NoName

Rabu, Januari 13, 2010

Pengenalan Excel Dan Fungsi Menu

* Menu dan Icon Microsoft Excel

1. Kegunaan Program Excel
2. Membuka dan menutup Program Excel
3. Menu dan Fungsinya pada Program Excel

* Fasilitas pada Excel

1. Membuka Dokumen Excel
2. Mengisi sel
3. Membuat Grafik dari data yang telah ada
4. Menyisipkan grafik, gambar dan tulisan
5. Membuat gambar sederhana dengan toolbar drawing
6. Mengatur halaman dan pencetakan

* Mengolah Dokumen Pengolah Angka dengan berbagai Variasi

1. Membuat Excel dengan variasi Teks, Grafik, Tabel, dan Numerik

Pertemuan 1.

* Microsoft sudah mengeluarkan beberapa versi program Microsoft Office, seperti Office 2000, 2002, 2003 XP dan Office 2007. Pada semua program aplikasi Microsoft Office terdapat program aplikasi spreadsheet (lembar kerja elektronik) yaitu Excel. Kegunaan program Excel yaitu:

1. Bidang Akuntansi

Contoh dari penggunaan Excel dalam bidang akuntansi adalah menghitung jumlah rugi/laba suatu perusahaan, mencari besarnya keuntungan selama satu tahun dan menghitung gaji

2. Kalkulasi Matematis

Kalkulasi matematis digunakan untuk mencari data dari hasil penjumlahan, pengurangan, perkalian, dan pembagian

3. Pengolaan data

Penggunaan Pengolaan data yaitu untuk mengelola database statistik, mencari nilai tengah, rata-rata, dan pencarian nilai maksimum serta minumum

4. Pembuatan Grafik

Excel dapat digunakan untuk membuat grafik. Misalnya grafik nilai perkembangan jumlah penduduk selama satu tahun

5. Operasi Tabel

Dengan jumlah baris 65536 dan kolom 256, maka kita tidak akan merasa kesulitan jika menginput data yang banyak.

* Membuka dan menutup Program Excel

1. Membuka Excel, Ada 3 cara :

1. Menu start pada taskbar : Klik Start – All Program – Microsoft Office - Microsoft Office Excel XP
2. Ikon pada dekstop : Doble klik icon Excel
3. Kotak dialog Run : Klik Start – Run – Ketikan Excel – Klik OK

2. Menutup Excel, ada 2 cara :

1. Klik menu File – Exit
2. Klik tanda X pada kanan Baris Judul

* Menu dan fungsinya pada Program Excel

Menu adalah sekumpulan perintah yang terdapat pada bagian atas tampilan program Excel. Lembar kerja Excel :

1. Baris Judul (Title Bar)

Fasilitas ini menampilkan program Excel dan nama file dokumen

2. Pull down Menu (Menu Bar)

Menu Bar adalah daftar perintah yang muncul di bagian atas layar dan akan merentang ke bawah setelah di klik. Macam-macam menu bar dan fungsinya :

1. Menu File. Berisi tentang perintah-perintah untuk mengolah data yang sedang di buat
2. Menu Edit. Berisi tentang perintah-perintah yang digunakan untuk menyunting lembar kerja
3. Menu View. Digunakan untuk menentukan model tampilan lembar kerja aktif
4. Menu Insert. Berfungsi untuk menyisipkan sel, objek, gambar, baris, dan kolom, simbol, worksheet, serta digram dalam lembar kerja.
5. Menu Format. Berfungsi untuk menjalankan fungsi format yang akan ditampilkan pada lembar kerja
6. Menu Tools. Digunakan untuk membantu proses pengolahan data pada program aplikasi excel
7. Menu Data. Digunakan untuk mengatur tampilan pengurutan data dari data base dan pengolahan
8. Menu Window. Digunakan untuk mengatur tampilan jendela aktif
9. Menu Help. Berfungsi untuk memberikan keterangan bantuan untuk program Excel

3. Toolbar (Ikon Peralatan)

Toolbar menyediakan fasilitas perintah singkat dan cepat dibandingkan dengan menu bar. Masing-masing tombol pada toolbar diberi gambar sesuai dengan topik perintah.

Rabu, November 18, 2009

little star in my heart *part 2

*********

" uwaaaaah ... uda telaat bundaaa !!! "
" yaudah, cepet berangkat . "
" Nissa, bareng aku aja . "
" lhoo, Barra koo ada disini ? "
" iya, semalem abis dari rumah tante. udah, gaada waktu lagi, ayo naik ! nanti telat lhoo ! "
" hee, iia deeh . Bundaaa, Albi berangkat sama Barra yaa .. Daagh .. "
"Lhoo, koo Albi ?"
" itu panggilan aku dirumah. udah, ayo nanti telat !"
" ok. "
sepanjang perjalanan aku melamun. Teguran Barra mengagetkan aku .
" Nisa ! koo bengong ?"
" eeh ? anggak, cuma mikir aja, masih telat apa enggak . "
" mau ga telat ? ok, kencengin sabuk pengaman . "
" maksudnyaaaaaaaa .... Barrraaaaa !!! "
Barra memacu motornya dengan sangat kencang. Aku terkejut dan nyaris terpental karenanya .
" kan tadi aku udah bilang kencengin sabuk pengamannya .. hehehe "
" hee ? iia deh, lagian kamu ga bilang mau ngebut ! "
" ok, 2 menit lagi kita sampe sekolah . "
" WHAT ??!! 2 menit ?? "
" atau kamu mau ... 1 MENIT ??"
" NOO !! 2 menit aja deh . "
"ok, kencengin lagi yaa .. "
aku memejamkan mataku . 2 menit kemudian ..
" ok, sekarang buka mata kamu . "
" udah di sekolah ? "
" liat jam . "
" 2 menit .. HAAA ??? KOO BISAAA ? "
" adaaa ajaaa .. "
"yaudah deh, aku ke kelas dulu . makasih ya bar . "
" yoo .. sama sama . "

*********

" Albisyah Chairunnisa Tsubaki !!! "
" hee .. Sari .. "
" tumben udah dateng . "
tanpa kami sadari, Barra sudah berada di belakang kami dan menyeletuk .
" iia doong, bareng siapa duluu .. "
" BARRA ! kapan kamu ada di belakang aku ?"
" daritadi . hehehe .. "
" ciieciie .. Nisa bareng Barra .. "
" iih, Sari apaan sih ! "
" hehee .. udah ya, aku ke kelas nis, sar .. Daagh ! "
" iia .. "

*********

handphoneku berdering(masi belom masuk jadi belom di-silent)
" hallo, napa kaa ? "
" dee, tar siang latihan . bulan depan ada lomba panjat tebing lagi, tapi tingkat nasional . gue udah ngomong ke kepala sekolah . "
" hoo .. iia deeh , tar gue latian . yang lain ga dikasitau ? "
" udah . "
" yoo, thank's ya kaa .. "
" sama sama . "
berita dari ka Fabi membuatku grogi sekaligus gembira . Karena lombanya tingkat nasional, berarti aku harus latihan ekstra keras . akhirnya kuputuskan untuk mengirim sms ke Bunda .

' bun, Albi plg tlat cz nnti
ada lthan buat lmba pjat
tbing nsional. plg'a d'antr
ka Fabi. Love U bun ! '

message sent.
ga berapa lama kemudian, hp-ku kembali berdering .

1 New Message from :
bunda_my love

ku ambil hp-ku dan kubaca sms dari bunda .

' yaudh. hti2, kalo capek jgn
dpksa nnti tgn km skt lg.
love U 2 my daughter !'

setelah membaca sms dari bunda, bel masuk pun berbunyi.
" haah .. tumben Nisa udah dateng .. "
" iia doong masa Erya baru dateng jam seginii .. "
Sari menyeletuk .
" tadi bareng Barra tuuh .. "
eki, dian dan erya menimpali .
" ciieciie ... bareng barra .. "
" waah .. ada apaapa tuuh .. "
" tau ah ! apaan sih lo semua ?!"
"hahahaa nissa maraah .. "
" udah deh .. tu pak nuki udah masuk ! "
" ampuun buuuu ... !!!"
selama pelajaran pak nuki, aku melamun dan ga merhatiin pelajaran soalnya keinget lomba panjat tebing .
" nis, nisaa .. WOOY NISAA!! "
" hee .. iiaa .. apa eki ?"
"daritadi gue panggil juga . ga nengoknengok !"
" yaaa , maaaf temaaan ... "
"makanya jangan mikirin Barra mulu .. "
" apaan sih diiaaan ! "
tiba tiba pak nuki memanggil namaku .
" Albisyah Chairunnisa . "
" eeh, yaa paak ? "
" coba kamu jelaskan konsep dan pengertian laju reaksi kepada teman-temanmu . "
"haa .. eeh .. emmm .. anu paak .. laju reaksi ituuu ... emmm ... (apa ya ?) .. NAH ! kecepatan yang bereaksi kali pak !"
" WHAHAHAHAHAHAAAAA ...."
sorak tawa temanteman sekelasku menyadarkanku bahwa sedari tadi pak nuki meemperhatikan aku yang melamun .
" nisa, seusai pelajaran kamu temui bapak di ruang guru . "
" iia pak . "

*********

" misi paak . "
" masuk nisa . "
" ada apa ya pak ? "
" kamu ni, udah salah masih nanya lagi . dasar ! gini, kemarin bapak dapet undangan lomba panjat tebing tingkat nasional . amu ikut ya . bawa nama baik sekolah kita !"
" eeh, itu pak .. iia, tadi pagi saya udah di telepon ka fabi . dan nanti siang kita latihan . "
"ooh, bagus. timnya siapa aja ? "
" biasa pakk , siapa lagi . "
" oh, yaudah kalo mau jajan silakan .
" oh, oke pak . saya kira bapak mau ngomelin saya garagara bengong di kelas. "
" hahaha , sebenernya sih iya . cuma tadi bapak keinget undangan itu . jadi gajadi deh . "
" oh, oke pak makasih . "
saat keluar ruang guru, kulihat ada barra di depannya .
" nisa, kamu gapapa ?"
" gapapa kenapa ? aku sehat aja . "
" lho, tadi kata temen kamu kamu dipanggil pak nuki ."
"" iia. "
" trus diomelin gimana ?"
" haa , diomelin ?"
" lah , terus diapain ?"
" cuma dikasitau ada lomba panjat tebing bulan depan . "
" ooh, kirain diomeliin . "
" enggak. "
" jajan yuk . "
" aku mau ke perpus . "
" yaudah deh, aku jajan ya . "
" ok ."
" eeeh, nisaaa tunggu .. nanti pulang bareng yaa .."
" emm .. iia . "
" nomer kamu berapa ? biar nanti gampang ."
" 08988855xxx. kamu ?"
" 02191245xxx."
" ke perpus dulu yaa .. "
" ok . daaah cantiik .. "
" hee .. apa barusan ?"
"enggak .. "
aku berjalan ke perpustakaan sambil melamun . namun, aku merasa ada seseorang yang menabrak tubuhku hingga aku terjatuh .
" ups, sorry "
" ya, no problem "
aku terkejut saat melihat siapa yang menabrakku . ternyata orang itu bukan guru, karyawan ataupun murid sekolah ini. ia membantuku berdiri .
" thank's sir "
" you're welcome . i'm steven dori, new english teacher in here . you ?"
" albisyah Chairunnisa tsubaki, XI IPA 3"
" hahaha .. sorry, i'm cannot speak bahasa, but i know your mean if you speak with bahasa ."
"yeah, ok . "

Rabu, November 04, 2009

little star in my heart

inii part 1 dari sekian banyaak part di novel yang gue bikin , sekarang gue kenalin dulu tokoh-tokoh yang ada
*albisyah chairunnisa tsubaki : tokoh utama dalam cerita ini, berprestasi di bidang olahraga panjat tebing dan selalu ceria. orangnya manis.
*ai shafa : temen se-geng albi, orangnya baik, cantik, tapi lemooodnyaaaaa .. hadooh, ga nahan deeh ..
*bebi nadine : temen se-geng albi juga, orangnya buleet kaya bola, cengeng, tapi baiiik bangeeet ..
*diandari : temen se-geng albi juga, paling pinter di kelas, tapi hobinya baca novel ..
*eki kurosaki : temen se-geng albi juga, ga kalah pinter sama didi, cuma hobinya baca komiik mulu ..
*fabi zulfikar : kakak angkat albi, orangnya konyol, gajelas, tapi baiik bangeet ..
*barra syahid : temen 1 sekolah albi yang albi suka . orangnya item manis, tapi baik banget biarpun kadang suka bikin orang kesel .
*erya putri : temen sebangku albi , orangnya kaya cina, konyol dan childish bangeet ..
*sari hasnah : temen sekelah albi, orangnya baik, lucu, manis.
*mr. steven dori : guru bahasa inggris baru pindahan dari california, orangnya ganteng, baik lagi ..
*bunda : mamanya albi, sosok mama yang pengertian sama anaknya
*pak nuki : guru kimia sekaligus pembina ekskul PA di sekolah albi .

nah .. itu sebagian tokoh-tokoh yang ada di part 2 .
gue butuh banget komen dari lo semua supaya gue bisa memperbaiki kesalahan gue ..
ditunggu yaaa ...
jangan lupa baca cerita selanjutnya ...

Rabu, Oktober 28, 2009

kucing pengganti michael jackson

Ini adalah cerita tentang seekor Kucing yang ingin menjadi Superstar

Quote:

Hai, Namaku Jimmy, aku penggemar berat King of Pop Lho, Michael Jackson itu

Sehari harinya ia selalu berdoa semoga ia bisa menjadi seperti Idola yang ia kagumi itu

Spoiler for doa si Jimmy:

Agan doakan saya ya semoga saya bisa lolos audisi besok

Tidak lupa dia selalu berlatih siang dan malam, supaya penampilannya kian membaik

Spoiler for Pemanasan dulu si Jimmy:

uh! Leherku kok agak pegel ya, pemanasan dulu ah biar ga Kram

Spoiler for mulai berlatih ah:

Spoiler for Mulai Panas si Jimmy:

Ini Aku nari apa ngamuk ya gan?? hihi

Mudah-mudahan aku bisa meraih mimpiku ya gan, menjadi seorang superstar

http://www.kaskus.us/showthread.php?t=2478783

budaya indonesia yang hampir punah

Cium tangan
biasanya sih dibilang salim (?) ya gan? kalo TS sampai skrg pun stiap pergi slalu pamit ke ortu kaya gt, kalo ke nyokap, pake cepika cepiki pula , tapi ini penting lho gan, selain menanamkan rasa cinta kita sama ortu, cium tangan itu sebagai tanda hormat dan terima kasih kita sama mereka, sudahkah mencium tangan ortu kalian?

Spoiler for seperti ini:
Penggunaan tangan
Di luar negeri, gw rasa ga ada masalah ya dengan ini, tp bukankah budaya kita menganjurkan penggunaan tangan kanan, dlm memberikan barang, berjabat tangan, ataupun saat makan (yang kidal pengecualian ya gan )
jangan anggap itu budaya yg ketinggalan jaman / kaku / norak, karena negara kita beda dgn negara barat, pertahankan itu, supaya jati diri bangsa kita nggak hilang gan

Spoiler for no sara ya gan ;):
Senyum & Sapa
Ini Indonesia banget, dulu citra negara kita adalah negara yang ramah, murah senyum, jangan sampai hilang gan. Karena senyum itu ibadah, dan sapa itu menambah keakraban kita dengan sekitar kita percaya sama gw, ga ada ruginya kita lakuin itu.
( Pengalaman gw di kerja Jatim, disana penduduknya sopaaaan dan ramah banget, padahal gw pendatang dr Jakarta. Gw baru sadar inilah Indonesia sesungguhnya )

Spoiler for senyum gan:
Musyawarah
Boro-boro mau musyawarah, kenal sama pak RT aja nggak. Gausah RT deh, yakin gw banyak orang yang ga kenal sama tetangganya sendiri, no offense gw juga kaya gt soalnya gara gara sibuk kerja dan kuliah sampe malem. tp coba deh sesekali ada acara di lingk.rumah lo, lo ikut ngumpul, gausah lama lama, tp minimal lo kenal sama orang disekitar lo, dan bisa ngebantu memajukan lingk.rumah lo juga

Spoiler for rapat:
Gotong Royong
Kerja bakti, kasarnya. Jaman gw smp, di lingk.rumah gw sering banget ada kerja bakti hari minggu, ngebersihin parit / got lah, memangkas semak semak lah, atau minimal ngebersihin halaman rumah sendiri bersama sama. Sekarang? Ayolah, sebulan sekali pun gapapa kan gan, asalkan bisa mempererat persatuan Lingk.kita?

Spoiler for kerja bakti :) :

copy from : http://www.kaskus.us/showthread.php?t=2520369

balinese gamelan

Balinese
Gamelan

Bali has a great diversity of Gamelan Instruments and Musical Styles. Ceremonial pieces are meditative and serene while dance and theater music percolates and flutters. Instrumentation takes many forms, from heavy bronze or playful bamboo, to iron slabs and tinkling cymbals. Melodic instruments include bar percussion, rows of small gongs, and flutes. Larger gongs and bar instruments outline the melodic structure.

Each Gamelan has a special Purpose. Processionals of gongs, drums, and cymbals create hypnotic patterns ushering idols to the sea. High pitched "sweet" bronze Gamelan enhance the king's slumber chamber as meter long bamboo flutes accompany a classic dance in the temple. The twang of palm bark might be used to court a young lady. Honking reeds create a whimsical atmosphere for the frog dance. Giant bamboos thrill equally large audiences, and a rhythmic chorus acts out stories from the Ramayana.

The most prominent musical characteristic in Bali is known as Kotek (Koh-Tek), the sharing of a musical line by trading pitches between players. A musical pattern may be divided into two or more parts which interlock. This allows for very fast performance tempos.

See and hear a simple kotekan.

Another typical gesture, the Angsel (Ahng-Sl) is a break or flourish in an otherwise continuous, and usually repeated, line. An Angsel is used to highlight a particular dance movement or musical gesture.

Indonesian music is stratified, with the form expressed in the lowest pitches, the melody in the middle of the range, and an embellishment or variation in the upper register.

Balinese Gamelan instruments are paired and de-tuned to create a shimmering or beating effect. One instrument of the pair is tuned to the true scale. The second is tuned slightly flat to produce a tremolo at a specified speed. The speed varies by region, taste, purpose, and ensemble type.

Modern Balinese Music

Balinese Gamelan can sound ancient when it's not. Many recordings and concerts in the US feature an ensemble known as Kebyar, a very modern form. There is also a great deal of creativity in Bali and new ideas emerge all the time. Even old ritual ensembles are played differently now than in the past. Does that mean that the old music is being lost? More often, it is augmented with new ideas. Fortunately, Gamelan is still growing.

Experimentalism is also alive and well in Bali. New works have included music for rocks and various sound effect explorations, as well as collaborations with electric guitars, synthesizers, and symphonic instruments.

Gong Kebyar - the new style

Kebyar (Keh-Byahr) is an orchestra of up to twenty five players. Instruments include bar metallophones, racks of gong chimes, drums, cymbals, and large and small gongs. The scale is one of two common five tone per octave sequences called Pelog (Peh-Log). It's intervals vary from tiny steps to large jumps, roughly half steps, whole steps, and major thirds. The repertoire is mostly for dance, but the style is distinguished musically by it's virtuosic outbursts.

Kebyar originated in North Bali shortly after a royal mass suicide, called Puputan, at the hands of Dutch colonialists. It's explosiveness is drawn largely from the militarism and chaos of that era. Kebyar is a definitive expression of trouble in paradise. Drums rumble, fierce melodies charge from nowhere, whirling ornaments twist and tangle as if caught by the wind. Kebyar also makes fresh use of techniques drawn from archaic styles, especially Gender Wayang (see below).

Led by two drummers, the focal point of the ensemble is a central bronze metallophone called Ugal (Oo-Gahl). This instrument is played one handed with a small hammer in a flashy, dance-like, style. Behind the Ugal is a group of eight to twelve metallophones played with small hammers called Gangsa (Gahng-Sah). These instruments are paired in interlocking parts to play many types of variation on the melody. Larger bronze bar instruments, one and two octaves below the Ugal, play the basic line and structural tones of the melody with soft mallets.

An instrument of particular interest in Kebyar is the Reong (Reh-Yong), a row of twelve small horizontal gongs played by three or four musicians. Although the basic instrument is one of the oldest in Indonesia, Kebyar style pushes Reong to new extremes. Each player, responsible for playing two or three gongs in the row, must interject his respective notes in the line to produce rapid ornamental gestures and flourishes with the sound of one or two super human players. The result is a bubbling, unbridled layer of variation.

Listen to Gong Kebyar

Gong Gede - the old style

Gong Gede (Gong-Geh-Day) means, literally, "Big Gong." Often, the word Gong is used as a collective term for the entire Gamelan. So a better translation would be "Big Gamelan." Gong Gede is most certainly big in size, but not in popularity. It is at times excruciatingly slow and laborious. But the name is befitting it's grandeur of position in the wider scope of Balinese music.

The only active Gong Gede is in the mountains at one of the most important temples. It accompanies dances centuries old for the purpose of blessing the entire island. The instrumentation is similar to other Pelog Gamelan in function, but not in style or construct. Gangsa Saron (Sah-Rohn) Jongkok predominate, with large rounded bronze bars mounted on cushioned pegs over a single trough resonator.

Gamelan Gong - Balinese temple gamelan

Instrumentally, Gamelan Gong is very comparable to Gong Kebyar and, in many ways, a direct ancestor. However, differences in musical style are great. Gamelan Gong is essentially temple music, poetic forms with an undeniable stateliness and patience. The scale is five tone Pelog.

Led by two drums, the focal instrument of the ensemble is the Trompong. Trompong is much like Reong in that it consists of a row of horizontally placed gongs. But the Trompong is one octave lower, has only ten gongs, and is played by one person. The Trompong plays the core melody of the composition, adorned with little flowers and turns of ornamentation. The movement of the two cord wrapped sticks used to play it is choreographed to produce a beautiful visual as well as aural expression of the music.

The Ugal of Kebyar grew out of the role of Trompong in Gamelan Gong. There is no Ugal in Gamelan Gong, but there are Gangsa, the lower register instruments, Calung (Chah-Loong) and Jegogan (Jeh-Go-Gahn), Gongs, and Ceng Ceng (Cheng Cheng) cymbals, much like Kebyar. The bamboo flute called Suling (Soo-Ling) also plays a more important role in Gamelan Gong, often working in conjunction with the Trompong.

Pelegongan - music for the Legong dance

Pelegongan (Peh-Leh-Gong-Ahn) is a Pelog gamelan very similar in instrumentation to both Kebyar and Gamelan Gong. In Pelegongan, the role of the Trompong is replaced by two fifteen bar bronze Pelog metallophones called Gender (Gehn-Dare).

Although any instrument with suspended bars is technically a Gender, that name is usually reserved for instruments played with two mallets instead of the usual one. Gender plays an adorned version of the melody in parallel octaves.

Pelegongan is a dance form. It is used to accompany the famous Legong dance, performed by adolescent girls. For pragmatic purposes, Pelegongan music is often played on other types of Gamelan not specifically designed for the Legong.

The actual sonic differences between Pelegongan and other Pelog Gamelan are nominal. Many Gamelan Gong include two Gender along with Trompong and there are also Gamelan Kebyar which have two Gender. Legong is an important dance, so much so that musicians compromise the purity of other styles to accommodate it.

Semar Pegulingan - chamber music

Semar Pegulingan (Seh-Mahr Peh-Goo-Ling-Ahn) is the cream of Pelog Gamelan. The name, although difficult to say, means something just as beautifully complex. Semar means love. Guling (Goo-Ling) means to lie down. Pe-guling-an changes the meaning to... lie down for the purpose of. Semar Pegulingan is a musical aphrodisiac, played for the king and queen as they would lie down for the purpose of love, in their private chambers of course.

Beyond the sweet intentions, Semar Pegulingan has many advanced characteristics. The scale is seven tone pelog. From the addition of two tones to the scale, many more different modes are possible. The mode of any given section of the music will only use five of the tones at a time, creating the illusion of "key change" when one of those tones is substituted for another. Semar Pegulingan was essentially lost to history until early this century when a visionary Balinese musician named Lotring recreated the repertoire based on accounts of older musicians and written records.

Beleganjur - processional music

Beleganjur (Bleh-Gahn-Joor) is the repetitive hypnotic Pelog music used to accompany processions from temple to temple or to the sea. All of the instruments, including the big gongs are carried while walking or traveling in an open truck. The closer the destination, the faster the tempo.

Instrumentation consists of individual bronze Reong pots, Gongs, large Ceng Ceng cymbals, and large drums, properly called Kendang (Kehn-Dahng). The Reong used in Beleganjur is an earlier form than that of other ensembles. The gongs are not mounted on a rack. They are carried by hand, one per person, further dividing the interlock of the musical parts. The cymbals used in Beleganjur have a large bell which produces a resonant "thwack" when crashed together. Each of up to sixteen players uses a pair to interlock rhythmically with the others.

Gender Wayang - shadow play and ritual music

Gender Wayang (Ghen-Dare Why-Ahng), or more simply, Gender, consists of two or four bronze metallophones with ten bars each. They are struck with two disc headed wooden mallets, and muted with the heals of the hands. Other metal bar Gamelan instruments are usually played with a single mallet in one hand and muted by grasping the ringing bar with the other. Bamboo tubes beneath the bars serve to amplify, or resonate, the tones.

The word "Gender" means an instrument with suspended bars, differentiating it from the "Saron" which has bars resting on felt or rubber. The scale of Gender Wayang has five pitches per octave and is called Slendro. Slendro, although theoretically an equidistant scale, consists of roughly whole steps and minor thirds. The specific tuning is unique to each set of instruments but may be very loosely approximated by the "black keys" of the piano.

Gender Wayang accompanies rites of passage such as cremations, weddings, and adolescent tooth filings, in addition to the famous shadow play, or Wayang Kulit, from which the other half of the instrument's name is derived. Gender is of interest not only for it's efficient size and style, but also because many of the various musical parts present in larger Gamelan can be found in Gender music. The left hand plays a combination of structural tones and melody, while the right plays many types of embellishing patterns. It is among the most concise of Indonesian Gamelan.

Listen to Gender Wayang

Angklung - cremation music

Angklung (Ahng-Kloong), although more widely known as a bamboo instrument, is also a bronze Slendro Gamelan used to accompany various rites of cremation.

The instrumentation consists of several small paired four bar Gangsa played with gender mallets, Reong, and very small Kendang drums. Calung play the basic melody which usually uses only four tones of the Slendro scale. There are reportedly Angklung with up to nine slendro tones but they more typically have only up to six. Four tones is the standard.

The reong used in angklung again vary slightly. Two gongs are mounted at the ends of a horizontal stick perpendicular to it. Four of these make a complete Reong section but it is possible to have only two as the interlocking parts, like most other instances, are doubled at the octave.

Bamboo Angklung is, for all intents and purposes, currently extinct in Bali. It is still common in Java but only for recreational diatonic dominant harmony folk music. Bamboo Angklung is a rack of bamboo tubes which are shaken to produce their respective pitches.

Tiklik, Jegog, and Gandrung - bamboo music

The bamboo xylophone known as Tiklik (Tih-Click) has become an instrument of choice in Balinese resort hotels. The scale is five tone Slendro, tuned a little sweeter than Angklung or Gender Wayang. Tiklik can be played in one or two pairs with flute or in larger groups accompanied by drums and gongs. Most typically associated with the Joged Bumbung dance, a social dance from North Bali, Tiklik is also popular among village musicians for it's playful character.

A cousin of the Tiklik is the West Balinese Jegog (Jeh-Gohg). Similar in design, to the tiklik, each bamboo tube is cylindrical until about half way up the tube where it is carved out underneath to form a tongue. This allows each tube to function as both a bar and a resonator combined. The length of the tubular section determines the pitch which is resonated and the proper thickness of the tongue brings the whole thing in tune with itself to produce and resonate the desired pitch when struck.

Jegog xylophones range from Tiklik size, having bamboos from one to two feet long, to huge bamboos of up to three and meters. The Jegog scale is four tones, most commonly thought of as a form of Pelog.

Listen to Jegog

Gambuh and Gong Suling - flute ensembles

On appearances, Balinese music uses two scales, Pelog and Slendro. But within those basic structures are many sub-scales and modes. Much of the variation in Balinese scales from one Gamelan to another is derived from these nuances of mode. Most Gamelan are best suited to only a few of many possible modes. Balinese flutes, or Suling (Soo-Ling), on the other hand, can play all of the modes well. Hence, the Suling becomes a focal point in any discussion of Balinese scales.

Gong Suling is a combination of three or four different sizes of flutes from large to small. Also included are two small drums, ceng ceng, and various types of gongs. All Suling are played with circular breathing, producing a seamless continuance of tone. The flutes are paired like other gamelan instruments to produce a resultant tremolo.

The Gambuh (Gahm-Boo) is a flute nearing a meter in length. It is so long, that while sitting on the ground a player must crane his head back to reach the mouthpiece. Gambuh is most often used as an accompaniment to a very archaic dance theater form of the same name, rarely seen anymore. It can also be used to accompany some types of shadow play.

Listen to Gambuh

Salunding, Gambang, Gong Saron - the classics

The "classic" ensembles, Salunding (Sah-Loon-Ding), Gambang (Gahm-Bahng), and Gong Saron, also called Gong Luang (Loo-Ahng), are based on a poetic meter different than that of other Balinese musics. Most of the styles discussed thus far are based on the meter of a set of religious songs called Kekawin (Keh-Kah-Win).

Kekawin is the music of the Majapahit empire, which annexed Bali and was then exiled to it in the 15th century. Kekawin has it's own scales and modes. The pre-Majapahit style is called Kidung (Kee-Doong) and is often associated with the indigenous Balinese people called Bali Aga. The Kidung songs are not as exclusive as Bali Aga culture. Kidung, and some of the music that goes with it, was peripherally absorbed into the whole of Balinese culture.

Kidung also has it's own set of scales and modes. Although they are sometimes sonically similar to those of Kekawin, the scales are derived from a unique seven tone system. The intervals of this seven tone scale differ somewhat from the seven tone scale of Semar Pegulingan and that of Java.

The most visible of the Kidung Gamelan is the bamboo xylophone ensemble known as Gambang. Gambang is an archaic type of cremation music still in regular use. There are not many ensembles remaining, but the good ones seem to survive due to the religious need for them. The Gambang instruments have bamboo slats for bars and are played with two mallets which are forked like a "Y". Each mallet has two heads, set at a fixed interval.

The bars are placed in a visually perplexing arrangement having large bars interspersed with smaller ones, a scale seemingly out of order. But the spacing of the forked mallets correspond to the placement of the bars to produce parallel intervals, essentially fourths and fifths. Four Gambang are complemented by two large Saron. The Sarons outline the meter and song, while the Gambang run in musical circles around it.

Gong Saron, also known as Gong Luang bears similarity to Javanese gamelan in it's heterogeny of instrumentation and elongated pace. There are bronze Bonang (Boh-Nahng) gong chimes, bamboo Saron, a very large drum, bamboo Gongs called Gentang (Gehn-Tahng), and a double-bar iron Gong called Gong Puluh (Poo-Loo). The scale is seven tones. Gong Saron is extremely rare. There are probably only two semi-active groups still going. The music is very slow and stately.

Listen to Gong Saron/Luang

Salunding music is almost exclusively Bali Aga and has been immersed in myth and mystery until very recently. The instruments use a seven tone scale and consist of homogenous iron slabs placed over box trough resonators.

The bars are played with large hammers, except for the bass instruments which are struck with sticks resembling, not coincidentally, human thigh bones. The ensemble also includes a small ceng ceng for color. The boxes which the bars are mounted on are set up in such a way as to be combinable with other boxes to produce full instruments. In this way, the ensemble can change form just by sliding a few things around. Generally, seven players use the instruments in various combinations.

Listen to Salunding

Kecak - rhythmic chant

Possibly the most well known of all Balinese musics, the Kecak (Keh-Chahck) consists of up to one hundred vocalists singing and interlocking rhythmic syllables. Sometimes referred to as monkey chant, the monkey section is actually a very small part. The story told through the chant is the Ramayana. At one point the group becomes an animal army, led by the monkey Hanuman, hence, monkey chant.

The original purpose of the chant was to ward off pestilence, famine, and other insurmountable problems. The chorus would help to put young girls in trance who would then dance atop the shoulders of men. This was part of a cleansing and request for advice from the ancestors on how to cope with the problems. It would go on non-stop for three days. As people would tire, others would take over in rotation.