Gatra
Encyclopedia
A gatra is a unit of melody in Javanese gamelan
music, analogous to a measure in Western music. It is often considered the smallest unit of a gamelan composition.
A gatra consists of a sequence of four beats (keteg), which are filled with notes (or rests, pin) from the balungan
. In general, the second and fourth beats of a gatra are stronger than the first and third, and the final note of a gatra, called the seleh
, dominates the gatra. In other words, the gatras are like Western measures in reverse, with the strongest beat at the end. Important colotomic instruments, most notably the gong ageng
, are played on that final beat. If the final beat in a gatra is a rest, the seleh is the last note played. It is not uncommon in gamelan repertoire to find entire gatras of rests. Note that the actual length of time it takes to play a gatra varies from less than a second to nearly a minute, depending on the tempo
(laya) and the irama
.
In kepatihan notation, gatras are generally grouped together in the notation of the balungan, with space added between them. There is, however, no pause between one gatra and the next. The different patterns of notes and rests in a gatra are explained at balungan
.
Rahayu Supanggah
considers the hierarchical nature of the four beats of a gatra to be reflected on a larger scale in gamelan compositions; in particular by the four nongan in a gongan of the merong
and inggah of a gendhing
. This is similar to the padang-ulihan ("question-answer") structure key to gamelan composition.
Ki Sindusawarno's system: (1) ding kecil (2) dong kecil (3) ding besar (4) dong besar
Martopangrawit's system: (1) maju ('forward') (2) mundur ('back') (3) maju (4) seleh
The first word in the names is Ki Sindusawarno's system are similar to the names of the hierarchy of pitches used in Balinese music: ding represents the secondary note of a pathet
, and dong is similar to the Western idea of tonic
. Kecil and besar mean "small" and "large," respectively, so clearly this articulates the hierarchical system explained in the introduction, with the largest and most significant beat at the end of the gatra, and a somewhat smaller one halfway through.
The reference for the names in Martopangrawit's system is to kosokan, the direction of bowing
of the rebab
. It also reflects the idea that the second beat is stronger than the first and third, since drawing a bow tends to produce a stronger sound than pushing it.
Gamelan
A gamelan is a musical ensemble from Indonesia, typically from the islands of Bali or Java, featuring a variety of instruments such as metallophones, xylophones, drums and gongs; bamboo flutes, bowed and plucked strings. Vocalists may also be included....
music, analogous to a measure in Western music. It is often considered the smallest unit of a gamelan composition.
A gatra consists of a sequence of four beats (keteg), which are filled with notes (or rests, pin) from the balungan
Balungan
The balungan is sometimes called the "core melody" of a Javanese gamelan composition. This corresponds to the view that gamelan music is heterophonic: the balungan is then the melody which is being elaborated....
. In general, the second and fourth beats of a gatra are stronger than the first and third, and the final note of a gatra, called the seleh
Seleh
The seleh note or nada seleh is a concept used in Javanese gamelan music. It is the final note of a gatra, or four-beat melodic unit.The main underlying melodic structure of a gamelan piece, called the balungan, is grouped into four-beat units...
, dominates the gatra. In other words, the gatras are like Western measures in reverse, with the strongest beat at the end. Important colotomic instruments, most notably the gong ageng
Gong ageng
The gong ageng is . It is the largest of the bronze gongs in the Javanese and Balinese gamelan orchestra...
, are played on that final beat. If the final beat in a gatra is a rest, the seleh is the last note played. It is not uncommon in gamelan repertoire to find entire gatras of rests. Note that the actual length of time it takes to play a gatra varies from less than a second to nearly a minute, depending on the tempo
Tempo
In musical terminology, tempo is the speed or pace of a given piece. Tempo is a crucial element of any musical composition, as it can affect the mood and difficulty of a piece.-Measuring tempo:...
(laya) and the irama
Irama
Irama is a concept used in Javanese gamelan music, describing melodic tempo and relationships in density between the balungan, elaborating instruments, and gong structure. It is distinct from tempo , as each irama can be played in different tempi.One way to think of irama is to use the most...
.
In kepatihan notation, gatras are generally grouped together in the notation of the balungan, with space added between them. There is, however, no pause between one gatra and the next. The different patterns of notes and rests in a gatra are explained at balungan
Balungan
The balungan is sometimes called the "core melody" of a Javanese gamelan composition. This corresponds to the view that gamelan music is heterophonic: the balungan is then the melody which is being elaborated....
.
Rahayu Supanggah
Rahayu Supanggah
Rahayu Supanggah is an Indonesian composer of more than 100 pieces, known mostly for his part in the international collaboration Realizing Rama and the music score composed for Robert Wilson's I La Galigo. His compositions for Opera Jawa won the Asian Film Award in 2007. Since 2007 he is resident...
considers the hierarchical nature of the four beats of a gatra to be reflected on a larger scale in gamelan compositions; in particular by the four nongan in a gongan of the merong
Merong
The merong is a section of a composition for Javanese gamelan, a musical ensemble featuring metallophones, xylophones, drums, and gongs. Specifically, the merong is the initial part of a gendhing...
and inggah of a gendhing
Gendhing
The gendhing is a class of gendhing structures used in Javanese gamelan music. Gendhing can also be used to refer to gamelan compositions in general....
. This is similar to the padang-ulihan ("question-answer") structure key to gamelan composition.
Names of beats in a gatra
At least two sets of terms are used to describe the four notes of a gatra:Ki Sindusawarno's system: (1) ding kecil (2) dong kecil (3) ding besar (4) dong besar
Martopangrawit's system: (1) maju ('forward') (2) mundur ('back') (3) maju (4) seleh
The first word in the names is Ki Sindusawarno's system are similar to the names of the hierarchy of pitches used in Balinese music: ding represents the secondary note of a pathet
Pathet
The pathet is an organizing concept in gamelan music. It is difficult to explain, but is similar to the melody types, that is, for example, modes, ragas, or maqamat, of other musics....
, and dong is similar to the Western idea of tonic
Tonic (music)
In music, the tonic is the first scale degree of the diatonic scale and the tonal center or final resolution tone. The triad formed on the tonic note, the tonic chord, is thus the most significant chord...
. Kecil and besar mean "small" and "large," respectively, so clearly this articulates the hierarchical system explained in the introduction, with the largest and most significant beat at the end of the gatra, and a somewhat smaller one halfway through.
The reference for the names in Martopangrawit's system is to kosokan, the direction of bowing
Bow (music)
In music, a bow is moved across some part of a musical instrument, causing vibration which the instrument emits as sound. The vast majority of bows are used with string instruments, although some bows are used with musical saws and other bowed idiophones....
of the rebab
Rebab
The rebab , also rebap, rabab, rebeb, rababah, or al-rababa) is a type of string instrument so named no later than the 8th century and spread via Islamic trading routes over much of North Africa, the Middle East, parts of Europe, and the Far East...
. It also reflects the idea that the second beat is stronger than the first and third, since drawing a bow tends to produce a stronger sound than pushing it.
Experimental gatras
Although traditionally gatras have always contained four notes, a few recent experimental pieces have used gatras of other lengths, often because of Western music. An example by a Javanese composer is Pak Marto's Parisuka.External links
- Gatra: A Basic Concept in Traditional Javanese Gending by Rahayu Supanggah, from Balungan magazine