INTRODUCTION

Dr. Mohd Hassan Abdullah

ENCHANTING THE CULTURE: AN INTRODUCTION TO THE AUTHENTIC KOMPANG PLAYINGBY

DR. MOHD HASSAN BIN HJ ABDULLAH

Head of Department

Department of Music

Faculty of Arts and Music

Universiti Pendidikan Sultan Idris

Tanjong Malim, Perak

The Kompang in the Organological PerspectiveIn the Malay world, the instrument is called the kompang by the Malay people who are settled in the Malay Peninsula, Borneo Island, Singapore, the Riau Archipelago, the eastern coast of Sumatra and in West Java. However, the instrument is also called by different names, such as the rebana, kumpang, terbang, bibid, babonan and kempling, by different people from different places, and is categorized in the rebana family in the Malay Archipelago. However, the term kompang is the most well-known and widely used by the Malay people to describe the instrument, particularly in the Malay Peninsula. Other terms are also used, more rarely, by different ethnic groups in different places; for example, the term terbang is used by some players of Javanese ethnic origin. Some of the other terms used to describe the kompang-like instrument may not be recognized by most of the Malay people because these terms are very rare in daily usage. A similar type of instrument is also known as the Rebana Perak by players in the state of Perak.

Often, another Malay word is attached after the word kompang to describe a particular condition or character that is associated with the instrument, such as the place where the ensemble performs or the type of the ensemble. For example, the instrument is called the Kompang Ezhar by players in the Ezhar organization found in many states on the west coast of Peninsular Malaysia. The Kompang Johor, the Kompang Selangor, and the Kompang Perak are the terms used to describe the instrument played in the states of Johor, Selangor, and Perak.

It is also important to note here that some Malay people use the terms Kompang Ribu, Kompang Tiga, Kompang Tujuh, and Kompang Jawa in their daily conversation. These are among the terms which refer to the number of the players in the ensemble or who perform on the instrument. The term Kompang Ribu (Thousand Kompangs) refers to a kompang ensemble performed by a large group of players. Meanwhile, the terms Kompang Tiga (Three Kompangs) and the Kompang Tujuh (Seven Kompangs) refer to the small ensembles which consist of three parts or only seven players in an ensemble. The term Kompang Jawa is used to describe the kompang ensembles performed by players of Javanese ethnic origin. It is found mainly in the state of Johor and certain places in Selangor. There is also the term Main Kompang (kompang playing) which is often used by Malay people to describe kompang playing in the form of an ensemble performed for certain occasions. Most Malaysians spell the word as kompang but other spellings are found. For instance, The New Grove Dictionary of Musical Instruments (1984:794) spells it as kumpang.The kompang is a single-headed frame drum consisting of two main parts; the baluh (frame) and the muka (head). The baluh is a frame made of tropical hardwood carved into a circular shape. Some players called the frame as balong. This is where the player holds the instrument. The muka is the drum head made of animal hide skin (called belulang or kulit), goatskin hide or cowhide depending on the type of kompang. It is stretched over the frame and attached with small nails. A piece of red lace made of cotton cloth, or a piece of copper about 1 centimetre wide is attached with metal tacks around the frame to cover the edge of the head. The edge of the open end of the baluh is called the bibir (lip). It is a curious name, given that this part does not look like a pair of lips, but none of the players or kompang makers that I interviewed could explain for sure why it is called the bibir.

The structure of a kompangThe kompang is constructed in every whole-inch diameter size from 6 inches to 15 inches inclusive. However, the 12 inch and 13 inch kompangs are very popular and are the ones most preferred by mature players for performances. However, larger sizes may sometimes be made for other purposes such as for decoration or as a gift. The smaller sizes are normally used by young players in practice sessions because they are lighter in weight than the bigger sizes. The 6 inch to 9 inch kompangs are also sold as souvenirs for tourists.

Cross view of the baluh of a 13 inch kompangThe shallow-curved frame, which is called the baluh of a kompang, is about 3 inches deep with a thickness of about inch. Some kompangs are carved on the outside of the frame with various patterns to make them look beautiful and artistic. The open end of the baluh is always constructed to be one inch less in diameter than the size of the kompang. For example, the open end of the 13 inch kompang is 12 inches in diameter and the open end of the 12 inch kompang is 11 inches in diameter. The thickness and deepness of the frame for any kompang is the same regardless of its diameter. Some kompangs are entwined with a nylon string at the bibir to prevent the baluh from cracking or breaking. Most kompangs are drilled with a small hole in the middle of the baluh. The purpose of this hole is to tie a string to the kompang so that it can be hung up when not in use.TUNING

Being a non-pitch percussion instrument, the kompang is not tuned to any standard pitch. Generally, every individual instrument is slightly different in timbres and pitches. It depends on the tautness and thickness of the head as well as the size of the kompang. However, the kompang also needs to be tuned to the bunyi yang betul (acceptable sound) before it is played. All the kompangs used in an ensemble are tuned to a rough pitch as close as possible to each other. For most traditional kompang players, the word tuning means nothing to them. All they do before every performance begins is insert a small piece of rattan (called sedak) inside the baluh to tighten the membrane. This is an essential thing to do before they sit in a group. Even though there is no standard tuning set for the kompang, an experienced kompang player is able to tell the bunyi yang betul of a kompang. The exact pitch is not very important to the players but the bunyi yang betul of a kompang is described as loud, penetrating, sharp and taut. In general, it can be concluded that the bunyi yang betul of a kompang (the Kompang Ezhar and Johor) ranges from c0 to g0 in inin in terms of standard Western pitches. In this case, any kompang with the rough pitch within the bunyi yang betul can be played together. Moreover, the timbre of each kompang is also different from the others depending on the thickness and tautness of the head. This is why they (the players) claim that the beauty of the kompang ensemble derives from the mixture of the various timbres of the kompangs performing together.

Range of bunyi yang betul of a Kompang

PERFORMING TECHNIQUES

Unlike many other frame drums around the world, which instruments are mainly played by tapping the head of the instrument with the fingers of both hands or using sticks, the kompang is instead beaten with only one bare hand. This is because the other hand is used to hold the instrument. As the natural dynamic of kompang playing is always loud, that is why the instrument is beaten with the palm and not tapped with the fingertips. The playing technique of the kompang is also different from the playing techniques of the rebana in the Malay world, which is tapped with both hands while the instrument is placed on the players lap. The kompang is always held with one hand while the other is used to beat it. The playing technique of the kompang is the same in different areas. Generally, there are three different techniques of holding the instrument adopted by kompang players.

First position of the holding technique of the kompangThe kompang can be played left-handed as well as right-handed. The first technique adopted by most players is to hold the instrument with the left or right hand freely in the air while the other hand is used to beat the instrument. In this position, the baluh of the kompang is placed between the thumb and the fingers vertically. The baluh is firmly grasped with the thumb pointed towards the inside of the instrument and the fingers press the edge of the muka. Almost all the players in the Kompang Perak ensemble use this technique to support the weight of the instrument. This is because the type of instrument used in this area is heavier than the instrument found in the southern part of Peninsular Malaysia. The second holding technique position is where the player grasps the baluh of the kompang from the middle-side with the left hand and firmly holds the kompang vertically while the right hand beats the head. Unlike in the first position, the fingers in this position are bent inside the kompang to hold the instrument while the thumb presses outside at the edge of the muka. This technique is only used for the type of kompang with a bigger but shallower frame. This technique is not widely used as compared with the first position.

Second position of the holding technique of the kompangThe third holding technique position is where the player grasps the far side of the baluh with the left hand, the thumb inside the kompang. The left hand fingers firmly grip the outside of the baluh. The kompang is positioned against the left arm to support the weight of the instrument while the right hand is used to beat the drum. This position is popular among young players because it helps them to keep hold of the heavy kompang while in performance. It is very rare to observe adult players using this technique because it is said to block the sound coming out from the bottom of the drum.

Third position of the holding technique of the kompang

The rhythm of kompang music is composed of only two different timbres. According to the mnemonic system, the two timbres played on the kompang are called bum and pak. Some kompang troupes in different places replace bum and pak with mnemonic words ding and prang. The timbre bum is performed by beating the instrument near the edge of the muka with closed fingers. The fingers bounce naturally, releasing the belulang to vibrate freely and produce a sustained sound. This technique is also called pukul kuncup (close beating) by the players in the state of Johor. The sound of the timbre bum is perceived as low, softer and more settled as compared with the timbre pak.

Mnemonic Bum

Mnemonic Pak

The timbre pak is produced by beating the kompang with the palm at the middle of the muka. The fingers are opened and allowed to bounce loosely to produce a flam-like sound. As the technique is used, this beat is known as pukul kembang (open beating) by the players in Johor. Unlike the timbre bum, this timbre pak is produced by beating the instrument with a strong and powerful beat. The sound is perceived as loud, high and penetrating. If the kompang is used to accompany a song, all the players sing together while beating the instrument. The beating techniques of the kompang contrast with the playing techniques of the hand drum from the Arab world such as riqq and darabukkah. The stroke dum (bum) of these drums is produced at the centre of the drumskin and tak (pak) is produced at the edge.Traditionally, the kompang is not a solo instrument. It is always played in the form of an ensemble. It is performed in groups either with legs crossed when sitting, standing, or walking in procession. The position of the performance depends on the occasion for which the ensemble is performing. The sitting performance is given either on the floor or sitting on chairs during a pre-wedding ceremony, which is on the night before the wedding day and is called Malam Berinai. On this night, the bride wears the traditional bridal costume and sits together with the guests to listen to the kompang playing. In the sitting position, the kompang players can be comfortable while performing many songs from the religious text called the kitab berzanji (book of verses). The kompang troupe will perform until late in the night, while the cooks are preparing food for the following days ceremony.

The kompang ensemble also performs in a standing position in rows. This is usually done to entertain the guests or the bride and the groom whilst they sitting on the dais during the wedding ceremony. The same position for kompang performance is also used when welcoming a very important person during their visit to a certain occasion. Sometimes, the troupe will move around to perform a beautiful formation while playing the kompang. The ensemble also performs in the wedding procession. A group of kompang players play the instruments and sing songs while walking in two or three rows to accompany the bride and groom to the wedding chairs. It is also used in procession on the birthday of Prophet Muhammad or the Mauled Nabi. THE PUKULAN (Rentak)The music of the kompang ensemble is composed of three or more different parts in a rhythmic pattern. Traditionally, the complete set of the interlocking rhythmic patterns in all types of kompang ensemble found in Peninsular Malaysia is called the Pukulan (the beat). It is also known as the Rentak by some kompang players. The term pukulan carries many meanings in kompang playing throughout Peninsular Malaysia. In general, the term pukulan (from the word pukul) means beating or hitting something such as pukul kompang which means beating the kompang. But, in the context of kompang playing in Malay society, the term pukulan carries two different meanings. Firstly, the term pukulan is used to refer to a complete set of rhythmic patterns performed in a piece of kompang music. If this term is used to refer to western beats such as Cha Cha, Rhumba, and Waltz, they will be called the Pukulan Cha Cha (Cha Cha beat), the Pukulan Rhumba (Rhumba beat) and the Pukulan Waltz (Waltz beat). As a modern Malay musical term, it is called the rentak instead of pukulan such as in Rentak Cha Cha, Rentak Rhumba and Rentak Waltz. In this case, both terms carry the same meaning, but the term pukulan is more acceptable than the term rentak in kompang playing in Malaysia. This is because this term is widely used by the kompang players. Some examples of the pukulan in the kompang repertoire are the Pukulan Bertih (the Kompang Ezhar), the Pukulan Berarak (the Kompang Johor) and the Pukulan Sariful Anam (the Kompang Perak).

The Pukulan /Rentak/Beat (whole piece)

Pukulan Mula Pukulan Asas Pukulan Naik Pukulan Mati1st section 2nd section 3rd section etcetera

Example of the form of the Pukulan in the kompang ensemble

Secondly, the term pukulan is also used to describe the small form of interlocking rhythmic patterns that make up a section of a piece of kompang music. Specifically, the second meaning of the term pukulan is widely used in the Kompang Johor ensemble and the Kompang Perak ensemble. For this purpose, I will use the term pukulan (underlined) for the second meaning of the term to differentiate between these two meanings. For example, a complete set of the interlocking rhythmic patterns (the first meaning of the term pukulan) is made up of a combination of a few sections having the small form of the pukulan. Every pukulan has its own name such as the Pukulan Mula (introduction beat), Pukulan Asas (basic beat), Pukulan Turun (descending beat), Pukulan Naik (ascending beat), Pukulan Mati (ending beat), and Pukulan Hadi. Some of the pukulans may be repeated many times in a piece. The number of times each pukulan is repeated depends on the type of the pukulan and the function of the performance. All types of pukulan (first meaning) and pukulan (second meaning) will be discussed extensively in the next three chapters, as I will analyze the repertoire of all the types of kompang ensemble found in Peninsular Malaysia.

THE REPERTOIREKompang Ezhar

Types of pukulan in the Kompang Ezhars repertoire

Pukulan Hadrah Pendek

Pukulan Zapin/ Pukulan Tari Selendang

Kompang Johor

Figure 5a: Diagrammatic representation of the repertoire of the Kompang Johor

A Structural form of the Pukulan Zikir to accompany many zikirs in one performance

Red Lace

Metal tacks

Sedak

Muka

Baluh

Bibir

inch

12 inches

3 inches

13 inches

Pukulan zikir

Malay songs

Zikir (Arabic)

Pukulan Berarak

With vocal part

Without vocal part

Pukulan Naik

Pukulan Turun

Pukulan Naik

Pukulan Mati

Pukulan Asas

(Repeated until the end of the zikir)

Pukulan Mula

Pukulan Rentak

Pukulan Inang

Pukulan Asas

Others

Pukulan Joget

Pukulan Inang

Pukulan Zapin

Pukulan Silat

Pukulan Baru

Pukulan Rancak

Pukulan Hadrah Kepang

Pukulan Hadrah Pendek

Pukulan Hadrah

Pukulan Bertih

Types of Pukulan (Beat)

There are a few other types of kompang that are not discussed here.

For more details about the playing techniques of Arab hand drums, see Touma, Habib Hassan, (2003:47-49).

mohd@upsi.edu.my