Heterophony
Jiangnan Sizhu and Javanese Gamelan share a similarity in that they both feature heterophonic textures. Heterophony is characterized by the simultaneous variation of a single melodic line done by two or more performers. This variation can occur rhythmically or in the form of melodic alteration, which has already been discussed.
Both cultures have rhythmically changed melodies in different instruments to create this texture. In Gamelan, higher pitched instruments such as the Saron Panerus and occasionally the Bonangs will alter the melody, often adding more complex rhythms to the preexisting skeletal melody. Typical ways of altering the melody include diminution where the musician will halve the rhythmic values of the melody and play it twice, or repeat each melody of the note twice.
Both cultures have rhythmically changed melodies in different instruments to create this texture. In Gamelan, higher pitched instruments such as the Saron Panerus and occasionally the Bonangs will alter the melody, often adding more complex rhythms to the preexisting skeletal melody. Typical ways of altering the melody include diminution where the musician will halve the rhythmic values of the melody and play it twice, or repeat each melody of the note twice.
In the figure above, the Saron Panerus is simply playing the Balungan melody but with halved rhythmic values (Fuse). The Bonang Barung plays a variation of the melody by taking two crotchets of the melody and doubling it. These two rhythm altering techniques are typically used in Gamelan Orchestras to create the heterophonic texture, and are used to fill the sound space in between the crotchets of the melody. The altered melody that the Saron Panerus plays is quite commonly used in Javanese Gamelan and quite loud so it shouldn’t be mistaken for a principal melody.
In a typical Jiangnan Sizhu ensemble, instrumentalists will be reading off identical scores or will have learnt the same melody, however, each would not be playing what is exactly written resulting in a heterophonic texture (Tsui 57, 84). Because each instrument functions differently, slight differences to the melody can be heard when played in unison across an ensemble. For example, the Dizi is quite melodic because of how simple the fingerings are and will often extend melodies while others hold long notes. The Yangqin is able to play in octaves because of how the strings are positioned and the Erhu is more suited to holding notes on for longer as notes can be sustained due it being a bowed-instrument.
Figure 2.2, transcribed from the first 8 bars of ‘Walking in the Street’, shows the presence of heterophony and how two different instruments, the Yanqin and the Dizi play slightly altered versions of the same melody.
Figure 2.3, transcribed from the first 4 bars of the Dizi and Erhu parts, is indicative of heterophonic texture. In bar 2, while the Dizi holds a minim, the Erhu elaborates off the sustained B note and plays semiquavers. In the first crotchet of bar 3, the Dizi chooses to not play, which is also a way of altering the melody. Instead, it rejoins the Erhu on the upbeat of crotchet 2.
In both Gamelan and Jiangnan Sizhu, the notion of Western Harmony is not utilized. In fact, Chinese music more closely resembles polyphony than it does homophony (Wu). In the case of Jiangnan Sizhu, where there is generally only one player per type of instrument, improvisations and alterations of the skeletal melody are essential (Tsui 57). This again draws similarities to Gamelan music. Many musicians play the Balungan in unison and the Panerusan instruments are playing elaborations of that melody.