Keyboard: Difference between revisions
Consolidate lead section, move Wikipedia links as boxes at the top, add some info about historical/acoustic use of retuning strategies, add table of isomorphic layouts, improve layout column in alternative keyboards column, misc. edits |
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For electronic instruments (synthesizers), there is, in theory, absolute freedom for the pitches anyway — not in practice, though. But nowadays, many synthesizers have a built-in retuning functionality. | For electronic instruments (synthesizers), there is, in theory, absolute freedom for the pitches anyway — not in practice, though. But nowadays, many synthesizers have a built-in retuning functionality. | ||
A potential source for troubles is the traditional keyboard design, the [[Halberstadt keyboard]], which is optimized for diatonic scales and 12 tones per octave. For microtonal music with not more than 12 tones per octave, this is not such a problem — fingerings for non-standard scales can be learned. But it can become a problem if you need more than 12 tones per octave, or even want a [[nonoctave]] tuning, such as [[ | A potential source for troubles is the traditional keyboard design, the [[Halberstadt keyboard]], which is optimized for diatonic scales and 12 tones per octave. For microtonal music with not more than 12 tones per octave, this is not such a problem — fingerings for non-standard scales can be learned. But it can become a problem if you need more than 12 tones per octave, or even want a [[nonoctave]] tuning, such as [[Bohlen–Pierce]] or one of [[Wendy Carlos]]'s equal-step scales. Fortunately, there exist several solutions to this problem. | ||
== Strategies for more than 12 tones per octave == | == Strategies for more than 12 tones per octave == | ||