Pelog: Difference between revisions
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{{Wikipedia|Pelog}} | {{Wikipedia|Pelog}} | ||
'''Pelog''' is a [[tuning system]] used in gamelan music. It provides an octave-repeating heptatonic [[scale]], although the octave is usually stretched to compensate for the inharmonicity of the instruments. | '''Pelog''' is a [[tuning system]] used in both Javanese and Balinese gamelan music. It provides an octave-repeating heptatonic [[scale]], although the octave is usually stretched to compensate for the inharmonicity of the instruments. | ||
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 2-6 or 5-1 depending on the piece. ''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. | |||
== Music == | == Music == | ||
Revision as of 07:45, 10 January 2023
Pelog is a tuning system used in both Javanese and Balinese gamelan music. It provides an octave-repeating heptatonic scale, although the octave is usually stretched to compensate for the inharmonicity of the instruments.
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 2-6 or 5-1 depending on the piece. 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.
Music
See also
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