Балилік Гамелан музыкасындағы өрілген әуендер: Котекан стилі

Indonesian musical melody used in Gamelan

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." In kotekan there are two independent parts called polos and , 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. Note: In the transliteration of Balinese used here, the letter "c" represents a sound similar to English "ch".

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 tempos.

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.

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.