Creedence Clearwater Revival - Born On The Bayou vs. Gangsa Ro by VJ B&Q | YouTube Doubler

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Creedence Clearwater Revival - Born On The Bayou vs. Gangsa Ro by VJ B&Q (more info)

Creedence Clearwater Revival - Born On The Bayou
by garin4x4
Lyrics - Now, when I was just a little boy, Standin' to my Daddy's knee, My poppa said, ";Son, don't let the man get you Do what he done to me."; 'Cause he'll get you, 'Cause he'll get you now, now. And I can remember the fourth of July, Runnin' through the backwood, bare. And I can still hear my old hound dog barkin', Chasin' down a hoodoo there. Chasin' down a hoodoo there. CHORUS: Born On The Bayou; Born On The Bayou; Born On The Bayou. Wish I was back on the Bayou. Rollin' with some Cajun Queen. Wishin' I were a fast freight train, Just a chooglin' on down to New Orleans. CHORUS Do it, do it, do it, do it. Oh, Lord. Oh get back boy. I can remember the fourth of July, Runnin' through the backwood bare. And I can still hear my old hound dog barkin', Chasin' down a hoodoo there. Chasin' down a hoodoo there. CHORUS All right! Do, do, do, do. Mmmmmmm, oh.

Gangsa Ro
by Cody Jensen
Gangsa duet written by I Ketut Gede Asnawa. Premiere performance by Cody Jensen and Matt Plaskota at Cody's senior recital. Program notes: Gangsa Ro (Gangsa Duet) is a new composition played on two Balinese instruments called gangsas. The gangsa is a metallophone that has twelve keys placed over a unique wooden case containing bamboo resonators. This composition is rooted in the apparently paradoxical formula 2=1. This is a concept of balance involving two contrasting entities that in essence form a unity. It is implemented in various forms: •The two gangsas are tuned slightly differently (pengumbang and pengisep) in order to create beating in the sound waves. •The two gangsas play separate parts, polos and sangih, which interlock in various rhythmic figurations. The interlocking parts are referred to as kotekan. •The barangan harmonic technique is utilized to create a deep musical expression. These four aspects are employed intensively throughout the composition. The introduction, or gineman, is made up of a variety of fragmented rhythmic progressions. The following section, the pengawak, is a slow part demonstrating a mellow melody by using three different modes simultaneously. Next is the pengecet, made up of complex interlocking figurations interposed by unison blossom sounds (kebyar). Finally we reach the ending, or penyuwud. Extended techniques are used in order to imitate fire works and graceful wind. Gangsa Ro is the unification of two elements to make a whole.

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