The VocalNoøtion ofKRT.

Wasitodiningrat
Volume I: Slendro

Contents

Editor's Acknowledgments lX

Introduction: May This ServeYou \Øell XI

pathet nem
Gendhing Kabor kethuk 2 kerep minggah Ladrangl(arawitan larasslendropathet nem J

Ladrang Karawitan (Iftawiran) larasslendro pathet nem 4

Gendhing Kocak (Kotjak) kethuk 4 kerep larasslendro pathet nem 7
Gendhing Ipkananta (Lokononto) kethuk 2kercp minggah 4lansslendro pathet nem 10
Gendhing Lokananta (version2) kethuk 2 kerep minggah LadrangSiy.m larasslendro pather nem r6
Ladrang Siyem larasslendro pathet nem 17
Gendhing Majemuk kerhuk 2 kerep larasslendropathet nem 19
Gendhing Pujangga (Pujonggo)kerhuk 4 minggah I larasslendroparhet nem 23
Ladrang Badranaya(Bodronoyo) larasslendro pather nem 27
Ladrang Dir¿da Meta (Dwirodometo) larasslendro parhet nem 29
Ladrang Remeng larasslendroparhernem 32
Ladrang Sobrang larasslendroparhet nem 34
Ayak-ayakan larasslendro pathet nem 36
Srepeganlarasslendropather nem 37
Lagu Penghijauan larasslendro pather nem 39
PatethanWantah larasslendropathet nem 4t
PathetanJugag larasslendro parhet nem 42
Pathetan Kedhu (Kedu) larasslendro pathet nem 43
,þÅtada. Gfuisa (Odo-odo Giriso) larasslendro parhet nem 44
Ada-ada Hasta Kuswala,{geng ftIasrakuswala)larasslendropather nem 45
Ada-ada Hasta Kuswala Alit (Hasrakuswala)laras slendro pathet nem 46
Sendhon Kloloran larasslendro parher nem 47
SekarAgeng Gurnang lampah 6 pedotan Z-4lansslendro parhernem 48
SekarMacapatPucung larasslendro parher nem 48
SekarMacapatGambuh larasslendro pathet nem 49
SekarMacaparGambuh (version2) latasslendro pathernem 50

pathet sønga
Gendhing Gambir Sawit (Gambirsawit)kethuk 2 kerepminggah 4larasslendro pathet sanga 53
Gendhing Gambir Sawit (Gambirsawit)(merong)kethuk 2 kereplarasslendropathet sanga 60
Inggah Gendhing Gambir Sawit Sembung Gilang (GambirsawitSembunggilang)kethuk 4 63
kalajengakenLadrangVestminster larasslendroparhersanga
I-,adrang'Westminster larasslendro pathet sanga 65
KetawangGendhing Ganda Kusuma (Gondokusuma)kethuk 2 kerepminggah Ladrang Ganda Suli 67
larasslendropathersanga

Ladrang Ganda Suli (Gondosuli)larasslendro parhersanga 69

KetawangGendhing Jongkangkethuk 2 kerep minggahLadrangJongkanglarasslendro pathet sanga 70
LadrangJonglang larasslendropather sanga 7t
KetawangGendhing Purnama Sidi (Purnomo.siddi) kethuk 2 kerep minggah l-adrangPurnamaSidi 73
kalajengakenBubaranPurnamaSidi larasslendroparhetsanga

Ladrang Purnama Sidi larasslendropathet sanga />

Bubaran Purnama Sidi larasslendro pather sanga 78
Ketawang Gendhing Purnama Sidi (version 2) minggah Ladrang Purnama Sidi laras slendro pathet 79
sanga

Ladrang Purnama Sidi (version2) larasslendro pathet sanga 83

Gendhing Renyepkethuk 2 kerep minggah LadrangEling-eling Kasmaranlarasslendropathet sanga 87

Ladrang Eling-eting KasmarankaselingSekarMacapatSinom Logondanglarasslendro pathet sanga 90

Andhegan SekarMacapat Sinom Logondhang (Logondang)larasslendro pathet sang¿ 95
Gendhing Sumedhang(Sumedang)kethuk 2 kerepminggahLadrangGonjang-Ganjing larasslendro 96
pathet sanga

Ladrang Gonjangganjing larasslendro parhersânge 98

Ladrang Gonjangganjing (version2) larasslendropathetsanga 102
Ladrang Hutama larasslendro parhersange 1.04
Ladrang Kagok Madura larasslendro parher sanga 106
ladrang Pakumpulan laras slendro parher sanga 109
Ladrang Pangkur larasslendropathet sanga 111
Ladrang Rondha Malam (Ronda) larasslendro pathet sanga r14
SekarAgeng l"angenAsmara (Langen-asmoro)lampah 14 pedotan 6-8 dhawah Ladrang Sri 115
Katongron larasslendro pathet sanga

Ladrang Sri Karongron larasslendro pather sanga 116

 Ladrang Sri \Øibawa (Sri Vibowo) larasslendropathet sanga I20
KetawangSuba Kasawa (Subakastawa)
larasslendroparhersanga 122
Lanc¿ranGodril larasslendro pathet sanga 724
Lanc¿ran Kid*g Talun larasslendro perher sanga 725
Ayak-ayakan Mijil larasati laras slendro pathet sanga 126
Ayak-ayakan larasslendro pather sanga 131
Srepeganlarasslendropathet sanga 732
Lancaran Walang Kekek ($Øalangkekek)larasslendro pather sanga 733
Jineman UIer Kambang (Ulerkambang)larasslendroparhersenga 134
JinemanWiting Klrpr larasslendro pathet sanga 736
PathetanWanah larasslendro parhet sanga 737
PathetanJ"gag larasslendro parhet sanga 138
Gendhing Kemanak Mangun-kung (Mangunkung) larasslendro parhet sanga 139

pathet mønlara
Gendhing C"î"g Gantung (Caranggantung) kethuk 2 kerep minggah Ladrang Kembang Pete laras r43
slendro pathet manyura

Ladtang Kembang Pete larasslendropathet manyurã 146

Gendhing Cucur Bawuk (Cucurbawuk) kethuk 2 kerep minggah PareAnom kethuk 4 kalajengaken t48
Ladrang SriIGton.kalaþngakgn KetawangSukmaIlang kãajengakenAyak-,{yakankaÉ;erig"ken
SrepegankalajengakenSampaklarasslendroparherm"nyura (pãralon)

Inggah Pare.Anom (Pareanom)kerhuk 4la:asslendropathet mariyura 15r

Ladrang Sri Katon (Srikaton) laras slendro pathet manyura 152
KetawangSukma llang (Sulama-ilang)larasslendropather manyura r53
,Ayak-ayakanlaras slendro parher manyura r54
Srepegan(Slepegan)larasslendro parher manyura r56
Gendhing Genes kethuk 2 kerep larasslendroparhermanyura 157
Gendhing Gonjing Miring (Gondjing-miring) larasslendropather rnanyura 160
Gendhing Kinanthi Padang Bulan (Kinanti Padangbulan)larasslendro parhet manyura 164
SekarMadye Kugwa (K¡rryrorogo) dhawah Gendhing Kutut Manggung kethuk2 kerep 165
þn
minggah Ladrang Kutut Manggung kaselingCekilrelilaras slendro pather manyura

Gendhing Kutut Manggung kethuk 2 kerep minggah ladrangKurur Manggung larasslendropathet r66
menyura

Ladrang Kuttrt Manggung laras slendro pathet manyure 168

Andhegan Kutut Manggunglaras slendro pathet manyura 170
Andhegan Cekikrek (Tjekilaek) laras slendro pather manyurâ 17r
Gendhing lambang Sati (Lambangsari)kethuk 4 kerepminggah 8 larasslendropathetmanyura 172
Inggah la.mbang Sari (l-a.mbangsari)laras slendro pathet manyura 174
SekarAgeng Madu Retna (Maduretna)lampah 12 pedotan54 dhewehGendhingLobong kethuk 2 L75
kerep minggah4 kaselingLadrangPuspanjanalarasslendropather manyura
Gendhing Lobong kethuk 2 kerep minggah4 kaselingPuspanjanalarasslendropathet manyura L76
Ladrang P"spanjana (Puspandjono)larasslendropaúretmanyura 182
Gendhing SekarPuri (Sekarpuri)kethuk 8 larasslendroparhet man)rura 184
Ladrang .Argopenila¡asslendro pather manyura 186
LadtangAsmarandana(Asmorodono)larasslendropathet menyura 188
Ladrang Ayun-ayun larasslendro pathet manyura 191
Ladrang Ginonjing larasslendro pathet manyure 194
Ada-ada Mentaraman larasslendro pathet nem 198
Ladrang Kagok Liwung (Kagokliwung) larasslendro parhet menyura 198
Iadrang Kandha Manyura (Kondomanyuro)larasslendropather manyura t99
Ladrang Moncer larasslendro pathet manyura 20r
Ladrang Pangkur larasslendro parhermanyura 203
Ladrang Pangkur (ngelik) laras slendro pather manyure 2A6
Ladrang Prabu Anom (Prabuanom)larasslendroparhetmanyura 208
Ladrang RujakJeruk (Rudjak-djeruk) Iarasslendropathet manyura 210
Ladrang Sd Katon (Srikaron) (version2) larasslendropathet menyura 213
Ladrang Sri Katon (Srikaton) (version3) larasslendropathet manyura 214
Ketawang Kembaqg Kates laras slendro pathet manyura 216
Ketawang Madu Murti (Madumurti ) larasslendropathet manyura zLV
Ketawang Pawukir laras slendro pather menyura 218
Kerawang Puspa'W'arna(Puspowarno)larasslendropathet manyura 220
Ketawang Puspa'!Ø-arna(Puspawarna)(version2) larasslendropathet menyure 222
Kerawang Kinanthi] Sandhung (Sandung)larasslendro parher manyura 224
Ketawang SekarTeja (Sekarteja)larasslendropathet manyura 226
Ketawang Sukma Ilang (Suksma-ilang) (version 2) la:asslendro pathet manyura 228
Lanc¿ran Emplek-emplek Keæpu larasslendro pather manyure 230
Lancaran Rena-rena(Reno-reno)larasslendroparhet manyura 233
Bubaran læbdaJiwa (Lebdojiwo) larasslendroparhet mâ.nyure 234
.dyak-ayakan larasslendro pather menyurâ 235
Ayak-ayrkan Kaloran laras slendro pather manyura 237
-,{yak-ayakanMijil larasslendro parhermÍrnyura 239
,{yak-ayakanumbul Donga (umbul-dongo) larasslendroparhet mírnyura 24r
Srepegan(version2) larasslendropathet manyure 243
Srepegan(Slepegan,YogyÐ (version3) larasslendroparhet manyura 2M
Srepegan (Slepegan,Yogya) (version 4) larasslendro pathet manyure 245
SrepegarrGegot larasslendro pathet manyura 246
Lagu Orek-orek Montore Mabur larasslendro pathet menyum 247
Lagu Dolanan Äku Duwe Pitik larasslendropathet menyura 248
Lagu Dolanan Buta Galak larasslendroparhet manyure 249
Lagu Dolanan Gajah-gajahlarasslendropathet manyura 25r
Lagu Dolanan Paman Tani laras slendro parhet manyura 252
Lagu Dolanan Ris-irisan Pandhan (Pandan) larasslendro parher rnanyura 253
Lagu Dolanan Ris-irisan Tela larasslendro pathet manyura 254
Lagu Dolanan Sepuran larasslendropathet manyura 255
Lagu Dolanan Tukang Kayu larasslendroparhermanyure 256
Jineman Mijit Wedadng Tyas larasslendroparhermanyura 257
PathetanW'anah larasslendro pathet menyure 258
PathetanJugag larasslendro pathet manyura 259
LagonJugag larasslendro pathet manyu(a 260
sekar Ageng Tebu Kasol lampah 9 pedotan4-5 larasslendro parher manyura 26r
SekarMacapat Mijil larasslendro parhet manyura 262
Sekar Macapat Pucung laras slendro parhet manyura 263

indexes 267
Editor's Acknowledgmenæ

I am grateful to all the peoplewho havehelped organize,assembleand refine this book. Thanks to their
efnorts,Pak Cok¡o's beautiful script and incomparable musical knowledgewill continue ro servefurure
generationsof karawitan studenrs.

Most of this notation was first collectedand organizedinto a book by Leslie (Dexter) Dhono Isworo in the
mid-1970s. Vith a calligraphy that imitated Pak Cokro's own hand, she added page numbers and created
a table of contents. fu Pak Cokro notated more pieces, a rcotganizationof Leslie'swork became necessary.

Alex Dea and Laurie Kottmeyer helped conceptualizethis new book, and wrore rhe inrroducrion. Gt"g
McCourt was particularly helpfirl in bringing the collection up ro date as of Pak Cokro's rerirement from
California Institure of the Arts in 1992.

Hardja Susilo strongly recommendedthat the notes missing due to repearedphorocopying be filled in;
I.M. Harjito supervisedand assistedin this processand was consultedregardingthe order of the piecesin
each section. A.L. Suwardi answeredquestionsabout severalpieces.Two publications from STSI
Surakartawere alsovaluablein checkingsomewords and nores:DoþumentaçiWangsølanSusan¿nNyi Bei
Mørdasari by T. Slamet Supatno, and Dibuang Sayng, a collection of vocal melodiesand texrs by R.L.
Martopangrawit, edited by Rahayu Supanggah.Djoko \Taluyo was kind enough to provide some rexr for
the pelog volume.

Philip Yampolsþ contributed valuable commenß on the organizationof the indexesand orher formats.
Susan\Øalton and Andy Sutton provided essenrialadvice on spelling, formar and texr. David Fuqua
assembledthe indexesand assistedwith overall design and page numbering.

The final responsibility for suppþing missing text, norarion and tides is my own. Future editions of rhis
collection will be up-dated. Those who use this work are invited ro suggesrcorrecrions,additional pieces
or other conttibutions. I hope theseeffortswill bring honor and pleasurero my firsr teacher,and be of value
to those who, like myself, have been inspired by him.

Notes in the margins

Through the years,Pak Cokro's studentshavewritten on rhe notadon: notes,translations,instructions,

rhythmic hints for ornaments,and other comments. M"ny of thesemarkingsare in the collection, either in
the otiginal writing or re-written for cladty, as it is likely thar the noteswere raken during lessonswith Pak
Cokro himself.

One annotation in perticular invokes a fitting blessingfor rhis projecr. At the bottom of SekarAg"rg
Sudira Vicitra is Pak Cokro's own rranslation of rhe lavaneserexr:

I(ømøsd.lsto Drona
donTbeofoi¿
I hauepusaka
Ifl! tirne not a?

JodyDiamond
Lebanon,New Hampshire
,{ugust,1995

tx
Introduction: May This Serve You Vell
by Alex Dea and Laurie Kottmeyer

The VocalNotatìon of RRT. lVasitodiningrat attempts to put in one place all of the vocal
notation that Pak Cokro I wrote out while teachingin the United States,beginning in 1971 at the
California Institute of the Arts (Cal Arts) in Valencia. Over the years,he has taught at the summer
programs of the American Socieryfor EasternArts (ASEA), et the Center for'SØorld Music, and at
numerous universities,including the Universiry of California at Berkeley(1977 - 1987).Until 1992, he
v¡asvery activeat Cal Arts and continued to make new notation in his own hand. [He is now retired and
living in Yogyakarta,where a gamelancenter is being esmblishedto continue his teachings.He has
cunailed his activitiessomewhat,but he continues to overseerecordingsof his own compositionsand the
training of severalgenerationsof musicians.]
Pak Cokro is well known to aficionadosof Central Javaneseclassicalgamelan music. Many, if
not a great majoriry of Ametican and some Europeanand Japanesestudentshave come under his spell and
tutelage at some time; he taught in the U.S. more or lesscontinually from L97l to 1992. Before coming
ro the U.S., he was the pirnpinan [musical director] of the goyernment radio station gamelan,R¿dio
Republik Indonesia (RRI) in Yogyakarta.In addition, he was pimpinan at one of the four principal coutts
in Central Java,the Paku Alaman. Through thesenvo postsalone, he greatlyinfluenced the courseof
classicalgamelanin this century.
This collection is especiallyinteresting becausePak Cokro is one of few-gamelanexpermwho is
a talented vocalist. \Øhile gamelandirectors alwaysexert some degreeof influence on their vocalists, Pak
Cokro, through his own natural ability and leaning, feelsa particular responsibiliryfor ensuring that the
vocal music in gamelan-specifically pesindhenøn(femaleparts) and gelongd.n(male parts)-are properly
developed.He numbers his studentsin the hundreds, mostly in the Yogyakartaa¡eaand particularly in
connection with the RRI radio stetion in Yogyakartaand the palacegamelangroup at the Paku Alaman.
In fact, he felt so suongly that the vocal parts must be perfectedthat he establishedhis own school in
t964.
Pak Cokro's contribution to classicalJavanesemusic goesfar beyond composition. He has
trained many important singers(both male and female)and instrumentaliststhroughout the years.He
brought Solonesesensibiliry to YogTakarta,single-handedlyaffecting the Yogyanesemusical tradition.
Although Pak Cokro was the leader of the Paku Alaman court gamelanin Yogyakarta,his family roots
are actually in Surakarte,rhe other court ciry of CenmalJava,making the musical sryle of the Paku
Alaman court somewhat Solonese.The cross-fertilizationof Soloneseand Yogyanesemusical sryle
sometimesresults in differencesbetweenhis versionsand more predominant Soloneseversions. Some of
his worla have found their way back to Solo, cross-fertilizingthe court tradidons.
The credibiliry of this collection is unquestionable.This is the work of one of the musical giants
of his time and tradition, an ardst with a highly influendal and classicalesthetic.The overall gara.Pøn
[interpretation, errangement]is correct. The choice of cenghoklbasic melodic pattern] is correct. Yet, one
is c¿utioned against taking this material as a bible of Javaneseclassicalvocal music.
[Jser's Guide or ReferenceManual?
This collection might be seenas a referencemanual: e sourceof information on vocel rnusic as
taught by one ofJava's most important classicalgamelanmusicians,an artist whose careetspansyearsthat

1. Pak Colno (pronounced"choke-row")is the familiarnamefor K.R.T.'SØasitodiningrat. He wasformerþ known

asIC'Wasitodipuro,and beforetfiat asTjokro'Vasito. His studentsand friendscall him "Pak Cokro." [A biography
of K.R,T. Vasitodiningrat is in the eighth edition of Bøþer'sBiographicølDictionøryof Mushiøns.Eð,.1

lntroduction xi
 include Javanesefeudal courts, pre-independence,and the modern Republic of Indonesia-This book could
also be seenas a user'sguide, since it providesa wonderfi¡l and practical introduction to
Javanesevocal
music.
Pak CoLco wrote all Êhenotation by hand on I LlZ by 11 paper in the form of a "score."The
|esinàhen [female singer] and gerong[malechorus]partsarewrirten underneath the balungaa [melodic
framework]. Typically, the scoreshowsthe balunganon rhe firsr line, followed by rhe gerong part if there
is one, and under that the pesindhenpart. Eachline contains2 gatrø,(unit of four beats),showing 8 beaæof
balunganmlaþuor one gerong phrase.Kempul, kenong, and gong are usuallyindiceted. The buþa
(introduction to the piece) is frequently included. Since rhe norarion in this collection is from versions
that have been reusedand recycledcontinually through photocopying, some of the pagessuffer from lack
of clariry, or occasionallyhave lines cut off due to repearedphorocopying. [Many of the incomplete lines
have been filled in. Ed.] This way of presentingvocal norarion is nor normally used in Java,even for
teachingPurPosesin the governmentmusic schools.Pak Cokro, however,has usedsimilar noredon ro
teachclassicalJavanesevoc¿l music ro his studenæin Java.
This collection contains a veritable wealth of classicalmusic eiramples.A wide range of forms
are rePresented,from large sedatepieceslike Kocaþ ro shorr, fast-temponew compositions ltke l(tui
Apa Ifuwi, The music appearsfor the almost mysdcal bedhayadancesaswell as the lighrer ladrang end
hetøwangforms.Also included are suitesof dancepiecesused in senl.røtøri[dancedrama], bøuølsolo
songsusedto inroduce pieces], and andheganand hend¿la.a[intedudal cadenza-likephrasessomerimes
referred to in America as "stopping"J. Music from the wayanghulit [shadowpupper rheater] tradition also
apPeaß:the mood-setting songs?d.theta.nand løgon,aswell asrhe more marrial and urgenr þak-ayøkan
arrd Srepegdn.
The collection contains about 40 gendhing and about 100 of the smallerladrang and kerawang
forms. By comparison, Mloyowidodo's two volume compilarion of balungan notationz, consideredto be
representadveof the bulk of the Soloneserepertoire,conrainsapproximately280 gendhing and 350
ladrang and ketawang.Thi" givesa rario of l:7 gendhing md l:4 smaller forms berweenthis collection
and Mloyowidodo's compilation. Considering that there are many piecesin rhe Soloneserepertoire that
erc ørely or never played, this collection provides a good sample of the Central Javaneseclassicalcourt
style and repertoire. It is also a fair crosssection of many of the kinds of piecesone is likety ro encounter.
Anyone masteting the pieceshere will haveli*le trouble fitring inro musical situarions in Central Java.
Even so, the collection is not a completecoursein Javaneseclassicalvocal music. Some of the
larger classical pieces ltke I{ombangmoro,Morosonjo,or Rondhon ale not included becauset}rey are not
widely performed in Ametica, although they are very much a pam of the reperroire. Pak Cokro explained
that in teaching in,A.merica, there are new students each semester,so it is always necesseryto restart at the
beginning of the material. Most of his studentshaven'l stayedlong enough to study rhe more classical
pieces.Besides,it is likely that by the time a student reachesrhe level of proficiency needed ro
understandsuch pieces,notation of the type in this collecrionwould no longer be needed.
For the Solonese-orientedstudent, there are some unusual items: Yogyanesesendrataripiecesand
lagon fYoganese pathetan melodiessung by the male chorus]. There âre some surprisesaswell, including
a bawa (Puspaklito) that Pak Cokro composedfor his American studenm and new compositions rypically
in fast tempo with choral singing, such as Goronørgo("Freeway"),wrirren when he first moved to rhe Los
Angeles ææ. Gugur-gunangandVafura are wonderful examplesof his senseof nvo-parr choral harmony, a
teal innovation in Javanesemusic.

2. Mloyowidodo, S. ed,.Gending-GendingJøwø Gø1a SuraÞørta [Classical Pieces in Surakart¿ Style]. Surakarta:

Akademi Seni lG¡awitan Indonesia, Departemen P da¡r K di Surakarta,1976. Volume I: Slendro; Volume II: Pelog.
There is also a third volume of slendro and pelog piece, not referred to in this introducrion. Ed.

xii The Vocal Norarion of KRT. \Øasitodiningrat

 Pak Cokro has made it clear that this is notation for teachingpurpos€sonly, and may even
contain mistakesthat he would correct in his lessonsand classes.The researcherpafticularly should be
careful noËto infer too much f¡om this notation. Each choice of cengkokreflecrsonly one of many
possibilities. Pak Cokro may sometimesbe illustrating a particular sryle or technique. He may be
illustrating parnijen (specialcengkok) ot gail.urn(required or characerisriccengkok). He may be showing
rJrerelationship berweenthe pesindhenparr and that of the rebaband gender.
There is also the problem of properþ interpreting whar Pak Cokro has acruallywritten. The
primary problem is that it is difficult to disdnguish basic melodic patterns from ornamental details or
knowwhere nuancesof dynamic and accentshould occr.rr.Theseare elemenrsof this musical idiom that
need to be understood.
If this material were sung basedon \Testern notational practices,the result would invariably be
incorrect. The trained student, however,would not ettempt to read the notation note for note, but would
look only for generalindications: where the vocal parr is placed,wherher the melody was high or low,
whether there was e plesedzn[a musicalprocedurewhere a cadentialmelodic rone slurs ro anorher tone],
whether a special melody or text was to be used, etc. All of rhesedecisionsmight be made
instantaneously.Never would the nores be literally'read.o
Author! Author!
It is obvious that some piecesin the collection are Pak Cokro's own creations.Some were
composedbefore he cameto rhe U.S., otherswere written here. Bur when he was askedto indicate which
pieceswere his own, he declined to do so. Since dre conceprof authorship and the sysremof copyright in
the SZestis fundamental,one may wonder why he prefershis contributions to remain enonymous,
especiallysince he is recognizedfor bringing so meny improvements and innovations to maditional
gamelan pracrice.
In the courts of Java,there was no conceprof copyrighr in raditional gamelanmusic. Pieces
composedby court musicianswere atffibuted to rhe lord of the menor, that is, the king or prince in whose
court one was employed. Someonefrom such a bacþround might not anach much sþnificance ro
authorship. It may even be considerednegativeto claim individual credit for a piece. Pak Cok¡o made
the following comments: "Ifpeople know that you have composeda certain piece, they may become
overþ critical. Classicalpieceshave changeda lot over time-many anonymous musicians have
conttibuted small but important changesto piecesin the classicalrepertoire.Garapan does change over
time.' He feels very uncomfortable drawing etenrion to himself.3
Pak Cokro haswritten his name on many of the pagesin this collecdon. He is nor claiming
authorship-most of the piecesto which his name is attachedare classicalones.His name even appeírrson
'We
Swara Saling, a modern composition by Ki Nartosabdho. know útet Goromøgo and Puspalalin were
written in Americ¿ by Pak Cokro. It is possibleto armibute the piecesKuwi Apa Kuai or Sopir Becahrc
him beceuseof recordingsand other documentadon.But noration aloneis nor convenrionallyused asproof
of authorship. He may have signedhis name to indicate rhar rhis norarion is his version or perhaps ro rake
tesponsibiliry rarher than credit for the particular rendition of the piece.
Poetic Texts
This collection contains examplesof many vocel music forms, using many rypes of rexrs.A
number of traditional pieces,such as Puspawøm4,þah-dyahan Umbuldnnga.and I(aloran,have special
texts. Modern piecestlrat comment on topical subjectsalso have their own rexrs,such as Sopir Bec¿þ,Ktwi
Apa Kuul alrrd Goromøtgo.

3..-Sincethis essaywas written, Pak Colao identified his own composidons in this collection. It is unclea¡ whether
this was due to a change in philosophy or a change in the inærviewËr. Ed.

Inroduction xiii
 For a very large portion of the classicalgamelanrepenoire,however,the useof texts is far more
flexible. Texts, while having meaning (i.e. they are nor nonsensesyllablesor random collections of
words), in generalare not relevantor connectedto a particular gamelancomposition. Instead, tocts are
reusedfrom one composition to enother,and there are cerrainrulesor guidelina for their use.These
guidelines are concernedprimarily with the rype of text to be used.For example,when the gerong sings,a
text in the appropriatepoetic fotm must be chosen.The most frequently usedforms ue Kin¿nthi and
Salisir.Pak Cokro has been deliberatein including a number of different examplesof Kìnanthi ¿ndSalisir
texts, es well as texts for other poetic forms, including Jurudemungandr4smøradana
Poetic forms are usually defined in terms of (a) number of lines per verseþ) number of syllables
per line (c) ending vowel sound of eachline. In many cases,the combination of compositional süucture
(ketawang,ladrang,gendhing kethuk 2kercp, etc.) and ìranøfrnstntmenal relationshipsin time and
densiry] affect which poetic forms might be used. For example,a ladrang played in irama dados[a
Particular level of time relationships,also called irama II] is ideal for the Salisir form, which consistsof
4 lines of 8 syllableseach.One line is sung per kenong phrase.Iãnanthi texts, v¡ith 6 lines of 8 syllables
each,fit nicely into the last one and a half kenong phrasesof ingah [secondsectoinof a gendhing] form
when played in iram¿ ciblan fa time level which often include ciblon drumming, dso called irama III or
irama wilet]. Some compositionssuch as LadrøngPangkurrequireuseof the Pangkurpoedc form,
although occasionallyone hearsthe gerong singe lGnanthi text concurrentlywith the pesindhen'ssinging
of a,Panghul text. There ere evensomecompositionswhich appeerto be "up for grabs,"such as the
merong section of Gmdhing Gambirsa.witwhich might be sung with Kinanthi, Jurademung, ,4sm¿ral¿nøor
Sinom.
For the solo pesindhenpart, the two types of rext aremost often usedarc wøngraknand isen-isen
(sometimes called abon-abon). Vançalan are didactic riddles consisting of 2lines of rwelve syllables
each. Hundreds exist, and Pak Colco ptovides numerous examples.Isen-isenor abon-abon ere texß for
the shorter melodieswhich the pesindhensings betweenwangsalanmelodies.Their purpose is to fill in or
"spice up" the pesindhenpart. Besideswançalan and isen-isen,other types of texts are also used,such as
rajahan,which havethe feeling of isen-isenbut consistof more words and are didactic in nature. The
pesindhenmust alsoknow and usethe sametextsas the gerong.
The spelling of the texts can be confusing.This collection includes boúr the new modern
Indonesian orthography and the older one from Dutch colonial dmes. The clue ro which spelling is being
nc" uy",which
used in the useof the letters ot were not presentin the old spelling. The following table
shows the changes.
new spelling sounds like: old spelling
c cherry tj
j jo-p dj
y yak j

A lesserproblem concernsthe Javanesevor,vel"a" when it is found at oÍ near the end of words (the
preciserule and explanationof this sound cen be found in Elinor Horne's Jauanese-English Dictionary,Yale
Universiry Præs, L974). In the older spelling, a small 'o' wasplaced over the "a.' This is pronounced
"aw" (es in the word jaw). In modetn spelling, a single "o" replacesthe "a' and "o" combination. For
example 'rema" in old spelling is "romo" in the new spelling; the word is prounouced "raw-maw.'A
problem existsin that there are words that are normally spelledwith the letter "o.' These words are not
pronounced using the "alv" sound but with en *o" sound. This problem is resolvedonly through knowing
the language.
[-fhere is also an older style of symbols for kenong and kempul in some piecesin this collecdon.
When Pak Colco fust came to the U.S., he used a pointed chevron or caret abovea note to indicate

'Wasirodiningrat
xIv The Vocal Notation of KR.T.
 kenong, and a down-tutned curve to indicate kempul. (SeepageLadrangA1ruft-alunon page l9l for an
exampleof the old symbols.)Later he switched to the currenr sysrem,in which rhe down-turned curye
indicateskenong and an upturned curve indicatesrhe kempul. Ed.]
The Gerong Notation
Vhile the pesindhennotation presentsnumerousproblemsrelatedto the peculiaritiesof rhe
female vocal part's idiom, the notation for the gerong parr is more straighrforward.A srudenr of the
gerongancan easilyuse this materid, pardy becausethe geronganrhphm is more fixed. The parr is sung
in measuredtime rather than the freer rhphm of the pesindhenpart. Also, the use of melodic variation is
restricted becausethe gerong ideally is sung by three or more men.
Melodic variation occurs,of course,but on a grosserlevel than the pesindhenparr. Each female
vocalist will sing different variations of the basiccengkok for repetirionsof the gong cycles,whereasrhe
male singersgenerallysing the samemelodies eech dme. Even ornemenrsand embellishmentsmight
become stylized by male singerswho perform together frequenrly resulting in a a group "sryle" or
consciousness.
But evenin the gerongpart, the samesort of precautionsprevail asin interpredng the pesindhen
notation. For instance,there may be vocal ornamentsand embellishmentsthat are not notated. In the first
gerong line in LadrangSrt I{aton,

.f A
:
é - f ìt
o - f-ó ,6 i å 6 .â.å .4Gt ð

""-
rc.6o'
æn¿_ ,Þ, - 8a.- ,A&cn

the vocal ornamenß could be written:

4
l'
/ã.
,é¡ã¿'' ð
6e.- v?îu.n

Sometimes,what may seem to be at one level of melodic structure may actually be at another. A typical
example is from rhe rhird gerong line in Gendhing Gambirsaait.
t\
? /
o
/.: :" :1 +ii .:-lr,t7 ,?i '!s z I
a,e?f.h?l 4,d- Z¿ * *
l* - luy fun
?fan
The rhyrhm of the fourth syllable appears to be

{ui
although it is acrually closer ro

ut!
and probably ought to be notated to show only the principal melodic rones as follows:

.î r¿-2,

Inuoduction xv
 Even at the grossestlevel, the gerong notation cannor be taken at facevalue.Rhythmic valuesare
not alwaysrneant exacdy aswritten. The previously discussedphrase from Sri l{atoncotildhave been
notated:
-:- fu-
-''€. G t6t. 3
f 5-r' -¿.e ¡ A .n6 .5
In fact, this is what would be taught in lessons.The discrepancyis not one of content but merely
ofnotational expediencyor convenrion(or perhapslack ofconvention).
Nso, aloh'aloleand senggakan[incidentd vocalizationsand melodic inrerjections] are not alv¡eys
indicated. For instance,in the notation for the popular piecel{etawangPuspauama.,the male vocalizations
are not notated. SincePuspawa.rna. is the sþature opening pieceof Pak Cokro's prince, the Paku Alam,
studentswould certainly be mught thesevocalizarionsin lessons.
In this collection, the gerongvariationsthat do occur should not necessarilybe construedto be
YoryaneseversusSolonese,nor Pakur{laman versusSolonesestyle. In Java,there are many minor
variations among gamelangroupswithin the samecourt or regional sryle.Variations are generallythe
interpretation of the leaderof the group. The choiceof variation often defaultsto the bestsinger in the
ensemble.In a sense,thesevariatiorìsare a processof composition within the idiom of the music.
Therefore, variations found in this collection neither validate authenriciry of style nor make Pak Cokro's
melodiesmore aurhoritative.
For example,in tåe gerong for Sri l(aton in this collecdon, on the third line we find a melisma
on the third syllable that probably would not be heard in Solo. Pak Cokro allowed that even in Yogya it
would be rarely if ever be done. He wrote it that way becausewhen he first taught this piece in ,{merica,
the gamelantuning wasso low that he wanted ro "spiceup' the phrase!
A Closer Look at Gambfus¿wit
Since it is expectedthat this collection will be of special inrerest to students of the femalevocal
part, let's examine in detail one of the most popular piecesin Yogyakanaand Solo. This piecewill be
arralyzedin order to show the fundamental proceduresfollowed by the femalesinger in performing her
part, including use of text, melodic variarions, and embellishments.
The piece to be examinedis GendltingGarnbircøwit,inslendro senga.Garnbircøwitis in the form
called gendhing kethuk 2 kerep. That is, it is comprisedof four kenong phrasesto the gong cycle, each
kenong phrasemade up of rwo kethuk phrasesof two four-beargatra each.The schemafor this is:

. : . 0
Each be¿ris representedby a . ; rhe tarks the kerhuk. Kenong are marked Uy ?nd the gong by Q
Piecesin this form, rwice as long as the ladrang, are often the most commonly played piecesfor
hlcnengan[a program of music alone, not asan eccompanimentto danceor thearer]. In order to keep our
place in dre following discussion,we will refer to eachgatra and kenongan by number. For instancethe
fifth beat on the third line will be refertedto as the "secondgamaof rhe rhird kenongan".
There are severalpoints of interestwhich beardirectþ on the successof the beginning pesindhen
student. Theseare timing and phrasing,cengkokand ornamenration,variation of cengkok, and garapan.
Pak Cokro's notation includeslessonsin all of these,but the notation can not be read literally. The

xvi The Vocal Norarion of KRT. \Øasitodiningrat

 pesindhenPart has a definite rh¡hm but it is not strictly merered.It is in a free rhythm with a very
definite senseofweak and smongpulses,and of very minute levelsof slovring down and speedingup. The
rhythm of the pesindhenpan is very difficuh ro norerepreciseþ.
The first four lines of pesindhennotation in Gømbirsdwitas notatedby Pak Cokro, if interpreted
stricdy in metered wesrern notarion might look like this:
A
E J 2 r
¡ ? . .-. 9 2r7., I
t /
ft,¿-ri,s haf n øa'

)r r Lgr

3 7 - / 6 s
; à ,i .ó..;.
&.Ås Á.or- da

6 f
I.! lLt
/\
f 6 i é . 1 - a,

i à.i G.j= î , sTr dT.{

Hary'anîtyt voy tnnol,.ed. æ

J . ¿
7 z
1 rf ur r {gjIrr
,7d

.t .t .¡ /
^ ,ìr=
t r ófó - ¡ó -.1. .L , 1 . ' ,
?ris - 4a'¡29*- Åor. 9a-
t//

å ¡ .
+ ê ê
3
t r ¿tuH_te
u_r
This is not at all what shouldbesung.Yet, to tccurutelynotateuhese linesusinga steadyreference
pulse (afterall, the gamelanitself is planng in fairly regularmeter)would be painstakinglydifficult and
would resultin a finely detailedbut relativeþuseless documenr.One way ro rnoreclearlyshow timing

Introduction xvii
 might be to usehorizontal spacing to indicate relativedurarion. But this would only be slighdy befter
becauseanother problem in interpreting pesindhennoþtion is that the differenceberweenvocal ornamencs
and the basiccengkok cannot be discerned.The useof horizontal spacingstill doesnot give a clear sense
of the underlying pulse of the pesindhenpart. The addidon of various symbols to indicate vocal
ornamentsmight make it easierto focus on essendalthe melodic movementsof the cengkok.
A
? f

t 2 . .æ. 3 e r? , , I
t
R¿-ñs hdf n d^

,l L g -e-.L l -

3 2 f 6 t
I z ,,i.;6,
Ê ¿ . r¿s /tor. lo

-
-l ¿- àre | -Jl65-
6 r

/'
.r z-
.f 6 r o e J
. = :
| â-l ,dîi.? 1,sã'c .1.-4
, t I . . )
ryatdnncnT wÐnî Qtndfr.la æ
¿

7 -i J.4 -6*l"E s .r+'enTr$z-

J . ¿
æ
rra

z 3 .t 3 /
.r , ¿F¿.E ", ' i , l -
Ð,{s - sig, * ,(o;r. sø
^ ?.
3 î . 6 Í _ f * 6 5 . , ¿ \ ,- * Þ f -
. é ¡.
,-_A4

lJltimately, the best notation is a recording. P"k Cok¡o ¡eminds us that his notation is mereþ a
teaching tool and is not meant to be usedwithour a re¿cher.

xviii The Vocal Notarion of K.R.T.'Wasirodiningrar

 Once one has begun to understandthe idiom of the pesindhenparr, however,his notation becomes
helpful in showing how variations of cengkok are usedand how ga.rrpalworks. A simple exampleof
variation is illusrated by comparing two of rhe cengkok going to rhe gong 5. In rhe first gong cycle of
Gambirsauit (page 53), he gives us the rwelve syllable:
,
f 3 7
- -
¡
:
/ o @
I ¿. ?. '..2 ?-. I t 6 t -7 ó e ,7,ê, , t.çî'
9' -
:R-
Ð*srþ l,o,so4om3fu Ao-iu.ncr¡a
- - J l-zz-
J

late¡ on page 56, he givesus an eight syllableversion of the samecengkok:

?. *- , t.Í', :1 ,. e ,,.ç{J
,
9?fi':1,4*ã"y".( oogS,ì- J*V
,4,nexampleof more complex variation is found on page 54, when the pesindhensings to pitch I
at the end of the secondkenong and in the middle of the fourrh kenong.

- ..F .:
.j ]JE ,6.6 t.-5: ? ,?.f,, r.fezr,
4ery{c>y
Ådlë-ty*o Áa.trrry. t.rn

i , à.å z-i ¡fic 7 ta.- t-Qt,

(a. run, 7na9,.-¡^¿ *-

Both cengkok sart the sameway, but the first dips down to pitch 5 while the second
immediately takes a turn to high 3. Both rest briefly on high I in the middle of the phrase (fourth syllable
of an eight syllable text) before proceeding.Then, both patterns resumesimilarly but each finds a
different way to end up on pitch 1, the desiredgoal.
M*y other examplesof melodic variation abound throughout this collecdon and form a
fascinatingstudy, but it is not neccessarilyPak Cokro's intention to show offhis skill at making such
variations. He is simply expressingthe compositions as idiomatically as possibleand according to his
senseofesthetics. For instance,the cengkokgoing to the first kenong on page 54 also ends on pitch 1. It
statts differently on low pitch 5, but is in fact, a variation like the rwo just discussed.

- ó= &jF r, ,e, - ¡.é1,

D¡ruúomæryt,í ,yë{a - Q n

It worla im way to high 1 by mid-phrase (like the other nvo) and continues its way to pitch I
exacdylike the second cengkok. Esthetically,starting on pitch 5 is more pleasingbecausethe gerong
melody has just begun and is on a relarivelylow pitch of 2,
/\
2 2 2 J /
o o r , 2 , :
,- 4 4 2 2 ,
1)' te
- )
tlrØda t)tt¿gø
-5
D¡rudonærgí ,y,ítø- î -

Introducdon xix
while the other n¡¡o cengkok coexistwi*r gerong melodieswhich have alreadyreachedhigh 1 by the dme
the pesindhenmelody begins.

1 1 1 3 e 1
o --r,
# o ,"" kd.-,i. ¿i
,: .ru?l
^?f
å -Ég .E.-E ,es ?, r
zi * {uV _ (un
t
.T?? ¿o'=
2,.
.i ?tÍ: 'â'ó¡,'5 1,1'f,r'sra¡,
rt- 4 Iety&,y áa.li-12e.n Áa.f.,rg. &"n

7. 2 6- a, /
z 3 ! g' c l¿ 6; à ,¡E ,"ú f+ ,zs .rt
L¡ T
,,¿r-
f.3.¿
c¿-aj-.r¿.,

These are 3 variations of the samecengkok, eachin irs estheticallyappropriate context.

Garapan
The final (and most difiìcult to discuss)concern in using thesenotations in order to learn to sing
the pesindhenpa$ ß garapdn Garapanis a difücuh conceprto explain, bur we can ar leasrsay drasir is
that which givescharacterto a piece through the expressionof cerrainkey parts in the ensemble.These
parts include the gender,rebab,gambang,bonangand the pesindhen.Knowing much if not all of the
correct garapanfor a pamicular piece comesfrom experience:from hearing other musiciansexpresstheir
inteqpretationsof the piece.Garapencan evenchangeover the courseof rime.
Garapan is "the way ofworking out" a composition.Vhile one could play arry piece in the
gamelan repertoire formulaic¿lI¡ making nice variations on cengkok thar fir the balungan, it would not
necessarilybe the correct garapan.Garapandoesseemto follow some rules, but there are many
exceptions,and perhapsit is thesevery exceptionswhich give the piecesindividual character.Typical
rules govern when to sing a high or a low cengkok,whether a specialcengkoksuch aspunt gelut or a.!u
kuningis used,whether isen-isenis used,whether the minor sounding petogJike børangmiring melodies
would be used,otwhethet plesedanþliding to another note afrer rhe end of the cengkok] is used.
Pak Col,no'snotation representsto a large degreehis interpretation of the garapanfor these
pieces.One is cautioned that there are placeswhere he may have excludedspecialgarepen,perhapsbecause
of teaching requirementsor the ability level of the srudenn. On the other hand, becausehe has included
something doesnot mean that he excludesother interpretations.

'Wasitodiningrat
xx The Vocal Notarion of KRT.
 In Garnbirsawit,for enample,there is a specid cengkok rhat only can be usedin that piece. It
comesafter the gong in the merong section.

3 /a\
J î L ¡ z
Y/
,

( " 6 4 6 6 t
"-:
Ganb¡rsuæ,t ma- u)ur

r z 3 t ó
2 a ? ,1.. L !
-¿¿
-r6r-¿ 5 ? - . L - - - ¡ çt 5 ç t 4 g Ç
7na-- Uur Ìd h- té-t4 i¿-'l'-- il¿i
,^
z L 3 z
n 4
t l
h¿L' Do

There are severalother possibleways to complete this cengkok:

s - 2 3 { Á
J- J S- 3 Lt tã-i-rL
|#
3.3J
¿ t
ú1an e-r4¿¿/l em<n é-mc.n e '

) ?
- l L
3 2-
t
€-'___.t

71uÌ?L

{
? 3 s- ¿5
T ' L L 3 L / 4
ÄtL- t,- ct¿ - ürK

z\
? z 2 a 2 _ t
ç !-:4
la" mqs

Inttoduction xxi
 But in the notation in this collecdon on pege 56,PakCokro hasusedthe much more rypical and
lessspecialregular cengkok ro gong 5, followed by an isen-isenro the first garra:

J f 3 - ó t^f )
o o =./
; ! r ,¿t z. â t ê 5
7t9a( h/o>?a a'æJ4y.
v -/-
7. 1.t .tó¡ .ó ,.
.'ltr . l-:-, Êé, úÉ¿,
.iflnçgune Á*línoo.(
J J J J
wolj a.- J*:r

g'
-r,.
. l X ,J . .lód
l-ra-:J
lq mo.g /a- - rrteg

He was probably ettempting to teachhis new American studentsthe basicstructure of gendhing

kethuk 2 kerep form in which an isen-isenphmsewould frequently be usedin the firct gatra after the gong.
TØeknow from lessonswith him that Pak Coftro is well awareof the specialcengkok that could be used.
In fact, he made notation at a later date that included such phrases.
May this serve you well...
'Wasitodiningrat's
In summary, this collection of Pak Cokro vocal notation is a valuable learning
tool both for the Javaneseand non-Javanese student of classicalCentral Javanesecourt vocal music. It
contains many of the uypicalcompositions that ere still popular today, and it benefits the student well to
have learnedthesepieces,as there are many opportunities to play them in and outside of Java-
For the trained student, this collection will probably not be sung verbatim, but rather will be
used as a referenceto check the garapanof individual compositions,e.g. the use of special melodic
Patterns,the possibleplaceswhere isen-isencould be used,whether a melody should go high or loïv, etc.
For the untrained student, the useof the material as a referenceis equally important, but ir must be
rememberedthat without an understandingand feeling for the idiom of pesindhenanend for gamelanin
general, this material can be misleading.Pak Cokro warns that this material is only a guideline and is
really a teaching tool. Thetefore we are cautioned that this material should be usedwith a teacher
knowledgeablein pesindhenan.
'W'hatever
use is made of this material, we have here an unprecedentedcollection representinga
broad crosssecÈionof Central Javanesevocel music, createdby the humble efforts of a great musician
through his love and concernfor the musicalgrowth of his students,and for his own culture's truús. May
his effots not be in vain.

'Wasitodiningrat
xxii The Vocal Notarion of KRT.
 Çn^,à''"*q W"?^*h,rrç,
I A '
2' .v,,j^
9y'or{o¿ X,¿il, Qt"l -oqol,o, (/rnJ^
{,.r*ul Ðy./ - oj,o/,or,
f - , +
{" ¿+ 2 _ 2
i
{ ç l f , ¿ f J r ó î 3 a , / ó @
+
. 5 f , f , 2 . ? J . f z r î ¿ L / ¿ â
5 (ow, J..-
1l-- - *t .3 j- 3
Hil-'Lt"'t4 . tr]s, 5 6
..-.
t\O ,nO ,ó ;6
r ê¿
--r
Ða3rrs 7; ,{o
ó 5 r . á - J z /
,
6
-:
¡.ó
.-
z.¿ O
Q)
X ) \ ,J.ó , 5-3¿,
t_ r¿ . eôr.o tur
t¡\farrl2nQJ
sA-s - lro
t
L
.f,, 6 _ J ,d.sã
(a-vl dr'- fi-
s r .
: - r
î a
r.3
î: É*..i vu(an {c¿r.">¡o-
L
L é ,¡7)ê
r..¡&
YLwaAc2j
î ¿ ;
- . f ¿ f , g
L . 3 . î .
-
yo. nè,s .s.J,
ro
î ¿ f,
Sr/
-
.t-6î
to
d f .,.
f
:i z 6_ .r-,7s
l+
Ko nlty c. - rìyl .
z 3 ç é a / ó â
- . :
'(e.¡ca{ {o P, or. I ñ ,r!, 4 ,, ,& ,t.éî,
I{¿./odo
rg,lti â lry¿t Aa.ns Áo - {ro
J t

Slendro Nem 3
 , )
- /la.6o>^
t -?.

a r 6 \ = . '
ó :
6 (, î 4
. 5^ t53z - 3îé 5 .f-i. i
/lo. fi>o * y" Ç ',i'
7
i i.i.r ) , . 4 f , ,- J . 4 , é
G)
/ " t - - t
,çL f . n9e }ïc l¿ La-tzs . fi1 ê - fo

- ó ? z J
f lt 3 ,é.¡sz,
Ro rro - '..,o ,no

t ó t - r ó ì ?
i: î'i v . u
,&l'Y ?:/,.9¿ ?¿- ./-d//6,
14 i" eT¡' j"
P,,3uto.i7 ^,; f;y' l-*T
.,:id* f,
Jo- 77es
é,LL
*¿u - sa- fo-
L
so
5 . ¿ f , J 2 . / ó @
6 6ì'= é .4e
Ptur/yÇ; io - E- É-g
¡"
P"/ea/ {o tÕ,
T" {rc.nsilcän {o /"a*ry r/rori{,or,@
l ' t ,

(i l î - . 21 - n . f a - ó^ \
€, ,
J _ î - ?
- r ó" - ó- . ? - 2, y _ 7 -â
ñ'
:å :iÉz
ñ ,, nt. wi - ¿¿
r/fr . r - î ¿ â
t
\ t v - ( , _
{ ¿ .ÁT-F, r
9, 4," -,"r, - dn

TheVocal Noration of K.R.T. \[asitodiningrar

 ta

/rool{on -5-

3 ó J

: i.Z Jii--e ê ,é ,6, É-9J

?onlogoãr¡"t;tÆ. m4

f 2 . J Z,
* ð .-f g -¡¿ / 2,
I
tnJ sa. - me.ry - ,ec

J { . .:

ê- t .r¿t.3
-t-<
3
,
rÐ
\-/
ó é .*,9 ,s-Jt ,
. t . . é t -
Huh a,l¿tt hud.vas - Zë . tto
I J

3 .' J
r ,é Íi^ .6 3. .J-
â ¡
/Jcno{cinc P4*
J io-
é - t - 3
. -:-
-L{t 2. 9-¡ Z -6 ê .d-3.,J
- \ . t -
H¡a>z
-î3.2rr? /{a.. (,o - ¡so -
/ ó - f , - J
î6 ¡. s 6 é_-rd,
| | -- "ù!-,
/n¡lcary Sa.r- {o
2 J - é ( " )
: - : \ - /
6 é.s,J U.-z é .6.2 ¿,êî
D - - , - - r - - - r
J lnar yan7.no /r ( . ì^o -
Jusva-
3 2 - ú - f , _
I L . lZ .rtTr
/
9" to eaâ.
+l
t/ê

J ? - J -- z
- : : =--
J-_aé13, -t. 3 ,f3.L ¡
n"
( t ^ /
5a.roz gïnq mongÁo rnanggo - ¿"
J J , , t J J
J 7 - J - - z
L 3 - ,Ut-Lr t,
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J J I J

*l {Áe seeond,4.rro7 , on/ {o t. eonlc)c.d

4r:/ {{"r
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fu-*o ñ - ylrê
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HrnoqoÅ ,4lrrÅ & -

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Z , 3 f J - r A-rd
l---¿r
öo-so þtct. vo

SlendroNem 25
 En*o\l*qo
vnr + t
J - J 2
5 6 t Å
ttSz
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+
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f é r J=€:3
1 ,es
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fo

26 TheVocal Notation of KRT. \Øasitodiningrat

 + + a )
î - . / . ó '

r -6 3 .J ; r .r.3 ./.té.
larn.Eo-- 6a. - rc'r?q gLc.71oBè - so
+ +
a
3 € - v

+ +
5 J I

2 . 3
D.n la
+ +
2 3 e
t
v
6
tvo - ,>.ro
¿-g
tro
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7no
+
+
ó /
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t
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a 'tcrf
Jê
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-

1 ?
6 6 ,-6í ,î 6. | .¿ ., .ii i 6
a-rvè tuA S.; . -
d,u ro
Ç I
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i ï = ¿i.ì i ji¿, ó
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/".
4 î y z r r ?
r ;6- .2 . Ir -t
.¿. , 6- ¡65 J _ ì .j j . l ¿ ¡ 4
Wr - eo- fê fl)O _ wo tca - fo - ,7o
r å i . . :
,l z,-ó s ê - é
- 6
W¿.eo.ro /
,>1o - W6 fu.. îo . 7?o

Slendro Nem 27
 ,rn
"J) oàto 4no 4-(.o

2 e
, J5. 2, ' uf- ,r 1' t 6 - . 3 t 3 2
o -jo ¿" - (an L.n Vo- F to
6 é F g = é ,s-6 ,s32,
O- ìo doÁ, lon )4/*=- T

-
g
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J
=
ó
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L./
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3 3 t a t 2 , .ì J ,r-3. ,r.¡{
Denèry m a - n i - t i V W ¿ '. e o . r o

28 TheVoc¿l Notarion of KRT.'Wasitodiningrar

 '
/Jtr,¿* r¡""I* 6
zt ó¿' t-t-ii i;iC)

In ó 4
;
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s 4 - ì ,4-
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ò t
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3 ó î
2 J
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f .3
.
l
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tLo. t7)o * fo - lno O' t'
Þ cn dcn S cn c{o>zt n q frþ.¿o >1oe o
J J J
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l\--.-/
J ,J ì z.té
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ó ; 2 / 2 ?
_
3 3-¿ 2.1 3 , ¡-3, ,2.1(r.,
8 u¡ oti orJo"{ rþ. /ri7 .,ü
ll

SlendroNem 29
 - 7 _
D*|ro Jo rnu{o
v . ^
3 î 2 / e ó
6s.l zi 5 -7 .3 - ,3 -t
,?.1É.
2*orJ ¿,;l N,rroàns ji ^ lo *
J
\J

4
^,
J .3 .f J 2 / (2)
- _ - _ j - : V
| 2 3, 6 i.6 i.i 6.t ?. | 3
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¡ ' l >grs o
Ço

z æ Ð - é E ?
; '.ilLrr,_d. f
. ? 1 I
Æry
H- Io Ho * ,no ,(usu - >72d'. tro
Y-
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-
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to. 77? O

/ 2
. / /
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^
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\.,
G ó i 2 r

3 ó -oz z
l t t '

3" àn¡,/.
- v r /6 = n - 5 n ã ?
iå 6 . î JÀ 6 ; ;.ijg i:/,4 f,, ,/49
9" Vo'n ì¡
J
U" ili. nà' Ðâ P" - r7?o|Vt . sis- wo

30 TheVocalNotation ofKR.T.'SØasitodiningrat
 - ?
Dwr'ro y'o rnoto

/) .f 3 2 2 3 e
Å ¡,é 2, .6 J ,2¡. z
-Ð."orl 6oso No . -o - 4

3 .f
t r^1.
¿ ó J Ó
-=
î 6. . r
t-r
.ô
..¿ t, .5. 3
' u¿
a
N^* a,Y) (a - 7>7ênQ

ó 3 (, f

SlendroNem 3I
 b[**ran' +ab*b6.
t').. .ai;@
"/4{
I r A
tl
¡l é ó 6 r ó
; 6 î î 2 3 î
n, é ?
:L
2
3 -
3
r\
a
,s ¡¿E I
-(/- znL - wL '¿¿
^
s z /: 6' f , - =é : /
- e3 5
_ =
,xr¿ 3-1 ¡ 6
@
é i-6 ,ì-ì i.é s .91¿ ,d.F¿,
/c /(a>na. Kct -* 7T)a
9r;¿o,, çr-¿. -.;-,oJ /
P*ãç J J ;--l-
.4
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3 2
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/
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f
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2æt¡" rf LS - >>tL
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--= -
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f
3 ; 6 .t
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./ Tccrweyt
3. -- {o

s 6 ¿ ? f z @
-ó. ó-z ,, 1-3 3 , á ¡ 6 1 é ,, - ó s . 3 ,
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^
C ó 3
2î 6.s- 3 ,.ó5J,,a I
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Ja
4
. f 6 ; ? î 3-: 2 /
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Velyâ" solu wà4øé- - - t/' c - ' so
32 TheVocalNotation ofK.RT.'Wasirodiningrar
Ld. Remeng

/ / ? ? . t .l
4 /
A

- . e . J2J s'.3 . Z- |
/
Ka-r.lo !Y¿( - (a-nq
J J

3 .f .3 ? - ,:
/ ::
ó @
-5 ó.c ,J 5,.2 é ,4,é, ,2.t41,
V"'rro{"- n"' uo:.f lo
úouu-
^
6 / 2 - . 6 f
ê -¡ .¡3 -t 2.
'

(."->>t1a-
¡ - - . !

-
,zEt ó- ,2-tqÍ-,
nr' d¿ YYe -'7'

9"r
t /
/q>>t4 al¿
9d-
^
ê I Ç 6 f

æ
6 ¡ a
6 i . ! , f z
Qo. -,rar>! c/¿. we

^
t t
-5 .t -ó' t,
ô -
Ka-tne- +

(, 4

I ¿ f I 2 2
--=. -:.-
.
.-_
3
^
e
-ê 6-Z t7 ,ilsz I ¿y3þX!,l-z-tz,
Lo{u Jiw'a.sa>tinç -- 9un- jo
/ J

/.¡,/ ../ /:
c IYaS¿lodçÁ¿c>z
/ -

SlendroNem 33
f-oÀn",n óotn^,,,"/5?*'*¿*o -^f*" (6 )
l'rfù
f,r/ 7,,
J
3 -
5
,å t.
?
t2,.¡6.
9¿.{ ¿ îo- wô-

ó î 3 2 € f , ?
O
3
t
3 -a ,eir,li., J, +9 ,ú
J a> 7 &aVo -l¿¿- Yô
\J foVcfta.(.
\-/ a^
ó t z J s ó '
a 3 - 13f,J'6, ,f,.J:,,
fr*ryy'am- to* Syo
2, 2 - . 2t 2 Ø
; 2..i i.l e-í ,e í,'t L ú-Ð Ér-1!
1uVt¡"r,,/,gyo mtètysV' U+ lo n Ni':,
,d'
2 J f , ó
GÍ_ir/-7,{ú¡¡Ê
io,,^ ¡o . Ao
_f.r.
/ ó f, ó d- . 3 / î
f f :i é-t 3 r gdc f -\
/^¿. n. t¿l >i n¿cm',ó" ' k
î
ó /
I
,ç-L ¡ a ,5 ói, . s 6 s s .L
t -
ya Ðn- f".å lntány 8a'*
ry
3 2 /

z. z .¿ ?. .1.r1. 2, :t- 1
- - -2 1 9 9 -
/ r r , -
- t -.-
Ãa-.(a>gen ntet sußen¡ drL-JÞ

34 TheVocal Notation ofKRT. \Øasitodiningrar

/ t O /
Kc{i': Jo6rcM-
O/ ./
a
_ rj_ Ç

{// l-¡ ø7 éel#,ú -^ ls¡.tx

h ,on))o V?nn/rry,se{a.7en&V se'lo

z / { f , ó / î

- 7 /
5 ,L - 3 îé, ; I - ¿ , i
tKo. t}.o r*æ Nug, - '.r>ugo *-
/ i f,
-
ó ì @ )
6s-6 ; ?, 3 -2. LL-3;j ,36 !
ùlæ At¡o.t" .îJ DoÁo -o"y'- to
tó\
ó ¿ .f
¡ ,iil \ ÉL 3 ,6-i.
P-/" /r;" n¿T
/ / 6 ( ' { e î
t f ã 7z 5 r¿.13.3
bg, "¿¡¡3
nJ*y''g" nti.'no
JT*rmo
3 ó- ó / ó á - â
¡ .r ,4rs 3
/"to ,6o.- n! 'do
J /
^
/ ó î / 2 / e
s , t z " ; ç € ,z t ]l ú7e ^ j \?,"'ç,
* S'ct' '4,o-
,lomo ,o- 7>7o l"s {o, -tu - ,¡o aúon

P"/es{ to A

SlendroNem 35
 Grg"Xr.
",?I-"* /\tr,,rÅ,ro
+&L 6
ñ;r-\
(ó) { ¿ s ó 2 / r z
ó C
r o . ì ¿ . cs
-Jarwo %. oo
{ f
t r
,
f,
.
,'. ( t -
r ó f, r
/ .
r 6 t . ã
/ 3'
[s
r^ ä ¿ à,9 i i ; l - i . ¿ . a . 1 r ¡1,
Ro rrol ,'Ò>y7c> nrfr^¿ 6o - sîrí B*Zro

t 6 S J f , ó f g a / z ó ? . / z . î
_
.i65J g
{ úl¿ ,6 i66. Y
f 6
, - - - - .
Vr o r > cI .J O o ¿ e g /l->ni - wi. - tr'
r é j* J a. / J ?, J f ¿ A J ? J.á-
6 6 i f .i ó.(zzÏ"
9cnluh sen&nr.-'Ðt:
J z J î 2 J ,-'r-"';"-Ït:*å'"

7t ú{,
, , tmosla.t,o.e ^iii '-6cJ."'""
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J r'4'/

9 u n , o 4 t ( > r ó J ? /
@
a r i . r d r f , ? . , 6 . 2¡ ó f
D t -
' ! ' ,
- I

{L"H""sen/oni 'V 1Ì1d47f'.?"

36 The VocalNorarionof KRT.'Wasirodiningrar

 "
Ç^A"5",/5'í+î ótr,*â"* 4tkrh 6
/,r?r, 6y 4rl^t¡ A - D a
g
Q , ró € î 2 ?
î ,6 -\ ; t ,r J.
Nor- di * go

f 3 .1 { 2 a f
.á- 6 i¿ .g- s
tyo tno ,1 777 0

,/ ,â
/ ó r J ó ó a, r+

6 i . ? L l g É ¡ A z
Vrio,l.u sa.û¿ we {r.é wà - .9s
J

3 { o, / ^
,f'
\-
. ? 4 - -t6 -,t .J.

'f
a

rYg
o¿¿¿, ,{arqo wu - (oV-

B 2,

ó / ? / é 6
. i å -
-, 3 -
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, /
,{oyo - w¿r- lo7

L Z
J
f)
tYa. -
-
J
6,i6.
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--
z
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/,
ek wé
/
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3
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i l d ;
Wq.*a- {o. nu'
f

Slendro Nem 37
 J a, .3 ?
v J )
ll Pyu*t {o A
.ó f, . 3 î. f,
tá ,î
,voy/A-w¿¿- - (o

(rrorr,1,

s z 6 f , r 1
s- ó 3 ,f,.3¿,
noa /V" - wu- ¿'e-

38 TheVocal Notation of KR.T. Vasitodiningrat

 ) ú ? a
2aqi*,,Ðo^M* [,**, òt,*ho
¡rù,r], 6
t o r / .U, W t . s r € ó _- s 6 s z z z @
/¡ | _
(lm¡aL: l( /J
L, ê- y_
t^ .-
- 2 tJ -/ 2 /
^ / t { . €
4 ' - ? æ " r æ Ð ? ;
^
îó i --ì ó; -l¡ óì
- - g æ = æ - \ '-T;
, e
fr ?
r ' : ã ä ? ï ¿ ? , ä
Scry , ùlorut
t @)
, ho/" dt¡/ &-r.(r.

2 î i g
i / d J é
?n ,(onç-si - t,6 4o, /or,e - .s¿ - t¿o

2 z ?,
^
/
\.t

z ó'
/ i ; .- ; ó . 7
þq. çc¿ - nu - ,?oa.r,

s ? z I f, l6 : î
, 1¿

j I ,(,
/
n4
. t
.s4._
,{
,1.on
{
|
z ' ./ '/ '
.ó-
/
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/
Áo>4,s¿ -oundu( âa. êe'l

2
Z/ -z 3 é ? Y 1
I / / / , )/;
v t v ^
1 t -z 3 7 /' z ó
i / / / l ' z / é
E - ro - si la.n7'-8- ,1¿- to -{u'

SlendroNem 39
 '€
. ^ v
e ó I T ? ; E
7 . 3 e - 5 3 5 6 ¡ r J L z
Ì { 7 t .
t rQ.. nA- '?a. >'ìL ûon)ir sa.- li . wo l{- no[- n"'
\ J \ - ¡
é ^L
Ç J { 3 . 7 f
.
{
,E / i t l - -/
I
J
é / t -/,
z / é
E E nuh 6!oèA li {or-/r¿ _ rj
J 2 J 2
/
Z _ ./
.1
-
3
/
â
1-
-
6- a /
/ 7 / 7 â Í / 2
E Ê /arg¿t.le'-
Ë G Nrrro-,(o- 6i
' ã, v ^ v O
. 1
I 3 ' 2 ' ¡ o
t z - . / - J / , / \ /
n ô
3 6 i i ' F f z / é , f é
/1
.JQ, ,t t, ¿
>?e1 LL(f dc a.. tc¿f Ti . no.to- rìnlil .-rr'nt¿,(
-

1 Z
E E
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P" ¿+3.

\ty'osi{oJrir,rm

40 TheVocal Notation ofK.R.T.'Wasitodiningrat

 r n
| l P Iì,. \ Itn . ¡lll 4- n
"JøYrÅcvw/òY.rrnÀ,t,o
r., \

6
I
nv*"uWrt -
./
fl ,L' 3 J -.1 . -l J. , 1 . _ _ 31, . - - ,? - J g
* Ìo un tsl
Líry {rV ramja. - nino AarT
J * J J u
So ,,-
s . f s - s , s - E - . ì
sory- /o lu- rnå, O \,++ * h-ú '
Uo,
t
f¿

1 3 _ _ f , 3 2 . 7 Z
Nonq ã ,4,rn {o,
J

I' - s . s é . - s ç - . r r Q
,oo3 T , H , tI ' _
7" 2, .Lâ
I
þ o s i - rd{ p-E' ,"a

6 2- z 'î
7 2- L - rt
'wo >T?^w
J

2, t6 S'- a
@

Slendro Nem 41
 8;* 6 y"o^, ú?o*ân,
( ç . 4 4 4 (/ - / a / o /e

n 77 -
'
|tAâ-
t
L7) çllclnQ
J J /
,|us- /
þi-to a- )'<a>n

. r 7 î . 7 - ? 2- ). ?- - ,, €.
,.
,4o - ò ¿ {L 7.LÐq Scr - ¡ztì ro - tto tn r'.'Å-
J

.6 l r ) - f ó r

t -
6 .3 A J 2, 2 3 . f
/
f."- lo" - J
Ca cfct>tg H"
' L J o F

noæs -
Jorr. d* ryo
É 2 2 ' a t - L

L,! Ðrrri4, ro'-rû-S fe r)a-- )')(nq

^ J
z,t ,u . J r - 7 t ó - . J - J
ã.t'¿ - ¿¿o - \/ o o -a

I-=[

42 TheVocal Notæionof K.RT. Wasirodininerar

8"x*aÇã*"t\lr",,A^"6
f\ f 6 6 i ¿ 6 6 - 6 , 8 é . a

llZt ,;t lolinin7 ,(i- h 93/oi

/anJa-m
7n4Ð -
"JJr"
¡ . 2 r 6. . t 2, z -1 z \ 1.

o
t
rl
êa,f - /tnon
1-
(cf
ra
fte -Êo -
t
n"a
s . E 6
(', -
.3 5 c 5 , f , J . 2 . ,z i f
J(¿'" en sv-m -lJ ton -doU , / 4 -
fa
.I z 3 5t . ,
T '
Sot - \./ r

, -
?, t 6 6 - 3 | -t I

oÊ- a æ ?rr, - norrà

--- "g
J "2¡i
i .e -i. z t 6 5 - 3 - a ¡.16
- - O
Jo.Do
q
L Z l i 2 , - ¿ , 1 1 . 4 t +

oÞ
þ i ' Â r ' - '
t
^,
Ua.So..- re ,Tro'nQSo
t
êa. - Ac -
1-
9ê Hi.
J - /
2, i z ,,,, 3 . J .S o.
f
3 .' ,f '3
7no 4- na. wenî /A LL - Juy Áor- cê -
I -. z . q - .e = { - I z 1 ã ,2 t
u o t, / -ã
(o A. - .S€-- ,)cD 'tayo w( -Je -

, Æ é 7 2 ì 1 2 ' , ' , 2
no - O - Nr;rt sining wo-r?o
.Ê-- ( -ì
. _r . 2 t6 . f I I o r o p e K q r N D Ë R l. l
o - \ '
r l ' ' ¡ 4
I{nl"o . ,?u -
, 1 ¡. (."üio'f".?l L/
o* 6 r E L s a s ó
3 t 6 5' ¡.é 7'

SlendroNem 43
 o - oâ"o ß"X.* e *orrþo,1,Z
"{t,o
r S C J ¿
Lîr3^ üry 3o-li - niU- loV P * >yan

?. z. r .r x. " ,s - d. é 4 ,c é,
sa6o - .ro-to / l ç - /|U r!øst; - ,1o
-z L 2 -
,3 7 6 -ó ó ê é
.fa - tnøn to - ro It - År',y 1
/
t . t '
|r?L - (u r<nst
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.- . 1 é ¡ - t f t t ¡ t r t î t
, J ' , t - ^ -
?o , Ktesno (a. - hu . ¡¡i.ro .la_ ra. - su - 4
-l

2 ' " . z - ? ,- 1 I 6 - , J r - f 6
rno ,{oroo t
/æ - 7'ro _ Íeo du^
3 f ,5 ì z ? , a ? , ; , i - i . 6
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tu, No-, da Hæy'a-n77r.Á.A
./,- ,(o
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,t ,3 -f

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fc - J
-
J
-ui"rnginl
J
l"-- t" -
Ja_ þar-
2- r1 -t. 6- - 3
.f . a
r, - 9 3 lr
l/
L¿ -lo - /o lJO r-.- ./
-

44 TheVocal Notation of KRT. Vasitodininprat

 oen-oào
"W" 61ry (/sØ*J*G)
It - 3 4 2 . ? , 2 t . r a l ,l !-
* rê.n
vtu3 - 3ry
t / ^ AnU
ndlrnoniS
J",
é é ,¿#. é - .t 3 - 3 ,z 3. . 2 , 2 . ? "

ngTLh
J
. t
- ' - J 9ê -
zna.-
|
(arl /
' J
a
gQnl¿
'
tna.nL
'
-
4 ' r
t'L'A R.- -.¿"Á
_
:i z. = .t- f. . t-e, z
îr
zz2.ro lV¿ - sa-r?g a- æ
-t _
6 5 3 . - z - z ì z -l .t 2. J

9rd,or- soÐo do- Áot -

' -
6 ¡ I t . l ¡ ¡ |

A- râ^.â-- ,(on da. - l¿ - ,uryoí. noaTzzy

î ; é s ¿ -,sy'é. ô é ,É_//
L.*,l' - (*1on Åu * do
. J J I ,7 3. - z ?, 1. 1 L 2. ,/z¿
n3ñl znlit( ,oá- - ,4A7,, lrr/, l¿t>nara.rn', - ¿d/L-

z t ó ¡

- CL -^- o flrrry, - J'u,

6 - z ¡ ,t ¡ r¡ -, tl -A
é t I
a.
E----,
>f)
- l : -- -nnd
rr- -
1!aA so ¿î
{ tLLt2q - 7cf Åo,
J - ,

, 7
L-
- 3 J,

,4rrrro sr* tq-72a- ,¿{ CL

Na.yot
z -1 1
zno -jo
I
-!ié na so7
o

SlendroNem 45
 '
J,*, . (/59,^â.r*
G)
/ -/
n
r . o. 6 6 6 6 -e 6 3 I i, -'2' L i
Hu, . dur Polyo '',o ¡al;4. lh '2^7J cxy y'ro 'ra '
;3.; ä ¿JÁ i 7 é 6 é - - ó6 ô
sanyo sa - nl - t/.-ury rdrnJo 9noror|r3,
9o Jo
. f .J- f, f 3 ,.c .3 ,.*-".4
l ^ t / r
9*6a.r. QcLrnæ/79 Êd- (e - wd/) <
/ J J

R¿- t*, to,ríur yry 9*t3 y'ofonJ¿n

:
à ,i\ sl 2 é 4 4 é ¿
doûr- ¿3 Dondo'ro ,rtvoÁ. /,a.Ao, do
-
6 4 ¿ , s Z C . ' r r 5 .J sé s3¿
D- t ' I t.
wa?no. > r a - f- n o .fc zz . da 7a-La- - dL - qan - --
- J - /

O - +

5 r - 5 , f , - 3 î é - f 3 z
n
f7-
. ,
Src tta-- wu.r- Ud.r) æ

46 TheVocalNotarionof KRT.'Wasirodiningrar
.ÃrnÃaw,,1tto[ooo,'*" /S[nnnâo, 6
+*r]
ll 3 3 I . t I i , ; - i - ¿ ,6
* r' I'/t
T.últ A- áo w TcLna
ÇoloL /"¿¿

7 2 z - t - 6
t4 J .3 .3 3
/-r'l\t 4
,(anq Åa- - 7>7Lc- ft Q¿S TY?c.->?
Ls
J /

.) .3 -å-.3 ,7 - ¡
\_./
7nq*à4- * Årrno \â4æ +

\./

- ç | I
a - o ( å - o/""

I o*/",( Ç"nJ,,z
t ,3 - 3' - 1,, r - ó it-'
rnon4.o
,l
raa
|

Á.r.ry,
' t
JI
lz z z ,t--1
l
J
â . ^
,J
\
.H-qo-r"/, y'on*
3
/,1
J)adqo
'
.-/
å

/
. 3
ÅaÐ{e's
ó f
'l-*'Y'"*u
.3 ,Z - l
vt¡a(a-v - ,1.rr,

2 - - r - 6 ( O,-¡oÅ Ç"n/",.2

SlendroNem 47
 L 7 3 5 6 {

T¿ Po L, Ho /yri 7(.

9/.,4,y (o,n¡o/, ó , p- 4.
Ç ,nong. ¡oúofa,
5 f , - r É-É. 2 ,
,{u. rí Sr -t,
l
\.t/

c
7rg -
a¿v
J S r v v
€¿ 2r,
lYo - ,a ,ni -qa-
-J
la. - nè
ó
Ðrrr3o-
6 - 0)
¿.->?o
x
s
+¿
L>ag
ê ,

f*y
,2s,3 -ì I . 2 , é
9¿ - >þ,-Jo tYq - l,r, . lo.
'
Setar Noeo¡o{,, P*ouA 9(on lm
( -
s s -]
\I ,d-f,.;,
þ"(-ru .-ff-

48 TheVocalNotation of KR.T. \gasirodiningrat

/Jrfl."*,tW**F"b,,Qo*fl&"/51,,,^Å^,
6-
'\
J' l_ i ,r-;i i .i-; = ,i-î - 6 i ¿ tI
l ¿ 5
{u/o, ç"--3u4 oo-ffi ,./
fr;: tUo.ry cc -

Lr-¡-23 z 'I I .'¡,_ii,,; ,t,_t, 6riI

,1... tu, 7 e_l
n-T lo,f T G.Zr _

Slendro Nem 49
 t / /
W S'(nnr{ro /ú-,

z t 4 . ö.-
ü
,Þ z 2, jix a t GJP-Lr-L
(* Ja ú- Ã;- s{ù ¿L Ç {ul-

50 The Vocal Notation of ICRT. Vasirodiningrat

indexes
 Abbreviations
usedin lndexes
Piecesin Bedhayanstyle............
2T6 Gd. Gendhing
Pieceswith A¡dhegan...............ZTG Kt. Ketawang
8awa............ ........276 Kt. Gd. KetawangGendhing

Pieceswith lrama I, II andIII... 276 kt. Kerhuk

Ld. Ladrang
Pieceswith Irama [V.................ZTT
I.n. Lancaran
Piecesin Yogyasryle..................277
mg. Minggah
Compositions by
P5 PelogLima
KRT.'Wasitodining rut .......272
P6 PelogNem
P7 PelogBarang
PN PelogNyamat
S.Á. SekarAgeng
56 SlendroNem
59 Slendro Sanga
SM SlendroManyura

Indexes 267
Spelling
changes
First entry is spelling asir ocçurson
notation; bold entry showsupdated
spelling usedin indexesand Table of
Contents.
-Asmaradono,Asmorondono
Asma¡andana
Asmo¡ondono Jokolola
AsmarandanaJakatala
Banyaknglangi Banyak Nglangi
BasontoBasana
Bimakurda Bima Kurda
Bodronoyo Badranaya
Bondhet Bondhet
Budeng-budengBudheng-budheng
Buta-galakButa Galak
Caranggantung Cararrg Gantung
Cucurbawuk Cucur Bawuk
Dahono Dhahana
DandanggulaTurulare Dhandhang
Gula Turu lare
Djago-kateJago Kate
Donoworo Dana'S?'ara
Dulaino Duksina
Duporo Dupara
Dwirodometo Dirada Meta
Gadj ah-gadjah cajah-gajah
GambangsulingGambang Suling
Gambirsawit Gambir Sawit
Giriso Girisa
Gondj ing-miring Gonjing Miring
Gondokusuma Ganda Kusuma
Gondosuli Gande SuIi
Goromargo Gora Margp
Greget-sautGreget Srut
Gudasih Gudha Sih
Gugur'gunung Gugur Gunung
Gunungsari Gunung Sari
Hærikaton Hasri Katon
Hastakuswala Hasta trürswala
Janggleng-irengJanggleng Ireng
Jonggolono Jangga Lana
IGgokliwung Kagok Liwung
Kagolaemi Kagok Semi
Kapirento l(api Rento
Kedu Kedhu
Kembang-kacang Kembang
IGcang
Kembang-kacesKembang Kaæs
Kembang-pepeKembang Pepe
268 The VocalNotarion of KRT. Vasirodiningrar
Kembang-peteKembang Peæ
Kinanti Kinanthi
Kinanti PadangbulanKinanthi
Padhang Bulan
Kondomanyuro Kandha Manyura
Kotjak Kocek
Krawitan Karawitan
Kumudo Kumuda
Kusworogo Kuswa Raga
Lambangsari l-ambang Sari
Langen-asmoro langen r{smara
LangengitoSrinarendroIangen
Gita Sri Narendra
Larasmadyalaras Madya
Larasmoyo Iaras Maya
Lebdojiwo LebdaJiwa
Lokononto loliananta
Lunggadung l,ung Gadhung
Madumurti Madu Murti
Maduretna Madu Retna
Madya-Lalita Madya Ialita
Maesalangit Maesa Langit
Manggologito Manggala Gita
Mangunkung Mangun-kung
Maskumambang Mas lfurnambang
Mayangmekar Mayang Mekar
Mentok-men tok Menthok-
menúok
Mugirahayu Mugi Rahayu
Njoto kowewasisNyata Kowe
Wasis
Odo-odo Ada-ada
Padang Bulan Pandhang Bulan
Pancatnyono Pancat Nyana
Pancerono Pancerana
Pangkur Ngrenasmoro Panghú
Ngrenasmara
Pa¡eanom Pare Anom
PrabuanomPrabuÁnom
Pujonggo Pujangga
Purnomo-siddi Purnama Sidi
Purwagilang Purwa Gilang
PuspandjonoPuspanjana
Puspandjala,Puspanjolo
Puqpanjala
Puspawatna,PuspawarnoPuspa
Wä¡na
Puspogiwang Puspa Giwang
PuspolalitoPuspa Ialiø
PuspotadjemPuspaTajem
Putjung Pucung
Rendukentir Randhu Kentir
Reno-renoRena-rena
Retnamulya Retna Mulya
Ris-irisan Pandan Rþfuisan
Pandhan
Rondo Malam Rondha Malam
RondongangsuRan.lha Ngangsu
Roningtawang Roning Tawang
Rudjak-djeruk Rujak Jeruk
SandungSandh*g
Sedyo-.asih SedyaAsih
SekarpuriSekarPuri
SekartejaSekarTeja
SembunggilangSembung Gil"trg
Sinom Logondang Sinom
Logondhang
Sinom Parijoto Sinom Parijatha
SlepeganSrepegan
Soroyudo Sa¡aYuda
Sri Duhito Sd Duhita
Sri lGetarto Sri Kretarta
Sri Sinubo Sri Sinuba
Sri \Øibowo Sri Wibawa
Sri'Widodo SriWìdada
Srikaton Sri Katon
Subokastowo Suba l(astawa
Sudirewitjitro Sudira Wicitr¿
Suksma-ilangSukma Ilang
Sumedang Sumedhang
SurungdayungSurung Dhayung
Tatanjo Tatanya
TebuhsahuyunTebu Sauyun
Tedjonoto TejaNata
TejasariTeja Sari
Tirtokencono Tirta Kencana
Tj andra-asmataCandm Asmara
Tjekilaek Cekikrek
Tropongbang Tropong Bang
Tulis-kresno Tulis Kresna
Tunggal-jiwo Tunggal liwa
Lllerkambang t ller Kambang
Umbul-dongo Umbul Donga
'Waditro
Waditr¿
'!Øalangkekek
W-alang Kekek
'Wedyasmoro
Wedyasmara
'lfidosæi
Wìda Sari
'Winduaji
\flindu Aji
Index by tifle, Vol. | & ll Gleyungld. P6, 116 Iambang Sari, lnga\ P7, 232
Ada-ada,W ayangG olek P7,324 Godril, Ln. 59, r24 IambangSari,InggahSM, 174
Aku Duwe Pitik, lagu Dolarnn SM,248 Gonjang-ganjing (v. 2), Ld. 59, 102 Iangen.r{smara, Sl- 59, t l5
Argolagu,Ld. P6, f01 Gonjang-ganjingLd. 59, 98 langen Gita Sri Narendra,Kl P7, 284
-Argopeni,td. SM, 186 GonjingMiring cd. SM, 160 Iangen Gia [Sri Narendm], Kl V7, 282
.Arum-arum,Andhegan@udheng- Gom Marga,I-agrP7,263 laras Maya (v. 2), Kt- P7, 288
budheng)P6, 6l Greçt SausAda -AÅ^P6, 197 Iaras Ma¡a, Kr. W, 286
-Asmarandana (v. 2), Ld. P7,233 Greçt Saut,Ada-adaP7,327 Iansingrum,Ll. P6, 130
Asmarandana GudhaSih,Ld. P5,19 læbdaJiwa,BubaranSM, 234
Jakalala,IÅ. P7,236 GugtrrGunung l:n. D7, 305
-Asmarandana Semarangan, L;rguP6, 107 Lobong cd. SM, 176
Asmarandana, GunungSariP7, 279 Lokananta(v. 2), Gd. 56, f6
LÅ,.W, 2ll
Äsmarandana, GunungSari,td. P6,118 I-okananta, Gd. 56, 10
kl. SM, 188
Ayak-ayakan(Paalon)SM, 154 GurnangSl- 56,48 LungGadhung,I-d- P6, 132
Afalc-ayakan (v. 2) SM,235 HasriKaton,G¿.P7,209 MaduMu¡ti, K¿SM,2l7
.A¡ak-ayakanP6, 86 Hasri Katon, SekarMadya P7, 330 Madu Retna,S.A.SM, 175
HastaKuswalaAgen6 Ada-ada56, 45 Madya Lalica,SÀ- P7, 244
P7,222
Âyak-ayakan56, 36 HasraKuswalaAIir, Ada-ada56, 46 Maesabngit, SekarTcngahanW,218
,{yak-ayakanSg,l3l Huama, td. 59, 104 MajemulcGd. 56, 19
Ibu PeniwiP5,32 ManggalaGita, SJ" P6,73
Ayun-Ayun (v. 2), Lxl.P6, 108
Ayun-ayun (gerong),Lrl. P6, I l 1 Ilir-ili¡, PalaranP7,318 Mangun-kungGd. Kemanak59, 139
,tyun-ayun,Ld. P6, 104 JagoKate, Laga ÐolananP7, 373 Manjilo,U.P5,22
,{yun-ayun,Ld. SM, l9l Janggalana, U.P6,124 Mas KumambangSekarMacapatP6, 201
Badranaya, Jangglcng lren6 U. P6, 121 Mataraman, Ada-adaP6, 131
U.36,n
BanyakNglangi,U.P5,6 JongkangKt. Gd. 59,70 Ma¡angMekar,Gd. P5,3
BasanaP6, 153 JongkangLd. 59,7l MegatruhP7,290
BimaKu¡da,LA.P7,238 Jugag(Mataraman), lagon P6,87 Mencaraman,,{da-ada 56, f 98
Bondher(Y"ry"), Gd. P6,52 Jugag(slendro),Paútet:,nP7, 322 Menthok-mentholcLaguDolananP6, f90
Bondhet,Gd.,P6,46 Jugag(v. 2), ParhetznP7, 327 Mijil laramti, Ayak-ayakan59, 126
Boyong Gd'P7,205 Jugag lagon P6, f96 Mijil Sulasri,Ji¡eman W, 375
BrondongMendiPT, T75 JuBa&Lapn SM,260 Mijil Ifcdaringtyas, JinemanSM, 257
BrondongMennrl, Andhegn W, 277 Juga6PaúeranP7,323 Mijil ltìdawaten,JinemanP6, 192
Budheng-budhe ng Gd' P6, 57 JugagPathetan 56,42 Mijil, Ayak-ayakanSM, 239
Buta Galak,l:gu DolananSM,249 Jugag Pathetan59, 138 Mijil, SekarMacapat SM, 262
CandraAsmara,S^ P7, 245 Jugag,Pathean5M,259 ModernisasiDesa,Ln. P6, 176
IGbor, Gd. 56, 3 Moncer,IÅ.P7,240
CarangGanrung,Gd., td. IGmbangPeæ
KagokLiwung td. SM, 198 Moncer,Ld. SM, 201
sM,r43
Cekikr€lçÁndheganSM, l7l KagokMadura,t¿ 59, 106 Mugi Pahayu,l-Ã. P7, 242
Cucur Bawuh Gd. SM, 148 KagokRespati,Gd. P6,68 NyataIGwe \Øasis,l:gu DolananP7,3l4
KagokRespad,LÀ. P6, 126 Onang-onang, Gd' P6,74
DanaIØar¿P6,157
KagokSemi,U. P6, 1T7 Orek-orekMonrore Mabur, I aW SM, 247
Dhahana,lÃ,P7,303
Kaloran,Ayak-ayakanSM, 237 Pakumpulan,ld. 59, 109
DhandhangGula Turu l¿re, Seka¡
KambanglGcanglagu P6, f84 PamanTani, lagu DolananSM,252
MacapatP6,200
KambanglGtesP7, 281 PancatNyana, Gð,.W, 215
DiradaMca, td. 56, 29
KandhaManyura,td. SM, 199 Pandilori,Gd.P7,2l9
DuksinaP6, 159
Kapi Rento,U.P5,21 Pangkur(nçliþ, I-d. SM, 206
Dupara,td. P6, t13
Durma,,{da-adaW,326 Karawitan,t,d. 56,4 PangkurNgrcnasmar¿, Kt. P5, 34
Durma, SekarMacapatPZ 329 Kedhu,Paúretan 56, 43 Pangkur, LÀ.V,246
Eling-elinglGsmaran,Ld. 59,90 KembanglGtesSM,216 Panglarr,Ld. PN, 333
KembangPepe (v.2), Ld.P6, 129 Pangkur,td. 59, I I I
Emplek-emplekKerepu,Ln. SM,230
Gajah-gjah, lagu DolananW,1t2 KembangPepe,td. P6, 85 Pangkur,t"d. SM,203
KembangPets Ld. SM, 146 Pangþur,PalaranP7, 319
Gajah-gjah, lagu Dolarun SM,25l
GambangSulinp Iagu P6, 183 Kidangelun,Ln. 59,125 PareArom,InggahSM, 151
Kinanthi PadhangBulan,Gd, SM, 164 PatalonSM, seeGd. Cucur Bawulc 148
Gambir Sawir(merong),Gd. 59, 60
Gambir SawitPancerana, Kinanthi, Sekar[Macapat],lagu laras Pawukir,Kt. SM, 218
Gd,,P6,62
Gambir SawitSembungGilang Ingah MadyaP7,328 Pcnghijauan,t"agu56, 39
cd. s9, 63 Kloloran,Sendhon56, 47 Playon(v.2),1Å.P5,26
Kocak,G¿ 56,7 Pleyon,IÀ.P5,24
GambirSawir,Gd. 59, 53
Kontap,Kt. P6, 160 PrabuAnom, td. SM, 208
Gambuh(v. 2), SekarMacapar56, 50
Kumuda,Srepegan P6, 182 PucunpKt.P7,292
GambuhP7,278
Kupu Kuwe,l-aguDolanaoP6, 188 Pucung,SelcarMacapat56, 48
Gambuh,SekarMacapat56,49
GandaKusuma,Kr. Gd, 59, 67 KuswaRaga,SekarMadyaSM, 165 Pucung SekarMacaparSM, 263
.sØirangrong
Kuswa Kr. P6, 162 Pujangga, cd. 56, 23
GandaSuli, l.d. 59, 69
Kutut Manggunp,{ndhegan SM, 170 PurnamaSidi (v. 2), Kt. cd. 59, 79
Gegot,Srepegan5M,246
KurutManggung Gd. SM, 166 Pu¡namaSidi (v. 2), Id. 59,83
Genes,Gd. SM, 157
KuutManggunp [d. SM, 168 PurnamaSidi, Bubaran59, 78
Ginonjing td. SM, 194
KuwiÁpa Kuwi,lagu P7,3ll PurnamaSidi, Kt. Gd. 59,73
Girisa,Ada-ada56, 44
lagon, IØa¡ang Golek P7, 324 PurnamaSidi, Ld'.59,75
Gþr-gþr, Ayak-AyakanP7, 309
hmbang Sari,cd. SM, 172 PurwaGilang Gd. P6,84

Indexes 269
 PuspaGiwang KcW,294
Puspal-alita,Sá. P6, 199
PuspaTajem,Kt. P6, 168
Puspa\Øama(v. 2), Kt. 5M,222
Puspa'Warna, Kr. SM, 220
Puspanjala (v. 2), Kr. P6, 166
Ptrspanjala, k.P6, 164
Puspanjana, Ld. SM, f82
RandhaNpngs w LagaP5, 42
RandhuKcntir,Gd. P6,88
RebengGd. P6,9l
Remeng,Ld. 56,32
Rena-rena, Ln.5M,233
tunyep,cd. 59,87
RetnaMulya, 51..P7,259
Ris-irisanPandhan,lagu DolananSM,
253
Ris-irisanTela, lagu Dolana¡ 5M,254
FondhaMalam, td. 59, I 14
RoningTawangI-d. P6, 135
tujakJeruk, [d. SM, 210
SandhungP7, 296
SandhungSM, 224
Santi-sunda P5, 36
SaraYuda,lÅ.P6, 137
SedyaAsih, U.P7,251
SekarPuri, Gd. SM, 184
SekarTeja SM, 226
Sembawa, LÅ.P5,28
Sepuran,l,agu Dolanan SM, 255
SinomLogondhang[SekarMacapat]
Andhegpn59, 95
SinomParijatha,Kl W, 298
Siyem,Ld. 56, 17
SobrangBetawe n, lÀ. P7, 221
SobrangU.56,43
SopirBecahlågu P6, 186
Srepegan (Patalon)SM, 156
Srepegan (v.2) 5M,243
Srepepn (Y"Syd (". 3) 5M,244
Srepegan(Y"g¡r) (". 4) 5M,245
Srepegan P5, 4l
Srepegan P6, l8l
SrepcpnP7,310
Srepegan 56,37
Srcpcgan59,132
S¡i Duhira,I.d.P7,253
S¡i Kaloka,Ld.P7,256
Sri Karongron,t"d. 59, I 16
Sri lGton (Paulon),L¿. SM, 152
Sri Katon(v. 2), Ld. SM,213
Sri Katon(v.3), I-d.SM,2l4
SriKaton,L¿.P7,264
Sri lketarta, Ld. P6, 139
Sri Lulut P7, 300
Sri Rejeki,cd., P6, 95
Sri Rejeki,td. P6,98
SriSinuba,U.P6, l4/t
S¡iMbawa, Ll. 59, f20
Sri Mdad¿, IÀ-P7,260
Subatríastawa, Kr. P6, 170
SubalGstawa,Kt. 59, 122
Sudira'S7icit¡a, S-4. P6, 45
SukmaIlang (Paralon),Kt. SM, 153
SukmaIlang (v.2), Kt. SM,228
Sumedhang P6, 172
Sumedhang, Gd. 59,96
270 The Vocal Notation of KRT.'Wasitodiningrar
Sum¡ar,IÀ.P7,266
SurungDhayungff"ryd, t¿ P6, 148
SurungDhayunpU.P6,146
Swan Suling LaguP6, 183
Tatanya,JinemanW,316
Tebu Kasol,S-A SM, 261
TebuSauyun,I.4.P7,270
TejaNata, Gd., P5,8
TejaSari,cd., P5, t4
Tina Kencana,Ld. P6, 150
TropongBang Ln. P6, 178
Tukang IGyu, lagu Dolanan SM, 256
Tulis K¡esna,tagu DolananP6 191
TunggalJiwaP6, 174
Uler KambangJinemanP6, 193
UIer KambangJineman59, 134
Umbul Dong, Ayak-ayakanSM, 241
Vadera,Buba¡anP7,307
Wadit¡a,Ln. P6, 180
\Palang
'S?antahKekek,Ln. 59, 133
(manynra),PaúteønP7, 321
IØantahand Jugag,PathetanP6, 195
Wantah,Pathetan56,41
-Vanrah,
Pathetan59, 137
\Fantah, PathetanSM, 258
'Wedyasmara,
Kt. P5, 38
VelasanAsih,Ln.P5,40
'Westminsær,
Ld. 59, 65
Tfietah,f,agonP7,325
.WidaSari,
Gd-P7,225
Mlujeng (v. 2), I-Ã. W, 2:74
Vilujeng lÀ.P7,2:72
'S7induAji
(gerongan), l.d. P5,30
IFinduAji (sindhenan), td. P5,31
'WìndurA,ji,
cd.P5,17
'Wirangrong,
U,P6,152
Mting Klapa,Jineman59, 136
lndex by pathet
Pelog Lima
Asmarandana Semarangan, [Sekar
Macapatl, 107
Banyak Nglangi, Ld., 6
Gudha Sih, l¡1., l9
Ibu Peniwi, Kt., 32
Kapi Rento, [d.,21
Manjilo,I-Ã.,22
Mayang Mekar, G4 3
Pangkur Ngrenasmar¿,Kt,, 34
Playon(v. 2),U,,26
Playon,l-Ã'24
Randha Ngangsu, Lago, 42
Santi-sunda, Kt. 36
Sembawa,ld.,28
Srepegan,4l
Teja Nau, Gd., I
Teja Sari, Gd., 14
\Tedyasmara, Kt.,38
'l7elasan
Asih, Ln., 40
Iøindu,A,ji (gerongan), Ld., 30
TØindu Aji (sindhenan), Ld., 31
!Øindu Aji, Gd., 17
Pelog Nem
A¡golagu, [d., l0l
Arum-arum (Budheng-budheng),
Aadhegan, 6l
Asmarandana Sem¿uangan(P5), tagu, 107
Af¿k-ayakan,86
.Ayun-ayun, lÀ.,lO4
Ayun-Ayun (v.2), Ld., f 08
Ayun-ayua G"*ng), Ld., 11f
Basanta,Kt. 153
Bondhet, Gd.,46
Bondhet (Yogra) , Gd.,52
Budheng-budhen1 Gd' 57
Dhandhang Gula Turu La¡e, Seka¡
Macapat, 200
Dana'Wara, Kt.,157
Duksina, KL, f 59
Dupara, I-d., f 13
Gambang Sulinp lagu, 183
Gambir Sawit Pance¡ana,Gd., 62
Gleyung ld., 116
Greget Saut, Ada-Ada, 197
Gunung Sari, td., 118
Janggleng lren6 lÅ., 721
Janggalana, I.Ã.,124
Jugag (Mataraman), hgon, 87
J€ag, lagon, 196
IGgok Rrspati, Gd., 68
IGgok Respati, U,126
Kagok Scmi, l-Ã,,127
Kembang Kacang Lagr, 184
Kembang Pepe, Ld., 85
Kembang Pepe (v. 2), l-d., 129
Kontap, Kt., 160
Kumuda, Srepegan,182
Kupu Kuwe, lagu Dolanan, 188
Kuswa IØirangrong 162
I-arasingrum, Ld., t30
l.nng Gadhung LÀ.,132
Manggala Gita, S*4,.,73
 Mas KumambangSekarMacapat,201 IambangSari,Ingah, 232 Srepegan, 37
Mataraman,.Ada-ada, l3l Lançn Gita [SriNarendm],Kt.,282 IØantah, Patetan,4l
Menthok-menrhoklagu Dolanan,190 lançn Gita Sri Narendra,k.,284
Mijil ïØidawaten, Jineman,192 LarasMa¡a, Kt., 286 Slendro Sanga
ModernisasiDesa,Ln., 176 laras Maya(v.2), Kt., 288 Ayak-ayakan, 131
OnangonangGd.,74 Madyalalia, S.A-,244 Eling.eling Kasmaran, [d,, 90
PurwaGilang,Gd.,84 Maesal-angir,SekarTengahan,218 Gambi¡ Sawir (merong), Gd., 60
Puspalalita, SJq..,199 Megatnrh,k.,290 Gambir Sawit Sembung Gilang (inggah),
Puspanjala, Kt.,164 Mijil Sulasui,Jineman,315
Puspanjala(v. 2), Kt., 166
cd.,63
Moncer,lÅ'240 GambirSawit,Gd., 53
PuspaTajem, Kt., 168 Mugi Rahayu,IA.,242 Godril, Ln., 124
RandhuKentiçGd.,88 NyataKoweVasis,LaguDolanan,314 Gandatrú¡suma, K¿ Gd., 67
RebengGd.,9I PancatNyana,Gd., 215 GandaSuli,1.d.,69
RoningTawang,LÅ.,135 Pandilo¡i,Gd'2l9 Gonjang-pnjin¡oLd,98
SaraYuda, U, 137 Pangkur,U,246 Gonjang-ganjin g (v. 2), IÀ, 102
SopirBecak,Lagu,186 Pangkur,Palaran,319 Hutama,U.,104
Srcpegan,l8l Pucung,Kt.,292
Sri lGetarta, U, 139 Jongþng Kt. Gd.,70
PuspaGiwang Kt,294
Sri Rcjeki,Gd., 95 Jonþng,f.d.,7l
RetnaMulya, S-þr,259
Sri Rejeki,Id., 98 Jugag,Pathetan,l38
Sandhun6Kt.,296 trGgokMadura,Ld., 106
Sri Sinuba,LÀ.,144 Sed¡aAsih, LÅ'251 KidangTalun, Ln.,125
SubatrGstawa, rc., 170 SinomParþtfia,Rt,298 Iangen.Asmara, Si-, f 15
SudimIficitr¿, S.4,45 SobrangBetawe n, l-ð,.,221 Mangun-kungGd. Kemanak,139
SumedhanpKr, 172 Srepegan, 310 Mijil l:nsati, Ayak-ayakan,126
SurungDhayung(Y"g¡a),td., I48 Sri Duhia, LÅ.,253 Pakumpulan,kl., 109
SurungDhayunglÀ.,146 Sri lGloka,LÀ.,256 Pangkur,Ld., 111
Tirta Kencana,kl., 150 Sri Luluç Kr., 300 PurnamaSidi,K¿ Gd.,73
Tropong Bang Ln, 178 SriMdada, L.¿..,260 Purnama Sidi,[d.,75
Tulis Kresna,lagu Dolanan,191 S¡i lGton, U.,264 Pu¡namaSidi, Bubar¿n,78
TunæalJiwa, k., 174 Sumyar,IÃ.,266 PurnamaSidi (v. 2), Kt. Gd., 79
Uler KambangJineman,193 Tatanya,Jineman,316 PurnamaSidi (v. 2), LÅ.,83
IØaditra,Ln., 180 Tcbu Sauyun,lÁ., T70 Renyep,Gd., 87
ïØantahandJugag,Pathean,195 Vader¿,Bubar¿n,307
'S?irangrong 'Wanmh RondhaMalam,[ã., 114
L,Å.,152 (manyura),Paúretan,321 Sinom Logondhang [SckarMacapat]
\tretah, I-agon,325 Andhegan,95
Pelog Barang lfrdaSari, Gd'225 Srepegan,132
Ada-ada,IØayangGolek,324 Vilujeng IÀ.,272 Sri Karongron,tl., 116
.¡{smarandana, U.,211 Itrilujeng (v. 2), IÀ., 274 Sri Wibawa,U.,120
.Asmarandana (v. 2), I.Ã.,233 SubaKastawa,Kr.,122
AsmarandanaJakalale,IÅ., 236 PelogNyamat Sumedhang Gd.,96
Ayak-ayakan,222 Pangkur,l-¿.,333 Uler l(ambangJineman,134
Bima Ku¡da,LÃ'238 'WalangtrGkeþ
Ln., 133
Boyong Gd., 205 'Wantah,
Slendro Nem Pathetan,137
'Westminster,
Brondong Menatl, Andhegeu277 Badnnaya,IÀ.,27 [d.,65
BrondongMentti, Kt., 275 DiradaMea, Ld., 29 Viring Klapa,Jineman,136
C-andr¿ Asmara,SA., 245 Gambuh,SekarMacapau49
Dhahana,Ln.,303 Gambuh (v. 2), SckarMacapat,50 Slend¡oManyu¡a
Du¡ma, Ada-ada,326 Gi¡isa,Ada-ada,44 AIm Duwe Pitik, l,aguDolanan,248
Durma, SekarMacapat,329 GurnangS-4",48 .Argopeni,1.d.,186
cajah-gjah, lagu Dolanan,312 HastaKuswalaAgcng Ada-ada,45 Asmarandana, Ld., 188
Gambuh,Kt'278 Hase KuswalaAIit, Ada-ada,46 A¡ak-ayakan(Patalon),I 54
G þr-gþ r, Ayak-,{¡'akan,309
Jugag Pathenn,42 Ayak-ayakan(v.2),235
Gora Marga,I-ag't,263 IGbo¡ Gd.3 Ayun-ayun,I-d,, l9l
Greget Saut,Ada-eda,327 Kedhu,Parhean,43 Bua Galak,lagu Dolanan,249
Gugur Gunung Ln.,305 Kloloran,Sendon,47 CarangGantung Gð., 143
GunungSari,Kt.,279 Kocak,Gd.,7 Cel{ilçrck,Andhegan,l7l
Hasri Katon,Gd., 209 Ka¡¿witan,Ld.,4 Cuor¡ Bawuk,Gd., 148
Hasri Katon,SckarMadya,330 Lokananra,Gd., l0 Emplek-emplekKetepu"Ln., 230
Ili¡-ilir, Palar¿n,318 l,okanann(v. 2), Gd, 16 Gajah-gajah, lagu Dolanan,251
JagoIGæ, lagu Dolanan,313 Majemuk,Gd., 19 Gegot,Srepegan, 246
Jugag,Pathecan, 323 Mentaraman,Ada-ada,198 Genes,Gd., 157
Jugag(slendro),Pa¡hean,322 Pcnghijauan,Lagu,39 Ginonjing I.Ã.,194
Jugag(v. 2), Parhean,327 Pucung SekarMacapar,48 Gonjing Miring Gd., 160
KambangFlates,Kr, 281 Pujangga,Gd., 23
Kinanthi, Sekar[Macapat],Lagu Laras Jugag tagon,260
Remeng,Ld,,32 Jugag Parhean,259
Madya,328 Rena-rena,Ln., SM Í561,233 IGgokLiwung 1.d.,198
Kuwi Apa Kuwi, Lågr¡,311 Sþm, ld., 17 Kaloran, A¡rak-ayakan,237
lagon, \ØayangGolek, 324 Sobranpld.,43 KembangKates,Kr,276

Indexes271
 KembangPete,LÅ,,146 lndexby form PanetNyanaP7,215
Kinanthi PadhangBulan,Gd.,164 PandiloriP7,219
KandhaManyua, I.Å,.,199 Pujangga 56, 23
KuswaRap, SekarMadya, 165 Âdâ-Ada Pu¡namaSidi,Kt. Gd. 59,73
Kuurt Manggunp Andhegan,170 GregetSautP6, 197 Pu¡namaSidi (v. 2), Kr. Gd, 59, 79
Kuut ManggungGd., 166 Ada-ad¿,V ayangG olekP7, 324 PurwaGilangP6,84
Kurut Manggung,Ld., 168 DurmaP7,326 RandhuKentir P6, 88
I-ambangSari,G¿,.,172 Girisa56, 44 RebengP6,9l
LambangSari,Ingah, 174 GregerSaurP7,327 Renyep59, 87
l,ebdaJiwa, Bttban¡, 234 HastaKuwala Açng 56, 45 Seka¡Puri SM, 184
Lobong Gd.,176 Hasta[ûswalaAlir 56,46 Sri RejekiP6,95
Madu Murti, Kt.217 MataramanP6, 131 Sumedhang 59, 96
Madu Retna,S.,4*,f75 Mentar¿man 56, 198 TejaNata P5,8
Mi j il Ïøedaringrf¿s,Jineman,257 TejaSariP5, 14
Mijil, Ayak-ayakan, 239 ,{ndhegan6cSelingan WidaSariP7,225
Mijil, SekarMa c:;par,262 Asmaranda¡aSemí¡rangan,P5,p. 107 T7induAjiP5,17
Monce¡,I-¿..,201 Arum-arum@udhengbudhcng) P6,61
Orek-orek Montore Mabur, Lagu,247 BrondongMenruIW,277 Gendhing IGmmaIc
PamanTani, l:gu Dolanan,252 Cek¡lüekSM,171 Mangun-kung59, 139
Pangkur (ngelik), l-d..,206 KututManggungSM, 170
Pangkur,U.,203 Sinomlogondhang59, 95
Patalon,seeGd. Cucur Bawuk,148 Inggah
Pawukir,218 GambirSawitSembungGilang 63
Ark-,{yakan IambangSariSM, 174
PrabuAnom, IÁ,,208 Giyar-giyarP7, 309
Pucung SekarMacapar,263 l-zmbangSariP7,232
Ayak-ayakanP6, 86 Gambir SawitPancenna,P6, 62
Puspanjana, I"¿,.,182 Ayak-ayakanP7,222
PuspaVama, Kc,220 Pa¡eA¡om, SM, f 51
'¡t¡'ak-aYakan
56' 36
PuspaIØama(v. Z),Yr.,222 Ayak-ayakan 59, 131
Rena-rena, L¡'233 Jineman
Ayak-ayakanßatalon) SM, 154 Mijil \ØcdaringryasSM, 257
Ris-i¡isanPandhan,l-aguDolanan,253 ¡ak-ayakanSM, 235
Ris-i¡isanTela, Lagu.Dolanan,254 Mijil S7ìdawaten P6, 192
KaloranSM, 237 Mijil SulastriP7, 315
Rujaklen¡k,U,210 Mijil larasati59, 126
SandhungKt.,224 Tat:nyzP7,316
Mijil sM,239 Uler KambangP6, 193
SekarPuti, Gd., 184 Umbul DongaSM, 241
SekarTeja,Kt ,226 Uler IGmbang59, 134
Sepuran,LaguDolanan,255 I7idng Klapa59, 136
Srepegan Buba¡a¡
@atalon),156
Srepegan (v.2),243 LebdaJiwaSM, 234 I(eawang
Srepegan¡Yorya) (v. 3) 5M,24 Purnama Sidi59,78 BasanmP6, I53
Srepegan(Y"g¡r.) (v. 4) 5M,245 YadenP7,307 BrondongMennrl P7, 275
Sri Katon (Patalon),IÅ,.,152 DanaI[a¡a P6, 157
Sri Katon (v. 3), LÃ., 214 Gendhing Dulsina P6, 159
Sri Katon(v.2), LÅ., 213 Bondhet,P6,46 Gambuh P7, 278
Sukmallang (Paulon),153 Bondhet(togjra)P6,52 Gunung SariW,T79
Sukmallang (v.2), 22Å BoyongP7,205 Ibu PertiwiP5,32
Tebu Kasol,S-A-,261 Budhcng-budhengP6, 57 KembangKatesSM, 2t6
Tukang l(a¡r, lagu Dolanan, 256 C.arangGantung,SM, 143 I(ambangKatesP7, 281
Umbul Donga,Ayak-ayakan,241 Cucur Bawuk,SM, 148 IGntap P6, 160
IØantah,Patletan,258 GambirSawit(merong),59, 60 Ktswa ï?irangrongP6, 162
Gambir SawitPanærana,P6, 62 I-ançn Gita [SriNarendr¿]P7,282
Gambi¡Sawit59, 53 Lançn Gita SriNarendraP7,284
GenesSM, 157 Lans Maya P7, 286
GonjingMiringSM,160 IarasMaya(v.2)P7,288
GandaKusumaKc Gd. 59,67 MaduMuni SM,217
HasriKatonP7, 209 Megtnrh P7, 290
Jongkang,Kt. Gd. 59,70 PangkurNgrenasmaraP5, 34
IGbo¡ 56,3 PawukirSM, 218
K?gokRespatiP6, 68 PuangP7,292
Kinant]¡iPadhangBulanSM, 164 PuspaGiwangP7,294
Kocak,56,7 PuspanjalaP6, 164
KututManggungSM, 166 Puspanjala(v. 2) P6, 166
lambangSariSM, 172 PuspaTajem
l,obon6 SM, 176 .WarrnP6, 168
Puspa SM, 220
I¡k¿nanta56,l0 Puspa\flarna[2)5M,222
l¡kanana (v. 2), 56, 16 SandhungP7,296
Majemuk56,19 SandhungSM, 224
Ma¡ang Mekar P5, 3 Santi-sundaP5, 36
Onang-orang,P6,74 SekarTeja5M,226

272 YocalMusic of KRT. \Øasitodiningrat

 Sinom ParijathaP7,298 RoningTawangP6, 135 Emplek-emplek KerepuSM, 230
Sri Lulut P7,300 RujakJenrkSM, 210 God¡il 59, 124
SubatrGstawa P6, 170 SaraYuda(Soroyudo)P6, 137 Gugur GunungP7, 305
Suba}äsmwa59, 122 SedyaAsih P7, 251 Kidangtalun 59, 125
Sukmallang @aalon)SM, 153 Sembawa P5, 28 ModernisasiDesaP6, 176
SukmaIlang (v.2) SM,2?Å Sþm s6, 17 Rena-rena SM, 233
SumedhangP6, 172 SobrangBetawenP7,227 TropongBangP6, 178
TungalJiwa P6, 174 Sobnng56, 43 'SØaditr¿
P6, lB0
T[edyasmara P5,38 Sri Duhita P7,253 IØalangKekek59, 133
S:iKalol<aW,256 SØelasanAsih P5,40
Ladrang Sri líarongmn59, 116
ArgolaguP6,tOl Sri trGcrartaP6, 139 Pala¡a¡
ArgopeniSM, f86 Sri RcjekiP6,98 Ilir-ilir P7, 318
Asmarandana SM, 188 Sri SinubaP6, 144 Pangkur P7, 319
Asmar¿ndana P7, 2l I Sri IØibawa59, 120
Asmar¿ndana (v. 2) P7,233 Sd Ilidada P7, 260
Pathetan
Asmarandana Jakalúa P7, 236 Sri IGton (Paalon)SM, 152
Ayun-ayunP6, 104 Sri Katon(v.2) SM, 213 Jugag (slendro) P7, 322
,{yun-ayun(v.2) P6, 108 Sri Keton(v.3) SM, 214 Juæ1W,323
,{yun-ayun(gerong)P6, lll SriKaronP7,264 J"æe (". 2) P7,3n
Ayun-ayunSM, l9l SumyarW,266 Jug4S6,42
Badnnaya56, 27 SunrngDhayung(Yogya)P6, 148 Jugag59, r38
BanyakNglangiP5, 6 SurungDhayungP6, 146 JuggSM,259
Kedhu56, 43
Bima Ku¡da P7, 238 Tebu SauyunP7,270
\trantah56,4l
DuparaP6, l13 Tirta KencanaP6, 150 'Wanah
(manyura)P7,321
Dir¿daMeu 56, 29 Wesrminsær 59, 65 'Waneh
'SØantahandJugagP6, 195
Eling-elinglGsmar¿n59, 90 V\IajengP7,T/2
'W-dujeng 59, 137
GinonjingSM,194 (v.2)W,I74 'Sl'antah
'[7indu SM, 258
GleyungP6, 116 Aji (gerongan)
P5,30
GandaSuli 59, 69 VinduAji (sindhenan) P5,3l
Gonjang-ganjing S9,98 l?irangrongP6,I52 SekarÂgeng
Gonjang-ganjing (v. 2) 59, 102 C¿nd¡aAsmar¿,lampah16 pedoan &8,
GudhaSih P5,19 P7,245
Irgoo
GunungSari P6,118 Gurnang lampah6 pedotan24,56,48
Jugag(Mataraman)P6, 87 l-angenAsmara,Iampah14 pcdotan6-8,
Hutama59, 104 JWagP6,196 s9,115
JangglenglrcngPí,12l JugagSM, 260 Madu Retna,lampaht2 pedoÉn5-7, SM,
JanffitLa,naP6,124 I-agon,WayangGolekP7, 324
175
Jongkang59,71 TlgøhW,325
IGgok Madura59, 106 Madyalalia, lampah9 pedonn 54,P7,
IGgok RespatiP6, 126 2M
tg" ManggalaGia, lampahl5 pedotanB-7,
IGgokLiwungSM,198 Asmarandana SemaranganP5, 107
IGgok SemiP6, 127 06,73
GambangSulingP6, 183 Puspa[.alia, lampah12 pedot¿n6-6, P6,
IGpi RentoP5,2t GonMaryaW,263
KembangPepeP6, 85 199
KembangKacangP6, 184 RetnaMulya, lampah12 pedotzn444,
KembangPepe(v.2) P6, 129 Kuwi Âpa Iúrwi P7,311
KembangPeæSM, 146 P7,259
Oret-orek Montore Mabu¡ SM, 247 SudiraMcitra, Iampah12 pedotan5-7,
I(andhaManyuraSM, 199 Penghijauan56,39
IGr¿witan56, 4 P6,45
RandhaNgangsuP5,42 Tebu lGsol, lampah9 pedotan4-5, SM,
Kutut ManggungSM, 168 SopirBecakP6, 186
l.arasingrumP6, 130 261
Lung GadhungP6, 132
lagu Dolanan SekarMacapat
Manjilo P5,22
Aku Duwe Pidk SM, 248 Asmarandana Semarangan P5, 107
Moncrrú,24I
Bua GalakSM, 249 DhandhangGula Tu¡u la¡e P6, 200
Monce¡ SM, 201
GaFJtß{ahP7,312 Du¡ma.W,329
Mugi RahayuP7,242
Gajah-gjahSM, 251 Gambuh56,49
Pakumpulan59, 109
Pangkur(nçlik) SM, 206 JagoKateP7,373 Gambuh(v. 2) 56,50
KupuKuweP6,188 Kinanthi lagu leras Mady W,328
PaogkurP7,246
Mcnthok-menthokP6, 190 Mas KumambangP6,20l
PangkurPN, 333 '$7asis
Nyata Kowe P7, 314 MijilsM,262
Pangkur59, lll
PamanTani5M,252 Pucung56,48
PangkurSM, 203
Ris-irisanPandhanSM, 253 PucungSM, 263
PlayonPÍ,24
Ris-irisanTela SM, 254 Sinomlogondhang59, 95
Playon(v. 2)P5,26
SepuranSM, 255
P¡abu,AnomSM, 208
TukangKayu 5M,256
Pu¡namaSidi 59, 75 SekarMad¡ra
Tulis lGesnaP6, 191
PumamaSidi (v. 2) 59, 83 Hasri Katon P7, 330
Puspanjana SM, 182 KuswaRagaSM, 165
Remeng56, 32 Iancaran
RondhaMalam 59, I 14 DhahanaP7,303

Indexes 273
 Indexby pathetandform Sumedhang 172
Sekar Tengahan TunggalJiwa" 174
Maesa l^angit P7, 218
Pelog Lima Lødrøng
Argolagu, lOf
Sendhon Gadhing ,{yun-ayun, 104
Kloloran 56,47 Mayang Mekar, 3 ,{yun-Ayun (v. 2), 108
Teja Nata, I Ayun-ayun (gerong), I I I
Srepegan Teja Sari, 14 Dupara, I l3
Gegot SM, 246 \üìndu.A,ji, l7 Gle¡rng f 16
Kumuda P6, 182 Keøuang GunungSari, 118
Srepegan56,37 Ibu Pertiwi, 32 Jangglcng lren6 121
Srepegan59, 132 Pangkur Ngrem maru 34 Jangga,I-ana,124
Srepegan(Pamlon) SM, 156 Santi-sunda,36 Kagok Respati, 126
Srepegan(v.2) SM, 243 'Wcd¡asmara, KagokSemi, 127
38
Srepegan (Yogr) (". 3) SM,244 Kembang Pepe,8J
Srepcgan (Yoeya) (". 4) SM,245 I-adrang
KembangPepe(v.2),129
SrepeganP5, 41 Banyak Nglangi, 6
l-aresingrum, 130
SrepeganP6, l8l Gudha Sih, 19 LungGadhung 132
SrepeFn PZ 310 ßäpi Rento, 2l
RoningTawang 135
Manjilo,22
Sa¡aYuda,137
Playon,24
Sri K¡etara, 139
Plryon (v. 2),26
Sri Rejeki, 98
Sembawa,28
Sri Sinuba, 144
IPìndu Aji (gerongan),30
Surung Dhayung üoСa), 148
Iüindu.A,ji (sindhena¡), 31
SuarngDhayung 146
L"C" Tirta Kencana, 150
Randha Ngangsu 42 I7irangrong 152
I¿ncømn Lagn
TØelasanAsih, 40 Jugag (Mataraman), 87
Srepegan Jugg, 196
Srepegan,4l Løga
Asmar¿ndanaSemar¿ngan(P5), 107
Pelog Nem Gambang Suling, 183
Kembang lGcang, 184
Ada-A¿a
SopirBecak,186
Greget Saut, 197
Mararama¡, 131 Izgu Dolzttan
Kupu Kuwe, 188
Andhegøn
Menthok-mcntholc 190
A¡um-a¡um @udheng-budheng), 6l Tulis Kresna, 191
Løncørøn
,¿tyak-ayakan,86 Modemisasi Desa, 176
Gcndhing TropongBang 178
Bondhcq 46 Vaditr¿, 180
'!Øantah
Bondhet (Y"ga),52 andJugag 195
Budhcng-budheng 57
ScÞarAgng
Gambir Sawit Pancerana,62 Manggala Gita,73
l(agok Re.spad,68
Puspa Lalita, 199
Onang-onang,74
Sudira ÏTicitra, 45
Purwa Gilang, 84
Randhu Kentir, 88 ScÞørMuapøt
Rebeng 9l Dhandhang Gula Turu Larc, 200
Sri Rejeki, 95 Mas Kumambanp 201

Jincman SrEegaz
MijilMdawaten, 192 Kumuda, 182
Uler lGmban6 193 Srepegao 181

IGtawang
Pelog Barang
Basana, I53
Dana Wan, 157 A¿a-a¿a
Dul<sina, 159 Ada-ada, IØayang Golelç 324
Kontap, 160 Durma,326
Kuswa !7ìrangrong, 162 Grcget Saut, 327
Puspanjala,164 Andl*gan
Puspanjala(v.2),166
Brondong Mentul, 2Z/
PuspaTajem, 168
Suba Kasrawa,170

274 TheY ocalNotation of KRT.'Wasitodiningrar

 A1aÞ-A1atrøn P¿laran Sendhon
Gþr-giyar,309 Ilir-ilir,318 Klolor¿n,47
Ayak-ayakan,222 Pangkur,3l9
Srcpegan
Bubaran Pathetan Srepepn,3T
Yaden,307 Jugag(slendrd,322
Gcndhiag Jwe(v.2),327 Slendro Sanga
Boyong,205 Jws,323
'W'anmh
(manyura),321 Andlxgøn
HasrilGton,209
Sinom lngondhanp 95
PancatNyana,215 SeÞørAgng
Pandilori,219 Candr¿ Asmara, 245 Ayøh-ayhan
TffÅaSari,225 MadyaI-alita,2M Âyak-ayakan, 131
Rctna Mulya, 259 Mijil Lansati, 126
Ingah
LambangSari,232 SeharMøcøpdt Bubarøn
Dwrma,329 PurnamaSidi, 78
Jirutnan
Mijil Sulastri,
315 Kinanrhi, lagr lans lvladya, 328 Gndhing
Tatanya,316 SeÞzrMadlø Gambir Sawir (mcrong), 60
Hasri Katon, 330 Gambir Sawit Sembung Gilang
I{ctauøng (inggah),63
BrondongMentul, 275 Sektr Tengøhan Gambi¡ Sawit, 53
Gambuh,278 Maesa l¿ngir, 218 Ganda Kusuma, Kt. Gd.,67
GunungSari,279
KambanglGtes, 281
Srepegan Jongkang, Kt. Gd.,70
Srepegan,310 Purnama Sidi, Kt. Gendhing 73
LangenGita [Sri Narendra],282
Purnama Sidi (v. 2), Kt. Gendhing 79
lançn Gia Sri Narcndra,284
Pelog Nyamat Renyep, 87
IarasMa¡a, 286
Sumedhang 96
Iaras Maya(v. 2),288 Ladrang
Megatnrh,290 Gndhinglhtatøh
Pangkur,333
Puang292 Mangun-kung, 139
PuspaGiwang 294 Ingah
Slendro Nem
Sandhung296 Gambir Sawit Sembung Gilang 63
SinomParijatha,298 Ada-a¿z
S¡i Lulut, 300 Gins,44 Jinnnøn
Hasta Kuswala Ageng 45 Uler Kambang 134
Ladrang lØiting Klapa, 136
Hasta Kuswala Alir, 46
Asmarandana, 211
Menarama¡, 198 IGtøaøng
.Asma¡andana (v. 2), 233
AsmarandanaJakalaJa, Alah-ayøÞan Suba Kastawa, 122
236
Bima Ku¡da"238 Ayak-ayaløn,36 Ladrang
Moncnr,240 Gendhing Eling-eling Kasmaran, 90
Mugi Rahayu,242 IGbor, 3 Ganda Suli, 69
Pangkur,246 Kocak,7 Gonjang-ganjing 98
SedyaAsih,251 l¡kananta, t0 Gonjang-ganjing (v. 2), 102
SobrangBeawen,221 l,okananta (v.2), 16 Hutama, 104
Sri Duhia,253 Majemuk, 19 Jongkang,7l
Sri Kaloka,256 Pujangg,23 KagokMadura, 106
Sri Vidada, 260 Pakmpulan, 109
Sri Katon, 264 I-adrøng Pangkur,111
Sumyar,266 Badranaya,IT Purnama Sidi,75
Tebu Sauyun,270 Dirada Mee, 29 PurnamaSidi (v,2),83
Vilujeng,272 Kar¿witan,4 Rondha Malam, 114
Vlaleng(v.2),274 Remeng, 32 Sri Karongron, I 16
Siyem, 17 Sri \Øibawa, 120
Lø.gon 'l7estminste¡,
'Wayang Sobrang 43 65
I-agon, Goleb 324
]Veah,325 Løgt¿ Iznøran
Penghijauan,39 God¡il, 124
Iøgu
GonMarga,263 Patheøn KidangTalun, 125
KuwiApa Kuwi,3lI J"æg,42 Valang IGkelc 133
IGdhu,43
'Süantah,4l Patlteøn
Izgu Dohnan
Galah-gaj^h,312 Jueag, 138
SekørAgeng IXIanuh, 137
JagoIGte,313
Nyata l(owe ÏØasis,314 Gurnang 48 Sehar.Agcng
L¿ncøran SchørMacapøt fançn.Asman, l15
Dhahana,303 Gambuh,49 ScÉarMacapdt
Gugur Gunung 305 Gambuh(v.2),50 Sinom logondhang 95
Pucung 48

Indexes 275
 Srepegan Buta Galak,249 Piecesin Bedhayanstyle
Srepegan,132 Gajah-gajah,251
PamanTani,252 GleyungLÅ.P6, 116
Ris'irisan Pandhan, 253 Gonjang-ganjing (v. 2), td. 59, 102
Slend¡o Manyr¡¡a Hutama,td. 59, 104
Ris-irisan Tcla, 254
Andhcgan Sepuran,255 KembangPepc,Lrl. P6,85
Cekik¡eh lZl Tukang IGyu, 256 Kembang Pepe(v.2),1À.P6,129
Kutut Manggung, 170 Kinanthi PadhangBulan,Gd. SM, 164
Izncaran KandhaManyura,td. SM, 199
A1øÞ-øyøhzn Emplek-cmplek Ketepu, 230 langenGita [S¡iNarendra]P7,282
Ayak-ayakan @atalon), f 54 Rena-rena,233 langenGia SriNa¡endr¿P7,284
Ayak-ayakan (y.2),235
Padteøn Playon,lÅ. P5,24
Kalonn,237
Jug,g259 Playon(v.2),1À.P5,26
Mijit,239 Sembawa,
Ifanmh, 258 U.P5,28
UmbulDonga,241
Sumedhang P6, 172
ScÞarAgmg
Bubaran SurungDhayun9 LA. P6, 146
Madu Retna, 175
Le,bdaJiwa,234 TCilujengU.P7,272
Tebu lGsol, 26I
Gcndhing
SeÞø.lulacapat
CarangGanung 143 Pieceswith Andhegan
Cucur Bawuk, 148 Miiit,262
Genes,157 Pucung263 Ayun-ayun,LÅ.P6,1O4
Gonjing Miring 160 ScÞarMadya Ayun-ayun(v. 2), td. P6, 108
KÌnanthiPadhangBulan,I 64 KuswaRåga,165 BrondongMennrl,Kt. W, 275
Kutut Manggung 166 Budheng-budhen g, Gd. P6, 57
SrEegøn
LambangSari, 172 Eling-elingKasmaran, ld. 59, 90
Gepu246
lobong 176 GambirSawit,Gd.,59, 53
Srepegan@atalon),156
SekarPuri, 184 (v.2),243 Ginonjing Ll. SM, 194
Srepegan
Gonjang-ganjinglrl. 59, 98
Ingah SrepeganÇYoWa) k. 3), 244 trGgokRespati,Gd., P6,68
IambangSari,174 Srepcgan(Yoga) (v. 4), 245
KembanglGcang,lågu P6, 184
Jirctnan Kutut Manggung,Gd. SM, 166
Mijil IØcdaringryas,257 lnbong, Gd. SM, 176
IGøwøng Pu¡namaSidi (v. 2), i.d. 59, 83
KembangKates,216 Sri Kaloka,l-d.P7,256
Madu Muni,2l7 ìØidaSa¡i Gd.,P7,225
Pawukir,218
Puspa!Øarna,220 Bawa
PuspaVarna (v. 2),222
Sandhunp224 Gndra Asmar¿S.4..,lampah16 pedotan
SekarTeja,226 8-8 P7 (fo¡ ld. Panglarr),245
SukmaIlang(Paralon),153 KuswaRaga,SekarMadyaSM (for Gd.
Sukmallang (v. 2),228 Ifutut Manggung),165
langenAsmara,S-4-,lampaht4 pedotan
Lødrang
6-8 59 (ForLxl.Sri llarongron),I 15
Argopeni,186
Madu Rcma,S.A, lampah12pedor:.n5J
Asmarandana, 188 SM (for Gd. tobong), 175
Ayun-ayun,191
MadyaLalia, S.À, lampah9 pedoan54
Ginonjing 194
P7 (for t d. Paogkur),2M
IGgok Liwung 198
Mangala Gita"S.4-,lampah15 pedotan8-
KembangPete,146
7 P6 (for Gd. Onang-Ornng),73
KandhaManyura, 199
RetnaMulya, S.À, lampah12 pedotan4-
Kutut Manggung 168
44P7 (forlÀ,. Sri fØidada),259
Moncer,201
SudiraMcitr¿, S.i{",lampah12 pcdotan5-
Pangkur(nçlik),206
7 P6 (for Gd. Bondhet),45
Pangkur,203
PrabuAnom,208
Puspanjana, 182 Pieceswith lrama l. ll and lll
RujakJeruk,210
Sri Katon (Patalon),152 Argolagu,td., P6, 101
Sri lGton(v.2),213 .Asma¡andana, t,d. SM, 188
Sri Katon(v.3),214 Ama¡andana, U.P7,2ll
,{yun-ayun, lÅ,. P6, 104
I-agon Ayun-ayun(r. 2), td.P6, 108
Jluær,260 Eling-eling IGsma¡¿n,Ld. 59, 90
Løga GunungSari,kl. P6, 118
O¡ek-orek Mon torc Mabw, 247 Janggleng lren6 LÅ. P6, l2l
Pangkur,L¿ 59, lll
I-øguDoktan
Pangkur,L"d.SM, 203
Aku Duwe Pirik, 248
Pu¡namaSidi (v. 2), Id. 59, 83

276 The VocalNotationof KR-T.'Wasitodiningrat

 Sri trGloka,LÅ.P7,256
Sri Karongron,Ld. 59, It6
Sri Kretarta,l-d,.P6, 139
Sri Mdada, LÅ.P7,260
Sumyar,f.d.P7,266

Pieceswith lrama lV
Majemuk,cd. 56, 19
Onangonang Gd.P6,74
Pangkur,U.P7,246

Piecesin Yogya style

,{da-ada,I7ayangGolekPZ 324
Brondong MenaÅ, And\eganW, 277
BrondongMennrlP7,275
Jugag(Mataraman), I¡gon P6,87
Jug¿g,t^agonP6, 196
Jup6 lagon SM, 260
hgon, WayangG olekP7, 324
Srepegan(Yogra)(v. 3) 5M,24
Srepegan(Yogla) (". 4) 5M,245
Srepegan P7,310
SurungDhayung(Y"g¡¿),LÅ.P6, 148
IØetah,LagonP7,325

Compositionsby K.R.T.Wasitodiningrat
Argolagu,Ll. P6, l0l
Agopeni, Ld. SM, 186
Basanta,Ks P6, 153
Dhahana,Ln.P7,303
DanaVam,k.P6,157
Duksina,Kt. P6, 159
Dupara,l"d. P6, 113
Gora Marga, Lag,:,P7, 263
Gugur Gunung Ln.P7,305
Kontap,Kt P6,160
Kupu Kuwe,l:gu DolananP6, 188
Kuwi Apa Kuwi, LaguP7, 3ll
Manjilo, l-Ã.P5,22
Mijil Vidawaren,JinemanP6,192
ModernisasiDesa,Ln. P6, 176
PamanTani, lagu DolananSM,252
Penghijauan, lagu 56, 39
PurnamaSidi, Bubaran59,78
PumamaSidi,Gd. 59,73
PumamaSidi,td. 59,75
PurnamaSidi(v.2), Gd. 59,79
PumamaSidi (v. 2), td. 59, 83
Puspalalita, Sá. P6, 199
RondhaMalam,Ll. 59, 114
Sepuran,LaguDolananSM, 255
Sopir Bccalst"aguP6, 186
Sri Duhita,LÅ.P7,253
Sri Lulut, Kt. P7,300
Tatanya,Jinemaî P7, 316
Tukang IGyu, lagu Dolanan 9]li/.,256
Tulis K¡esna,lagu DolananP6, l9l
Vadera,BubaranP7,307
T?aditra,Ln. P6,
'lfedyasmara, 180
Kt P5,38
!flelasenA¡ih, Ln. P5,40
'Wesrminsrer,
Ld. 59, 65

lndexes 277