When I spent time in Bali in 1994 as part of a Fulbright fellowship, I was especially entranced by the gamelan orchestras with seven tones per octave. These ensembles are the most ancient and revered of Balinese gamelan, and I am especially fond of the lovely and diverse moods found in the various five-tone modes that they derive from the seven tones, as well as their characteristic five plus three syncopations and complex interlocking polyrhythms. The Javanese counterpart to the Balinese seven-tone system is called pelog, and when I was in Java, I had a pelog instrument called a gender barung built for me (the "g" in "gender" is hard) and tuned to my own just intonation version of pelog. For this work, I decided to create a kind of concert piece for Western digital piano and a "virtual gamelan" made from multitracking my own gender and a gong. So, while I drew upon the influences of my experiences in Bali, this work would never be mistaken for a traditional Balinese piece, nor is it meant to imitate one. For those with an interest in such things, my tuning of the pentatonic modes used in this piece are (in order of appearance): 1/1, 5/4, 21/16, 105/64, 7/4, 2/1; 1/1, 5/4, 21/16, 3/2, 7/4, 2/1; 1/1, 8/7, 6/5, 3/2, 8/5, 2/1.
Recorded on: email@example.com: A Microtonal Experience. Listen to excerpts from the CD, including Just On Time. Ordering information.
Click here to see the complete score of Just On Time. (23 pages). Please note that, because the recording is in just intonation, the notated pitches in this score usually do not represent the usual equal-tempered pitches of Western notation. Here is the gamut of pitches from which the above-mentioned modes are drawn:
|Pitch||Ratio between steps||Cents between steps||Ratio relative to C||Cents relative to C||Frequency|
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Updated on June 19, 2000 by Bill Alves (firstname.lastname@example.org).