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The research process was carried out in several stages, starting with ideas from developing etude, followed by analyzing literature review, such as, degung scale, piano etudes, pianistic techniques [6], music composition techniques [7], such as techniques for developing motifs, periods, phrases, etc. [8], and piano teaching materials that used in university level in Indonesia. It aims to adjust in the piano etudes design stage based on degung scale as teaching materials. The conceptual framework is formed in figure 1. Fig. 1. Conceptual framework of etude piano based on degung scale.

Figure 1 The research process was carried out in several stages, starting with ideas from developing etude, followed by analyzing literature review, such as, degung scale, piano etudes, pianistic techniques [6], music composition techniques [7], such as techniques for developing motifs, periods, phrases, etc. [8], and piano teaching materials that used in university level in Indonesia. It aims to adjust in the piano etudes design stage based on degung scale as teaching materials. The conceptual framework is formed in figure 1. Fig. 1. Conceptual framework of etude piano based on degung scale.

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Fig. 3. NOTASI 2 Western notation on “Catrik” song in one wilet from basic tone G= Da. It can be seen in Notation | that bonang, which is played in the right and left hand on the bonang instruments, played alternately where the right hand plays the crotchet notes, while the left hand plays the quaver notes which starts with the quaver rest. As seen in the Notation 2, which uses a tone that resembles degung scale with the basic tone G = Da. Overall, bonang, kenong, or jenglong, saron I and 2 on Western notation can be seen in Notation 2.
Fig. 3. NOTASI 2 Western notation on “Catrik” song in one wilet from basic tone G= Da. It can be seen in Notation | that bonang, which is played in the right and left hand on the bonang instruments, played alternately where the right hand plays the crotchet notes, while the left hand plays the quaver notes which starts with the quaver rest. As seen in the Notation 2, which uses a tone that resembles degung scale with the basic tone G = Da. Overall, bonang, kenong, or jenglong, saron I and 2 on Western notation can be seen in Notation 2.
Atikan Nomer 2 is inspired by “Karang Kamulyan” song or bonang and kenong in periods B and C, because in that section the rhythm of the song plays a different octave tone. This car be seen in the figure 6. Fig. 6. Damina notation on “Karang Kamulyan” song in bar 6-13 [9]. “Karang Kamulyan” song is one of the ageing songs onsisting of opat wilet with goong sounded once on 64 beats.
Atikan Nomer 2 is inspired by “Karang Kamulyan” song or bonang and kenong in periods B and C, because in that section the rhythm of the song plays a different octave tone. This car be seen in the figure 6. Fig. 6. Damina notation on “Karang Kamulyan” song in bar 6-13 [9]. “Karang Kamulyan” song is one of the ageing songs onsisting of opat wilet with goong sounded once on 64 beats.
throughout the repetition the bar 6. On the next birama, the ideas of Atikan Nomer 2 is on rhythmic pattern that coincides and concurrently on bonang and kenong, where the rhythm can be seen in Notation 4. Fig. 7. Notation 4 Rhythm bonang and kenong in Karang Kamulyan song bar 5-11.
throughout the repetition the bar 6. On the next birama, the ideas of Atikan Nomer 2 is on rhythmic pattern that coincides and concurrently on bonang and kenong, where the rhythm can be seen in Notation 4. Fig. 7. Notation 4 Rhythm bonang and kenong in Karang Kamulyan song bar 5-11.
applied in future research. Table 1 show the focus of the ideas for piano etudes. The conceptual framework in this study is a ways of elements from Sundanese traditional music, in this case a tone that resembles degung, and the use of Western musical instruments, namely piano, can be combined into an idea in piano learning, developing skills and abilities in playing the piano and new knowledge about the scale of degung in piano. In addition, the conceptual importance of the adaptation o methods, namely etude, and framework emphasizes the f Western teaching material one of the elements that representing the Sundanese trad itions, namely the scale of degung, in order to introduce the scale of degung with piano instrument, and to understand the scale of degung by studying piece of etude piano.
applied in future research. Table 1 show the focus of the ideas for piano etudes. The conceptual framework in this study is a ways of elements from Sundanese traditional music, in this case a tone that resembles degung, and the use of Western musical instruments, namely piano, can be combined into an idea in piano learning, developing skills and abilities in playing the piano and new knowledge about the scale of degung in piano. In addition, the conceptual importance of the adaptation o methods, namely etude, and framework emphasizes the f Western teaching material one of the elements that representing the Sundanese trad itions, namely the scale of degung, in order to introduce the scale of degung with piano instrument, and to understand the scale of degung by studying piece of etude piano.
Fig. 10. Etude Op. 10 No. 4 karya Chopin, beginning of periods B. Fig. 9. Etude Op. 10 No. 4 karya Chopin, beginning of periods A
Fig. 10. Etude Op. 10 No. 4 karya Chopin, beginning of periods B. Fig. 9. Etude Op. 10 No. 4 karya Chopin, beginning of periods A
The idea of Atikan Nomer 4 was inspired by Etude Op. 10 No. 4 by Chopin, can be seen in figures 2 and 3, where the piece is played alternately on the right and left hand. At first, the right hand becomes the main melody while the left hand plays the accompaniment, and then moves the lower main melody that play in the left hand, and the right hand plays the accompaniment. With this etude, students can learn the technical problems in each hand with a fingering on degung scale.
The idea of Atikan Nomer 4 was inspired by Etude Op. 10 No. 4 by Chopin, can be seen in figures 2 and 3, where the piece is played alternately on the right and left hand. At first, the right hand becomes the main melody while the left hand plays the accompaniment, and then moves the lower main melody that play in the left hand, and the right hand plays the accompaniment. With this etude, students can learn the technical problems in each hand with a fingering on degung scale.
Fig. 8. Notasi 5 Trills with sustained bass note, Op.100 No. 2 by Bertini [10].
Fig. 8. Notasi 5 Trills with sustained bass note, Op.100 No. 2 by Bertini [10].
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