Saron

The saron can be called the spine of the Indonesian Gamelan orchestra. The metal xylophones hold together each gamelan performance as they sound the most important part known as the balungan or the skeletal melody. This melody is repeated 20 to 30 times in performances at varying speeds. Over this, other instruments pile complicated layers of sound to form a thick aural texture.

As the melodic anchor, the saron has to have extremely expressive qualities. Of all the instruments in the orchestra, it has the greatest dynamic range, and is capable of producing everything from the tiniest tinkle to the shrillest snap and the most brilliant bang.

There are at least three different types of saron. The small one is the saron panerus. The octave lower is the saron barung and yet another octave lower is the saron demung.

Each instrument is a collection of seven curved metal bars that rest on a carved wooden stand. This is hollowed out to act as a resonator that amplifies the clang and tink of the metal. At two carefully measures nodal points on the bar, holes are drilled so that pins passed through the holes would secure the bar and yet the vibration of the bar would not be disturbed.

The player hits the instrument with his mallet, made either of wood or rhinocerous horn. The harder horn-made mallet-head produces a sharper sound and is usually used for the smaller versions of the saron family. Holding the mallet in his right hand, the musician strikes the metal bars, and damps the vibrations with his left hand. This ensures the main melody is heard in all its clear-cut clarity, without echo-like revebrations of dissonant notes.

Adapted from 'The gamelan's anchor', The ST, 26th November 98

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