites.
Basically, it looks like this:
Fig. 1: Project context
Ex. 2.3.1.
Fig. 1 illustrates a traditional way of looking at the instruments, both western and gamelan percussion instruments, and what music tradition they belong to.
If I switch the music these instruments belong to, it would look like this:
Fig. 2: Project context
Ex. 2.3.2.
This is the principle. In practice, it is not so static, and in the end, it looks more like this:
Fig. 3: Project context
Ex. 2.3.3.
Even though figure 3 shows a mix of instrument and music style, there is some bondage between the instruments and the style they belong to, which are un-separately. For instance, for the gamelan instruments, there are some rules for how to respect the instruments, which in my view makes them inappropriate for some extreme styles of contemporary music. Also, working with a composition for western percussion based on gamelan principles and composition techniques, I would not make a dogma of excluding something that “belongs to” the contemporary music. (According to figure 3, my "rules" are western percussion + gamelan concepts)
In direction 2, developing and composing solo pieces for gamelan, I wanted to focus on the gamelan instruments and their sonic possibilities. The instruments in the gamelan are ensemble instruments. For that reason, the individual instruments are "hidden" in the ensemble sound, so I wanted to "take them out" of the ensemble and look at the possibility of developing compositions for single instruments or a gamelan instrumentarium put together as a solo setup.
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In direction 1, I wanted a more opposite focus, where western percussion instruments meet composition principles and ideas from gamelan. In particular, I wanted to focus on the rhythmic interaction derived from the "kotekan" system in Balinese gamelan.
My musical goal is thus not to create traditional gamelan music or music that is necessarily directly associated with gamelan. I have therefore deliberately avoided using the gamelan scales pelog and slendro to a great extent, but instead use moods, rhythms and other musical concepts from this music. For example, in the 3rd movement of "Duo for Vibraphone and Marimba", I use the left arm of the marimba on black keys, against the left arm white keys on the vibraphone, and the opposite in the right. The effect is not necessarily atonal, but somewhat undefined (multi) pentatonic. This concept can be seen in the context of duality.
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Many western composers have since the early 20th century used gamelan as inspiration, but without directly using scales and other defined gamelan concepts. Here I refer to the way Debussy and Ligeti have used gamelan as inspiration, like in Debussy's “Pagodes”(1903) and Ligeti “Galamb Borong"(1988)
If I put this into context with what I previously wrote about how gamelan has influenced Western composers, then my goal is to pursue a similar approach/direction. To repeat these directions:
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Composers who have been inspired by moods, but not necessarily transferred gamelan concepts, scales and compositions. These composers are not using original instruments. Examples in this category are Debussy “Pagodes”(1903) and Ligeti “Galamb Borong"(1988–1994)
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Composers who transcribe or compose in gamelan style, either for original instruments and/or western instruments. This music has prominent elements derived from gamelan music, where particular use of scale and rhythmic concepts are the starting point for the compositions. Examples are Lou Harrison ( “Concerto for Piano and Javanese Gamelan” 1987) and Benjamin Britten (“The Prince of the Pagodas”, 1957)
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Composers who experiment with gamelan instruments and try to find new ways to use these instruments. Composers here are Alvin Lucier (“Music for Gamelan Instruments, Microphones, Amplifiers and Loudspeakers” 1994) and John Cage (“Haikai (for gamelan), 1986)
First and foremost, I want to pursue directions/strategies 1 and 3 above. The research process is based on testing musical and compositional ideas. Through this, my goal is to create art products.
Description of compositions, working methods and concepts
With this as a starting point, I have created three different compositions.
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Compositions:
1. Duo for Vibraphone & Marimba.
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Part 1: Dualism / Kotekan
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Part 2: Java / Imbal
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Part 3: Glitch out
2. Solo pieces for gamelan instruments
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Circles - for Reyong and gongs.
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Waves - for gangsa, gong with electronics.
1. Duo for Vibraphone & Marimba.
My goal by composing for vibraphone and marimba was to see if I could bring together my interest in contemporary music, with my new inspiration from Gamelan music, in the framework of classical percussion.
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As a classical percussion player, I have performed several works for melodic percussion duo, and this is for me an exciting format. I have, among other pieces, performed works such as "Toccata" by Anders Koppel and "Twine" by Rolf Wallin, "Piano phrase" by Steve Reich, all music that is considered standard repertoire for the classical percussionist. In my opinion, the first two works combine excellent pieces of music with technical challenges. Steve Reich's "piano phases" is also a conceptual and groundbreaking work in the minimalism music style. Still, the challenge does not necessarily lie in the technical performer aspect, but more in the interplay between the musicians.
The instruments I have chosen for this composition was vibraphone and marimba, instruments I master well. Therefore writing playable parts for these instruments is in my comfort zone.
Both instruments do in some ways, remind me of gamelan, where the common element is a mallet hitting a tuned bar. By choosing the right mallets for these instruments, you can achieve a coherent and equal auditive experience.
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The composition consists of three pieces, each of which has a reference to different gamelan concepts.
Movement 1: Dualism / Kotekan
Movement 2: Java / Imbal
Movement 3: Glitch out
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My main musical intention with "Duo for Vibraphone & Marimba" was to highlight the musical rhythmical precise interplay to achieve a groove/flow/swing. To be rhythmically precise does not necessarily mean to hit the bar at the exact same time, but a common understanding of rhythmic flow is crucial. In movement 1, syncopated rhythm is the fundamental musical element. The scored parts are written semi-improvised, where the performer chooses their individual rhythm based on suggestions in the score. To achieve a rhythmic flow between the performers, you need to be able to musically trust your colleague, particularly when the musical landscape changes all the time. This trust is also the case for Movement 3, where the performers play in different key signatures at the same time. For example, in the beginning, the vibraphone part is in 12/16 while the marimba is in 11/16. The next part is in a new signature and so on. There is very little room for error, which could damage the first two minutes. If you're out, you're out. But musically, small tempo variations will accrue. As a performer, you always have to adjust to these slight variations to be able to achieve a musical result of high quality. The only way to get this right is to practice a lot together. This musical interplay or interaction I can associate with playing kotekan patterns in Balinese gamelan. My gamelan teacher, Tjokorda Raka, talked about the rhythmical interplay in kotekan as musical intuition. To achieve a coherent rhythmical image, you and your musical partner intuitive have to "lock" the patterns.
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Kotekan
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Gamelan researcher and composer Wayne Vitale describes the kotekan as follows:
“One might imagine….the text on this page is read by two narrators, one of whom pronounces the letters a through m, and the other n through z, yet fitting those sounds together so perfectly that we hear them as one speaker”(1)
The essential musical element in Movement 1 and 3 is the concept of kotekan. Rhythmical patterns and musical periods are vital elements in Gamelan music. This music uses a range of different patterns, which are connected to the entire musical periods. The musical periods can vary, depending on the composition. The most common periods is 4, 8, 16 etc. beat cycles. The rhythmical patterns in Balinese gamelan are called kotekan. The concept of kotekan is an interlocking pattern which consists of two parts, where the name of the parts are sangsih (male part) and polos (female part). These two-part are intertwining into one another, which together form a distinctive rhythmic landscape. Kotekan is a highly unique musical element in the Balinese gamelan and is something that makes the Balinese gamelan sound different from the Javanese gamelan. The concept of a male and a female part also refers to duality, where the two parts are inseparably connected.
Performing kotekan patterns were something I learned to a great degree with my teacher Tjokorda Raka in Bali. Here is a video of me together with Raka in 2012 where we practice the gangsa (Balinese metallophone) parts of the piece "Sekar Jepun". The Kotekan type is called Empat and consists of four tones, where tone one and four always play together. The kotekan parts moved in parallel up and down the instruments.
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Gangsa "Sekar Jupun" kotekan
Ex. 2.3.4.
Another example of using Kotekan empat with Rai Alit. Ray is a Balinese composer and ensemble leader.
Kotekan with Ray Alit 2012
Ex. 2.3.5.
Henry Spiller illustrates this kotekan principle in his book “Gamelan Music of Indonesia" (2) as follows:
Ex. 2.3.6.
Figur a. sangsih part(1)
Figur b. polos part(2)
Figur c. sangsih and polos are joined together.
This matrix is based on a 32 beat kotekan pattern. The easiest way to look at this is to see it as two 4/4 bars, with 16-notes subdivision, totally 32 of 16-notes. This way you can see the syncopation and the joint interlocking of parts of the kotekan. The different black dots represent horizontally different tones in the gamelan scales.
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This is how the illustration above is notated in western notation.
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This is one of several types of kotekan, but common to all types is an interweaving of the two instrumental parts.
Ex. 2.3.7.
Another type of kotekan is called nyog cag, where the instruments alternate between the tones.
Kotekan Njog Cak
Ex. 2.3.8.
When I was living in Bali in 2012, I participated as a spectator at several ceremonies. There are many types of ceremonies, but the ceremonies I attended were a mix of social meeting points and religious events, constantly accompanied by gamelan music. Balinese gamelan has a strong focus on the tradition in interaction with innovation, and an example of this is a recording I did of what I assume was a prelude to the Barong (mythological dragon figure in Balinese Hinduism) dance that came later. Notice the widespread use of various time signatures and polymetric modulations, a clear feature imported from the music of other cultures—all the time with clear use of kotekan.
Dewa Alit - unknown title, own field recording 2012
Ex. 2.3.9.
Below is an example of Baris Dance, with underlying parts and use of the kotekan. It is important to note that the use of kotekan can vary from different ensembles due to ensemble skills, traditions etc. The example is the basic form with one type of kotekan. The complete structure includes an introduction, contrasting parts in the middle, and an ending. This score transcription is based on but actual work with gamelan musicians in Singaraja 2012.
Ex. 2.3.10.
Movement 1: Dualism/Kotekan
Movement 1: Dualism/Kotekan is based on kotekan, described above, and duality. (Described here)
I have revised Mov. 1 after the piece was "finished". There are two reasons for this revision, one pragmatic and one musical. The musical reason is that the howl piece felt too stiff with too many musical sections. What I wanted to highlight was the ultratight interplay between the two musical parts, and all the changes between the different musical sections felt disturbing. The pragmatic reason is due to the amount of detailed notated music the complete duo contained. All the information in the score made it extremely hard to bring this music to a point where it was presentable within a reasonable rehearsal period.
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I will continue discussion both version 1, and version 2(the revised) since version 2 is based on version 1.
Version 1 starts with this kotekan approach:
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Ex. 2.3.11.
This example shows a close interaction where all 16th notes are interwoven in the most rhythmically equal way, where the aim is for the instruments to unite as one.
The basis of the rhythmical structure is syncopated 3-grouping of 16th notes, which is in line with the kotekan principle. In Balinese gamelan, the rhythmical groupings follow the bar, that is, a new pattern starts on each bar. But it is common for the second bar to turn the figure (see Spiller example above), and then the coinciding rhythmic/melodic movement turns. To prevent it from becoming too static, I have chosen to break this up into different time signatures, and in this way get a longer stretch in the rhythmical figures. The melodic structure is circling round the tone C. I try to expand this in half steps up and down, adding more and more tones to a more cluster cord.
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After reworking piece 1, my notation took another form. Part 1, Version 2, start:
Ex. 2.3.12.
In the long run, this notation is much more playable and gives me the musical effect I wanted. Part 1, version 2, is, in all its simplicity, built around this concept.
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Besides the inspiration from gamelan, it is important to mention the inspiration and reference to Anders Koppel´s "Toccata for Vibraphone & Marimba"(1995) and Rolf Wallin´s "Twine"(1995). These two pieces of music are, in the sense of great parts for these instruments, probably the most exciting music I have performed. This inspiration became more clear in the revised version and moved slightly away from the clear kotekan principles.
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Duo for Vibraphone and Marimba: Movement 1: Dualism/kotekan (version 2):
Movement 1: Dualism/Kotekan
Ex. 2.3.13.
Movement 2: Java/Imbal
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As the title suggests, the inspiration for movement 2 is taken from Javanese gamelan. Javanese gamelan music, like Balinese gamelan, has several different directions. As an inspiration for this movement, I have used central Javanese gamelan music.
Gendhing Gambirsawit, performed by Gamelan Laras Tentrem
Ex. 2.3.14.
Large ensembles have historically performed the Javanese court music. American ethnomusicologist Henry Spiller writes in his book "Gamelan music of Indonesia" (3) about how gamelan music is used as a tool by those of the higher class to show power and status. To be able to have the opportunity to have a large ensemble that performed beautiful music, built up under the class hierarchy.
This slow pace and large structures form the frame for movement 2.
I use two elements that have a reference to gamelan
2. In vibraphone from letter F, my idea is to illustrate the Imbal concept in Javanese gamelan. In my piece performed by one musician
Ex. 2.3.16.
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Below is a notation of the Imbal concept as it appears in Benjamin Brinner's book “Knowing Music, Making Music" (4)
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This technique is similar to the Njog Cak kotekan technique from Bali (discussed earlier), with an alternating between the parts. The Njog Cak kotekan technique is mostly performed on the bonang instrument, which is equivalent to the Balinese reyong.
Still, the piece as a whole is more of a fantasy of inspiration after listening to central Javanese gamelan music, and is thus similar to Debussy's approach to inspiration from the same source,
Score: Duo for Vibraphone and Marimba: Movement 2: Java / Imbal
Ex. 2.3.17.
Movement 2: Java / Imbal
Ex. 2.3.18.
Movement 3: Glitch out
Glitch out is a rhythmical fantasy with inspiration from the repeating and sometimes non-stop function of the kotekan. I wanted to investigate other approaches of using this, but without the interlocking system, and with a focus on syncopation and the rhythmical flow that is characteristic for the kotekan.
I have used this syncopated rhythmic movement as a basic idea for further development. Although both parts are notes at the same time signature, this is more of a pragmatic reason. The motifs are actually in different time signatures, but since the parts have different lengths of motifs, the notation becomes very complex. In practice, this music does not depend on the time signature. By that I mean there is no specific weight on the first beat in the bar. Here the rhythmic gravity follows the motives. In this way, the composition is poly-metric, that is, several time signatures at the same time. This concept I process from the letter A to I, with different motifs of different lengths, where a densifying of the patterns is the principle.
Ex. 2.3.19.
From the letter I the composition changes to a calmer character, but the principle of polymeric figures is in focus. I think of the part from the letter K to T of as a snowball that rolls down to get bigger and bigger, faster and faster, where the energy leads towards a goal of ending up in the kotekan from letter T.
To emphasise this effect of uncontrolled rolling, I have introduced the use of polyrhythms to give it a more abstract flow. Here in letter K, there are triplets against 8th notes, where the triplets are grouped into 8.
Ex. 2.3.20.
These poly-rhythms develop through various motifs, types of poly-rhythms and poly-meters to illustrate a gradual increase in speed. Here there are 8th notes 5-tuplets against 16th notes, 7-tuplets against 16-parts, triplets against 7-tuplets, all with different subdivisions and polymetric shapes. I have chosen to use this specific notation as I desire a more rigid flow, as opposed to a more ordinary accelerando, see the score below, letters N and P.
Ex. 2.3.21.
This evolves into a more “phasing-like” effect (“Phasing” was used extensively by Steve Reich, especially in his compositions from 60/70-ties). My goal is not to reach a new coinciding pattern, but rather to investigate the chaos in the phasing itself.
Ex. 2.3.22.
From the letter V, the music go back to a solid kotekan, which dissolves more and more towards letter U.
The parts end with an ostinato that is repeated until the end.
Movement 3: Glitch out - Score
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Movement 3: Glitch out
Ex. 2.3.23.
2. Solo pieces for gamelan
When I started the research project, these compositions were the first things I started with. During this period, I worked a lot on finding ways to use the gamelan instruments as a solo instrument. This was a challenge as the instrument is designed for single-parts and ensemble playing, and opportunities for polyphony and even the addition of several instruments together simultaneously were problematic.
I have, for this purpose, made two different compositions.
Circles - for Reyong and gongs.
Waves - for gangsa, gong with electronics.
Reyong is horizontal dome gongs and has a clear and defined pitch.
Gangsa is a metallophone, reminiscent of Orff metallophones in appearance.
My gongs are both Javanese and Balinese. They are basically the same but have different names and are called Gong Ageng in Java and Gong Wadon and Gong Lanang in Bali. These are large tuned gongs. (read more about gongs here)
Composition 1: Circles - for Reyong and gongs
The concept behind the composition itself is based on a minimalist idea of motif development, and the use of motifs is the whole foundation of gamelan music.
The piece has three parts, each with different types of motifs.
Part 1. The motifs are based on the 16th note structure and linked to the Imbal concept in Javanese gamelan music.
I use two voices, where one is played on an on-beat, right hand, and one off-beat, left hand. These motifs I developed through expansion, adding more notes. Through this, my goal was to create an illusion of two voices with different sub-motifs in the right and left hand, despite a constant alternation of hands in a smooth 16th notes flow. I do this by, for example, having three groupings in the right hand, while the left grouping in two. The section develops towards a climax where the Gong enters, and then gradually dissolves towards part 2.
Circles: Excerpt from part 1
Ex. 2.3.24.
Part 2. This section is quieter in nature. I have three different motifs that occur simultaneously. Motif 1 is in a high register on reyong. The motif is loosely based on the original playing style from the Balinese gamelan used on this instrument. Motif 2 is bowing on the dome of reyong, while motif 3 is a longer motif on deep gongs.
Motif 2 and 3 are accompanying motifs 1,(main motif/melody). Out through the section, motif 1 decreases, for a closing melody in the deep gongs, which leads over to Part 3.
Circles: Excerpt from part 2
Ex. 2.3.25.
Part 3 is the expansion of a single cell into a full nonmetric motif. The big shape of the part is a long crescendo followed by a long decrescendo.
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The composition Circles begins and ends with a beat on the biggest gong.
Circles - for Reyong og Gongs - Score
Circles: Excerpt from part 3
Ex. 2.3.26.
Ex. 2.3.27.
Circles: Recording
Composition 2: Waves - for gangsa, gong and electronics
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Ombak is a term in Balinese gamelan which can be translated to “waves”. These waves are musically reflected in the changing dynamics and tempo. Still, the central element in Ombak is the tone oscillation between two similar instruments that are slightly out of tune with each other. Most of the instruments in the Balinese gamelan consist of a sets of two equal instruments, one male and a female instrument. These are central elements of the Balinese gamelan, and the instrument tuning of these instrument sets is carefully designed to produce these oscillations.
Michael Tenzer describes “ombak” in his book "Gong Kebyar"(5):
Ombak (waves)
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“Acoustic oscillations achieved through small tuning differences on instrument pairs.
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Fluctuations in tempo
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Fluctuations in dynamics
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My piece, Waves, is a quite abstract auditive composition and is coloured by using electronics, without largely modifying the sound of the gamelan instruments. The most important electronic element in the composition is the use of looping to create multiple layers of sound textures. The goal was through these multiple layers to be able to create sonic waves, as in “Ombak”.
The large tuned gongs have this "wave" inside one instrument. This phenomenon is elaborated by David W. Krueger and Kent L. Gee in the article "Acoustical and vibrometry analysis of a large Balinese gamelan gong"(6), where they point at the ombak producing a shimmering quality to the music that is unique to Bali.
The use of electronics:
To develop the composition, I have used the program "Ableton Live". I have made a setup where I through different midi functions can start and stop the loop recording through the built-in "Looper" plugin. Also, I use the delay and reverb plugin. I also modified the pitch somewhat to corroborate the oscillations.
I created a set of five different loop channels, linked to the midi fader so I could fade the audio volume in and out.
To make a score out of this, I have used an “open Score” system. The notation is graphical and gives the musician open possibilities for performance options and musical choices.
The composition is mainly a structured improvisation. I have created a score based on a shape structure and the desired length. The notation then acts as a guideline to the performer.
Waves for gangsa, gong and electronics - Score
Waves: Recording
Ex. 2.3.28.
Conclusion
Through the process of creating these compositions, I have intended to shed some light on various aspects of how I have been inspired by working with gamelan instruments and concepts. Trying to find something unique in this meeting based on my knowledge about gamelan, has been exciting and demanding, not least because of my "dogmas" of not making music that is directly reminiscent of gamelan music. My work with this, and the collaboration with Ellen Lindquist through the preparation of performing her composition "Mantra", has in many ways crossed into each other, especially concerning instrumental sound and tuning. The work on these compositions has influenced how I worked with the improvisation approach together with Ellen, and Ellen's processing of my improvisation material has influenced my further work on these compositions. It is difficult to say precisely how and what, but these are artistic processes that have influenced each other.
References
1. Vitale, Wayne. 1990. “Kotekan: the technique of interlocking parts in Balinese music” (Balungan 4(2), 1990): p.2
2. Spiller, Henry “Gamelan Music of Indonesia" (Focus, 2004) p.100
3. Spiller, Henry “Gamelan Music of Indonesia" (Focus, 2004) p.70
4. Brinner, Benjamin '“Knowing Music, Making Music" (The University of Chicago, 1995) p.224
5. Tenzer, Michael "Gong Kebyar" (University of Chicago Press, 2000). p.453
6. Krueger, David W. and Gee, Kent L. Acoustical and vibrometry analysis of a large Balinese gamelan gong (The Journal of the Acoustical Society of America 128, EL8,2010) p.2