Abstract
This study aims to understand the various types of melodies that play a role as opening patets (gamelan mode) in wayang (shadow-puppet theatre). The data for this study was obtained by observing the Kakrasana Wanengpinta shadow-puppet performance. Observations was focused on the parts that have changes in patet. Based on the research it can be concluded that there are two types of melodies used in the transition of patet changes, namely thinthingan and grambyangan, additionally, the vocals of the puppet master (dalang) who mimics thinthingan. Thinthingan and grambyangan are carried out by the gender, one of methallophone gamelan instruments. Thinthingan melodies are needed for light transitions, while grambyangan melodies are used for heavy transitions.
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