Kolintang or kulintang is a typical musical instrument Minahasa, North Sulawesi. Kolintang made from local wood is lightweight but strong like eggs, bandaran, treatment, wood kakinik chrysolite, and which has a parallel fiber construction.
Kolintang name comes from her voice: vat (low tone), ting (high tone) and pliers (normal tone). In the vernacular, an invitation "Let's do TONG TING TANG" is: "Mangemo kumolintang". Invitation was eventually changed to the word kolintang.
Some well-known groups such as Kadoodan, Tamporok, Mawenang which already exist for more than 35 tahun.Pembuat kolintang spread in Minahasa and on the island of Java, one of the makers of the famous Peter Kaseke kolintang
HISTORY & development
Kolintang a typical musical instrument of the Minahasa (North Sulawesi), which has a base material that is wood that if hit could emits a fairly long and can reach high notes and low like a wooden egg, bandaran, arbitrary, kakinik or the like (type of wood fairly mild but quite dense and the wood fibers arranged in such a way as to form parallel lines).
The word comes from the sound Kolintang: Tong (low tone), Ting (high tone) and Tang (middle tone). Formerly In the language of the Minahasa area to encourage people to play kolintang: "Let's Ting Tong Tang" with the phrase "Maimo Kumolintang" and of the habits that come the name "kolintang" for the tools used to play.
workshop kolintang

At first kolintang consists of only a few pieces of wood placed side by side above the two players' feet on the ground in a sitting position, with legs stretched out straight ahead. With the passage of time the player's legs replaced with two banana stems, or occasionally replaced with a rope like arumba of West Java. While the use of crates sesonator started since Prince Diponegoro was in Minahasa (th.1830). At that time, said equipment and gamelan xylophone part taken by his entourage. The use of kolintang closely related to traditional beliefs Minahasa people, as in ritual ceremonies in connection with the cult of the ancestors. That is why the inclusion of Christianity in Minahasa, the existence of such urgency kolintang even almost disappeared entirely during the 100th ±.
After World War II, then came back kolintang pioneered by Nelwan Katuuk (kolintang tones that make up a composition according to the universal musical tones). At first only consisted of one diatonic tone Melody by arrangement, with a distance of two octaves tone, and as an accompaniment used tools "string" like a guitar, ukulele and stringbas.
In 1954 kolintang already made 2 ½ octaves (still diatonic). In 1960 already reached 3 ½ octaves with a crotch tone, naturel, and 1 mol. Basic tone is still limited to three Key (Naturel, a mole, and a crotch) with a distance of 4 ½ octaves tone of F. s. / d. C. And musical development continues well kolintang quality tools, expansion of range of tones, forms the resonator box (to improve the sound), as well as appearance. Currently Kolintang made already reached 6 (six) with chromatisch full octave.

EQUIPMENT & HOW TO PLAY Each instrument has a name that is commonly known. The name or term kolintang music equipment in addition to using the above language also has a name by using the language of Minahasa, and to complete the equipment is referred to amounted to 9 units. But for the professionals, just 6 pieces of equipment can already be played in full. Completeness of such tools as follows:
B - Bas = Loway C - Cello = Cella T - Tenor 1 = Karua - Tenor 2 = Karua rua A - Alto 1 = Uner - Alto 2 = Uner rua U - Ukulele = Katelu M - 1 = Ina esa Melody - Melody 2 = Ina rua - Melody 3 = Ina taweng

MELODY function of the carrier track, can be equated with the melody guitar, violin, xylophone, or vibraphone. It's just because his voice was not long enough, then the tone is cool; be detained by the bat vibrates (rall). Usually uses two beaters, one of the other main melody with the same combination of people singing duets or trios (if using a three-hitter). When there are two melody, then it can be used together to make herself stronger. With so can offset the accompaniment (especially for Complete Set) or it could be played by hitting the same vein but with a different octave. Or one of the main melody played songs, the other is improvised.
Together cello melody can be equated with the piano, namely: right hand on the piano is replaced with a melody, kiki hands on the piano is replaced by the cello. The left hand holds the bat on cello No. 1 serves as the bass, while the right-hand accompaniment function (No. 2 and No. 3 hitter). Therefore the tool is often called the Contra Bas. If played on the cello in the orchestra keroncong function, it will be easier when using only two-hitter. For No. 2 and No. 3 hitter function already exists on tenor and alto.
Tenor I & ALTO I Sixth fruit bats can be equated with a six string guitar.
ALTO II & ukulele and banjo as "choke" in the orchestra keroncong.
ALTO III (ukulele) In kolintang, this tool as 'cimbal', because of the high-pitched. Then the bat alto III would be better if not played with a subtle elastic origin in order not to cover the sound of melody (see user contra bass and melody).
Tenor II (guitar) Same with the tenor I, to strengthen the low-pitched accompaniment.
BASS greatest tool is sized and result in the lowest voice.

ORGANIZATION TOOLS Complete (9 players): Melody - Front center of Bass - Cello Left Rear - Right Rear Tool others depending wide stage (2 or 3 rows) with respect to the function of the tool (Tenor & Alto).

NADA NADA BASIC tone tone in kolintang tool as follows:
C = 1 3 5 cm = 1 2 5 2 4 6 D = Dm = 2 4 6 3 5 7 E = Em = 3 5 7 F = Fm = 4 6 1 4 5 1 5 7 2 G = Gm = 5 6 2 A = Am = 6 1 3 6 1 3 B = Bm = 7 2 4 7 2 4
Meanwhile, another chord, which is the development of the chord above, such as C7 = 1 3 5 6, meaning do tone down a tone then becomes le. 3 blades so that when the ring tone and sound elements into 7 in the C chord, the chord is a C7 chord. Similarly with the other chord.
HOW hold the bat / STICK Kolintang
Holding the bat Kolintang, does not have a standard provision, depending on the habits and comfort of the hand against the stick. But generally holds the stick kolintang done by: No. 1 Always on the left hand No. 2 In the right hand (between thumb with index finger) No.. 3 On the right hand (between the middle finger with the ring finger) - No. 2 hitter in order to be moved freely over and away from no.3, according to the accord as desired. And how to hit and adjusted to the beat and rhythm that you want, and every tool has, according to function within certain traits accompany a song. At the Bass instrument and tool Melody generally only use two sticks, making it easier and comfortable in the hand. (No number listed above have every base of each tool beater stick kolintang)
Basic techniques play a stick on the bar kolintang appropriate tools and types of rhythm
Of the many rhythms and songs, some songs as a guide to play a musical instrument kolintang included in this material. Such as: • Sarinande • Lapapaja • Halo Halo Bandung • Besame Mucho song the song has a different difficulty levels both chords and rhythm. Songs have been equipped with sheet music and chord / accord to facilitate understanding kolintang musical instrument.
Similarly, the technique kolintang bang stick on the bar. Because according to the diverse rhythms, then to produce a certain rhythm sticks hitting the technique on each instrument was different. In this matter, given the basic techniques on how to bang stick kolintang. To be able to understand the technique, it takes knowledge of the price and number of beats in each bar tone. And armed with basic knowledge base kolintang playing this course, coupled with individual talent, then the group / band kolintang been able to play different types of songs with varied levels of difficulty which spontaneously