Pelog: Difference between revisions
ArrowHead294 (talk | contribs) No edit summary |
clarify regional distinctions |
||
| Line 1: | Line 1: | ||
{{Wikipedia|Pelog}} | {{Wikipedia|Pelog}} | ||
'''Pelog''' | '''Pelog''' refers to 7-note [[tuning]]s used in Indonesian gamelan music. There is no one definitive pelog scale, as there is considerable variation between gamelan, and especially between different regions (in particular Java, Bali, and Sunda). | ||
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 | It provides an octave-repeating heptatonic [[scale]], although [[stretched and compressed tuning|octaves are usually stretched]] to account for the high inharmonicity inherent to gamelans and (in Bali) 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> | ||
== Javanese gamelan == | |||
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 it is not uncommon for the pairs 1-5, 2-6, and 3-7 to be approximated by [[3/2]]. | |||
Traditionally, there are three ''pathet'', or modes, of Pelog. ''Pelog nem'' (or ''pathet nem'') uses the tones {{dash|1, 2, 3, 5, 6|d=med}} 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 {{dash|2, 3, 5, 6, 7|d=med}}, usually emphasizing 6+2 or 3+7. ''Pelog lima'' is a sort of "odds and ends" for uses of the {{dash|1, 2, 3, 5, 6|d=med}} 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 {{dash|1, 2, 3, 5, 6|d=med}} 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 {{dash|2, 3, 5, 6, 7|d=med}}, usually emphasizing 6+2 or 3+7. ''Pelog lima'' is a sort of "odds and ends" for uses of the {{dash|1, 2, 3, 5, 6|d=med}} 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 | Javanese Pelog tunings are well-approximated by the seven note "antidiatonic" ([[2L 5s]]) scale of [[9edo]]. This is essentially an inverted version of the [[12edo]]'s [[5L 2s|diatonic scale]], where the steps are {{dash|Half, Half, Whole, Half, Half, Half, Whole|s=|d=med}} instead of {{dash|Whole, Whole, Half, Whole, Whole, Whole, Half|s=|d=med}}. However, in practice Pelog's exact intervals are slightly different throughout the scale, while 9edo supposes exactly two distinct interval sizes. | ||
== Music == | == Music == | ||
Revision as of 20:07, 3 July 2024
Pelog refers to 7-note tunings used in Indonesian gamelan music. There is no one definitive pelog scale, as there is considerable variation between gamelan, and especially between different regions (in particular Java, Bali, and Sunda).
It provides an octave-repeating heptatonic scale, although octaves are usually stretched to account for the high inharmonicity inherent to gamelans and (in Bali) to produce complex beating patterns known as ombak.[1]
Javanese gamelan
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 it is not uncommon for the pairs 1-5, 2-6, and 3-7 to be approximated by 3/2.
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.
Javanese Pelog tunings are well-approximated by the seven note "antidiatonic" (2L 5s) scale of 9edo. This is essentially an inverted version of the 12edo's diatonic scale, where the steps are Half–Half–Whole–Half–Half–Half–Whole instead of Whole–Whole–Half–Whole–Whole–Whole–Half. However, in practice Pelog's exact intervals are slightly different throughout the scale, while 9edo supposes exactly two distinct 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
|
Todo: expand |