Tangga nada pelog gambang suling
A peculiarity of Sundanese solfège is that scale degrees are given in descending order. In Sunda, the notes of gamelan degung have one-syllable names. Notice that both systems have the same designations for 5 and 6. An older set uses names derived from parts of the body. The notes of the pelog scale can be designated in different ways In Central Java, one common way is the use of numbers (often called by their names in Javanese, especially in a shortened form. The remaining two notes, including 4 in every pathet, are available for embellishments on most instruments, but they do not usually appear on gendér, gambang, or interpunctuating instruments. Two of these, called pathet nem and pathet lima, use the subset of 1, 2, 3, 5, and 6 the third, pathet barang, uses 2, 3, 5, 6, and 7. In Central Javanese gamelan, the pelog scale is traditionally divided into three pathet (modes). Different regions, such as Central Java or West Java (Sunda), use different subsets. In fact, many gamelan instruments physically lack keys for two of the tones.
Tangga nada pelog gambang suling full#
Notations equivalents for pélog in both Javanese and Sundanese notation:Īlthough the full pelog scale has seven tones, usually only a five-tone subset is used (see the similar Western concept of mode). The Javanese pélog only found in gamelan pélog instruments, while degung found widely on any instruments, such as calung, angklung, and gamelan degung. Javanese-like pélog has the 2nd note more neutral (Javanese 2, Sundanese 4 ) and Degung has 1nd note leaning (closer to Javanese 1, Sundanese 5 ). Both Javanese-like pélog and Sundanese pélog ( degung) are coexists in Sundanese music. In the religious ceremonies that contain gamelan, these interference beats are meant to give the listener a feeling of a god's presence or a stepping stone to a meditative state. This contributes to the very "agitated" and "shimmering" sound of gamelan ensembles. The beating is ideally at a consistent speed for all pairs of notes in all registers, producing stretched octaves as a result. This is not the case in Bali, where instruments are played in pairs which are tuned slightly apart so as to produce interference beating. Īs in slendro, although the intervals vary from one gamelan to the next, the intervals between notes in a scale are very close to identical for different instruments within the same Javanese gamelan. An analysis of 27 Central Javanese gamelans by Surjodiningrat (1972) revealed a statistical preference for this system of tuning.
One rough approximation expresses the seven pitches of Central Javanese pelog as a subset of 9-tone equal temperament. Since the tuning varies so widely from island to island, village to village, and even among gamelan, it is difficult to characterize in terms of intervals. In Javanese, the term is said to be a variant of the word pelag meaning "fine" or "beautiful".
Pelog is a Javanese term for one of the scales in gamelan.