Yamaha V50 - Micro Tuning Select

Micro tuning select
Æ Explanation
Press
FEL
eT
i TUHE i
2 Pye
HIE
ables
# Function
Select the micro tuning to be used in this performance.
E Settings
Octave, Full Kbd., t: Equal — 11: 1/8 Tone.
minori
L] (OTHERS) three times.
“Kes=
This selects the micro tuning that will be used by an
instrument whose micro tuning on/off (the previously
explained function) is set to “on”.
i As shown in the following chart, 2 original micro
tunings created by you, and 11 preset micro tunings
are available.
For preset micro tunings 2—5, you will also be
able to set the key (tonic) of the tuning to match the
key signature of the piece you will be playing.
Note:
If in the previously explained micro tuning on/off
function, no instruments have been set to micro tuning
“on”, selecting a micro tuning here will have no effect.
No.
f h | User octave
Temperament
Key
Comments
User full
You can create your own original tuning as explained on page 114.
Pure major
Equal temperament
The “compromise” tuning used for most of the last 200 years of Western music,
and found on most electronic keyboards. Each semitone is exactly 1/12th of
an octave, and music can be played in any key with equal ease. However, none
of the intervals are perfectly in tune.
This tuning is designed so that most of the intervals (especially the major third
and perfect fifth) in the major scale are pure. (This means that other intervals
will be correspondingly out of tune.) You need to specify the key (C~ B) you
will be playing in. Since the V50 allows you to memorize a micro tuning for
each performance, you can store identical performances with micro tunings
of different keys, and transpose at the touch of a button.
3 | Pure minor | A-~G# | The same as Pure Major, but designed for the minor scale.
4 | Mean tone C-B This is an adjustment of the Pure and Pythagorean tunings. The interval between
the root and fifth is tuned slightly flat, so that the interval between the root
and second degree is exactly halfway between a major and minor pure second
« 4 — i.e., an average or “mean”.
e
5 | Pythagorean C-B This scale is derived by tuning pure perfect fifths upward from the root. This
causes the octave to be flat, so one of the fourths is mistuned to compensate.
(In the key of C, the Ap — Eb interval.)
6 | Werckmeister i Andreas Werckmeister, a contemporary of Bach, designed this tuning so that
keyboard instruments could be played in any key. Each key has a unique
character.
7 | Kirnberger T Johan Philipp Kirnberger was also concerned with tempering the scale to allow
performances in any key.
MoT
8 | Vallotti & Young = Francescantonio Vallotti and Thomas Young (both mid-1700s) devised this
adjustment to the Pythagorean tuning in which the first six fifths are lower
j~
by the same amount.
9 | 1/4 shifted equal e The Equal Tempered scale shifted upward one quarter step.
10 | 1/4 tone a Twenty-four equally spaced notes per octave. (Play twenty-four notes to move
one octave.)
l
1/8 tone
Forth-eight equally spaced notes per octave. {Play forty-eight notes to move
one octave.)
Performance Edit 29
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