(Ang Klings, Anklung, Angkloeng, Gitterrassel)
Mfg. by Unknown
Sharper attack. Edgier sound. From Thailand/Indonesia. Each angklung has 2 of the same notes, but one octave apart. Note: range indicates the lower octave on each angklung; for example, C4 indicates that the angklung has a C4 and a C5.
Most often played by shaking, these bamboo angklung provide a different sound than other standard percussion instruments, and can be used melodically or just as texture. They also can be used on the rack as a comprehensive set, or taken off individually. Common to this instrument, each angklung plays two octaves of the same note.
Some of these angklung were acquired in 1960 from composer Allyn Ferguson, who returned from Laos with four of them, and subsequently wrote for angklung in his scores, including Charlie’s Angels. Emil collected more angklung little by little. However, he acquired a large set of angklung in the 1970s from an Los Angeles-area African American Baptist church who was looking to get rid of them because they were not being used.
Many composers favored using the higher angklung, but Lalo Schifrin preferred writing more for the lower ones, which were suspended on large racks. They were also written for in scores by composers Michael Kamen, Johnny Mandel, and Hank Mancini, to name a few.
In Land of the Lost (2009) by Michael Giacchino, a single shaken angklung takes a solo, completing two consecutive phrases on the tonic.
Listen for the hollow, woody sound of the bamboo angklung, which are used as textural accent points in this clip from the Kung Fu TV series (1970s), composed by Jim Helms.
Angklung take a harder, more percussive role in this clip from Planet of the Apes (1968) by Jerry Goldsmith.
Brighter angklung play a repeating motif through the title for The Planet of the Apes (2001) by Danny Elfman.
Featured for color and harmony, the brighter angklung can be heard in this clip from Dawn of the Planet of the Apes (2014) by Michael Giacchino.
Playing a punctuated, harmonic role, brighter angklung can be heard in Sand Pebbles (1966) by Jerry Goldsmith.
Please note: these are just examples, as playing technique and mallet/stick choices often have a great effect on the timbre.
These sound excerpts, to the best of our knowledge (unless otherwise noted), include this actual instrument from our collection. To hear the instrument yourself, or to let us know of any errors, please contact us.