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NOTATION for GAMELAN BALI - Put Together by Yudane 1 NOTATION FOR GAMELAN BALI - put together by Yudane In Bali, the modern and old traditions exist side-by-side. There are a wide variety of gamelan configurations; Colin McPhee's 1966 book provides an excellent discussion of each. These gamelan use several tuning systems: the slendro tuning system (e.g., as used by the gender wayang) and three pelog tuning systems (e.g., the pelog selisir used in gong kebyar). Modern Gamelan Bali (Gong Kebyar) arose in the early parts of this century. Gong Kebyar (kebyar means sudden outburst) was influenced not only the many gamelan traditions of Bali and Jawa but also the influence of western music introduced by the Dutch. The resulting new instrumentation provided great dynamic range in both frequency and volume and extensive harmonic coloring. The use of interlocking (kotekan) gave a faster melodic line than a single human could produce and provided very intriguing rhythmic patterns. Gong Kebyar uses the pelog selisir scale. Although pelog is a seven key scale, selisir deletes 4 and 7 and uses only a pentatonic scale (1, 2, 3, 5, and 6). The music is occasionally written using Balinese characters and often vocally taught using sounds (1 = ding = C, 2 = dong = D, 3 = deng = E, 5 = dung = G, and 6 = dang = A). Unlike Javanese pelog, the 4 and 7 keys are not on the instruments; thus, unlike Javanese pelog, one cannot play different tunings (pathets) on the same instrument. The purpose of the deletion seems to be to allow the instrument to be played faster since the keys are closer together. In the notations following, I will use the pentatonic scale (1, 2, 3, 5, and 6) which relates the tones to the complete pelog scale. I might note that Balinese do not like notation; however, if they must, they generally use Balinese characters. For an octave higher a dot will be used above the tone; for an octave lower, the tone will be underlined. In Gong Kebyar, many of the instruments are paired. Each member of a pair is tuned slightly differently (for example, the jegogan pair may differ by a three quarter tone) in order to create the shimmering sound characteristic of Gamelan Bali. In the gangsa family, each member of a pair is tuned slightly differently (for example, the jegogan pair may differ by a three quarter tone) in order to create the shimmering sound characteristic of Gamelan Bali. The lower pitched gangsa is termed pengumbang and the higher pitched gangsa is termed pengisep. The pengumbang gangsa are tuned to match each other where overlap in tones occur as are the pengisep gangsa (Ornstein, pp. 94-100). The pengisep is assigned the polos (roughly the on-beat part of the kotekan pattern) part in the kotekan and the pengumbang is assigned the sangsih (roughly the off-beat part of the kotekan pattern) part of the kotekan. The kotekan is also a part of the characteristic sound of Gong Kebyar. The use of kotekan techniques also implies the physical arrangement of the instruments to coordinate the interlocking. Immediately to the right and left of the ugal there should be pengisep pemade playing polos; then further away from the ugal should be the pengumbang pemade playing sangsih. The second row consisting of sangsih and polos kantil should be set up to give the polos kantil a good view of the ugal. 2 The other unique characteristic of Gong Kebyar worthy of note is the large dynamic range in both volume and frequency of the ensemble. As noted above, collectively the gangsa cover many octaves. Also, in response to signals from the drums the pemade and kantil alter radically the volume of the music produced. Originally this was done to correspond to the sharp moves of the dancers and is termed "angsel" (sudden pause). KOTEKAN Broadly speaking, kotekan implies the interlocking of two or more instruments in the ensemble. This could be simple like playing between each other's strokes but generally refers to syncopated patterns where the pattern includes pulses where only one instrument plays and pulses where the pair play harmonious tones (e.g., approximating a western fifth); collectively the instruments usually provide a continuous stream of sound. Generally, the sum of the polos and sangsih parts will be several times faster than the pokok. Also, sometimes the collective sum of the polos and sangsih will establish the direction of the movement of the pokok. The pattern of the higher pitched instrument (pengisep) is termed polos and the pattern of the lower pitched instrument (pengumbang) is termed sangsih. Generally many pairs of instruments are simultaneously involved; for example, two pair of pemade, one pair of kantil, and the reyong; the polos and sangsih patterns played by each pair must be carefully related to that played by the other paired instruments. The damping for the pemade, kantil, and reyong must be severe; that is, whenever an instrument is not playing, it must be damped so that its note does not interfere the note created by the other member of the pair. The polos pattern is generally on-beat; the sangsih pattern is generally off-beat. In many kotekan the polos coincides with important structural points like the point at which the gong is struck.The leadership for the parts is provided by the lanang (for polos) and wadon (for sangsih) drums. 3 KOTEKAN EXAMPLES -KOTEKAN EMPAT KOTEKAN TELU, KOTEKAN NJOG CAK, and ONCANG-ONCANG. KOTEKAN EMPAT Kotekan Empat: This is a fast rippling pattern; the players are organized as follows (Jones, 1992): 1. Each pair of players use four adjacent pitches between them(in the following example 3, 5, 6 and 1). 2. One player plays two adjacent pitches (6 and 1) and the other plays the other adjacent pitches (3 and 5). 3. The outer pair of pitches (3 and 1) are always played together and form an approximate western 5th. 4. The other pitches (5 and 6) are played on their own. The players may not have rests together; that is, there is a continuous stream of sounds for these forms. However, three of the 9 forms allow a momentary rest (Ornstein, p. 253). The earlier described Topeng Dance is one such kotekan: (G) P P G 6 5 1 6 1 5 6 3 .35.35.35.35.3.53.53.53.53.53.53 Polos 61.61.61.61.6.6.16.16.16.16.16.1 Sangsih Here is an alternative Kotekan for Topeng: (G) P P G 6 5 1 6 1 5 6 3 .23.23.23.32.3.23.23.23.23.23.32 Polos 61.6.16.161.616.16.16.16.16.1.1. Sangsih Note that it is not necessary to keep the same kotekan for the entire gongan as switches can be made mid-stream (Vitale). For example, the two above patterns could be switched after the (G). KOTEKAN TELU Kotekan Telu: Here is an alternative to kotekan empat that needs only three adjacent pitches. One player gets the low and middle pitch while the other gets the middle and high pitch. The middle pitch is shared and always must be simultaneously played by both instruments. All pulses must be filled with sounds from one or both instruments. (G) P P G 6 5 1 6 1 5 6 3 5.56.5.6.56.6.565.56.5.6 56.65.6 Polos 535.353.35.3.35.535.353.35.3.53. Sangsih This kotekan cannot be played on the reyong since it require the simultaneous striking of notes. 4 KOTEKAN NJOG CAK Kotekan Njog Cak: This kotekan has the following rules (Ornstein, pp. 227-234): 1. The polos plays on the 1st and 3rd pulse. 2. The sangsih plays on the 2nd and 4th pulse. 3. The pulse that corresponds to the pokok are often the same pitch as the pokok, particularly at important structural points in the pokok. 4. The pattern of intervening pulses should, if possible, indicate the direction of the pokok change and may be disjunct some of the time. This is a section (pulses 25 to 32 of the 48 in the pengipuk gongan, where the dancers flirts with the drummer) of Teruna Jaya which uses Kotekan Njog Cak(Vitale): 6 5 3 5 3 2 3 5 5.2.5.i.5.2.5.2.1.6.2.5.5.3.5.i. Polos .6.6.3.3.6.6.3.3.1.6.5.1.3.6.3.3 Sangsih As variation on the above requires sangsih to always be above or adjacent to polos except where they meet in unison (then both play). It can only be used with a pokok that has repeated pokok notes like those of Tabuh Condong (Ornstein, p. 235). ONCANG-ONCANG Oncang-oncang:: Earlier it was noted that for pieces like the third portion of Penyembrama: P M P G 6 5 3 2 1 6 3 2 There can also be repeated patterns where the pokok note is embedded. That is, a pattern like: (2b,3(b+1,b)) can be used for each note of the pokok. For example, the 7th note of the pokok (5) is replaced with the phrase 55656565 where the 4th note (5) of the phrase coincides with the pokok 5. This pattern can also be interlocked with the polos being played as 55.5.5.5 and the sangsih played as 556.6.6. This Oncang-oncang pattern can be thought of as a simple kotekan. Kotekan can be mixed within the same piece.
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