Keyboard: Difference between revisions
Wikispaces>guest **Imported revision 268187884 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:guest|guest]] and made on <tt>2011- | : This revision was by author [[User:guest|guest]] and made on <tt>2011-12-01 17:35:33 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>281288412</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
<h4>Original Wikitext content:</h4> | <h4>Original Wikitext content:</h4> | ||
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">Pianos, harpsichords and organs are suited for microtonal music insofar as the strings/pipes can, within limits, be tuned to anything desired. | <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">If you want to read more info about real estate mentors then visit [[http://www.freedommentor.com|real esate mentor]].Pianos, harpsichords and organs are suited for microtonal music insofar as the strings/pipes can, within limits, be tuned to anything desired. | ||
In the case of harpsichords and organs, the probablity that tuning issues arise is even slightly higher than average since there is often "old" music (baroque and older, from the pre-well-tempered age) being played on them. | In the case of harpsichords and organs, the probablity that tuning issues arise is even slightly higher than average since there is often "old" music (baroque and older, from the pre-well-tempered age) being played on them. | ||
For electronic instruments (syntheszers), 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 broad overview over the microtonal capacities of synthesizers can be found on [[http://www.microtonal-synthesis.com|www.microtonal-synthesis.com]]. | For electronic instruments (syntheszers), 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 broad overview over the microtonal capacities of synthesizers can be found on [[http://www.microtonal-synthesis.com/|www.microtonal-synthesis.com]]. | ||
A side-remark: Synthesizers, even without retuning functionality, often have a special functionality that is principally also suited for microtonality: the modulation wheel. An impressive example of how to make microtonal music with the modulation wheel can be found [[http://www.timomusic.ch/video_Spiros_Kottis.htm|here]]. This is, however, not a particularly easy way to do it... | A side-remark: Synthesizers, even without retuning functionality, often have a special functionality that is principally also suited for microtonality: the modulation wheel. An impressive example of how to make microtonal music with the modulation wheel can be found [[http://www.timomusic.ch/video_Spiros_Kottis.htm|here]]. This is, however, not a particularly easy way to do it... | ||
| Line 18: | Line 18: | ||
A potential source for troubles is the traditional keyboard design, which is optimized for diatonic scales and 12 tones per octave. | A potential source for troubles is the traditional keyboard design, 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 becomes a problem if you need more than 12 tones per octave, or even want a non-octave tuning, such as [[http://www.wendycarlos.com/resources/pitch.html|Wendy Carlos]] or [[BP|Bohlen-Pierce]]. | 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 becomes a problem if you need more than 12 tones per octave, or even want a non-octave tuning, such as [[http://www.wendycarlos.com/resources/pitch.html|Wendy Carlos]] or [[xenharmonic/BP|Bohlen-Pierce]]. | ||
There exist several solutions for this problem: | There exist several solutions for this problem: | ||
===1) 12 Note Octave Scales[[#twelvenoteoctavescales]]=== | ===1) 12 Note Octave Scales[[#twelvenoteoctavescales]]=== | ||
(Terminology from [[http://www.microtonal-synthesis.com|www.microtonal-synthesis.com]]) | (Terminology from [[http://www.microtonal-synthesis.com/|www.microtonal-synthesis.com]]) | ||
Use several keyboards whose keys are slightly detuned against each other. | Use several keyboards whose keys are slightly detuned against each other. | ||
Advantages are that the keyboard layout keeps the familiar property that 12 key steps span one octave, and the pitches typically need only minor retuning. This is not unimportant for acoustical instruments, where we usually have physical limits to the amount a pitch can be retuned. For this reason, this approach is widely used, especially in the field of contemporary classical music. | Advantages are that the keyboard layout keeps the familiar property that 12 key steps span one octave, and the pitches typically need only minor retuning. This is not unimportant for acoustical instruments, where we usually have physical limits to the amount a pitch can be retuned. For this reason, this approach is widely used, especially in the field of contemporary classical music. | ||
The disadvantage is, of course, that you need several keyboards. In the case of acoustic pianos, this means in practice that the maximal number of pitches per octave you can obtain is limited - to the number of pianos you can put on the stage together... [[http://www.universaledition.com/Georg-Friedrich-Haas/komponisten-und-werke/komponist/278/werk/13386|"Limited approximations" by Georg Friedrich Haas]], for example, a piece in [[72edo]], is written for six (!) pianos and orchestra. | The disadvantage is, of course, that you need several keyboards. In the case of acoustic pianos, this means in practice that the maximal number of pitches per octave you can obtain is limited - to the number of pianos you can put on the stage together... [[http://www.universaledition.com/Georg-Friedrich-Haas/komponisten-und-werke/komponist/278/werk/13386|"Limited approximations" by Georg Friedrich Haas]], for example, a piece in [[xenharmonic/72edo|72edo]], is written for six (!) pianos and orchestra. | ||
Electronic keyboards sometimes have the possibility to play in "split" mode, i.e. the upper and the lower half of the keyboard can send to different midi channels. Some keyboards offer up to 4 split areas. In this case, you need only one keyboard - but you still have the disadvantage of having to jump between the areas. | Electronic keyboards sometimes have the possibility to play in "split" mode, i.e. the upper and the lower half of the keyboard can send to different midi channels. Some keyboards offer up to 4 split areas. In this case, you need only one keyboard - but you still have the disadvantage of having to jump between the areas. | ||
[[SeventeenTonePianoProject#pianotuningdetails|12 note octave scales piano tuning instructions for 17edo]] | [[xenharmonic/SeventeenTonePianoProject#pianotuningdetails|12 note octave scales piano tuning instructions for 17edo]] | ||
[[http://launch.groups.yahoo.com/group/MakeMicroMusic/message/16483|12 note octave scales piano tuning instructions for 19edo]] | [[http://launch.groups.yahoo.com/group/MakeMicroMusic/message/16483|12 note octave scales piano tuning instructions for 19edo]] | ||
[[http://launch.groups.yahoo.com/group/MakeMicroMusic/message/9296|12 note octave scales piano tuning instructions for 22edo]] | [[http://launch.groups.yahoo.com/group/MakeMicroMusic/message/9296|12 note octave scales piano tuning instructions for 22edo]] | ||
[[24edo#instruments|12 note octave scales piano tuning instructions for 24edo]] | [[xenharmonic/24edo#instruments|12 note octave scales piano tuning instructions for 24edo]] | ||
[[http://launch.groups.yahoo.com/group/tuning/message/74155|12 note octave scales piano tuning instructions for 41edo]] | [[http://launch.groups.yahoo.com/group/tuning/message/74155|12 note octave scales piano tuning instructions for 41edo]] | ||
===2) Full Keyboard Scales[[#fullkeyboardscales]]=== | ===2) Full Keyboard Scales[[#fullkeyboardscales]]=== | ||
(Terminology from [[http://www.microtonal-synthesis.com|www.microtonal-synthesis.com]]) | (Terminology from [[http://www.microtonal-synthesis.com/|www.microtonal-synthesis.com]]) | ||
Tune each key of the keyboard to a different pitch. The pitches of the keys keep the property of being arranged in ascending order - but the octave pattern will be different, and there are larger amounts of retuning required. | Tune each key of the keyboard to a different pitch. The pitches of the keys keep the property of being arranged in ascending order - but the octave pattern will be different, and there are larger amounts of retuning required. | ||
Some synthesizers support this, but not all (see, again, [[http://www.microtonal-synthesis.com|www.microtonal-synthesis.com]]). | Some synthesizers support this, but not all (see, again, [[http://www.microtonal-synthesis.com/|www.microtonal-synthesis.com]]). | ||
A possible "full keyboard scales" piano tuning for [[22edo]], mapping two keyboard octaves to one acoustic octave, is decribed in [[http://lumma.org/tuning/erlich/erlich-decatonic.pdf|Paul Erlich's paper on 22edo]], on page 11. | A possible "full keyboard scales" piano tuning for [[xenharmonic/22edo|22edo]], mapping two keyboard octaves to one acoustic octave, is decribed in [[http://lumma.org/tuning/erlich/erlich-decatonic.pdf|Paul Erlich's paper on 22edo]], on page 11. | ||
In the case of acoustical instruments such as pianos, tuning full keyboard scales may even require major changes in construction. It has been done, however, e.g. on the [[http://www.sauter-pianos.de/english/pianos/microtone.html|16th tone (96edo) piano]]. | In the case of acoustical instruments such as pianos, tuning full keyboard scales may even require major changes in construction. It has been done, however, e.g. on the [[http://www.sauter-pianos.de/english/pianos/microtone.html|16th tone (96edo) piano]]. | ||
| Line 51: | Line 51: | ||
This is actually quite an old idea, since in historical tunings of the pre-well-tempered area, there was a demand for differing between flats and sharps. | This is actually quite an old idea, since in historical tunings of the pre-well-tempered area, there was a demand for differing between flats and sharps. | ||
[[http://www.denzilwraight.com|www.denzilwraight.com]] has some beautiful examples of historical harpsichords with up to 24 keys per octave. | [[http://www.denzilwraight.com/|www.denzilwraight.com]] has some beautiful examples of historical harpsichords with up to 24 keys per octave. | ||
A list of existing church organs all over the world with split semitone keys can be found on [[http://www.goart.gu.se/ortgies/Subsemi.htm|Ibo Ortgies' homepage]]. | A list of existing church organs all over the world with split semitone keys can be found on [[http://www.goart.gu.se/ortgies/Subsemi.htm|Ibo Ortgies' homepage]]. | ||
Ron Sword's 16-tone Piano: | Ron Sword's 16-tone Piano: | ||
| Line 87: | Line 87: | ||
A very special class of microtonal midi controllers are "keyless" ones, for example by: | A very special class of microtonal midi controllers are "keyless" ones, for example by: | ||
[[http://www.hakenaudio.com|Haken]] | [[http://www.hakenaudio.com/|Haken]] | ||
[[http://www.doepfer.de/R2M.htm|Doepfer]] | [[http://www.doepfer.de/R2M.htm|Doepfer]] | ||
[[http://www.rogerlinndesign.com/products/linnstrument/index.html|Roger Linn]] | [[http://www.rogerlinndesign.com/products/linnstrument/index.html|Roger Linn]] | ||
| Line 96: | Line 96: | ||
[[http://sites.google.com/site/altkeyboards/|Alternative Keyboards group (on Google groups)]]</pre></div> | [[http://sites.google.com/site/altkeyboards/|Alternative Keyboards group (on Google groups)]]</pre></div> | ||
<h4>Original HTML content:</h4> | <h4>Original HTML content:</h4> | ||
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Microtonal Keyboards</title></head><body>Pianos, harpsichords and organs are suited for microtonal music insofar as the strings/pipes can, within limits, be tuned to anything desired.<br /> | <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Microtonal Keyboards</title></head><body>If you want to read more info about real estate mentors then visit <a class="wiki_link_ext" href="http://www.freedommentor.com" rel="nofollow">real esate mentor</a>.Pianos, harpsichords and organs are suited for microtonal music insofar as the strings/pipes can, within limits, be tuned to anything desired.<br /> | ||
<br /> | <br /> | ||
In the case of harpsichords and organs, the probablity that tuning issues arise is even slightly higher than average since there is often &quot;old&quot; music (baroque and older, from the pre-well-tempered age) being played on them.<br /> | In the case of harpsichords and organs, the probablity that tuning issues arise is even slightly higher than average since there is often &quot;old&quot; music (baroque and older, from the pre-well-tempered age) being played on them.<br /> | ||
<br /> | <br /> | ||
For electronic instruments (syntheszers), 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 broad overview over the microtonal capacities of synthesizers can be found on <a class="wiki_link_ext" href="http://www.microtonal-synthesis.com" rel="nofollow">www.microtonal-synthesis.com</a>.<br /> | For electronic instruments (syntheszers), 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 broad overview over the microtonal capacities of synthesizers can be found on <a class="wiki_link_ext" href="http://www.microtonal-synthesis.com/" rel="nofollow">www.microtonal-synthesis.com</a>.<br /> | ||
<br /> | <br /> | ||
A side-remark: Synthesizers, even without retuning functionality, often have a special functionality that is principally also suited for microtonality: the modulation wheel. An impressive example of how to make microtonal music with the modulation wheel can be found <a class="wiki_link_ext" href="http://www.timomusic.ch/video_Spiros_Kottis.htm" rel="nofollow">here</a>. This is, however, not a particularly easy way to do it...<br /> | A side-remark: Synthesizers, even without retuning functionality, often have a special functionality that is principally also suited for microtonality: the modulation wheel. An impressive example of how to make microtonal music with the modulation wheel can be found <a class="wiki_link_ext" href="http://www.timomusic.ch/video_Spiros_Kottis.htm" rel="nofollow">here</a>. This is, however, not a particularly easy way to do it...<br /> | ||
| Line 108: | Line 108: | ||
A potential source for troubles is the traditional keyboard design, which is optimized for diatonic scales and 12 tones per octave.<br /> | A potential source for troubles is the traditional keyboard design, which is optimized for diatonic scales and 12 tones per octave.<br /> | ||
<br /> | <br /> | ||
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 becomes a problem if you need more than 12 tones per octave, or even want a non-octave tuning, such as <a class="wiki_link_ext" href="http://www.wendycarlos.com/resources/pitch.html" rel="nofollow">Wendy Carlos</a> or <a class="wiki_link" href="/BP">Bohlen-Pierce</a>.<br /> | 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 becomes a problem if you need more than 12 tones per octave, or even want a non-octave tuning, such as <a class="wiki_link_ext" href="http://www.wendycarlos.com/resources/pitch.html" rel="nofollow">Wendy Carlos</a> or <a class="wiki_link" href="http://xenharmonic.wikispaces.com/BP">Bohlen-Pierce</a>.<br /> | ||
<br /> | <br /> | ||
There exist several solutions for this problem:<br /> | There exist several solutions for this problem:<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:2:&lt;h3&gt; --><h3 id="toc1"><a name="x-Strategies for more than 12 tones per octave-1) 12 Note Octave Scales"></a><!-- ws:end:WikiTextHeadingRule:2 -->1) 12 Note Octave Scales<!-- ws:start:WikiTextAnchorRule:10:&lt;img src=&quot;/i/anchor.gif&quot; class=&quot;WikiAnchor&quot; alt=&quot;Anchor&quot; id=&quot;wikitext@@anchor@@twelvenoteoctavescales&quot; title=&quot;Anchor: twelvenoteoctavescales&quot;/&gt; --><a name="twelvenoteoctavescales"></a><!-- ws:end:WikiTextAnchorRule:10 --></h3> | <!-- ws:start:WikiTextHeadingRule:2:&lt;h3&gt; --><h3 id="toc1"><a name="x-Strategies for more than 12 tones per octave-1) 12 Note Octave Scales"></a><!-- ws:end:WikiTextHeadingRule:2 -->1) 12 Note Octave Scales<!-- ws:start:WikiTextAnchorRule:10:&lt;img src=&quot;/i/anchor.gif&quot; class=&quot;WikiAnchor&quot; alt=&quot;Anchor&quot; id=&quot;wikitext@@anchor@@twelvenoteoctavescales&quot; title=&quot;Anchor: twelvenoteoctavescales&quot;/&gt; --><a name="twelvenoteoctavescales"></a><!-- ws:end:WikiTextAnchorRule:10 --></h3> | ||
(Terminology from <a class="wiki_link_ext" href="http://www.microtonal-synthesis.com" rel="nofollow">www.microtonal-synthesis.com</a>)<br /> | (Terminology from <a class="wiki_link_ext" href="http://www.microtonal-synthesis.com/" rel="nofollow">www.microtonal-synthesis.com</a>)<br /> | ||
Use several keyboards whose keys are slightly detuned against each other.<br /> | Use several keyboards whose keys are slightly detuned against each other.<br /> | ||
<br /> | <br /> | ||
Advantages are that the keyboard layout keeps the familiar property that 12 key steps span one octave, and the pitches typically need only minor retuning. This is not unimportant for acoustical instruments, where we usually have physical limits to the amount a pitch can be retuned. For this reason, this approach is widely used, especially in the field of contemporary classical music.<br /> | Advantages are that the keyboard layout keeps the familiar property that 12 key steps span one octave, and the pitches typically need only minor retuning. This is not unimportant for acoustical instruments, where we usually have physical limits to the amount a pitch can be retuned. For this reason, this approach is widely used, especially in the field of contemporary classical music.<br /> | ||
<br /> | <br /> | ||
The disadvantage is, of course, that you need several keyboards. In the case of acoustic pianos, this means in practice that the maximal number of pitches per octave you can obtain is limited - to the number of pianos you can put on the stage together... <a class="wiki_link_ext" href="http://www.universaledition.com/Georg-Friedrich-Haas/komponisten-und-werke/komponist/278/werk/13386" rel="nofollow">&quot;Limited approximations&quot; by Georg Friedrich Haas</a>, for example, a piece in <a class="wiki_link" href="/72edo">72edo</a>, is written for six (!) pianos and orchestra.<br /> | The disadvantage is, of course, that you need several keyboards. In the case of acoustic pianos, this means in practice that the maximal number of pitches per octave you can obtain is limited - to the number of pianos you can put on the stage together... <a class="wiki_link_ext" href="http://www.universaledition.com/Georg-Friedrich-Haas/komponisten-und-werke/komponist/278/werk/13386" rel="nofollow">&quot;Limited approximations&quot; by Georg Friedrich Haas</a>, for example, a piece in <a class="wiki_link" href="http://xenharmonic.wikispaces.com/72edo">72edo</a>, is written for six (!) pianos and orchestra.<br /> | ||
<br /> | <br /> | ||
Electronic keyboards sometimes have the possibility to play in &quot;split&quot; mode, i.e. the upper and the lower half of the keyboard can send to different midi channels. Some keyboards offer up to 4 split areas. In this case, you need only one keyboard - but you still have the disadvantage of having to jump between the areas.<br /> | Electronic keyboards sometimes have the possibility to play in &quot;split&quot; mode, i.e. the upper and the lower half of the keyboard can send to different midi channels. Some keyboards offer up to 4 split areas. In this case, you need only one keyboard - but you still have the disadvantage of having to jump between the areas.<br /> | ||
<br /> | <br /> | ||
<a class="wiki_link" href="/SeventeenTonePianoProject#pianotuningdetails">12 note octave scales piano tuning instructions for 17edo</a><br /> | <a class="wiki_link" href="http://xenharmonic.wikispaces.com/SeventeenTonePianoProject#pianotuningdetails">12 note octave scales piano tuning instructions for 17edo</a><br /> | ||
<a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/MakeMicroMusic/message/16483" rel="nofollow">12 note octave scales piano tuning instructions for 19edo</a><br /> | <a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/MakeMicroMusic/message/16483" rel="nofollow">12 note octave scales piano tuning instructions for 19edo</a><br /> | ||
<a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/MakeMicroMusic/message/9296" rel="nofollow">12 note octave scales piano tuning instructions for 22edo</a><br /> | <a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/MakeMicroMusic/message/9296" rel="nofollow">12 note octave scales piano tuning instructions for 22edo</a><br /> | ||
<a class="wiki_link" href="/24edo#instruments">12 note octave scales piano tuning instructions for 24edo</a><br /> | <a class="wiki_link" href="http://xenharmonic.wikispaces.com/24edo#instruments">12 note octave scales piano tuning instructions for 24edo</a><br /> | ||
<a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/tuning/message/74155" rel="nofollow">12 note octave scales piano tuning instructions for 41edo</a><br /> | <a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/tuning/message/74155" rel="nofollow">12 note octave scales piano tuning instructions for 41edo</a><br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:4:&lt;h3&gt; --><h3 id="toc2"><a name="x-Strategies for more than 12 tones per octave-2) Full Keyboard Scales"></a><!-- ws:end:WikiTextHeadingRule:4 -->2) Full Keyboard Scales<!-- ws:start:WikiTextAnchorRule:11:&lt;img src=&quot;/i/anchor.gif&quot; class=&quot;WikiAnchor&quot; alt=&quot;Anchor&quot; id=&quot;wikitext@@anchor@@fullkeyboardscales&quot; title=&quot;Anchor: fullkeyboardscales&quot;/&gt; --><a name="fullkeyboardscales"></a><!-- ws:end:WikiTextAnchorRule:11 --></h3> | <!-- ws:start:WikiTextHeadingRule:4:&lt;h3&gt; --><h3 id="toc2"><a name="x-Strategies for more than 12 tones per octave-2) Full Keyboard Scales"></a><!-- ws:end:WikiTextHeadingRule:4 -->2) Full Keyboard Scales<!-- ws:start:WikiTextAnchorRule:11:&lt;img src=&quot;/i/anchor.gif&quot; class=&quot;WikiAnchor&quot; alt=&quot;Anchor&quot; id=&quot;wikitext@@anchor@@fullkeyboardscales&quot; title=&quot;Anchor: fullkeyboardscales&quot;/&gt; --><a name="fullkeyboardscales"></a><!-- ws:end:WikiTextAnchorRule:11 --></h3> | ||
(Terminology from <a class="wiki_link_ext" href="http://www.microtonal-synthesis.com" rel="nofollow">www.microtonal-synthesis.com</a>)<br /> | (Terminology from <a class="wiki_link_ext" href="http://www.microtonal-synthesis.com/" rel="nofollow">www.microtonal-synthesis.com</a>)<br /> | ||
Tune each key of the keyboard to a different pitch. The pitches of the keys keep the property of being arranged in ascending order - but the octave pattern will be different, and there are larger amounts of retuning required.<br /> | Tune each key of the keyboard to a different pitch. The pitches of the keys keep the property of being arranged in ascending order - but the octave pattern will be different, and there are larger amounts of retuning required.<br /> | ||
<br /> | <br /> | ||
Some synthesizers support this, but not all (see, again, <a class="wiki_link_ext" href="http://www.microtonal-synthesis.com" rel="nofollow">www.microtonal-synthesis.com</a>).<br /> | Some synthesizers support this, but not all (see, again, <a class="wiki_link_ext" href="http://www.microtonal-synthesis.com/" rel="nofollow">www.microtonal-synthesis.com</a>).<br /> | ||
<br /> | <br /> | ||
A possible &quot;full keyboard scales&quot; piano tuning for <a class="wiki_link" href="/22edo">22edo</a>, mapping two keyboard octaves to one acoustic octave, is decribed in <a class="wiki_link_ext" href="http://lumma.org/tuning/erlich/erlich-decatonic.pdf" rel="nofollow">Paul Erlich's paper on 22edo</a>, on page 11.<br /> | A possible &quot;full keyboard scales&quot; piano tuning for <a class="wiki_link" href="http://xenharmonic.wikispaces.com/22edo">22edo</a>, mapping two keyboard octaves to one acoustic octave, is decribed in <a class="wiki_link_ext" href="http://lumma.org/tuning/erlich/erlich-decatonic.pdf" rel="nofollow">Paul Erlich's paper on 22edo</a>, on page 11.<br /> | ||
<br /> | <br /> | ||
In the case of acoustical instruments such as pianos, tuning full keyboard scales may even require major changes in construction. It has been done, however, e.g. on the <a class="wiki_link_ext" href="http://www.sauter-pianos.de/english/pianos/microtone.html" rel="nofollow">16th tone (96edo) piano</a>.<br /> | In the case of acoustical instruments such as pianos, tuning full keyboard scales may even require major changes in construction. It has been done, however, e.g. on the <a class="wiki_link_ext" href="http://www.sauter-pianos.de/english/pianos/microtone.html" rel="nofollow">16th tone (96edo) piano</a>.<br /> | ||
| Line 141: | Line 141: | ||
This is actually quite an old idea, since in historical tunings of the pre-well-tempered area, there was a demand for differing between flats and sharps.<br /> | This is actually quite an old idea, since in historical tunings of the pre-well-tempered area, there was a demand for differing between flats and sharps.<br /> | ||
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<a class="wiki_link_ext" href="http://www.denzilwraight.com" rel="nofollow">www.denzilwraight.com</a> has some beautiful examples of historical harpsichords with up to 24 keys per octave.<br /> | <a class="wiki_link_ext" href="http://www.denzilwraight.com/" rel="nofollow">www.denzilwraight.com</a> has some beautiful examples of historical harpsichords with up to 24 keys per octave.<br /> | ||
A list of existing church organs all over the world with split semitone keys can be found on <a class="wiki_link_ext" href="http://www.goart.gu.se/ortgies/Subsemi.htm" rel="nofollow">Ibo Ortgies' homepage</a>.<br /> | A list of existing church organs all over the world with split semitone keys can be found on <a class="wiki_link_ext" href="http://www.goart.gu.se/ortgies/Subsemi.htm" rel="nofollow">Ibo Ortgies' homepage</a>.<br /> | ||
Ron Sword's 16-tone Piano:<br /> | Ron Sword's 16-tone Piano:<br /> | ||
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In modern times, the idea of generalized keyboards has come up again. Generalized keyboards can host the same fingering for multiple tunings. See, for example:<br /> | In modern times, the idea of generalized keyboards has come up again. Generalized keyboards can host the same fingering for multiple tunings. See, for example:<br /> | ||
| Line 335: | Line 335: | ||
A very special class of microtonal midi controllers are &quot;keyless&quot; ones, for example by:<br /> | A very special class of microtonal midi controllers are &quot;keyless&quot; ones, for example by:<br /> | ||
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<a class="wiki_link_ext" href="http://www.hakenaudio.com" rel="nofollow">Haken</a><br /> | <a class="wiki_link_ext" href="http://www.hakenaudio.com/" rel="nofollow">Haken</a><br /> | ||
<a class="wiki_link_ext" href="http://www.doepfer.de/R2M.htm" rel="nofollow">Doepfer</a><br /> | <a class="wiki_link_ext" href="http://www.doepfer.de/R2M.htm" rel="nofollow">Doepfer</a><br /> | ||
<a class="wiki_link_ext" href="http://www.rogerlinndesign.com/products/linnstrument/index.html" rel="nofollow">Roger Linn</a><br /> | <a class="wiki_link_ext" href="http://www.rogerlinndesign.com/products/linnstrument/index.html" rel="nofollow">Roger Linn</a><br /> | ||