ANative Indonesian boy, playing a Sundanese Suling instrument.Seruling Gambuh BaliSuling players (bottom row) depicted on the 8th-century reliefs of Borobudur temple in Central Java, IndonesiaSuling, transverse bamboo flute, Papua, New Guinea. The word suling describes mostly lengthways flutes but also some transverse flutes made of bamboo.
Sulings are made mainly of "tamiang" bamboo (Schizostachyum blumei, Nees), a long, thin-walled bamboo tube. The mouthpiece of the suling is circled with a thin band made of rattan near a small hole.
To play the suling, performers blow into a gap between the rattan band and the bamboo tube at one end of the instrument.
There are two factors that affect a fine suling's tone:
Fingering position.
Speed of the airflow blown by the mouth.
The fingering position changes the wavelength of sound resonance inside the suling's body. Depending on the distance of nearest hole to the suling's head, different notes can be produced. The airflow speed also can modify the tone's frequency. A note with twice frequency can be produced mostly by blowing the air into suling's head's hole with twice speed.
In the music of Bali the suling is an essential instrument and it appears to be similar to other forms of Javanese suling. The way it is played, however, sets it apart from other forms of Indonesian suling. Namely, it is necessary for the performers to use the technique circular breathing in order to create a highly strung sense of constancy that continues even at moments of dramatic climax by the percussive gamelan instruments.
Slur, is dynamically changing note from one tone position to another position without stopping the airflow. For example, changing from 5 to 4, 4 to 5, 2 to 1 etc.
Puruluk, (Sundanese term) is an effect produced by a-repeatedly-fast opening-and-closing of suling's hole by one or more fingers. The produced sound is similar to voice of a pigeon. The easiest puruluk can be produced by opening and closing mid-finger as shown by the following picture:
A diagram showing the technique used to play a suling.
In Sundanese technique, there are other known effects such as wiwiw, keleter, lelol, gebos, petit, jengkat, and betrik.
Sulings can have either 4 holes or 6 holes. The 6-holed Sundanese suling can play at least three different scales. Some custom sulings have 7 or 8 holes as additional holes for playing extended scales such as Mandalungan, the transposed version of Degung.
Pelog Degung: da mi na ti la da [1 2 3 4 5 1], nearly corresponds to do si sol fa mi do [1' 7 5 4 3 1] in the Western diatonic scale.
Madenda or Sorog: da mi na ti la da [1 2 3 4 5 1], nearly similar to fa mi do si la fa [4’ 3’ 1’ 7 6 4] in the Western diatonic scale. Madenda conceptually played by changing the 3rd note of Degung [1' 7 5 4 3 1] in diatonic scale to [1' 7 6 4 3 1], and move the Sundanese 1/da to the Western 4/fa position.
Saléndro: da mi na ti la da [1 2 3 4 5 1], nearly similar to re do la sol fa re [2’ 1’ 6 5 4 2] in the Western diatonic scale. Salendo tone are almost five-equally divided tones, called as Saléndro Padantara (equal interval). Unequal division of Saléndro notes called as Saléndro Bédantara (unequal interval).
Mandalungan: a rarely used scale, similar to Degung scale, but it is actually a transposed Degung via changing the 4th tone of Madenda [4' 3' 1' 7 6 4] in Western diatonic scale to [4' 3' 1' ♭7 6 4]. Basically sounds the same as Degung, just with a different transposition. This scale needs an extra hole (usually in the back of suling) to play.
The following picture shows the fingering for a six-holed Sundanese suling.
And below is the example of 'more realistic' view of finger positioning for the pelog degung scale.
The Maguindanaon suling is the smallest bamboo flute of the Maguindanaon and the only one classified as a ring-flute (the other two bamboo flutes of the Maguindanaon, the tumpong and the palendag are both lip-valley flutes). Air is passed through the suling via a blowing hole found at the bottom of the instrument and pitch is controlled via five finger holes on the top and one finger hole located on the bottom. Traditionally only the palendag was commonly played but because of the difficult nature of playing the palendag, both the tumpong and the suling have come to replace the palendag as the Maguindanaon’s most common aerophones.[12]
