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Chapter 5. Changing Various Settings
■Tuning to Other Instruments’
Pitches (Master Tuning)
In situations such as when playing ensemble with other instruments, you can tune the
If you press the [PIANO] button in step 2 of “Making Detailed Settings (Function)” (p. 26), a display like the following will appear.
fig.disp-tune
The last three digits are indicated in the display. “440.0 Hz” is indicated in the figure above.
Value | 415.3 |
440.0 Hz |
This setting remains in effect until you turn off the power.
■Changing the Temperament
You can play classical styles such as Baroque using historic temperaments (tuning methods).
Today, compositions are generally created with equal temperament in mind and are played using equal temperament. However in past ages of classical music, a variety of temperaments were used. Playing a composition with its original tuning lets you enjoy the sonorities of the chords that the composer originally intended.
If you press the [E. PIANO] button in step 2 of “Making Detailed Settings (Function)” (p. 26), a display like the following will appear.
fig.disp-temp.j
Temperament Tonic
You can choose from among the seven temperaments described below.
Dis- | Temper- | Qualities |
play | ament |
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| In this tuning, each octave is divided |
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| into twelve equal steps. Every inter- |
Equal | val produces about the same amount | |
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| of slight dissonance. This setting is in |
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| effect when you turn on the power. |
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Dis- | Temper- | Qualities | |
play | ament |
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| This tuning, devised by the philoso- | |
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| pher Pythagoras, eliminates disso- | |
2 | Pythagor | nance in fourths and fifths. | |
ean | Dissonance is produced by | ||
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| terval chords, but melodies are eu- | |
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| phonious. | |
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| This tuning eliminates ambiguities in | |
3 | Just | the fifths and thirds. It is unsuited to | |
playing melodies and cannot be | |||
Major | |||
| transposed, but is capable of beauti- | ||
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| ful sonorities. | |
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| The Just tunings differ from major | |
4 | Just | and minor keys. You can get the | |
Minor | same effect with the minor scale as | ||
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| with the major scale. | |
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5 | Mean | This scale makes some compromises | |
in just intonation, enabling transposi- | |||
Tone | |||
| tion to other keys. | ||
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| This temperament combines the | |
6 | Werck- | Mean Tone and Pythagorean tun- | |
meister | ings. Performances are possible in all | ||
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| keys (first technique, III). | |
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| This is an improvement of the Mean | |
7 | Kirn- | Tone and Just tunings that provides a | |
high degree of freedom of modula- | |||
berger | |||
| tion. Performances are possible in all | ||
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| keys (III). | |
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Tonic
When playing with tuning other than equal temperament, you need to specify the keynote for tuning the song to be performed (that is, the note that corresponds to C for a major key or to A for a minor key).
While hold down the [E. PIANO] button, and press a note to specify the desired tonic key.
The tonic note you specify will be displayed as follows.
fig.Chart_note2.j
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Display | C | d_ | d | E_ | E | F | F | G | A_ | A | b_ | b | |||
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Letter | C | D | D | E | E | F | F | G | A | A | B | B | |||
name | |||||||||||||||
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If you choose an equal temperament, there’s no need to select
akeynote.
*If you record with a temperament other than equal temperament selected, and then want to play back that performance, use this setting to select the same temperament for playback as the temperament you used when recording.
*When performing in ensemble with other instruments, be aware that depending on the key, there may be some shifting of the pitch. Tune the
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