source file: m1391.txt Date: Mon, 20 Apr 1998 07:56:55 -0400 Subject: TUNING digest 1390 From: Daniel Wolf Carter, you wrote: ...4 is a subsidiary >tone in pelog lima, an alternate to 3; and some >gendhing use all 7 tones; so the boundaries between >the three "keys" are not strict. = I find myself continuously rethinking how one divides the pelog repertoire. The three pathet division does apply to a large chunk of the repertoire in terms of techniques used on the elaborating instruments (which don't have pitch 4) where the tone pelog is sometimes a substitute for 3 and sometimes takes a scalar function in the sequence 4-5-6 parallel to that of 1 in the sequence 1-2-3. = While most of the seven tone repertoire (i.e. Solonese gendhing bonangan and Yogya gendhing soran) can be analysed as modulating locally to one of the five tone sets that I identified or a 4 for 3 substitution, there are uses of 4 as a kind of chromatic tone (particularly in contemporary Lagu Dolanan), a kind of 'pelog pathet slendro' where both 3 and 4 are used, and sometimes pitch 7 is introduced in the absence of a high 1. I may be entirely wrong about this, but I imagine these 'chromatic' uses of the residua from the = tuning method to be like Skryabin, Slonimsky or Bartok inventing new scales or Harry Partch playing chromatic scales or 'octaves' on the chromelodeon. (Or, for that matter, Doug Leedy's meantone black- key slendro). The best evidence I have for this, in the absence of rebab and voices in gendhing bonangan/soran. = 80 cents, but usually a good deal