Pelog
Pelog (Sundanese: ᮕᮦᮜᮧᮌ᮪, romanized: Pélog /pelog/, Javanese: ꦥꦺꦭꦺꦴꦒ꧀, Balinese: ᬧᬾᬮᭀᬕ᭄, romanized: Pélog /pelok/) is one of the essential tuning systems used in gamelan instruments that has a heptatonic scale.[2][3] The other, older, scale commonly used is called slendro. Pelog has seven notes, but many gamelan ensembles only have keys for five of the pitches. Even in ensembles that have all seven notes, many pieces only use a subset of five notes, sometimes the additional 4th tone is also used in a piece like western accidentals.
Tuning[edit]
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. One rough approximation expresses the seven pitches of Central Javanese pelog as a subset of 9-tone equal temperament. An analysis of 27 Central Javanese gamelans by Surjodiningrat (1972) revealed a statistical preference for this system of tuning.[5]
As 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. This is not the case in Bali, where instruments are played in pairs which are tuned slightly apart so as to produce interference beating. The beating is ideally at a consistent speed for all pairs of notes in all registers, producing stretched octaves as a result. This contributes to the very "agitated" and "shimmering" sound of gamelan ensembles. 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.
Sundanese gamelan has its own pélog tuning. Both Javanese-like pélog and Sundanese pélog (degung) coexist in Sundanese music. Javanese-like pélog has the 2nd note more neutral (Javanese 2 [ro], Sundanese 4 [ti]) and Degung has the 1st note leaning (closer to Javanese 1 [ji], Sundanese 5 [la]). The Javanese pélog is only found in gamelan pélog instruments, while degung is found widely on any instrument, such as calung, angklung, and gamelan degung.
Notation equivalents for pélog in both Javanese and Sundanese notation:
1 2 3 4 5 6 7 ji ro lu pat mo nem pi
5 4 3 -3 2 1 +5 la ti na ni mi da leu
Usage[edit]
Java[edit]
Although the full pelog scale has seven tones, usually only a five-tone subset is used (see the similar Western concept of mode). In fact, many gamelan instruments physically lack keys for two of the tones. Different regions, such as Central Java or West Java (Sunda), use different subsets. In Central Javanese gamelan, the pelog scale is traditionally divided into three pathet (modes). 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. 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.
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. An older set uses names derived from parts of the body. Notice that both systems have the same designations for 5 and 6.