The instrumentation consists of several sets of hand cymbals
played in syncopation, a set of individual bronze reyong
pots carried in the hand and struck with wooden pangguls
in fast, highly interlocked rhythms, two large hand-drums,
and a set of gongs slung from poles and carried between
A complete beleganjur set consists of seven pairs
of cymbals or ceng-cengs, which are played in a complex
interlocked rhythm to create a heightened state of excitement,
often building the overall sonic intensity to fever-pitch.
A pair of ceng-cengs is seen in the photo above at left,
tied to a red sash, and with decorative red pommels.
Four reyong pots, analogous to the pots of the angklung
reyong, are struck with wooden beaters (pangguls)
in mesmerizing continuous interlocked patterns designed
to entrain the mind of the listener into a low-level trance
and opening the way for the ceng-cengs to take the
listener into an altered state. In Bali each reyong
pot is typically played by a separate player, making the
reyong fiendishly difficult to play well. Gamelan Anak Swarasanti
plays the reyongs attached in pairs to a horizontal
pole as shown in the above image - a bar-bell style also
seen in some Balinese gamelans.
The ponggang consists of a pair of larger reyong
pots, and is analogous to the jegogan of the angklung
orchestra . It plays a slow repeating pattern,
which together with the gongs, anchors the reyongs
and ceng-cengs. The ponggang can be seen in
the above photo behind the two reyong players.
The kajar or timekeeper plays a steady beat which
serves as an aural grid that ensures that the rest of the
beleganjur stays on beat. The role of the timekeeper is
crucial to the group, especially when the procession is
spread out in a long column, with a large distance between
the front and rear of the column.
A large and a small gong are slung from two horizontal
poles with a gong-carrier at front and rear of each. The
gongs play a repeating cycle, which denote the main cycle
as played by the ponggang.
The bebende is a smaller gong which is played with
a wooden hammer, rather than the softer mallets used for
the large gongs. It beats out a sychopated pattern which
interlocks with the other parts.
Two large drums or kendang round out the ensemble.
The kendang cue changes in the piece - switches to
the next part, alterations of ceng-ceng patterns,
and the final end of the piece, which can be indefinitely