“…in this new book by John Pitts, we find a novel and very practical approach to unravelling and understanding this intricate and seemingly impenetrable world. …it is an in-depth and detailed study, and users of this book will be generously rewarded by the investment of their time, effort and patience. …very impressive…” Chris Baxter, Piano Professional, January 2023
“…a wealth of knowledge in Javanese Gamelan in this pedagogical book… thorough overview… plentiful information… detailed notation… Teachers and students wishing to explore more about Javanese gamelan will enjoy this book.” Jui-Ching Wang, Piano Magazine, December 2022
“…compelling and rewarding. …a respectful anthropological exploration which acknowledges the value of this music and looks to learn from it. That is celebration and it is invaluable.” Allan J. Cronin, NewMusicBuff, July 2022
“…this latest offering from the enterprising composer John Pitts provides a fascinating introduction to the rudiments of Javanese gamelan music. …Pitts’ presentation and methodology ensure that readers emerge with a broad awareness of Indonesian culture… Pitts offers a practical rather than theoretical introduction to gamelan through extensive and ingenious ‘transcriptions’.” Murray McLachlan, International Piano Magazine, July/August 2022
“carefully-researched and clearly presented… This detailed, well-researched handbook is a fascinating introduction to the alluring soundworld of Javanese gamelan.” Frances Wilson, Cross-Eyed Pianist, January 2022
The ancient art of Indian rāgas freshly reimagined for piano 
Could you explain more about tuning the instruments for playing indian traditional? There could be macro- and micro attenuations, fine tuning for string and key instruments, including piano retune. Would be pleasant to having this figured well.
LikeLike
Hi Alex,
In essence, the ancient Indian octave is in theory divided into 22 śrutis (microtones), where Sa and Pa are fixed, and the other five notes in the ṭhāṭ have optional alternative tunings chosen by the performer. Eg: in a ṭhāṭ that begins C D♭ E, where C is śruti 1, D♭ may be set as either śruti 3 or 4, E may be śruti 8 or 9 etc. The C and G are always in a perfect relationship to each other – the “just perfect fifth” with a ratio of 3:2 string length, which is an interval ever so slightly wider than any perfect fifth on a piano, as all pianos are tuned in equal temperament. As an example, the Toḍī ṭhāṭ might actually be tuned: C, low flat D♭, high flat E♭, high sharp F#, G, low flat A♭, low B, C. (Unless you want to play around with detuning your piano, there’s not a lot you can do about this…)
Regardless of the precise system of tuning used, each ṭhāṭ is always a seven-note scale that is close in concept to western scales and modes, even though it may sound slightly out of tune to western ears. However, there are numerous different and contrasting systems of tuning in Indian music, both in theory and in practice, and the extent to which precise śrutis are intentionally and meaningfully used in practice is debatable. Although ‘microtonal tuning’ is the first thing that many people think of in relation to Indian rāgas, śrutis are actually far less important to the character and journey of a rāga than any other musical ingredient.
I hope that helps!
John
LikeLike