Balinese Kotèkan Types

The interlocking kotèkan rhythms of Bali are divided into two parts known as nyangsih (male) and polos (female). In all of the examples below (from Ancient Traditions--Future Possibilities, Chapter 2, Exercise II, page 49), the polos part is on the bottom staff while the nyangsih part is on the top.

There were four types of melodic kotèkans that were recognized in North Bali by Music in Bali, Colin McPhee's ground breaking documentation of Balinese music in the 1930's: chandetan, tutugan, ochètan, and semi- ochètan. Modern Balinese music scholarship seems to be coalescing around another set of terms, but these four types serve as a good starting point for study in the musicianship required to perform interlocking rhythms.

Chandetan

The chandetan is an alternating rhythm in which the nyangsih melody differs from the polos:

Gong IconChandetan MIDI File.

Tutugan

The tutugan is an alternating rhythm in which the nyangsih melody follows the polos:

Gong IconTutugan MIDI File.

Ochètan

The ochètan is an interlocking rhythm in which two separate voices are created where the parts meet:

Gong IconOchètan MIDI File.

Semi-Ochètan

The semi-ochètan is an interlocking rhythm in which the parts meet on a unison:

Gong IconSemi-Ochètan MIDI File.

 

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