
Keyboard Settings
3 Select a root by pressing one of the keys in the range |
| About Temperaments | ||||||||||||||||||
| ||||||||||||||||||||
| shown in the illustration below. Remember to keep |
| ● Equal Temperament | |||||||||||||||||
| the SETTING button depressed. |
| ||||||||||||||||||
|
| This tuning system is the most widely used for keyboard | ||||||||||||||||||
| • The note for the keyboard key you press is applied as |
| ||||||||||||||||||
|
| musical instruments in the world today. The octave is | ||||||||||||||||||
| the root. If you press key F5, for example, the root |
| divided into 12 semitones that are equal in frequency ratio. | |||||||||||||||||
| becomes F. |
|
|
|
|
|
|
|
| With this system, you can perform in all the major and | ||||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| minor keys without any adjustment. Though we take this |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| system for granted these days, it was a revolutionary |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| development in the history of music. Equal Temperament |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| tuning has been the most common system used in the |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| world since the middle of the 18th Century. |
|
|
|
|
|
|
| F4 |
|
|
|
| F5 |
| |||||||
|
|
|
|
|
|
|
|
|
| ● Kirnberger III | ||||||||||
|
|
|
|
|
|
|
|
|
| |||||||||||
| • No sound is produced when the keys are pressed. |
| ||||||||||||||||||
|
| This is also one of the precursors to equal temperament. | ||||||||||||||||||
| • When Baroque Pitch (page |
| It is an evolution of just intonation and the | |||||||||||||||||
|
| system, and all keys (from | ||||||||||||||||||
| that to set a root of C, you should press B4. |
| for keyboard play. | |||||||||||||||||
4 Release the SETTING button to exit temperament |
| ● Werckmeister | ||||||||||||||||||
| setting. |
|
|
|
|
|
|
|
| Werckmeister is a famous theorist who also did research | ||||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| on equal temperament. This particular system is said to |
NOTE |
|
|
|
|
|
|
|
| be a precursor to equal temperament, and all keys (from | |||||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
• | If you select the temperament only without specifying |
| ||||||||||||||||||
| the root in the above procedure, the root automatically |
| ● | |||||||||||||||||
| becomes C. |
|
|
|
|
|
|
|
| |||||||||||
|
|
|
|
|
|
|
|
| This system was the first actually used for tuning of | |||||||||||
• | Temperament root settings are not affected when you |
| ||||||||||||||||||
| keyboard musical instruments. It was widely used starting | |||||||||||||||||||
| change the Transpose setting. |
|
|
|
|
|
|
|
| |||||||||||
|
|
|
|
|
|
|
|
| from the Renaissance up until the second half of the 18th | |||||||||||
• | The keys you should press to set the root in step 3 of |
| ||||||||||||||||||
| Century. During the days of Handel and Bach, it was | |||||||||||||||||||
| the above procedure are fixed. They are not affected by |
| ||||||||||||||||||
|
| employed for cembalos, organs, and pianos. | ||||||||||||||||||
| transpose settings, etc. |
|
|
|
|
|
|
|
| |||||||||||
|
|
|
|
|
|
|
|
|
| |||||||||||
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| ● Pythagorean System |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| This system was developed by the philosopher Pythagoras |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| sometime during the 5th Century B.C. Most of the fifths |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| in this system do not deviate from the “pure” (acoustically |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| correct) intervals. The Pythagorean system is perfect within |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| a small range of tones and in the simple keys, but it |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| becomes inadequate in others. Despite this, this system |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| was used for Middle Age religious music, which was |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| performed (sung) using only the simple keys. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| ● Just Intonation |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| This system is one of the “pure” systems in which many |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| of the fifths and thirds are acoustically correct. Try setting |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| the root to C and playing C, E, G. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|