Talk:Kepatihan notation
From Wikipedia, the free encyclopedia
 |
Kepatihan notation is part of WikiProject Indonesia, which aims to improve Wikipedia's coverage of Indonesia and Indonesia-related topics. If you would like to participate, visit the project page. Please do not substitute this template.
|
| ??? | This article has not yet received a rating on the quality scale. |
| ??? | This article has not yet received a rating on the importance scale. |
|
|
|
Notes for someone more experienced at writing articles: Being a traditional gamelan player, I must add that it is really quite fruitless to talk about pelog 4s and 7s as being sharp or flat. In fact, this kind of thinking is rather misleading. Also, it might be more useful to compare the pitches to the natural harmonic scale (see also: just notation) or pentatonic scales rather than solfege (that is, western 'equal' temprament). thanks Shadowshark (talk) 01:22, 18 February 2008 (UTC)
- Hi there,
Do you disagree that it can be fruitful to think of pelog as pentatonic with substitutions available, or is your objection only to the western frame of reference? If the later, we probably agree, but I've assumed "flat" and "sharp" etc. are familiar to many Anglophone readers in the sence of "lowers" and "raised", without implying by a fixed number of cents. The "Galin-Paris-Cheve system of 1894" claim originates (I'm pretty sure) with Judith Becker, but my point was that the resemblance between 3-5 and mi-sol gap is probably coincidental. There isnt an article yet on laras, but Pelog and Slendro do a better job of covering the actual tuning than may be expected of an article on notation. Sparafucil (talk) 02:17, 18 February 2008 (UTC)
