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Kendang of Java

Kendang (Javanese: Kendhang) is the primary drum used in the Gamelan ensembles of Java and Bali as well as various Kulintang ensembles in Indonesia, Malaysia, Brunei and the southern Philippines. They usually are placed on stands horizontally and hit with the hands one either side while seated on the floor. One side is generally larger than the other, with the larger, lower-pitched side usually placed to the right. The skin is typically made of goat or buffalo, stretched on y-shaped leather or rattan strings, which can be tightened to change the pitch of the heads. The kendhang is smaller than the bedug, which is placed inside a frame, hit with a beater, and used less frequently. In archaic gamelan ensembles, the kendhang may be hit with a stick.

In Gamelan Surakarta, four sizes of kendhang are used:

• Kendhang ageng, kendhang gede (krama/ngoko, similar to gong ageng in usage), or kendhang gendhing is the largest kendhang, which usually has the deepest tone. It is played by itself in the kendhang satunggal (lit. "one drum") style, which is used for the most solemn or majestic pieces or parts of pieces. It is played with the kendhang ketipung for kendhang kalih (lit. "two drum") style, which is used in faster tempos and less solemn pieces.
• Kendhang ciblon is a medium-sized drum, used for the most complex or lively rhythms. It is typically used for livelier sections within a piece. The word ciblon derives from a Javanese type of water-play, where people smack the water with different hand shapes to give different sounds and complex rhythms. The technique of this kendhang, which is said to imitate the water-play, is more difficult to learn than the other kendhang styles.
• Kendhang batangan or kendhang wayang is also medium-sized, and was traditionally used to accompany wayang performances, although now other drums can be used as well.
• Kendhang ketipung is the smallest kendhang, used with the kendhang ageng in kendhang kalih style.

Kendang of Bali

The kendhang usually has the function of keeping the tempo and changing irama, and signalling some of the transitions (paralihan) to sections and the end of the piece (suwuk). In dance or wayang, the kendhang player must follow the movements of the dancer, and communicate them to the other players in the ensemble.

• Sumarsam. Javanese Gamelan Instruments and Vocalists. 1978-1979.

• Dabakan

• Kendang information, with audio