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NMM 9874. Bonang Panerus in Laras Slendro. Smallest member of the bonang group. Twelve bronze pots in two rows of six located in square openings in rectangular teakwood frame, suspended by string threaded through channels carved into frame. Frame decorated with flower and leaf patterns covered with gold leaf. Two removable wings on each end of stand carved in shape of two nagas (dragons) with intertwining tails at top, curved bodies, and heads resting at the bottom of the wings on both ends; covered in gold leaf. Length (wing to wing, not including wings): 223.8 cm. Diameter of largest pot (at base): 15.1 cm. Two mallets (tabuh) with red cord wrapped very close to one end creating a soft, springy, oval shape that comes in contact with the pots.
Function: The bonang panerus plays patterns that are derivative of the bonang barung patterns, usually twice as fast and occurring on what in Western musical terms might be considered the off beat. The bonang panerus player must follow the lead of the bonang barung player even though it often begins its patterns slightly before the bonang barung player. The patterns that are played by the bonang panerus depend on the irama or tempo structure, similar to the bonang barung. The upper row of pots is considered to be the female, while the lower octave is male.
Playing technique: the bonang panerus is played with using the soft end of two mallets. The player sits on the side with the lowest octave pots. The previous note is dampened as the next is played using the mallet’s soft end unless the instrument is mature enough that the pots only ring briefly, or unless the music is too complex for all the notes to be dampened effectively.
