The Javanese pГ©log only found in gamelan pГ©log instruments, while degung found widely on any instruments, such as calung, angklung, and gamelan degung. Javanese-like pГ©log has the 2nd note more neutral (Javanese 2, Sundanese 4 ) and Degung has 1nd note leaning (closer to Javanese 1, Sundanese 5 ). Both Javanese-like pГ©log and Sundanese pГ©log ( degung) are coexists in Sundanese music. In the religious ceremonies that contain gamelan, these interference beats are meant to give the listener a feeling of a god's presence or a stepping stone to a meditative state. This contributes to the very 'agitated' and 'shimmering' sound of gamelan ensembles. The beating is ideally at a consistent speed for all pairs of notes in all registers, producing stretched octaves as a result. This is not the case in Bali, where instruments are played in pairs which are tuned slightly apart so as to produce interference beating. ДЄs in slendro, although the intervals vary from one gamelan to the next, the intervals between notes in a scale are very close to identical for different instruments within the same Javanese gamelan. An analysis of 27 Central Javanese gamelans by Surjodiningrat (1972) revealed a statistical preference for this system of tuning. One rough approximation expresses the seven pitches of Central Javanese pelog as a subset of 9-tone equal temperament. Since the tuning varies so widely from island to island, village to village, and even among gamelan, it is difficult to characterize in terms of intervals. In Javanese, the term is said to be a variant of the word pelag meaning 'fine' or 'beautiful'. Pelog is a Javanese term for one of the scales in gamelan.

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