Kotekan
Encyclopedia
Kotekan is a style of playing fast interlocking parts in most varieties of Bali
nese Gamelan
music, including Gamelan gong kebyar
, Gamelan angklung, Gamelan jegog
and others. In kotekan there are two independent parts called polos and sangsih, each of which fills in the gaps of the other to form a complete rhythm
ic texture. In Gamelan gong kebyar, Kotekan is usually played on the higher-pitched gangsa
and reyong
as embellishment to the main melody (pokok) played on the calung
and ugal
.
Nyog cag is a straightforward alternation between polos and sangsih, each playing only every other note of a scale or other melodic figuration. Though structurally the simplest form of kotekan, nyog cag can be difficult to play accurately, especially because it is used at the fastest tempo
s.
In kotekan telu, the polos and sangsih share a set of three pitches (telu means three in Balinese). One of the parts plays the low and middle pitches, the other plays the middle and high pitches. The middle pitch is always played in unison by both parts except if kotekan telu is played by the reyong
, because the two or four players share the same set of pots.
Kotekan empat is similar to kotekan telu, except in this case there are four pitches (empat means "four" in Balinese). One part plays the lower two and the other plays the upper two; there is no sharing of pitches. Usually the lowest and highest pitches are struck simultaneously, and the interval they form varies depending upon where the notes fall in the scale and the tuning of the ensemble.
Kotekan 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 etc...
Pokok 1 . . . 2 . . . 3 . . . 1 . . . etc...
The above is the most basic example of a kotekan telu. In the example the numbers refer to the different pitches being played. The kotekan is repeating the same pattern over and over. Note that the pokok is exactly the same pattern played four times slower. The kotekan would be divided into polos and sangsih as follows:
Polos 1 2 . 1 2 . 1 2 . 1 2 . 1 2 . 1 etc...
Sangsih . 2 3 . 2 3 . 2 3 . 2 3 . 2 3 . etc...
Pokok 1 . . . 2 . . . 3 . . . 1 . . . etc...
If the pokok changes, the kotekan will follow it. Here is a simple example that is similar to the first example except that it changes direction.
Kotekan 1 2 3 1 2 3 1 2 3 2 1 3 2 1 3 2 etc...
Pokok 1 . . . 2 . . . 3 . . . 2 . . . etc...
Notice that this example can repeat over and over. Here is what the separate parts might look like:
Polos 1 2 . 1 2 . 1 2 . 2 1 . 2 1 . 2 etc...
Sangsih . 2 3 . 2 3 . 2 3 2 . 3 2 . 3 2 etc...
Pokok 1 . . . 2 . . . 3 . . . 2 . . . etc...
Here is the same melody with kotekan empat:
Polos 1 2 . 1 2 . 1 2 . 2 1 . 2 1 . 2 etc...
Sangsih 4 . 3 4 . 3 4 . 3 4 3 . 4 3 . etc...
Pokok 1 . . . 2 . . . 3 . . . 2 . . . etc...
The polos part is the same as the previous example. However, the sangsih part is very different.
Bali
Bali is an Indonesian island located in the westernmost end of the Lesser Sunda Islands, lying between Java to the west and Lombok to the east...
nese Gamelan
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, including Gamelan gong kebyar
Gamelan gong kebyar
Gamelan gong kebyar is a style or genre of Balinese gamelan music. Kebyar means "the process of flowering", and refers to the explosive changes in tempo and dynamics characteristic of the style. It is the most popular form of gamelan in Bali, and its best known musical export...
, Gamelan angklung, Gamelan jegog
Gamelan jegog
Jegog is a form of gamelan music indigenous to Bali, Indonesia played on instruments made of bamboo. The tradition of jegog is centered in Jembrana, a region in Western Bali. In recent years jegog has started to become popular in other regions of Bali with a few groups being established in...
and others. In kotekan there are two independent parts called polos and sangsih, each of which fills in the gaps of the other to form a complete rhythm
Rhythm
Rhythm may be generally defined as a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions." This general meaning of regular recurrence or pattern in time may be applied to a wide variety of cyclical natural phenomena having a periodicity or...
ic texture. In Gamelan gong kebyar, Kotekan is usually played on the higher-pitched gangsa
Gangsa
A gangsa is a type of metallophone which is used mainly in Balinese and Javanese Gamelan music. In Balinese gong kebyar styles, there are two types of gangsa typically used: the smaller, higher pitched kantilan and the larger pemade. Each instrument consists of several tuned metal bars each placed...
and reyong
Reyong
thumb|250px|The reongThe reyong is a musical instrument used in Balinese gamelan. It consists of a long row of metal gongs suspended on a frame. In gamelan gong kebyar, it is played by four players at once, each with two mallets....
as embellishment to the main melody (pokok) played on the calung
Calung
A calung is a bamboo tube xylophone used in the Sundanese music of West Java usually played by three or more men ....
and ugal
Ugal
An ugal is an instrument in an Indonesian gamelan orchestra. It is a bronze metallophone played one handed with a small hammer, often in a dance-like manner. There are usually ten keys, giving a range spanning about two octaves...
.
- Note: In the transliteration of BalineseBalinese languageBalinese or simply Bali is a Malayo-Polynesian language spoken by 3.3 million people on the Indonesian island of Bali, as well as northern Nusa Penida, western Lombok and eastern Java...
used here, the letter "c" represents a sound similar to English "ch".
Nyog cag
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:...
s.
Nyok cok
Nyok cok is an ornamentation of the pokok melody in which polos and sangsih anticipate the next pitch of the pokok in unison and then each plays one of its neighbor tones.Kotekan telu
Reyong
thumb|250px|The reongThe reyong is a musical instrument used in Balinese gamelan. It consists of a long row of metal gongs suspended on a frame. In gamelan gong kebyar, it is played by four players at once, each with two mallets....
, because the two or four players share the same set of pots.
Kotekan empat
Kotekan theory
Kotekan are typically composed by elaborating the pokok melody. The subdivisions of the composite kotekan are usually played four or eight times faster than the pokok. Since the kotekan patterns are either three notes (telu) or three sounds (the kotekan empat has two solo pitches plus the open interval), the simple patterns do not repeat every four or eight notes. This can be illustrated in the following example:Kotekan 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 etc...
Pokok 1 . . . 2 . . . 3 . . . 1 . . . etc...
The above is the most basic example of a kotekan telu. In the example the numbers refer to the different pitches being played. The kotekan is repeating the same pattern over and over. Note that the pokok is exactly the same pattern played four times slower. The kotekan would be divided into polos and sangsih as follows:
Polos 1 2 . 1 2 . 1 2 . 1 2 . 1 2 . 1 etc...
Sangsih . 2 3 . 2 3 . 2 3 . 2 3 . 2 3 . etc...
Pokok 1 . . . 2 . . . 3 . . . 1 . . . etc...
If the pokok changes, the kotekan will follow it. Here is a simple example that is similar to the first example except that it changes direction.
Kotekan 1 2 3 1 2 3 1 2 3 2 1 3 2 1 3 2 etc...
Pokok 1 . . . 2 . . . 3 . . . 2 . . . etc...
Notice that this example can repeat over and over. Here is what the separate parts might look like:
Polos 1 2 . 1 2 . 1 2 . 2 1 . 2 1 . 2 etc...
Sangsih . 2 3 . 2 3 . 2 3 2 . 3 2 . 3 2 etc...
Pokok 1 . . . 2 . . . 3 . . . 2 . . . etc...
Here is the same melody with kotekan empat:
Polos 1 2 . 1 2 . 1 2 . 2 1 . 2 1 . 2 etc...
Sangsih 4 . 3 4 . 3 4 . 3 4 3 . 4 3 . etc...
Pokok 1 . . . 2 . . . 3 . . . 2 . . . etc...
The polos part is the same as the previous example. However, the sangsih part is very different.
External links
- Demonstration of kotekan on YouTube -- Note: In this version, both performers are using the same instrument, which is not normally how it is performed.
- Demonstration of kotekan on YouTube
- A very good article on kotekan by Wayne Vitale, published by the American Gamelan Institute in Vol. 4, No. 2 of the journal Balungan""