Dr.

Mohd Hassan Abdullah

ENCHANTING THE CULTURE: AN

INTRODUCTION TO THE AUTHENTIC KOMPANG
PLAYING

BY
DR. MOHD HASSAN BIN HJ ABDULLAH
Head of Department
Department of Music
Faculty of Arts and Music
Universiti Pendidikan Sultan Idris
Tanjong Malim, Perak

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Dr. Mohd Hassan Abdullah

The Kompang in the Organological Perspective

In the Malay world, the instrument is called the kompang by the Malay people
who are settled in the Malay Peninsula, Borneo Island, Singapore, the Riau Archipelago,
the eastern coast of Sumatra and in West Java. However, the instrument is also called by
different names, such as the rebana, kumpang, terbang, bibid, babonan and kempling, by
different people from different places, and is categorized in the rebana family in the
Malay Archipelago. However, the term kompang is the most well-known and widely used
by the Malay people to describe the instrument, particularly in the Malay Peninsula.
Other terms are also used, more rarely, by different ethnic groups in different places; for
example, the term terbang is used by some players of Javanese ethnic origin. Some of
the other terms used to describe the kompang-like instrument may not be recognized by
most of the Malay people because these terms are very rare in daily usage. A similar type
of instrument is also known as the Rebana Perak by players in the state of Perak.
Often, another Malay word is attached after the word kompang to describe a
particular condition or character that is associated with the instrument, such as the place
where the ensemble performs or the type of the ensemble. For example, the instrument is
called the Kompang Ezhar by players in the Ezhar organization found in many states on
the west coast of Peninsular Malaysia. The Kompang Johor, the Kompang Selangor, and
the Kompang Perak are the terms used to describe the instrument played in the states of
Johor, Selangor, and Perak.
It is also important to note here that some Malay people use the terms Kompang
Ribu, Kompang Tiga, Kompang Tujuh, and Kompang Jawa in their daily conversation.
These are among the terms which refer to the number of the players in the ensemble or
who perform on the instrument. The term Kompang Ribu (Thousand Kompangs) refers
to a kompang ensemble performed by a large group of players. Meanwhile, the terms
Kompang Tiga (Three Kompangs) and the Kompang Tujuh (Seven Kompangs) refer to
the small ensembles which consist of three parts or only seven players in an ensemble.
The term Kompang Jawa is used to describe the kompang ensembles performed by
players of Javanese ethnic origin. It is found mainly in the state of Johor and certain

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Dr. Mohd Hassan Abdullah

places in Selangor. There is also the term Main Kompang (kompang playing) which is
often used by Malay people to describe kompang playing in the form of an ensemble
performed for certain occasions. Most Malaysians spell the word as kompang but other
spellings are found. For instance, The New Grove Dictionary of Musical Instruments
(1984:794) spells it as kumpang.
The kompang is a single-headed frame drum consisting of two main parts; the
baluh (frame) and the muka (head).

The baluh is a frame made of tropical hardwood

carved into a circular shape. Some players called the frame as balong. This is where the
player holds the instrument. The muka is the drum head made of animal hide skin (called
belulang or kulit), goatskin hide or cowhide depending on the type of kompang. It is
stretched over the frame and attached with small nails. A piece of red lace made of cotton
cloth, or a piece of copper about 1 centimetre wide is attached with metal tacks around
the frame to cover the edge of the head. The edge of the open end of the baluh is called
the bibir (lip). It is a curious name, given that this part does not look like a pair of lips,
but none of the players or kompang makers that I interviewed could explain for sure why
it is called the bibir.

Balu

Muka

Metal tacks

Red Lace

The structure of a kompang

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Sedak

Bibir

Dr. Mohd Hassan Abdullah

The kompang is constructed in every whole-inch diameter size from 6 inches to

15 inches inclusive. However, the 12 inch and 13 inch kompangs are very popular and are
the ones most preferred by mature players for performances. However, larger sizes may
sometimes be made for other purposes such as for decoration or as a gift. The smaller
sizes are normally used by young players in practice sessions because they are lighter in
weight than the bigger sizes. The 6 inch to 9 inch kompangs are also sold as souvenirs
for tourists1.

13 inches

3 inches

inch
12 inches

Cross view of the baluh of a 13 inch kompang

The shallow-curved frame, which is called the baluh of a kompang, is about 3
inches deep with a thickness of about inch. Some kompangs are carved on the outside
of the frame with various patterns to make them look beautiful and artistic. The open end
of the baluh is always constructed to be one inch less in diameter than the size of the
kompang. For example, the open end of the 13 inch kompang is 12 inches in diameter
and the open end of the 12 inch kompang is 11 inches in diameter. The thickness and
deepness of the frame for any kompang is the same regardless of its diameter. Some
kompangs are entwined with a nylon string at the bibir to prevent the baluh from
cracking or breaking. Most kompangs are drilled with a small hole in the middle of the
baluh. The purpose of this hole is to tie a string to the kompang so that it can be hung up
when not in use.

There are a few other types of kompang that are not discussed here.

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Dr. Mohd Hassan Abdullah

TUNING
Being a non-pitch percussion instrument, the kompang is not tuned to any
standard pitch. Generally, every individual instrument is slightly different in timbres and
pitches. It depends on the tautness and thickness of the head as well as the size of the
kompang.

However, the kompang also needs to be tuned to the bunyi yang betul

(acceptable sound) before it is played. All the kompangs used in an ensemble are tuned
to a rough pitch as close as possible to each other. For most traditional kompang players,
the word tuning means nothing to them. All they do before every performance begins is
insert a small piece of rattan (called sedak) inside the baluh to tighten the membrane.
This is an essential thing to do before they sit in a group. Even though there is no
standard tuning set for the kompang, an experienced kompang player is able to tell the
bunyi yang betul of a kompang. The exact pitch is not very important to the players but
the bunyi yang betul of a kompang is described as loud, penetrating, sharp and taut. In
general, it can be concluded that the bunyi yang betul of a kompang (the Kompang Ezhar
and Johor) ranges from c0 to g0 in terms of standard Western pitches. In this case,
any kompang with the rough pitch within the bunyi yang betul can be played together.
Moreover, the timbre of each kompang is also different from the others depending on the
thickness and tautness of the head. This is why they (the players) claim that the beauty of
the kompang ensemble derives from the mixture of the various timbres of the kompangs
performing together.

Range of bunyi yang betul of a Kompang

PERFORMING TECHNIQUES
Unlike many other frame drums around the world, which instruments are mainly
played by tapping the head of the instrument with the fingers of both hands or using
sticks, the kompang is instead beaten with only one bare hand. This is because the other
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Dr. Mohd Hassan Abdullah

hand is used to hold the instrument. As the natural dynamic of kompang playing is
always loud, that is why the instrument is beaten with the palm and not tapped with the
fingertips. The playing technique of the kompang is also different from the playing
techniques of the rebana in the Malay world, which is tapped with both hands while the
instrument is placed on the players lap. The kompang is always held with one hand
while the other is used to beat it. The playing technique of the kompang is the same in
different areas. Generally, there are three different techniques of holding the instrument
adopted by kompang players.

First position of the holding technique of the kompang

The kompang can be played left-handed as well as right-handed. The first
technique adopted by most players is to hold the instrument with the left or right hand
freely in the air while the other hand is used to beat the instrument. In this position, the
baluh of the kompang is placed between the thumb and the fingers vertically. The baluh
is firmly grasped with the thumb pointed towards the inside of the instrument and the
fingers press the edge of the muka. Almost all the players in the Kompang Perak
ensemble use this technique to support the weight of the instrument. This is because the
type of instrument used in this area is heavier than the instrument found in the southern
part of Peninsular Malaysia.
The second holding technique position is where the player grasps the baluh of the
kompang from the middle-side with the left hand and firmly holds the kompang vertically

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Dr. Mohd Hassan Abdullah

while the right hand beats the head. Unlike in the first position, the fingers in this
position are bent inside the kompang to hold the instrument while the thumb presses
outside at the edge of the muka. This technique is only used for the type of kompang
with a bigger but shallower frame. This technique is not widely used as compared with
the first position.

Second position of the holding technique of the kompang

The third holding technique position is where the player grasps the far side of the
baluh with the left hand, the thumb inside the kompang. The left hand fingers firmly grip
the outside of the baluh. The kompang is positioned against the left arm to support the
weight of the instrument while the right hand is used to beat the drum. This position is
popular among young players because it helps them to keep hold of the heavy kompang
while in performance.

It is very rare to observe adult players using this technique

because it is said to block the sound coming out from the bottom of the drum.

Third position of the holding technique of the kompang

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The rhythm of kompang music is composed of only two different timbres.

According to the mnemonic system, the two timbres played on the kompang are called
bum and pak. Some kompang troupes in different places replace bum and pak with
mnemonic words ding and prang. The timbre bum is performed by beating the instrument
near the edge of the muka with closed fingers. The fingers bounce naturally, releasing the
belulang to vibrate freely and produce a sustained sound. This technique is also called
pukul kuncup (close beating) by the players in the state of Johor. The sound of the timbre
bum is perceived as low, softer and more settled as compared with the timbre pak.

Mnemonic Bum

Mnemonic Pak

The timbre pak is produced by beating the kompang with the palm at the middle
of the muka. The fingers are opened and allowed to bounce loosely to produce a flamlike sound. As the technique is used, this beat is known as pukul kembang (open beating)
by the players in Johor. Unlike the timbre bum, this timbre pak is produced by beating
the instrument with a strong and powerful beat. The sound is perceived as loud, high and
penetrating. If the kompang is used to accompany a song, all the players sing together
while beating the instrument. The beating techniques of the kompang contrast with the
playing techniques of the hand drum from the Arab world such as riqq and darabukkah.
The stroke dum (bum) of these drums is produced at the centre of the drumskin and tak
(pak) is produced at the edge2.
2

For more details about the playing techniques of Arab hand drums, see Touma, Habib Hassan, (2003:4749).

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Dr. Mohd Hassan Abdullah

Traditionally, the kompang is not a solo instrument. It is always played in the

form of an ensemble. It is performed in groups either with legs crossed when sitting,
standing, or walking in procession. The position of the performance depends on the
occasion for which the ensemble is performing. The sitting performance is given either
on the floor or sitting on chairs during a pre-wedding ceremony, which is on the night
before the wedding day and is called Malam Berinai. On this night, the bride wears the
traditional bridal costume and sits together with the guests to listen to the kompang
playing. In the sitting position, the kompang players can be comfortable while performing
many songs from the religious text called the kitab berzanji (book of verses). The
kompang troupe will perform until late in the night, while the cooks are preparing food
for the following days ceremony.
The kompang ensemble also performs in a standing position in rows. This is
usually done to entertain the guests or the bride and the groom whilst they sitting on the
dais during the wedding ceremony. The same position for kompang performance is also
used when welcoming a very important person during their visit to a certain occasion.
Sometimes, the troupe will move around to perform a beautiful formation while playing
the kompang. The ensemble also performs in the wedding procession. A group of
kompang players play the instruments and sing songs while walking in two or three rows
to accompany the bride and groom to the wedding chairs. It is also used in procession on
the birthday of Prophet Muhammad or the Mauled Nabi.

THE PUKULAN (Rentak)

The music of the kompang ensemble is composed of three or more different parts
in a rhythmic pattern.

Traditionally, the complete set of the interlocking rhythmic

patterns in all types of kompang ensemble found in Peninsular Malaysia is called the
Pukulan (the beat). It is also known as the Rentak by some kompang players. The term
pukulan carries many meanings in kompang playing throughout Peninsular Malaysia.
In general, the term pukulan (from the word pukul) means beating or hitting something
such as pukul kompang which means beating the kompang. But, in the context of

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kompang playing in Malay society, the term pukulan carries two different meanings.
Firstly, the term pukulan is used to refer to a complete set of rhythmic patterns performed
in a piece of kompang music. If this term is used to refer to western beats such as Cha
Cha, Rhumba, and Waltz, they will be called the Pukulan Cha Cha (Cha Cha beat), the
Pukulan Rhumba (Rhumba beat) and the Pukulan Waltz (Waltz beat).

As a modern

Malay musical term, it is called the rentak instead of pukulan such as in Rentak Cha Cha,
Rentak Rhumba and Rentak Waltz. In this case, both terms carry the same meaning, but
the term pukulan is more acceptable than the term rentak in kompang playing in
Malaysia. This is because this term is widely used by the kompang players.

Some

examples of the pukulan in the kompang repertoire are the Pukulan Bertih (the Kompang
Ezhar), the Pukulan Berarak (the Kompang Johor) and the Pukulan Sariful Anam (the
Kompang Perak).

The Pukulan /Rentak/Beat (whole piece)

Pukulan Mula
1st section

Pukulan Asas
2nd section

Pukulan Naik
3rd section

Pukulan Mati
etcetera

Example of the form of the Pukulan in the kompang ensemble

Secondly, the term pukulan is also used to describe the small form of
interlocking rhythmic patterns that make up a section of a piece of kompang music.
Specifically, the second meaning of the term pukulan is widely used in the Kompang
Johor ensemble and the Kompang Perak ensemble. For this purpose, I will use the term
pukulan (underlined) for the second meaning of the term to differentiate between these
two meanings. For example, a complete set of the interlocking rhythmic patterns (the first
meaning of the term pukulan) is made up of a combination of a few sections having the
small form of the pukulan. Every pukulan has its own name such as the Pukulan Mula
(introduction beat), Pukulan Asas (basic beat), Pukulan Turun (descending beat),
Pukulan Naik (ascending beat), Pukulan Mati (ending beat), and Pukulan Hadi. Some of

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Dr. Mohd Hassan Abdullah

the pukulans may be repeated many times in a piece. The number of times each pukulan
is repeated depends on the type of the pukulan and the function of the performance. All
types of pukulan (first meaning) and pukulan (second meaning) will be discussed
extensively in the next three chapters, as I will analyze the repertoire of all the types of
kompang ensemble found in Peninsular Malaysia.
THE REPERTOIRE
Kompang Ezhar
Types of Pukulan (Beat)

Pukulan Bertih

Pukulan Zapin

Pukulan Hadrah

Pukulan Inang

Pukulan Hadrah Pendek

Pukulan Joget
Pukulan Hadrah Kepang
Pukulan Rancak
Pukulan Baru
Pukulan Silat

Types of pukulan in the Kompang Ezhars repertoire

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Dr. Mohd Hassan Abdullah

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Dr. Mohd Hassan Abdullah

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Pukulan Hadrah Pendek

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Dr. Mohd Hassan Abdullah

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Dr. Mohd Hassan Abdullah

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Dr. Mohd Hassan Abdullah

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Pukulan Zapin/ Pukulan Tari Selendang

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Kompang Johor

Without vocal part

Pukulan Berarak

With vocal part

Zikir (Arabic)

Pukulan zikir
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Malay songs

Pukulan Rentak

Dr. Mohd Hassan Abdullah

Pukulan Inang

Pukulan Asas

Others

Figure 5a: Diagrammatic representation of the repertoire of the Kompang Johor

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Pukulan Naik

Pukulan Mula

Pukulan Asas
(Repeated until
the end of the
zikir)

Pukulan
Turun

Pukulan
Naik

Pukulan
Mati

A Structural form of the Pukulan Zikir to accompany many zikirs in one performance

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Dr. Mohd Hassan Abdullah

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Dr. Mohd Hassan Abdullah

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Dr. Mohd Hassan Abdullah

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