Answer to Question 1
Ladrang Wilujeng is in soft-playing style, with voices and various soft-sounding instruments featured.
In Ladrang Wilujeng, the rebab (fiddle) in the introduction plays subtle slides and nuances that are not possible on fixed pitch instruments such as the bonang (kettle gong) used in the introduction of Kembang Pacar.
In Ladrang Wilujeng the pattern of punctuation (ladrang) is nearly the same as Kembang Pacar, but it is expanded to fit gongan phrases of thirty-two beats rather than sixteen.
In Ladrang Wilujeng the kempul and kenong players (kettle gongs) do not limit themselves to one tone as in Kembang Pacar but instead use a variety of tones related to important tones in the melody.
Answer to Question 2
Pathet is more complicated than its Western counterpart, mode, which refers simply to scale type (see above).
Pathet is a more general concept than Indian raga. The Indian raga refers to an entire melodic system involving interval structure, ornamentation, contour, and other nuances. Pieces are not transposed from one raga to another raga (see Chapter 6). Hundreds of ragas exist, but only a few pathet exist for the two scale systems. Transposition from one pathet to another is common. (See also above explanation of how major scales are transposed to different pitch levels.)
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