Gamelan Jawa terdiri atas instrumen berikut:
Kendang,Bonang,Bonang Penerus,Demung,Saron,Peking (Gamelan),Kenong & Kethuk,Slenthem,Gender,Gong,Gambang,Rebab,Siter,Suling

Musiknya juga sering mengalami perubahan temp dan dinamik. Bedanya lagi, gamelan Bali memiliki lebih banyak instrumen berbilah daripada berpencu. Logamnya pun lebih tebal sehingga dapat bersuara lebih nyaring. Ciri lain gamelan Bali adalah digunakannya sejenis simbal yang disebut ceng-ceng. Ceng-ceng inilah yang berbunyi nyaring dan cepat sehingga membuat musik Bali berbeda dari musik Jawa.

Gamelan Degung
Ada beberapa gamelan yang pernah ada dan terus berkembang di Jawa Barat, antara lain Gamelan Salendro, Pelog dan Degung. Gamelan salendro biasa digunakan untuk mengiringi pertunjukan wayang, tari, kliningan, jaipongan dan lain-lain. Gamelan pelog fungsinya hampir sama dengan gamelan salendro, hanya kurang begitu berkembang dan kurang akrab di masyarakat dan jarang dimiliki oleh grup-grup kesenian di masyarakat. Hal ini menandakan cukup terwakilinya seperangkat gamelan dengan keberadaan gamelan salendro, sementara gamelan degung dirasakan cukup mewakili kekhasan masyarakat Jawa Barat. Gamelan lainnya adalah gamelan Ajeng berlaras salendro yang masih terdapat di kabupaten Bogor, dan gamelan Renteng yang ada di beberapa tempat, salah satunya di Batu Karut, Cikalong kabupaten Bandung. Melihat bentuk dan interval gamelan renteng, ada pendapat bahwa kemungkinan besar gamelan degung yang sekarang berkembang, berorientasi pada gamelan Renteng.

Gamelan Banyuwangi, adalah sebuah bentuk seni gamelan yang berasal dari daerah Blambangan atau Banyuwangi Jawa Timur.
Bentuk gamelan ini sungguh khas karena meskipun sebenarnya masih merupakan bagian dari budaya Jawa, namun banyak sekali memperlihatkan pengaruh Bali, yang terletak hanya beberapa kilometer di seberang laut.

Berbeda dengan gaya gamelan Madura atau gaya Jawa, gamelan Banyuwangi iramanya cepat dan suaranya keras. Sekilas layaknya memang mirip sekali dengan gamelan Bali.

Gamelan Banjar adalah seni karawitan dengan peralatan musik gamelan yang berkembang di kalangan suku Banjar di Kalimantan Selatan. Gamelan Banjar yang ada di Kalsel ada 2 versi yaitu :
1. Gamelan Banjar versi keraton
2. Gamelan Banjar versi rakyatan

Sebutan Gambang Kromong di ambil dari nama dua buah alat perkusi, yaitu gambang dan kromong. Bilahan Gambang yang berjumlah 18 buah, biasa terbuat dari kayu suangking, huru batu atau kayu jenis lain yang empuk bunyinya bila dipukul. Kromong biasanya dibuat dari perunggu atau besi, berjumlah 10 buah (sepuluh pencon).

Orkes Gambang Kromong merupakan perpaduan yang serasi antara unsur-unsur pribumi dengan unsur Tionghoa. Secara fisik unsur Tionghoa tampak pada alat-alat musik gesek yaitu Tehyan, Kongahyan dan Sukong, sedangkan alat musik lainnya yaitu gambang, kromong, gendang, kecrek dan gong merupakan unsur pribumi. Perpaduan kedua unsur kebudayaan tersebut tampak pula pada perbendarahaan lagu-lagunya.

Disamping lagu-lagu yang menunjukan sifat pribumi seperti Jali-jali, Surilang, Persi, Balo-balo, Lenggang-lenggang Kangkung, Onde-onde, Gelatik Ngunguk dan sebagainya, terdapat pula lagu-lagu yang jelas bercorak Tionghoa, baik nama lagu, alur melodi maupun liriknya seperti Kong Jilok, Sipatmo, Phe Pantaw, Citnosa, Macuntay, Gutaypan dan sebagainy

American gamelan could refer to both instruments and music; the term has been used to refer to gamelan-style instruments built by Americans, as well as to music written by American composers to be played on gamelan instruments. American gamelan music usually has some relationship to the gamelan traditions of Indonesia, as found primarily on the islands of Java and Bali in a variety of styles. Many American compositions can be played on Indonesian or American made instruments. Indonesian gamelan can be made of a variety of materials, including bronze, iron, or bamboo. American gamelan builders used all sorts of materials including aluminum, tin cans, car hubcaps, steel, antique milk-strainers, etc. American gamelan may also describe the original music of American ensembles working with traditional instruments.

Dennis Murphy is often credited as being the first American to build instruments modeled on those of the Javanese gamelan, circa 1960. This work led to his doctoral thesis at Wesleyan University, entitled "The Autochthonous American Gamelan." Murphy started a gamelan group with his instruments at Goddard College in Vermont in 1967; that group later became the community-based Plainfield Village Gamelan.

There have been other American builders of gamelan as well, on both the East and West coasts. Following Murphy's model was Barbara Benary, who built the instruments still used today for Gamelan Son of Lion On the West coast, the airline industry made aluminum affordable, and this became the material of choice for several gamelan builders. Daniel Schmidt, a composer-builder, built an ensemble called "The Berkeley Gamelan" (independent of the University of California, Berkeley) as well as the set of instruments that would developed into Gamelan Pacifica in Seattle. Paul Dresher also used aluminum.

Lou Harrison and William Colvig built a set of tuned percussion instruments that they call "an American gamelan" in order to differentiate it from Indonesian ensembles. These are now referred to as "Old Granddad," and Harrison wrote some pieces that can only be played on this set, such as La Koro Sutro. Lou Harrison spent some time with a Javanese gamelan in 1976 (when Kyai Udan Mas, now at the University of California, Berkeley, was in residence at San Jose State University). This inspired him and his partner William Colvig to build a gamelan modelled specifically on Udan Mas (in instrumentation, although not in tuning). For this he used aluminum primarily, although the "great gong" was eventually fashioned out of iron.

Colvig and Harrison built two large "double" gamelan (meaning that there were instruments in both the pelog and slendro tunings). The first was Si Betty, named for the financial benefactor Betty Freeman. Si Betty was bequeathed to Jody Diamond, and is now in residence at Harvard University. The second was named "Si Darius/Si Madeleine" after Darius Milhaud and his wife, because it was while holding the Milhaud chair at Mills College (where the gamelan still resides) that Harrison and Colvig had the support for its construction; a group there (as of 2008) is directed by Daniel Schmidt. Lou Harrison was well known for his compositions for gamelan; he was particularly adept at combining western instruments with his Javanese-style gamelan ensemble. (The scores for all of his gamelan works are published by the American Gamelan Institute).