Page 407 - Proceedings Collega2023

chest by walking, making a small curve each time the exchange with the walking foot position. Next, the
movement motif of the Layar Sirih hand position is performed after the Daun Sirih hand position. The
motive of the movement of the foot position Berjalan is still done in a circular or spiral formation.

Toh Lai Chee (2006) states that the Gambang Song played to accompany the Gambang dance is
marked by a gong on every eighth beat, a mong, and a kecerek on every 2nd beat in an 8-bit beat cycle
produced by an increasing beat of the rebana. The rebana penganak plays the 8-bit tree beat produced
by the rebana ibu in a different 8-bit beat pattern. As a result of the marriage, the rhythm of Gambang
song was created. The relationship between the colotomy structure of the song marked by the gong on
every 8th beat in the 8-bit beat turn with the Gambang dance movement is detected through the change
of foot beats. The dancer moves one Step in a circular floor pattern on each beat 24 based on three turns
of the colotomy structure marked by the gong on beat eight and three turns of the eight beat produced
by the beat of the rebana.

Figure 1.14

Gambang Song Notation (Toh Lai Chee, 2006)

Based on the Western music notation/score from Toh Lai Chee (2006) (Refer to Figure 1.15) and
the traditional music score from Kamarul Baisah (2017) (Refer to Figure 1.16), the Gambang song starts
from the beginning of the rebana ibu being hammered interspersed with the first sound of the gong (4
bit). It continues with 8 bits, an Anak Menora song accompanied by dance movements. Each
notation/score of this traditional music will be repeated as many as eight rounds of music are played.

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