Balinese gong kebyar gangsas, as with other metallophones in gong kebyar ensembles, are played in neighboring pairs with interlocking, rapid-tempo parts that elaborate on the melody of a piece of music (see Kotekan); these pairs are tuned to be dissonant and create certain wavelengths of sympathetic vibrations to create a shimmering tone (see Ombak) that travels long distances.

In a complete Balinese gamelan gong kebyar there would be, typically, nine gangsa of three different sizes and pitch registers called, from the largest and lowest-pitched to the smallest and highest-pitched: ugal, pemade, and kantilan.

The wood casings of all gamelan gong kebyar instruments are typically ornately carved and often painted in vibrant shades of red and gold.

Although not painted, the gangsa pictured here displays robust and deep carving on its surfaces consisting of stylized vegetation motifs (see detail #1) also found throughout the island of Bali on Hindu temples and other traditional architecture.

They are performed for religious celebrations, at arts schools and conservatories, for competitions, and at tourist venues, playing both instrumental compositions and for the accompaniment of dances.

The gangsa is a two-octave metallophone with ten rectangular-shaped keys (don) suspended by rope and posts over tuned tube resonators (tiying or bumbung).

This system of suspension involves minimal contact between non-sonorous material and the key itself, allowing it to vibrate freely for a long period of time after being struck.