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| '''Slendro ({{lang-jv|ꦱ꧀ꦭꦺꦤ꧀ꦢꦿꦺꦴ|translit=Sléndro}}) ({{lang-su|ᮞᮜᮦᮔ᮪ᮓ᮪ᮛᮧ|translit=Saléndro}}),''' being a pentatonic scale''', {{audio|Gamelan.mid|Play}}''' and the younger '''Pelog''' ({{lang-su|ᮕᮦᮜᮧᮌ᮪|translit=Pélog}}, {{lang-jv|ꦥꦺꦭꦺꦴꦒ꧀|translit=Pélog}}) are the two essential scales of gamelan music native to Bali, Sunda and Java, in Indonesia. In Javanese the term ''slendro'' is said to derive either from "Sailendra", the name of the ruling family in the eighth and ninth centuries when Borobudur was built, or from its earlier being given by the god Sang Hyang Hendra'''<ref>Lindsay (1992), p.38.</ref>''' and the term ''Pelog'' is said to be a variant of the word ''pelag'' meaning "fine" or "beautiful".<ref>Lindsay (1992), p.38.</ref> The other, older, scale commonly used is called. ''Pelog'' has seven notes near those of Western harmonic minor scales, but many gamelan ensembles only have keys for five of the pitches. Even in ensembles that have all seven notes, many pieces only use a subset of five notes.
| | {{Wikipedia|Music of Indonesia}} |
| | Indonesia has a diverse variety of musical traditions. A notable form of Indonesian music is gamelan, which uses the xenharmonic [[pelog]] and [[slendro]] scales. |
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| == Tuning == | | == Further reading == |
| From one region of Indonesia to another the ''slendro'' and ''pelog'' scales often vary widely. The amount of variation also varies from region to region. For example, ''slendro'' in Central Java varies much less from gamelan to gamelan than it does in Bali, where ensembles from the same village may be tuned very differently. The five pitches of the Javanese version are roughly equally spaced within the octave and ''pelog'' in Central Java roughly approximates a subset of 9-tone equal temperament. An analysis of 27 Central Javanese gamelans by Surjodiningrat (1972) revealed a statistical preference for this system of tuning.<ref>Braun, Martin (August 2002). "[http://www.neuroscience-of-music.se/pelog_main.htm The ''gamelan pelog'' scale of Central Java as an example of a non-harmonic musical scale]", ''NeuroScience-of-Music.se''. Accessed on May 17, 2006</ref>
| | * [http://pages.hmc.edu/alves/pleng.html Pleng: Composing for a Justly Tuned Gender Barung]. Article by Bill Alves about certain Slendro and Pelog scales of Indonesia |
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| Although the intervals vary from one gamelan to the next, the intervals between notes in a scale are very close to identical for different instruments within the same ''gamelan''. It is common in Balinese gamelan that instruments are played in pairs which are tuned slightly apart so as to produce interference beating which are ideally at a consistent speed for all pairs of notes in all registers. It is thought that this contributes to the very "busy" and "shimmering" sound of gamelan ensembles. In the religious ceremonies that contain ''gamelan'', these interference beats are meant to give the listener a feeling of a god's presence or a stepping stone to a meditative state.
| | [[Category:Gamelan]] |
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| For the instruments that do not need fixed pitches (such as suling and rebab) and the voice, other pitches are sometimes inserted into the scale. The Sundanese musicologist/teacher Raden Machjar Angga Koesoemadinata identified 17 vocal pitches used in ''slendro''.<ref>[[Raden Machjar Angga Koesoemadinata]]. ''Ringkěsan Pangawikan Riněnggaswara''. Jakarta: Noordhoff-Kollff, c. 1950, page 17. Cited in [[Mantle Hood|Hood, Mantle]] (1977). ''The Nuclear Theme as a Determinant of Pathet in Javanese Music'', {{page needed|date=May 2012}}. New York: Da Capo.</ref> These microtonal adjustments bear some similarity to [[Indian]] ''śruti''.
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| == Usage ==
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| === Java ===
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| [[File:Pelog_bem.png|link=https://en.wikipedia.org/wiki/File:Pelog_bem.png|thumb|300x300px|''Pelog bem''.<ref name="Lindsay">"The representations of ''slendro'' and ''pelog'' tuning system in Western notation shown above should not be regarded in any sense as absolute. Not only is it difficult to convey non-Western scales with Western notation, but also because, in general, no two gamelan sets will have exactly the same tuning, either in pitch or in interval structure. There are no Javanese standard forms of these two tuning systems." Lindsay, Jennifer (1992). ''Javanese Gamelan'', p.39-41. {{ISBN|0-19-588582-1}}.</ref> {{audio|Pelog bem.mid|Play}}]]
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| [[File:Pelog_barang.png|link=https://en.wikipedia.org/wiki/File:Pelog_barang.png|thumb|300x300px|''Pelog barang''.<ref name="Lindsay" /> {{audio|Pelog barang.mid|Play}}]]
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| Although the full ''pelog'' scale has seven tones, usually only a five-tone subset is used (see the similar Western concept of mode). In fact, many gamelan instruments physically lack keys for two of the tones. Different regions, such as Central Java or West Java (Sunda), use different subsets. In Central Javanese gamelan, the ''pelog'' scale is traditionally divided into three ''pathet'' (modes). Two of these, called ''pathet nem'' and ''pathet lima'', use the subset of 1, 2, 3, 5, and 6; the third, ''pathet barang'', uses 2, 3, 5, 6, and 7. The remaining two notes, including 4 in every ''pathet'', are available for embellishments on most instruments, but they do not usually appear on ''gendér'', ''gambang'', or interpunctuating instruments.
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| The notes of the ''pelog'' scale can be designated in different ways; In Central Java, one common way is the use of numbers (often called by their names in Javanese, especially in a shortened form. An older set uses names derived from parts of the body. Notice that both systems have the same designations for 5 and 6.
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| {| class="wikitable"
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| !''Number''
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| ! colspan="2" |Javanese number
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| ! colspan="2" |Traditional name
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| |-
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| !
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| !Full name
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| !Short name
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| !Full name
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| !Literal meaning
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| |-
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| |1
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| |''siji''
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| |''ji''
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| |''bem''
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| |head
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| |-
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| |2
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| |''loro''
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| |''ro''
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| |''gulu''
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| |neck
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| |-
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| |3
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| |''telu''
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| |''lu''
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| |''dhadha''
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| |chest
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| |-
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| |4
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| |''papat''
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| |''pat''
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| |''papat''
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| |four
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| |-
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| |5
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| |''lima''
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| |''ma''
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| |''lima''
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| |five
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| |-
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| |6
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| |''enem''
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| |''nem''
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| |''nem''
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| |six
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| |-
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| |7
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| |''pitu''
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| |''pi''
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| |''barang''
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| |thing
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| |}
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| === Sunda (West Java) ===
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| In Sunda, the notes of gamelan degung have one-syllable names. A peculiarity of Sundanese solfège is that scale degrees are given in descending order.
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| {| class="wikitable"
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| |'''Sundanese pelog degung'''
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| |'''Javanese pathet lima'''
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| |-
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| |1 (''da'')
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| |6
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| |-
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| |2 (''mi'')
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| |5
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| |-
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| |3 (''na'')
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| |3
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| |-
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| |4 (''ti'')
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| |2
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| |-
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| |5 (''la'')
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| |1
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| |}
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| === Bali ===
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| In Bali, all seven tones are used in ''gamelan semar pegulingan'', ''gamelan gambuh'', and ''gamelan semara dana'' (a seven-tone ''gamelan gong kebyar'' ensemble). All seven tones are rarely heard in a single traditional composition.
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| Like in Java, five-tone modes are used, which are constructed with alternating groups of three and two consecutive scale degrees, each group being separated by a gap. Unlike Java, there are only five names for the notes, and the same five names are used in all modes. The modes all start on the note named ''ding'', and then continue going up the scale to ''dong'', ''deng'', ''dung'' and ''dang''. This means that the same pitch will have a different name in a different mode.
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| ==== Classical modes ====
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| The three most common and well-known modes are ''selisir'', ''tembung'' and ''sunaren''. ''Selisir'' is the most often encountered, being the tuning of the popular ''Gamelan gong kebyar'', and may be considered the "default" pelog scale.
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| Two other modes, ''baro'' and ''lebeng'', are known from ''gambuh'' and ''semar pegulingan'', but are rarely used and more loosely defined.<ref name=":0">{{Cite book|title=Gamelan gong kebyar: the art of twentieth-century Balinese music|last=Michael.|first=Tenzer|date=2000|publisher=University of Chicago Press|isbn=978-0226792811|location=Chicago|pages=29|oclc=41527982}}</ref> ''Baro'' has at least four different interpretations;<ref>{{Cite journal|last=McGraw|first=Andrew C.|date=1999|title=The Development of the "Gamelan Semara Dana" and the Expansion of the Modal System in Bali, Indonesia|journal=Asian Music|volume=31|issue=1|pages=63–93|doi=10.2307/834280|issn=0044-9202|jstor=834280}}</ref> one common one (3-4-5-7-1, according to I Wayan Beratha and I Ketut Gede Asnawa) is shown below. ''Lebeng'' contains all seven tones, but only in ''semar pegulingan''; in ''gambuh'' it is pentatonic, but has a more elusive character.<ref name=":0" />
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| {| class="wikitable"
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| !
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| ! colspan="5" |Classical Balinese modes
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| |-
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| !Tone
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| !Selisir
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| !Tembung
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| !Sunaren
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| !Baro
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| !Lebeng
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| |-
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| |1
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| |'''ding'''
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| |dung
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| |—
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| |dang
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| |'''ding'''
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| |-
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| |2
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| |dong
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| |dang
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| |dung
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| |—
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| |dong
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| |-
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| |3
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| |deng
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| |—
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| |dang
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| |'''ding'''
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| |deng
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| |-
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| |4
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| |—
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| |'''ding'''
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| |—
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| |dong
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| |''deung''
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| |-
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| |5
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| |dung
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| |dong
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| |'''ding'''
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| |deng
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| |dung
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| |-
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| |6
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| |dang
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| |deng
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| |dong
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| |—
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| |dang
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| |-
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| |7
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| |—
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| |—
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| |deng
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| |dung
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| |''daing''
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| |}
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| ==== Other modes ====
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| With the advent of the ''gamelan semara dana'' and renewed interest in seven-tone music, a number of other modes have been discovered by extending the 3/2 rule to other possible positions. They fall into two groups: the ''pengenter'' modes and the ''"slendro"'' modes.<ref>{{Cite journal|last=Vitale|first=Wayne|date=2002|title=Balinese Kebyar Music Breaks the Five-Tone Barrier: New Composition for Seven-Tone Gamelan|journal=Perspectives of New Music|volume=40|issue=1|pages=5–69|jstor=833547}}</ref>
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| The two ''"slendro"'' modes, ''slendro gedé'' and ''slendro alit'' are named for their resemblance to ''slendro'' proper. In these modes, ''ding'' is often placed at the first note of a two-note sequence in the 3-2 pattern, reflecting common practice in ''slendro'' ensembles. ''Slendro gedé'' is associated with the tuning of gender wayang, while ''slendro alit'' is identified with the four-tone scale of gamelan angklung.
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| The ''pengenter'' modes were discovered as theoretical extrapolations by I Nyoman Kaler. They exist only in recent modern compositions.
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| {| class="wikitable"
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| !Tone
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| !Slendro gedé
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| !Slendro alit
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| !Pengenter gedé
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| !Pengenter alit
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| |-
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| |1
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| |—
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| |(dong)
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| |dong
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| |deng
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| |-
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| |2
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| |deng
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| |—
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| |deng
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| |—
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| |-
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| |3
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| |dung
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| |deng
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| |—
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| |dung
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| |-
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| |4
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| |dang
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| |dung
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| |dung
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| |dang
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| |-
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| |5
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| |—
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| |dang
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| |dang
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| |—
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| |-
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| |6
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| |'''ding'''
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| |—
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| |—
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| |'''ding'''
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| |-
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| |7
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| |dong
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| |'''ding'''
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| |'''ding'''
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| |dong
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| |}
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| =External links=
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| Wikipedia: [[wikipedia:Pelog|Pelog]], [[wikipedia:Slendro|Slendro]] and [[wikipedia:Gamelan|Gamelan]]
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| [http://pages.hmc.edu/alves/pleng.html Pleng: Composing for a Justly Tuned Gender Barung]. Article by Bill Alves about certain Slendro and Pelog scales of Indonesia
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| [[category:todo:expand]]
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Indonesia has a diverse variety of musical traditions. A notable form of Indonesian music is gamelan, which uses the xenharmonic pelog and slendro scales.
Further reading
