Gong ageng

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Two gong rails; the two sets (on unconnected stands) are pélog and sléndro. On each there are smaller kempul hung at two levels between the gong ageng (the largest, on right) and gong suwukan (on left, facing opposite way).

The gong ageng (Kromo Javanese meaning large gong, ngoko is gong gedhe) is the largest gong in a Javanese and Balinese gamelan. It is used as to mark the largest phrases in the structure. In small structures, the gong ageng is used to mark larger groups than the smaller gong suwukan. In the larger gendhing, only the gong ageng is used. It is typically pitched to match the 6 of the gamelan. Full gamelans sometimes only have one, for both pélog and sléndro, but can have both as well, even if the pitches are the same.

The gong suwukan is the smaller gong in the set used for smaller phrases. It is generally pitched higher, and at different pitches for pélog and sléndro. Frequently gamelans will have more than one gong suwukan, for different ending notes, and different pathet. Most common is a 1 for pathet sanga and lima, and 2 for pélog pathet nem and barang, and sléndro pathet nem and manyura. Usually a 1 can be played for gatra ending in 1 or 5, and a 2 for 2 or 6. A few gamelans include a gong suwukan 3 as well.

A gongan is the time between soundings of the gong which can vary from a few seconds to several minutes depending on the tempo, irama, and length of the structure (bentuk). It is the longest time-span in the colotomic structure of gamelan.

The goong ageung plays a similar role in Sundanese gamelan (e.g. degung). The kempur in Balinese gamelan is similar to the gong suwukan (and not to be confused with the Javanese kempul). In other Indonesian and Philippine cultures, its analog is the agung.

The gong ageng is considered the most important instrument in a gamelan ensemble, and the soul or spirit of the gamelan is said to live in it. They are sometimes given offerings of flowers and incense before performances.^[1]

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