Pelog: Difference between revisions
2L 5s / antidiatonic is clear enough; no need to specify the steps (if we do we should use "sLLsLLL" instead of "HWWHWWW"). Antidiatonic is saliently un-Western with no claim of explaining the origin of pelog so the question of origin can go. Being tuned by ear isn't a distinctive feature as 9edo can also be tuned by ear with imprecision. |
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{{Wikipedia|Pelog}} | {{Wikipedia|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). The other major traditional Indonesian tuning is [[slendro]], which has 5 tones. | '''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). The other major traditional Indonesian tuning is [[slendro]], which has 5 tones. | ||
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> | 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> | ||