Pelog: Difference between revisions

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In Javanese gamelan, the tones of pelog are numbered 1 through 7 (traditionally associated with body parts: 1 = head, 2 = neck, 3 = chest, 4 = groin, 5 = knees, 6 = feet, 7 = hands). Tuning varies considerably between gamelan, but on most modern Javanese sets the pairs 1-5, 2-6, and 3-7 are roughly fifths.

Traditionally, there are three ''pathet'' or modes of pelog. ''Pelog nem'' (or ''pathet nem'') uses the tones 1 2 3 5 6 with an emphasis on either 6-2 or 5-1 depending on the piece (technically, depending whether the piece is emulating [[slendro]] manyuro or slendro songo). ''Pelog barang'' uses 2 3 5 6 7 ~~with the strongest emphasis on~~ 3+7. ''Pelog lima'' is a sort of "odds and ends" for uses of the 1 2 3 5 6 scale that don't really fit into anywhere else. Definitions are somewhat fuzzy and may vary by gamelan master. The 4 tone is not often encountered, and some elaborating instruments lack the tone entirely.

Traditionally, there are three ''pathet'' or modes of pelog. ''Pelog nem'' (or ''pathet nem'') uses the tones 1 2 3 5 6 with an emphasis on either 6-2 or 5-1 depending on the piece (technically, depending whether the piece is emulating [[slendro]] manyuro or slendro songo). ''Pelog barang'' uses 2 3 5 6 7, usually emphasizing 6+2 or 3+7. ''Pelog lima'' is a sort of "odds and ends" for uses of the 1 2 3 5 6 scale that don't really fit into anywhere else. Definitions are somewhat fuzzy and may vary by gamelan master. The 4 tone is not often encountered, and some elaborating instruments lack the tone entirely.

== Music ==

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 In Javanese gamelan, the tones of pelog are numbered 1 through 7 (traditionally associated with body parts: 1 = head, 2 = neck, 3 = chest, 4 = groin, 5 = knees, 6 = feet, 7 = hands). Tuning varies considerably between gamelan, but on most modern Javanese sets the pairs 1-5, 2-6, and 3-7 are roughly fifths.
-Traditionally, there are three ''pathet'' or modes of pelog. ''Pelog nem'' (or ''pathet nem'') uses the tones 1 2 3 5 6 with an emphasis on either 6-2 or 5-1 depending on the piece (technically, depending whether the piece is emulating [[slendro]] manyuro or slendro songo). ''Pelog barang'' uses 2 3 5 6 7 with the strongest emphasis on 3+7. ''Pelog lima'' is a sort of "odds and ends" for uses of the 1 2 3 5 6 scale that don't really fit into anywhere else. Definitions are somewhat fuzzy and may vary by gamelan master. The 4 tone is not often encountered, and some elaborating instruments lack the tone entirely.
+Traditionally, there are three ''pathet'' or modes of pelog. ''Pelog nem'' (or ''pathet nem'') uses the tones 1 2 3 5 6 with an emphasis on either 6-2 or 5-1 depending on the piece (technically, depending whether the piece is emulating [[slendro]] manyuro or slendro songo). ''Pelog barang'' uses 2 3 5 6 7, usually emphasizing 6+2 or 3+7. ''Pelog lima'' is a sort of "odds and ends" for uses of the 1 2 3 5 6 scale that don't really fit into anywhere else. Definitions are somewhat fuzzy and may vary by gamelan master. The 4 tone is not often encountered, and some elaborating instruments lack the tone entirely.
 == Music ==