Re-Actualization Balinese Gamelan Harmony for Renewal Knowlegde of the Balinese Music

Balinese music has a variety of gamelan that develops in the community. Balinese gamelan is a central object in the development of Balinese musical knowledge. One of the most problematic is the harmony system. In the context of Balinese music knowledge, the harmony system is an element that is often discussed its existence. The 'harmony system' has been recognized through the dualistic concept. This concept is the source of the technique for playing the Balinese Gamelan. Knowledge of the harmony system with this dualistic concept is based on the object of research by Gamelan Gong Kebyar. Gamelan Gong Kebyar is indeed very closely related to the dualistic system. However, this system is not relevant to several other Balinese Gamelan, one of which is the Gamelan Gambang. Therefore, knowledge of the harmony system in Balinese music needs to be updated. This update is an actualization of knowledge about gamelan harmony. The problems discussed in this article are what is Balinese Gamelan harmony, what is the roles of Balinese Gamelan harmony and the concept of Balinese musical harmony. This reaserch uses a mix method, namely qualitative and quantitative methods. Musicology approach as a qualitative method while sound physics as a quantitative method.


INTRODUCTION
The tuning system dramatically influences the playing system, which eventually becomes the essential harmony in the concept of the Balinese Gamelan tradition. The tunes are deliberately tuned to create different frequencies for the same tone in the Gamelan -this is known as the ngumbang ngisep concept in the Balinese Gamelan "tone" system. Ngumbang ngisep is a concept that creates variations in playing techniques, which ultimately represent the harmony in the Balinese Gamelan. Sugiartha stated that harmony -which has the same position as melody, rhythm, and frequency -is the result of sound modification done by artists (Sugiartha, 2015). Therefore, the modification of sound through frequency in the tuning system has an important aspect in the context of Balinese Gamelan harmony.
The Balinese Gamelan tradition gives freedom to each Gamelan maker (Pande Gamelan) to interpret his taste in tuning the Gamelan. Other Pande has their methods to making tone (Tenzer, 2011). This tradition causes the harmonization system between one and another Gamelan to diverse, both between the same type of Gamelan (gong kebyar with the other gong kebyar) and the different types (gong kebyar with other Gamelan: Samara Pagulingan, Leluangan, Bebarongan, Gambang). So, this is causing the theory of harmony to be difficult to explain in musical practice. However, this is the special features of karawitan, including Balinese Gamelan. The practice of harmony is usually closely related to playing techniques, so that the diversity of Gamelan results in a variety of techniques, that also at the same time, its results in a diversity of the concept of harmony.
At present, the harmony in the context of Balinese Gamelan is explained through studies of the Gamelan Gong Kebyar, so that other ancient Gamelans such as Gambang which has self-harmonized characteristics are not formulated in detail, ultimately people only know about the Balinese Gamelan harmony system represented by the Gamelan Gong Kebyar. Therefore, it is very important to update knowledge of Balinese Gamelan harmony by observing and researching the Gamelan Gambang. There is a gap between the knowledge of harmony contained in some literature and the practices of several types of Balinese Gamelan, one of which is the Gamelan Gambang. So that, it is necessary to formulate the concept and theory of harmony, which is applied by the musicians in the daily Gamelan Gambang practice.
Gamelan Gambang is one type of Balinese Gamelan that has not been widely discussed and described regarding the study of text 2 in detail. This Gamelan is said to be one of the sacred Gamelan, usually used to accompany religious ceremonies in Bali (Tenzer, 2011). Based on its position as a sacred art, it is very natural that ethnomusicological discussions have colored many writings on Gamelan Gambang. Referring to the researcher's experience of listening and watching, the Gamelan Gambang is a typical Gamelan with complex systems and techniques in Balinese Gamelan vocabulary. Because of its complexity, Gamelan Gambang should have had systematic musical systems. Even so, there are not many reviews about techniques and systems -including the harmony system in the Gamelan Gambang -which can be read, understood as a basis for playing practice and the development of sciences. Therefore, it is important to conduct research that focuses on the harmony system. Based on the above background, the formulation of the questions is as follows: What is called harmony in Balinese musical instruments? What are the limitations of the science of harmony in Balinese Gamelan? How is the concept of the Balinese musical harmony system found in the Gamelan Gambang? The purposes of this study are such as: to formulate an appropriate definition of harmony within the framework of Balinese musical knowledge; Formulating the boundaries of harmony in Balinese musicals; Finding a concept about the Harmony system in Balinese musicals.

MATERIALS AND METHOD
The research in the form of Re-Actualization of Balinese Gamelan Harmony for the Renewal of Balinese Music Knowledge is classified as a combination of qualitative and quantitative research. Qualitatively, this research uses the descriptive-analytical method which aims to obtain data about the basic concepts of harmony. The approach used in studying these objects is musicology. In Balinese music, the musicological approach is closely related to musical elements: melody, rhythm, dynamics, harmony, tempo, and playing techniques. These elements are analyzed descriptively based on empirical data in the field. Therefore, the main data in this study, which is about harmony, is not seen based on the theory of western music harmony. However, it is analyzed based on musical instruments because the harmony of western music in practice is different from that of karawitan.
Musicologically, the harmony system is closely related to the tones' high and low sound frequencies parallel between one tone to another. This frequency is analyzed quantitatively based on the sound physics approach. According to the researcher, the musicology approach aims to solve the problems of playing techniques, which are an important part of the term in defining harmony. This term includes a playing system that is the basis for various playing techniques contained in the Gamelan Gambang, the scale system, and the tuning system. A physics approach that aims to obtain measurements of the frequency of tones available in the Gamelan Gambang. This frequency becomes the basic foundation in determining the ideal combination of tones to be categorized as a Balinese Gamelan harmony system. Valid data will support the two approaches above to get the correct conclusions. Table 1. The Information of Figure 1 No Name Description 1.

Chart 1. Research Stages
Gambang pengenter Gambang Pengenter is an instrument that functions to play the ornamentation patterns of each song and has a pitch and low pitch based on the frequency of each note.

Gambang Pemero
The Gambang pemo is one of the four gambang that functions as an instrument that plays the ornamentation patterns of each song and has a different tone frequency from other Gambang.

Gambang Penyelat
The Gambang penyelet is one of the four xylophones, which also functions as an instrument that plays the ornamentation patterns of each song. The xylophone diver also has a different pitch than the other four xylophones.

Gambang Pemetit
The Gambang pemetit is one of the four xylophones that plays the ornamentation melody patterns on each song and also has a different pitch tone from the other four xylophones.

5.
Gangsa Gede Gangsa gede is an instrument that functions to play a song frame in each song and has a different pitch than the xylophone instrument (Schaareman, 1980). 6, Gangsa Cenik Gangsa cenik is an instrument that also functions to play the melodic framework of each song (Schaareman, 1980).

A. Harmony sistem in the Gamelan Gambang
Harmony is not only a matter of music but also philosophy. Especially in western music, harmony has been established as a science, although previously, there was a dynamic understanding of harmony, especially before the seventeenth century. Gouk clearly states that harmony is about music, body and soul, and the universe (Gouk, 2008). Finally, after the seventeenth century, the harmony of music's harmony regulates the combination of tones, or a collection of tones played together (Prier SJ, 1989). In the discussion on the harmony of Balinese Gamelan, it is analyzed from the understanding that harmony is a combination of notes that are played simultaneously. The gambang harmony system is different from the other Balinese Gamelan systems (Ardana, 2020). In particular, the gambang has its self harmony system. See Figure 1, the pattern of laying out the tone arrangements on the Gambang above, considering the concept of harmonization with good sound quality, produced when two notes are struck together. Each Gambang instrument has a tone position that refers to the concept of tonal harmonization by considering the aesthetic aspects of the sound. The pitch distance of each instrument is adjusted by considering the aspect of harmony so that when it is played it will immediately provide chords, kwints, and notes. The harmony playing pattern on the Gambang is supported by the Gambang bat (panggul) which has been set in such a way, all the Gambang panggul has a different distance between the right and the left panggul (Mariyana, 2019). The following is a picture of the pelvis for playing the Gambang instrument: The panggul (instrument) above is played with two hands that are played equally between the right and left hands. Referring to the shape of the panggul, every stroke of the right or left hand will always sound two tones. Therefore, the two notes are simply applied as harmony. The purpose of the two notes being played simultaneously is also strongly influenced by the Gamelan Gambang tuning system which is different from Balinese Gamelan in general. The following is a recapitulation of the Gamelan Gambang tuning system which is recapitulated from Figure 1: The colors symbolize the notes and the game system. The same color in one instrument category means notes of different frequencies are being struck simultaneously. The blue color is struck together with the blue and so on for the column on the other instruments.

Instrumen/Tungguhan
The data above is a recapitulation of the frequency of each tone on each xylophone instrument. Each instrument plays two notes simultaneously (marked with the same color on each instrument). This playing technique has simply shown Table 2. Recapitulation of the frequency of each Gambang instrument with a pair system that every stroke always plays two notes with different frequencies. In the table, although playing the same tone, theoretically, it does not mean that the same note is an octave. For example, for example, the ding tone column (117.8 hertz) is always hit simultaneously with the ding tone (217.8). Between the first ding note (117.8 hertz) and the second ding (217.8) is not an octave tone, such as do with high do. Therefore, this simultaneous play will significantly produce sound characteristics which in the Balinese musical concept is called harmony. This playing model is different from Balinese Gamelan in general so that the Gamelan Gambang has its own uniqueness. The following shows the differences in frequencies based on the same tone (ding tone with ding, dong with dong, and so on) but has different frequencies.

Nada
Pengenter The data in the table shows that none of the notes contained in the xylophone instrument are the same. This difference is part of the very dynamic Gambang concept, meaning that each Gamelan Gambang has its own frequency size without having to follow other Gambang. This difference in frequency, when played, will harmonize each playing. This is also a distinct difference from other Balinese Gamelan.
As in the explanation in the previous section, the representation of Balinese Gamelan harmony can be seen from a playing system that combines two different tonal elements so that a characteristic sound color appears which is considered Table 3. Recapitulation of the same high and low notes on each Gambang instrument harmonic. The existence of this system is actually related to two things, namely the Balinese Gamelan tuning system and playing techniques. Therefore, the explanation regarding the actualization of Balinese Gamelan harmony in this section is discussed through a simple tuning system (the result of a bid) and playing techniques. First, the discussion of the tuning system will be fluent in recognizing the shape and model of the instrument so that this model affects the way and technique of playing. The shape of the instrument and how to play it as shown above implicitly shows that the Gamelan Gambang is a manifestation of harmony caused by its tuning system. Therefore, the tuning system: adjusting the high and low notes that do not have the same frequency in one type of tone is a concept of harmony, which can affect the playing technique so that it creates a variety of sound characteristics if all the xylophone instruments are played simultaneously.

Ngembat as a Representation of Gamelan Gambang Harmony
The gamelan Gambang technique uses two hands to play each melody of the gending. In principle, the melody pattern consists of three models, each model uses a ngembat system to embody harmony. The following below is each model of the melody playing pattern with the ngembat system: The melody model above is a playing pattern performed by gangsa gede and cenik instruments. Both are played by one player using two hands. The right hand plays gangsa gede and the left hand plays gangsa cenik. Gangsa gede and cenik have the same sequence of notes. Gangsa cenik is the ngembat tone (octave) of gangsa gede. Both instruments are played simultaneously with the same pattern and the same notes so that there is a harmony which is manifested from the ngembat system.
Apart from the ngembat patterns, the notation above to point out that there is a rhythmic pattern that is the same at every 2 bars or gatra. This is a peculiarity of the gamelan Gambang rhythm model. The rhythm is accurate from the first 2 elements to the last. The rhythm of this model is one of the characteristics of the gamelan Gambang. The Gambang rhythm pattern played through gangsa gede and cenik is different from the rhythm pattern played by other Gambang instruments (pengenter-pemero and penyelat-pemetit). The rhythm pattern played by a gangsa instrument can be referred to as a "gangsa rhythm". The gangsa rhythm is also combined with the rhythm of other instruments, the following are the rhythm and melody playing patterns of the penyelat and pemetit instruments: The melody pattern above is played by penyelat and pemetit instruments. In the upper notation it is played by a pemetit instrument while below it is played by a penyelat. The principle of the game of both has the same pattern, but the second pattern is placed on a different beat, giving the impression that the two are different patterns. The pemetit pattern is played on a beat or half beat, while the penyelat is played on a quarter beat.
Two people play the pemetit and penyelat game patterns. Pemetit played by one person and one person penyelat. The technique of playing this instrument uses two hands, namely the right and left hands. The right and left hands alternated, which aims to make melody patterns. The above notation clearly point out that the melodic play pattern is carried out with two hands and harmony is manifested from the ngembat system.
The melody pattern played by the penyelat and pemetit instruments is a development of the main melodies of gangsa gede and cenik. Musical development aims to fill the empty spaces between beats. The principle of this filling in the context of Balinese gamelan is termed a gending ornamentation (pepayasan). The main and ornamentation melody of the music are played simultaneously. The integration of the two gave birth to a typical musical pattern characteristic in the gamelan Gambang. Just like the gangsa instruments, the pemetit and the penyelat also implicitly have a distinctive rhythm pattern and the rhythm is different from the gangsa. The rhythm length of the two instruments is only two styles (bars). This rhythm can be referred to as the "pemetit rhythm" because it is played by both pemetit and penyelat. Thus, the Gamelan Gambang is harmoniously represented as a rhythm pattern. The above pattern is played by the pengentar and pemero instruments. Top is the pengenter and bottom pemero. The pengenter and pemero melody is a unified pattern in the Gamelan Gambang, and it are model be called the triple melody. The principle of playing the melody of the two instruments also uses the ngembat system as a representation of harmony. The ngembat system is clearly visible on every note that is struck, which is always playing the low and high notes simultaneously.
The melody pattern above also implicitly has different rhythm patterns from other instruments. The rhythm above is also known as the "pengenter rhythm", because it is played by the pengenter and pemero instruments. The rhythm contained in the instruments of gangsa gede, cenik, pemetit, penyelat, pengenter, and pemero can be concluded that this musical consists of three rhythm models.
Gangsa instruments (gede and cenik), pengenter, pemero, penyelat and pemetit all uses the ngembat system as a representation of harmony. In addition, the rhythm of each instrument has a different pattern so that the impression is more complex in harmony. The rhythm in the gamelan Gambang plays an important role in enriching musical patterns to make them seem more complicated. Harmonies manifested from rhythmic patterns are more complex than melodic ones. Harmony is manifested in three different rhythm models, namely: the gangsa rhythm, the pemetit rhythm, and the pengenter rhythm.

Polos-Sangsih as a Representation of Gamelan Gambang Harmony
See notations 10 and 11, the pattern to point out that the melody is played using the polos-sangsih technique. Polos-sangsih is used in playing the pemetit-penyelat and pengenter-pemero instrument. The principle of the game of innocence is paired.
Polos is a game that fits the beat (onbeat), while sangsih, a game that 'does not fit the beat'. The principle of the melody pattern that is integrated between the polos- sangsih is a model that is also developed in the gamelan Gambang game. Polossangsih is a way to realize gamelan harmony through playing techniques.

B. The Principle of Harmony in Balinese Gamelan
Harmony is one of the manifestations of musical patterns in Balinese musicals which are determined from the combination of tones in each musical composition. In general, in several books, what has considered a representation of harmony is a playing pattern combining two different tones, namely the first note with the fourth tone, so that in the playing, auditive characters that are considered harmonious will emerge. However, this concept is only played by instruments that function as ornamentation and are not played by instruments that play the main melody. This is one of the reasons that the concept of harmony in Balinese Gamelan and karawitan is not the same as western music; however, for the phenomena that have been mentioned, it can be categorized as the concept of harmony based on the philosophical concept of harmony (Bandem, 1986).

Ngembat, Ngempat, Nelu as Representation of Harmoni
Ngembat, ngempat, nelu is a playing model in several Balinese Gamelan compositions which can be called harmony. In a musical organization, this harmony is a melodic playing pattern called a foundation, which is ornamentation (melody of development) of the main melody. This pattern is played improvisational by players of pemade, kantil, and riyong instruments. This choice is based on the interpretation of the player. However, the player cannot freely interpret the play of the melody of the foundation. The concept of musical organization in Balinese musicals is a way of interpreting the ornamentation pattern with three models: ngembat, ngempat, and nelu.

Ngembat
Ngembat (octave) is a system of mixing lows and highs that are struck simultaneously to show that there are several different and harmonious sound colors as a musical organisation. More details can be seen in the notation below:

Ngempat
Theoretically, ngempat is an effort to harmonize the high sound and the lower sound in one stroke played simultaneously through two different instruments to produce a variety of sound characteristics.
The playing of ngempat is played by kantil and pemade instruments. This playing is applied through a plain polos and sangsih system, meaning that in its application the playing of ngempat is played by two instruments of the same type (two instruments of pemade/pemade contributor). The concept of this playing is contained in the Gamelan pelog five and seven notes. The ngempat system is a harmony model generated from a dynamic game of kantil and pemade. An example of a melody playing is as follows: The concept of ngempat from pemade pengumbang instrument is the same as pemade pengisep. This game is a harmony generated from the cooperative play between ding tones with dung tones, dong tones with dang, deng with ding, dung with dong, dang with deng.

Nelu
Third, the nelu playing system is a harmony pattern generated from two different tones played by the same type of instrument. Here is the notation:

C. Practice Harmony in the Gamelan Gong Kebyar.
The practice of harmony in this sub-section is reviewed based on practical experience found in the Gamelan Gong Kebyar and so on. Of course, this review shows the difference in the application of the harmony system both in practice and in the playing (technique) with the Gamelan Gambang. This comparison is important to explain so that the results of observations and analyzes of the harmony system in the Gamelan Gambang are different from Balinese Gamelan in general.  This difference will indicate a renewal of the harmony system that has not been disclosed scientifically and in detail so far. This review of the practice of harmony in Balinese Gamelan will use several case studies. The case study is the practice of playing Balinese music, which has been developing and often presented by musicians. This piece is a traditional piece. The principles and practices are a fundamental concept in the playing patterns of Balinese Gamelan. Therefore, the concept of the practice of playing harmony presented in it is something that is common and natural for every musician in Bali.
The practice of harmony in every Balinese Gamelan repertoire is played through several playing techniques. The technique is a way to create a melody. The practice of making melodies containing harmony in Balinese Gamelan can be played through several techniques: the twist technique, the norot technique. These two techniques have different concepts in a melody game. These two techniques are a way of weaving the ornamentation melody played by the pemade, kantil, and reyong instruments.

Implementation of Harmony through the Ubit-ubitan Technique
Ubit-ubitan is one technique commonly used by musicians in presenting Balinese musical repertoire (Bandem, 1991). The application of this technique aims to obtain a composition that seems dynamic, complex, and aesthetically pleasing. This technique is used in case studies of certain repertoires only. An example of the application of this technique is in the accompaniment of Pendet dance.
In the accompaniment of Pendet Dance, the pattern of the ubit-circle game is played by instruments, kantil, pemade. These two instruments play with the concept of polos and sangsih. From this playing there are several horizontal harmony patterns. The following below is an example of the twirling game pattern and its concept of harmony.
In the Pendet repertoire practice system above, the harmony application is played with the ngembat system. This harmony system is present in every beat because the application is played by all instruments, namely jegogan, jublag, ugal, pemade, and kantil. Each instrument plays its own pattern (see the previous page).
The musical above is a short example consisting of 4 bars and played repeatedly. Each instrument has a different pitch value. Jegogan as an instrument that plays a melodic framework, plays once in eight beats, namely on the first and eighth beat. The sound produced from the playing still has a vibration or vibration on the second, third, to the eighth beat. This means that on the second to seventh beats there is a sound resulting from the vibration of the jegogan instrument whose voice is dung in tone, while on the ninth beat to the fifteen beats it has a ding tone. These sounds or vibrations -especially on beats two through seven and nine to fifteen -are integrated with the other notes played by the jublag instrument and others (see notation above).
The jublag instrument plays notes : dung, ding, dung, dang, ding, deng, dong, dang. The dung note is played on the first beat, even though the vibration is still vibrating on the second beat as well as the next note, meaning that the vibration plays every note on level 2 beats. Based on the concept of play patterns and the resulting vibration effect, a harmony system occurs which can be seen in the table below: . The striking tone is on the first and eighth beats, while the vibrational tone is on the second to seventh and ninth to fifteenth beats. Next look at the second column from the top. In the column there is a symbol Jg which means the jegogan instrument. In the next column there are 8 symbols u and 8 i symbols. Symbol u means dung tone and symbol 1 means ding tone. The jegogan instrument plays dung notes as hit notes on the first beat and dung notes as vibrational notes on the second to seventh beats. On the eighth beat, the ding (i) tone is played as the striking tone and the ding (i) tone is played as a vibrational tone on the ninth beat to the fifteenth beat.
In the third column there is a symbol of Jb, which means the Jublag instrument. In this column there are several notes that are played with the following symbols: u (dung tone), i (ding tone), a (dang tone), e (deng tone), o (dong tone). In the fourth column (vertical) there is a ket which means to explain the type of tone played by the jublag instrument. In this information, there is a hit tones for every odd and even beat.
Analysis of the harmony system contained in the pattern above is that at the first beat between the jegogan and jublag instruments there is a symmetrical harmony which is manifested by a combination of the tone u (dung) is lower and u (dung) is higher (ngempat) -see beat one, two, five, six, eight, and nine. On the third beat, there is a combination of the tone u (dung) and i (ding), this means the concept of a combination that uses the nelu system. In the sixth and seventh beats, a combination of the tone u (dung) and a (dang) means using the siliran system. On beats ten and eleven there is a combination of tone i (ding) with tone e (deng), this means using the nelu system; On the twelfth and thirteenth beats there is a clause between the tone i (ding) and o (dong), this means using the siliran system. Finally, Table 4. Harmony practical concept on the fourteenth and fifteenth beats, a combination of the tone i (ding) with the tone a (dang) means using the siliran system. The harmony playing system in the example of the above can be concluded: a vertical and horizontal system. Vertically it is applied through a system of ngembat, ngempat, nelu, siliran, while the horizontal harmony system is the movement of the change in the harmony model at each beat. Therefore, the horizontal harmony of the above pieces is from ngembat to nelu, ngembat, siliran, ngembat, nelu, siliran, and siliran. Of the 16 beats contained in the music above, several characteristics of the impression can be generated from the harmony playing above. According to the author, the character of ngembat tends to be happy, nelu tends to be restless, and siliran tends to be restless.

Implementation of Harmony through the Norot Technique
Norot is a Balinese Gamelan technique that is often used to interpret a single frame of the melody and main melody (Dibia, 2017). This technique is used to weave a development melody that is played by the pemade, and reyong instruments. The playing is manifested in a polos and sangsih system. This system is played by kantil and pemade instruments. Apart from kantil and pemade, reyong also plays its role as a melodic development instrument by playing the norot technique in certain gending cases. Reyong instruments are more complex than kantil and pemade. The norot technique found in reyong is played with four players by applying different melodies so that the harmony system contained in it is more complex. Therefore, in the case of the implementation of the harmony system in the norot technique, it will be analyzed through the reyong game pattern in the case study of the first part of the musical instrument, tabuh telu sekar gadung. The pattern of the reyong playing above is played by four players in one instrument. The playing concept is divided into four patterns. All four are played simultaneously. At the same time with a different melody direction, produces harmony. A concrete explanation of each measure for each rickshaw player and the system can be shown in the table below: The table above consists of several columns which among them are intended to show the instruments and notes being played. The first column (at the top) consists of two columns: the left column shows the name of the instrument, namely the jublag instrument, while the right column is the basic tone played by the instrument. The tone played is the tone a (dang) which in the above notation is equated with the tone do. Tone a (dang) is interpreted into four patterns of reyong play (can be seen in the second, third, fourth, fifth tables). Each reyong plays different notes but is played simultaneously. The combination contained in the reyong playing is: the tone a (dang) is played simultaneously with the notes e (deng), a (dang high); tone e (deng) is played simultaneously with note i (ding). The playing of these notes simultaneously uses the nelu and ngempat and ngembat systems.
The playing pattern above contains an example of just one tap. One beat can represent the play of the next beat. In essence, each beat with the basic tone played by the jublag instrument is interpreted using the nelu, ngempat, and ngembat system by the reyong instrument. This means that every root note will always be interpreted simultaneously with the nelu, ngempat and ngembat systems. Therefore, the pattern of movement of the harmony system will always be the same horizontally. This is somewhat different from the harmony system that is played through the twist technique.

CONCLUSION
Referring to the research questions and the results of the discussion above, the re-actualization of the Balinese Gamelan harmony system produces three conclusions, namely: musical harmony is an activity of sounds that are interconnected between the harmonization system, musical patterns such as melody (gending) and rhythm, and game technique. The three of them are tied to each other so as to produce harmony in the cohesiveness of the sound The restrictions that are elements in determining the harmony of Balinese Gamelan are the system of tuning, playing techniques and melody pattern models with the principles of ngembat, ngempat, and nelu. The principles of the game ngembat, ngempat, and nelu are very much influenced by game techniques and game techniques are also influenced by the tuning system. Therefore, the harmonization system, playing techniques and melody models are integrally a unit that creates harmony in a Balinese Gamelan phenomenon.
Gamelan Gambang has different forms of harmony with Balinese Gamelan in general, but the differences are not significant. The difference between the Gamelan Gambang in the representation of harmony is the tuning system and the melody model which only uses the ngembat system. In addition, the harmony in the Gamelan Gambang is also strengthened by a distinctive rhythm pattern.