Pelog: Difference between revisions
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{{Wikipedia|Pelog}} | {{Wikipedia|Pelog}} | ||
'''Pelog''' is a [[tuning system]] used in Indonesian gamelan music. It provides an octave-repeating heptatonic [[scale]], although [[octave stretch|octaves are usually stretched]] to produce complex beating patterns known as ''ombak''. | '''Pelog''' is a [[tuning system]] used in Indonesian gamelan music. It provides an octave-repeating heptatonic [[scale]], although [[octave stretch|octaves are usually stretched]] to compensate for the high inharmonicity inherent to gamelans. In Bali, octave stretching is also used to produce complex beating patterns known as ''ombak''.<ref>Sethares, W. A., & Vitale, W. (2020). ''Ombak'' and octave stretching in Balinese gamelan. Journal of Mathematics and Music, 16(1), 1–17. https://doi.org/10.1080/17459737.2020.1812128</ref> | ||
<ref>Sethares, W. A., & Vitale, W. (2020). ''Ombak'' and octave stretching in Balinese gamelan. Journal of Mathematics and Music, 16(1), 1–17. https://doi.org/10.1080/17459737.2020.1812128</ref> | |||
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). The exact tuning varies considerably between gamelan, but on most modern Javanese sets one would encounter in North America the pairs 1-5, 2-6, and 3-7 are roughly fifths. | 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). The exact tuning varies considerably between gamelan, but on most modern Javanese sets one would encounter in North America the pairs 1-5, 2-6, and 3-7 are roughly fifths. | ||
Revision as of 13:12, 24 June 2024
Pelog is a tuning system used in Indonesian gamelan music. It provides an octave-repeating heptatonic scale, although octaves are usually stretched to compensate for the high inharmonicity inherent to gamelans. In Bali, octave stretching is also used to produce complex beating patterns known as ombak.[1]
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). The exact tuning varies considerably between gamelan, but on most modern Javanese sets one would encounter in North America 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, 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.
Pelog is well-approximated by the seven note "antidiatonic" (2L 5s) scale of 9edo. However, in practice Pelog's exact intervals are unequal throughout the scale, while 9edo supposes exactly two interval sizes.
Music
- See also: Category:Pelog tracks
See also
References
- ↑ Sethares, W. A., & Vitale, W. (2020). Ombak and octave stretching in Balinese gamelan. Journal of Mathematics and Music, 16(1), 1–17. https://doi.org/10.1080/17459737.2020.1812128
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Todo: expand |