Kotekan is a style of playing fast interlocking parts in most varieties of Balinese Gamelan music, including Gamelan gong kebyar, Gamelan angklung, Gamelan jegog and others. Kotekan are "sophisticated interlocking parts," "characteristic of gong kebyar and several other Balinese gamelan styles, that combine to create the illusion of a single melodic line that often sounds faster than any single human could possibly play." According to Colin McPhee: "Composed of two rhythmically opposing parts which...interlock to create a perpetual flow of sound, the kotekan adds sheen and intensity to the music, ...calls for the utmost rhythmic precision...[and] lies in the top register of the gamelan."
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| - Kotekan (ca)
- Kotekan (es)
- Kotekan (en)
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| - Kotekan és un estil d'interpretació consistent a tocar ràpidament parts intercalades, que es combinen per crear la il·lusió d'una única línia melòdica resultant que sovint sona a velocitat sobrehumana, característica del gamelan gong kebyar i present en un gran nombre d'altres formes de música de gamelan balinès, com el gamelan angklung i gamelan jegog, entre d'altres. (ca)
- Kotekan es un estilo de interpretación de partes rápidas entrelazadas que se da en la mayoría de variedades de la música de gamelan balinesa, entre las que se encuentran el gamelan gong kebyar, el gamelan angklung, el gamelan jegog y otras. En el kotekan hay dos partes independientes llamadas polos y sangish cada una de las cuales completa las lagunas de la otra para formar una textura rítmica completa. En el gamelan gong kebyar el kotekan se toca generalmente en una afinación más aguda en gangsa y reyong a modo de adorno a la melodía principal denominada pokok, que es interpretada en el y . (es)
- Kotekan is a style of playing fast interlocking parts in most varieties of Balinese Gamelan music, including Gamelan gong kebyar, Gamelan angklung, Gamelan jegog and others. Kotekan are "sophisticated interlocking parts," "characteristic of gong kebyar and several other Balinese gamelan styles, that combine to create the illusion of a single melodic line that often sounds faster than any single human could possibly play." According to Colin McPhee: "Composed of two rhythmically opposing parts which...interlock to create a perpetual flow of sound, the kotekan adds sheen and intensity to the music, ...calls for the utmost rhythmic precision...[and] lies in the top register of the gamelan." (en)
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| - Kotekan és un estil d'interpretació consistent a tocar ràpidament parts intercalades, que es combinen per crear la il·lusió d'una única línia melòdica resultant que sovint sona a velocitat sobrehumana, característica del gamelan gong kebyar i present en un gran nombre d'altres formes de música de gamelan balinès, com el gamelan angklung i gamelan jegog, entre d'altres. En el kotekan hi ha dues parts independents anomenades polos i sangsih, on cadascuna omple els buits de l'altra per formar una textura rítmica completa. En el gamelan gong kebyar, els kotekans apareixen generalment en els instruments de registre més agut (gangsa), i en el com a ornament de la melodia principal tocada en el calung i en l'ugal. (ca)
- Kotekan es un estilo de interpretación de partes rápidas entrelazadas que se da en la mayoría de variedades de la música de gamelan balinesa, entre las que se encuentran el gamelan gong kebyar, el gamelan angklung, el gamelan jegog y otras. En el kotekan hay dos partes independientes llamadas polos y sangish cada una de las cuales completa las lagunas de la otra para formar una textura rítmica completa. En el gamelan gong kebyar el kotekan se toca generalmente en una afinación más aguda en gangsa y reyong a modo de adorno a la melodía principal denominada pokok, que es interpretada en el y . Nota: En la transliteración del balinés utilizada aquí, la letra "c" representa un sonido similar al de la letra "ch". (es)
- Kotekan is a style of playing fast interlocking parts in most varieties of Balinese Gamelan music, including Gamelan gong kebyar, Gamelan angklung, Gamelan jegog and others. Kotekan are "sophisticated interlocking parts," "characteristic of gong kebyar and several other Balinese gamelan styles, that combine to create the illusion of a single melodic line that often sounds faster than any single human could possibly play." According to Colin McPhee: "Composed of two rhythmically opposing parts which...interlock to create a perpetual flow of sound, the kotekan adds sheen and intensity to the music, ...calls for the utmost rhythmic precision...[and] lies in the top register of the gamelan." One of the most striking features of Balinese gamelan music...is kotekan, the rapid interlocking figuration that permeates nearly all kebyar compositions. It creates a unique sonic impression: a group of gangsa (bronze metallophones) struck with hard wooden mallets produce an intricately patterned lay of sound above the more sustained tones of the lower instruments; the reyong, a row of small tuned gongs played by four musicians, creates a different (but equally complex) figuration of a softer attack and sound color; and leading them all are a pair of drummers who play yet another kind of interlocking patterns. — Wayne Vitale 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 rhythmic 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. The busy upper registers of the gamelan are the domain of the gangsas and reyong. These instruments spin out kotekan, the crackling ornamental fireworks of Balinese music. Kotekan is usually expressed in English as 'interlocking parts', because although it sounds as one melody it is actually composed of two interdependent musical lines that are incomplete when played alone and dependent exclusively on each other for obtaining the desired result. That can range from stately murmuring some of the older, simpler styles of kotekan, to extroverted, jazzy acrobatics in modern music. The tight interaction of the two parts produces a supple texture that is pointillistic in detail and fluid as a whole. ... Much of the excitement of Balinese music arises from these irresistible rhythms. — Michael TenzerNote: In the transliteration of Balinese used here, the letter "c" represents a sound similar to English "ch". (en)
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