Melody
In both Jiangnan Sizhu and Javanese Gamelan music, melodies are varied and decorated through the use of ornamentation and improvisation. The use of a set scale in both of these musical cultures has allowed for decorative ornamentation and structured improvisation. Although the set scale for each culture is different, musicians of both cultures must take into account the notes of the scales before ornamenting or improvising.
In these two musical cultures, different instruments of the ensembles are used to ornament or embellish the melody. In Jiangnan Sizhu, all musicians will ornament their part slightly differently and at the same time, according to the idiomatic techniques characteristic of the instrument they are playing. The Chinese flutes (Dizi) are often heard adding trills or acciaccaturas, the two-string fiddle (Erhu) will slide between notes and use vibrato and the Chinese lutes (Pipa) will often add rapid strumming or tremolos (Wu). These variations are known as 加花(jia hua) which literally translates into “adding flowers”. Traditionally, Jiangnan Sizhu folk music is performed in teahouses or other informal venues and thus the ornamentation throughout instruments and pieces is meant to reflect the busy and lively nature of the city. As Jiangnan Sizhu music is not traditionally notated in any form, instrumentalists will add ornaments where suitable and even on scores that have been created in the recent years, few ornaments are notated (Wu).
In these two musical cultures, different instruments of the ensembles are used to ornament or embellish the melody. In Jiangnan Sizhu, all musicians will ornament their part slightly differently and at the same time, according to the idiomatic techniques characteristic of the instrument they are playing. The Chinese flutes (Dizi) are often heard adding trills or acciaccaturas, the two-string fiddle (Erhu) will slide between notes and use vibrato and the Chinese lutes (Pipa) will often add rapid strumming or tremolos (Wu). These variations are known as 加花(jia hua) which literally translates into “adding flowers”. Traditionally, Jiangnan Sizhu folk music is performed in teahouses or other informal venues and thus the ornamentation throughout instruments and pieces is meant to reflect the busy and lively nature of the city. As Jiangnan Sizhu music is not traditionally notated in any form, instrumentalists will add ornaments where suitable and even on scores that have been created in the recent years, few ornaments are notated (Wu).
In (figure 1.1) the part that the flute plays is notated and compared against what the fiddle plays and includes all ornamentations. Although both are playing the same melody, the flute adds acciaccaturas often and trills while the fiddle slides between certain notes.
In Gamelan, embellishments and ornaments are added to pieces in order to elaborate on the skeletal melody called the Balungan (Jordan). The difference between the two cultures of music is that in Gamelan, instruments don’t add ornaments, rather there are instruments that are specifically there to play ornaments only. The instruments that do this are the Saron Panerus and the Bonangs, known as the Panerusan instruments, or the elaborating instruments (National Music Museum). Gamelan music is traditionally passed down orally and not notated, similar to Jiangnan Sizhu music and so this has naturally allowed for variation from experienced Gamelan musicians in these more virtuosic instruments or parts (National Music Museum). The Panerusan instruments use two melodic techniques called the Sekaran (Javanese for “flowering”) and the Imbal and they alternate between these two techniques between sections of the music (Lindsay 48) (Ransby). The Sekaran is florid and improvisatory, aiming to create a lively timbre and its effect is very similar to that of Jiangnan Sizhu ornamentation.
The figure above shows the Sekaran played along with the Balungan melody. Its intention is to create a shimmering effect, and rather than repeating the same phrases over and over again, the Bonang Panerus player can improvise over the Pélog scale so that the elaboration is varied each time (Brown).
Figure 1.3 is a transcription of Imbal parts played on the Bonang Panerus and Bonang Barung (pitched an octave apart) for the Udan Mas (Diamond). An Imbal is defined as a rapid alternation of a melodic line between instruments. The Bonang Panerus’s part shows an offbeat rhythm that allows the alternation between the steady crotchet beat Balungan and the semiquaver Imbal. The Bonang Barung also joins in on playing an Imbal in bars 2 and 4, whilst returning to a heterophonic-like part in bars 1 and 3. The alternation between steady quavers and the semiquaver Imbal in the Bonang Barung part is also characteristic of a typical Imbal (Ransby).
Gamelan’s often have very melodic focused instrumentation, with a majority of musicians playing the Balungan on metallophones and xylophones. Therefore, the Panerusan players have a crucial part in creating a more full timbre and a shimmering effect. The Imbal and Sekaran are the two main decorative techniques used in Javanese Gamelan and both can be heard in typical pieces. This is similar to the role of ornamentation in Jiangnan Sizhu, which aims to create livelier melodies and to decorate the tune.
Improvisation
It is important to note the improvisatory aspect of both cultures of music. In Jiangnan Sizhu, all instruments of the ensemble are essentially free to ornament how they like, albeit maintaining that the melody is heard (Tsui 57). Also, all instruments of Jiangnan Sizhu ensembles are considered equals, and their simultaneous alterations of the melody adds to the vibrant and energetic timbres. A similar effect is created in Gamelan ensembles, however, as Gamelan’s are often quite large, only a select few have the opportunity to improvise. Players of Panerusan instruments are often the most experienced and skilled and are required to improvise the ornamentation and elaboration based off the Pelog. Nevertheless, a bright and busy timbre is also created. The similarity in improvisation has arisen between these two cultures of music because of how the music was passed from person to person (National Music Museum). Without an official form of notation, (although they are able to be notated using numbered notation), music was passed through listening (Jordan). Most often, musicians would learn a principal melody to a piece and have the knowledge of set scales in either Gamelan or Jiangnan Sizhu to improvise ornamentations and other alterations.
While the music of Jiangnan Sizhu and Gamelan show similarities in melodies and their variations, there are also similarities that arise from looking at the texture.
Gamelan’s often have very melodic focused instrumentation, with a majority of musicians playing the Balungan on metallophones and xylophones. Therefore, the Panerusan players have a crucial part in creating a more full timbre and a shimmering effect. The Imbal and Sekaran are the two main decorative techniques used in Javanese Gamelan and both can be heard in typical pieces. This is similar to the role of ornamentation in Jiangnan Sizhu, which aims to create livelier melodies and to decorate the tune.
Improvisation
It is important to note the improvisatory aspect of both cultures of music. In Jiangnan Sizhu, all instruments of the ensemble are essentially free to ornament how they like, albeit maintaining that the melody is heard (Tsui 57). Also, all instruments of Jiangnan Sizhu ensembles are considered equals, and their simultaneous alterations of the melody adds to the vibrant and energetic timbres. A similar effect is created in Gamelan ensembles, however, as Gamelan’s are often quite large, only a select few have the opportunity to improvise. Players of Panerusan instruments are often the most experienced and skilled and are required to improvise the ornamentation and elaboration based off the Pelog. Nevertheless, a bright and busy timbre is also created. The similarity in improvisation has arisen between these two cultures of music because of how the music was passed from person to person (National Music Museum). Without an official form of notation, (although they are able to be notated using numbered notation), music was passed through listening (Jordan). Most often, musicians would learn a principal melody to a piece and have the knowledge of set scales in either Gamelan or Jiangnan Sizhu to improvise ornamentations and other alterations.
While the music of Jiangnan Sizhu and Gamelan show similarities in melodies and their variations, there are also similarities that arise from looking at the texture.