In the late nineteenth century, many Western composers became interested to explore ideas from the exotic lands. One of them is Colin McPhee, known as the first Western composer and ethnomusicologist specialized in Balinese music. He wrote a detailed transcription titled Balinese Ceremonial Music for two pianos. My aim in this research is to analyze Colin McPhee’s Balinese Ceremonial Music by using the Western tonal harmony approach and basic theory, technique, and concept of Balinese gamelan. The qualitative method is used in this research. Information and data are collected from books, journals, websites, and interviews with I Wayan Sudiarsa, an expert in Balinese gamelan. The Balinese Ceremonial Music transcription shows many gamelan features, such as rhythm interlocking, melodic interlocking, and the Balinese gamelan tuning (pelog). Colin McPhee clearly showed his intention in introducing the Balinese gamelan music to a broader public. Although the piano and Balinese gamelan ensemble have different organology, the way Colin McPhee imitates and illustrates the gamelan music into the piano is monumental.