Weekly Padgett

No. 0271 min read

Koplo and the kendang: let the drummer finish, nimrod

Koplo puts the kendang in charge. East Java roots, the fight over dancing and dangdut, and why my bass doesn't need to answer every damned drum fill.

A barrel drum, stool, amplifier, and bass guitar occupy a raised platform beside carved walls and rope barriers.
File photoDramatization. No music was harmed.

You can play a fast drum part and still go absolutely nowhere. Everybody's sweating and there's plenty happening, but I can't hear the song moving a damned inch.

Koplo[1]Ref. 1Koplo en.wikipedia.org is a good place to hear the difference. The kendang[2]Ref. 2kendang en.wikipedia.org can tell the band when to turn or hold back. It can give the floor another push too. Calling dangdut[3]Ref. 3dangdut en.wikipedia.org koplo faster dangdut misses what interests me about it. I want to hear how the kendang directs everybody else, even more than I want the tempo number.

Here's the bass player's temptation. The drummer adds a flourish, so we answer with a flourish, because apparently the world needs proof that we also brought fingers. Then we're both busy and the song gets crowded. I'd rather keep the bass figure legible while the kendang handles the fast information. And I have to let the drummer finish instead of answering every goddamn fill.

References

  1. Koplo en.wikipedia.org ↩
  2. kendang en.wikipedia.org ↩
  3. dangdut en.wikipedia.org ↩
musickoploindonesiarhythm

More on this beat