Its pentatonic scales and reminiscent of gamelan slendro tuning are more in-depth than any other musical composition for piano by Debussy. The introduction of fourteen measures illustrates this: the first measure introduces the instrument gong ageng gamelan on the low B. During the third measure, he begins a pentatonic pattern that is on sixteenth notes as well as the tone of the metallophone. Then it follows the cengkok gamelan pattern which moves between the notes and around the notes which proceeds by joint movement. Then, in measure seven, enters the melody that can function as the balungan (which is called the "basic melody" of gamelan composition). The wave-like outline that produces a soft, silent sound indirectly evokes the timbre of the bowed strings of the rebab instrument. Starting in measure eleven, a melody enters that is almost the same as measure seven, but now in quarter notes and positioned higher in the pentatonic scale. Then another cengkok pattern appears but only now it plays in eight notes and not in sixteenth notes.