The History of Caklempong

Caklempong traditionalistic medical specialty is said to have brought to Malaya by the Minangkabau people of West Sumatra portiontled in Negeri Sembilan as early as the 14th century. Minangkabau society call the caklempong as talempong. (Source Abdul Samad Idris, 1970) In the forward tradition, different than the purpose for fun, caklempong was in any case play as an of the essence(p) authority in e genuinelyday life, such as integrating the Minang community residents besides world played during the ceremony of the coronation of the Sultan.Today, caklempong is famously cosmos played for motley purposes including the wedding ceremony, opening, entertainment, euphony accompaniment silat martial, dance and much. Music of caklempong has ilk a shot been reliable by the plural society in Malaysia as the nations musical heritage. Caklempong is now being taught at institutions across the country with a view to initiate the spirit of love of traditional music in Malaysia TH E MUSIC OF CAKLEMPONG Caklempong is include in the host Idiofon (Idioph wizard) that is in the category of musical instruments made of metal, wood, bamboo and coco palm shells.It is usually played by hitting, impacting, shaking and pounding. Among the instruments included in this compartmentalisation be doorbell, saron (gamelan) bonang (caklempong) kenong (gamelan) angklung, and xylophone. Bonang caklempong has a shape like a small gong made of bronze, 16cm in diameter, 8-10 cm high and 2. 5cm in height cembol midst. Originally, caklempong is played in a penta sassy scale of notation C, D, E, F and G, totally it has now include all of the other notations that argon A, Bb and B. The complete set of caklempong consists of the following GeretehGereteh consists of 15 Bonang was written in the character one octave C Major, including seven not options in the two parallel lines with the foremost line having 8 bonang, while the 2nd line having 7 bonang. Gereteh plays the role of playing the important air. There be two sets Gereteh in a complete set caklempong. Gereteh Tingkah Tingkah consists of eight pieces that begins with E, F, G, A, Bb, B, C and D. Tingkah focuses on considerling the step and rhythm produced by the beating of drums. Saua Similar to tingkah, saua consists of eight pieces of bonang. The only residual amid tingkah and saua is the track they are played.Saua is played by Ostinato rhythm patterns and base melodies in the code. Ostinato the notation of saua starts from the channel low E. Tingkah / Saua Drum Tambor drum or timber usually made of jackfruit. Leather apply is the skin of cows or buffalo skin. Drum vibration have low (bass) sound. superstar is known as gendang ibu and the other is known as gendang anak. The role of gendang ibu is to control the tread whilst the gendang anak creates the dynamic of a certain ar effigyment. Drum Wooden Armatur The wooden pounder of caklempong is about 22 centimeters long.One third of t he wooden pounder is engrossed with rope to the top so that when the sound not too crummy when knocking. Wooden Armatur ELEMENTS OF MUSIC Music is an art form whose medium is sound. plebeian elements of music are pitch (which g everywherens blood line and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of whole billet and texture. Rhythm is the flow of music through time. Rhythm has several interconnected aspects beat, meter, accent and syncopation, and tempo. Beat is a regular, recurrent pulsation that divides music into capable units of time.When you clap your hands or tap your foot to music, you are responding to its beat. A note whitethorn last a fraction of a beat, an entire beat, or to a greater extent than a beat. More specifically, rhythm can be defined as the particular arrangement of note lengths in a piece of music. The rhythm of a line of credit is an essential feature of its personality. m In musi c we find a repeated pattern of a strong beat plus one or more than weaker beats. The formation of beats into regular groups is called meter. A group containing a fixed sum of beats is called a musical rhythm.There are several types of meter, which are based on the number of beats in a amount. When a measure has 2 beats, it is in duple meter we count 12, 12, The first, or stocked, beat of the measure is known as the downbeat. A pattern of 3 beats to the measure is known as treble meter. All waltzes are in triple meter, we count 123, 123, etcetera Another basic metrical pattern is quaternity meter, which has 4 beats to the measure. As usual, the downbeat is strongest but there is another stress on the third beat, which is stronger than the second and fourth beats and weaker than the first 1234, 1234.Upbeat It is an weakly pulse preceding the downbeat. Sextuple meter contains six rather pronto beats to the measure. The downbeat is strongest, and the fourth beat also receive s a stress 123456. multiply meter, with 5 beats to the measure, and septuple meter, with 7 beats to the measure, occur frequently in twentieth-century music and are found occasionally in earlier music. Each of these meters combines duple and triple meter. In quintuple meter, for example, the measure is subdivided into groups of 2 and 3 beats 123/45 or 12/345.Accent and Syncopation An important aspect of rhythm is the way individual notes are stressedhow they get excess emphasis. A note is emphasized most obviously by being played louder than the notes around it, that is, by receiving a dynamic accent. When an accented note comes where we normally would not expect one, the effect is known as syncopation. A syncopation also occurs when a weak beat is accented, as in 1234 or 1234. Tempo is the speed of the beat, the basic pace of the music. A ready tempo is associated with a heart of energy, drive, and excitement.A slow tempo a good deal contributes to a solemn, lyrical, or calm mood. A tempo indication is usually given up at the beginning of a piece. As with dynamics, the terms that show tempo (at the left) are in Italian. largo very slow, broad grave very slow, solemn adagio slow andante moderately slow, a go pace moderato moderate allegretto moderately fast fast fast vivace lively presto very fast fast as fast as possible Qualifying conditions are sometimes tot uped to tempo indications to make them more specific. The two most commonly used are molto (much) and non troppo (not too much).We thus get contrives like allegro molto (very fast) and allegro non troppo (not too fast). A gradual quickening of tempo may be indicated by writing accelerando (becoming faster), and a gradual slowing down of tempo by decreasing (becoming slower). An accelerando, curiously when combined with a rise in pitch and volume, increases excitement, and a ritardando is associated with less tension and a feeling of conclusion. Metronome, an apparatus which produces ti cking sounds or flashes of light at any desired musical speed. The metronome setting indicates the shoot number of beats per minute.Melody After hearing a piece of music, we usually remember its pipeline best. melody is a series of single odors which add up to a recognizable whole. A melody begins, moves, and ends it has direction, shape, and continuity. The up-and-down movement of its pitches conveys tension and release, expectation and arrival. This is the canorous curve, or line. -A melody moves by small intervals called locomote or by larger ones called stand outs. A step is the interval between two adjacent tones in the do-re-mi scale (from do to re, re to mi, etc. ). Any interval larger than a step is a leap (do to mi, for example).Besides moving up or down by step or leap, a melody may simply repeat the same note. -A melodys range is the distance between its lowest and highest tones. Range may be unspecific or narrow. -Melodies written for instruments tend to have a wi der range than those for portions, and they often contain wide leaps and rapid notes that would be demanding to sing. How the tones of a melody are performed can vary its effect, too. any(prenominal)times they are sung or played in a smooth, connected style called legato. Or they may be performed in a short, detached manner called staccato.Spiccato it is a technique used only by string instruments to performe very short notes. -Many melodies are made up of shorter parts called phrases. -A resting place at the end of a phrase is called a cadence. Incomplete cadence sets up expectations the second phrase ends with a Complete cadence gives an answer, a horse sense of finality. Often the highest tone of a melody will be the climax, the emotional focal point. -A repeat of a melodic pattern on a higher or lower pitch is called a sequence. This is an impelling device of varied repeating that gives a melody a strong sense of direction.Frequently, a melody will serve as the starting po int for a more extended piece of music and, in stretching out, will go through all kinds of changes. This kind of melody is called a theme. When folksingers accompany themselves on a guitar, they add support, depth, and richness to the melody. We call this harmonizing. Most music in western culture is a blend of melody and harmony. Harmony refers to the way chords are constructed and how they follow each other. -A chord is a combination of tierce or more tones sounded at once.Essentially, a chord is a group of simultaneous tones, and a melody is a series of individual tones perceive one later on another. Consonance and Dissonance Some chords have been considered durable and restful, others unstable and tense. -A tone combination that is stable is called a consonance. Consonances are points of arrival, rest, and steadiness. -A tone combination that is unstable is called a dissonance. -A dissonance has its resolution when it moves to a consonance. When this resolution is delayed or accomplished in unexpected ways, a feeling of drama, suspense, or surprise is created.In this way a composer plays with the listeners sense of expectation. -Dissonant chords are quick and move music forward. Traditionally they have been considered harsh and have been used in music that expresses pain, grief, and conflict. Now that consonance and dissonance have been defined, be aware that they can exist in varying degrees. Some harmonious chords are more stable than others, and some dissonant chords are more tense than others. Dissonant chords have been used with increasing freedom over the centuries, so that often a chord considered intolerably harsh in one period has later come to seem rather mild.The trey A great variety of chords have been used in music. Some chords consist of three different tones others have four, five, or even more. Depending on their makeup, chords sound simple or complex, calm or tense, bright or dark. The simplest, most basic chord is the triad (pron ounced try-ad), which consists of three tones. The bottom tone is called the root the others are a third and a fifth supra the root. -A triad create on the first, or tonic, note of the scale (do) is called the tonic chord. The triad built on the fifth note of the scale (sol) is neighboring in importance to the tonic.It is called the overabundant chord (sol-ti-re). The dominant chord is potently pulled toward the tonic chord. This attraction has great importance in music. A dominant chord sets up tension that is resolved by the tonic chord. A progression from dominant chord to tonic chord is called a cadence. The word cadence means both the resting point at the end of a melodic phrase and a chord progression that gives a sense of conclusion. Broken Chords (Arpeggios) When the individual tones of a chord are sounded one after another, it is called a broken chord, or arpeggio.Arpeggios may appear in the melody or in the accompaniment. -The rudimentary tone is the keynote, or tonic , of the melody. When a piece is in the key of C, for example, C is the keynote, or tonic. The keynote can also be E, or A, or any of the twelve tones that fill the octave in western music. Key involves not only a central tone but also a central scale and chord. A piece in the key of C has a basic scale, do-re-mi-fa-sol-la-ti-do, with C as its do, or tonic. Key, then, refers to the presence of a central note, scale, and chord inwardly a piece.Another term for key is tonality. After 1900, some composers abandoned the traditional system, but even today much of the music we hear is built around a central tone, chord, and scale. Practically all familiar melodies are built around a central tone. The other tones of the melody gravitate toward this central one. Since the central tone is especially stable and restful, a melody usually ends on it. Modulation Change of Key Shifting from one key to another within the same piece is called modulation. A modulation is like a temporary shift in t he center of gravity.When the music starts out in the key of C major, for instance, C is the central tone, and the C major scale and chord predominate. With a modulation to G major, G temporarily becomes the central tone, and the G major scale and chord are now the main ones. Though modulations are sometimes subtle and difficult to spot, they produce subconscious effects that increase our enjoyment of the music. Texture homophonic, Polyphonic, monaural Polyphonic Texture Simultaneous performance of two or more melodic lines of relatively equal interest produces the texture called polyphonic, meaning having legion(predicate) sounds.In polyphony several melodic lines compete for attention. (When several jazz musicians extemporise different melodies at once, they produce polyphony. ) The technique of combining several melodic lines into a meaningful whole is called counterpoint. The term contrapuntal texture is sometimes used in place of polyphonic texture Polyphonic music often con tains imitation, which occurs when a melodic idea is presented by one example or instrument and is then restated immediately by another voice or instrument.Homophonic Texture When we hear one main melody come with by chords, the texture is homophonic. Monophonic Texture When we hear one main melody without accompaniment, the texture is monophonic. Form in music is the organization of musical elements in time. In a musical composition, pitch, tone color, dynamics, rhythm, melody, and texture act to produce a sense of shape and structure.