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NMM 9870 and 9871. Rebabs. Teakwood body, neck, and tuning pegs. Strung with a single brass string that is wrapped around one peg, stretched down over the body, wrapped around a knob and ringlet at the foot, returned back across the body, and wrapped around second peg. Back of body covered with a red cloth decorated with gold-colored embroidery. Length: 111.8 cm. Teakwood stand decorated with flower and leaf pattern covered in gold leaf. Accessories include a bow (kosok), removable bridge (sreten), undecorated wooden case, block of rosin, and an extra coil of brass wire. |
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Function: The rebab is, in many ways, the melody leader. It plays a more lyrical melody than that of the basic or skeletal melody instruments like the slenthem and it articulates the high and low tones that the slenthem and saron are not able to play because of their limited range. The rebab is often responsible for playing the introduction to a piece of music (buka), signaling the other players to move to different sections of melody within a piece, and in many instances, deciding which pieces to play. This is often done by simply playing the introduction, and the other musicians are expected to recognize the piece and follow along. The rebab and gender barung are closely related, often listening to each other for melodic variations and ornamentation. The rebab and gerong (vocal part similar to a choir) are also interdependent in establishing the lyrical melody of a piece.
| Playing technique: The rebab player sits cross-legged on the floor with the instrument held vertically—its spike resting on the floor in front of the player. The instrument is bowed at the point where the neck joins the body. The player’s left hand articulates the notes by pressing gently on the fretless wire, with the thumb remaining behind the neck. |
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