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46
Chapter 4 Other Functions
You can choose from among the seven tunings described
below.
3.
Press a key corresponding to the keynote.
The display is as follows:
fig.Chart3
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).
If you choose an equal temperament, there’s no need to
select a keynote.
* When performing in ensemble with other instruments, be
aware that depending on the key, there may be some shifting of
the pitch. Tune the FP-5 to the fundamental pitch of the other
instruments.
Changing the Beat Pattern
The metronome usually sounds one beat per quarter note,
but you can change the beat pattern to sound, for example,
one beat for every dotted quarter note.
1.
Switch to Function mode, and press the
[ (Metronome)] button.
fig.04-07
2.
Press the [-] or [+] button to change the beat
division.
→
If you select “A1” with a triplet rhythm (6/8, 9/8, 12/8), the
additional sound is played in the same way as “A2.”
→
Refer to “Using the Metronome” (p. 29).
Temperament Qualities
1
Equal In this tuning, each octave is divided
into twelve equal steps. Every inter-
val produces about the same amount
of slight dissonance. This setting is
in effect when you turn on the
power.
2
Pythagorean This tuning, devised by the philoso-
pher Pythagoras, eliminates disso-
nance in fourths and fifths.
Dissonance is produced by third-
interval chords, but melodies are
euphonious.
3
Just Major This tuning eliminates ambiguities
in the fifths and thirds. It is unsuited
to playing melodies and cannot be
transposed, but is capable of beauti-
ful sonorities.
4
Just Minor The Just tunings differ from major
and minor keys. You can get the
same effect with the minor scale as
with the major scale.
5
Mean Tone This scale makes some compromises
in just intonation, enabling transpo-
sition to other keys.
6
Werckmeister This temperament combines the
Mean Tone and Pythagorean tun-
ings. Performances are possible in all
keys (first technique, III).
7
Kirnberger This is an improvement of the Mean
Tone and Just tunings that provides
a high degree of freedom of modula-
tion. Performances are possible in all
keys (III).
C d_ d E_ E F F G A_ A b_ b
C D D E E F F G A A B B
Display
Letter
name
Indication Description
—
(Normal)
The metronome sounds in the ordinary way.
2. ( )
Counting starts at the beginning of the mea-
sure, in intervals of dotted half-note upbeats.
2 ( )
Counting starts at the beginning of the mea-
sure, in intervals of half-note upbeats.
4. ( )
Counting starts at the beginning of the measure,
in intervals of dotted quarter-note upbeats.
4 ( )
Counting starts at the beginning of the mea-
sure, in intervals of quarter-note upbeats.
8. ( )
Counting starts at the beginning of the measure,
in intervals of dotted eighth-note upbeats.
8 ( )
Counting starts at the beginning of the mea-
sure, in intervals of eighth-note upbeats.
16 ( )
Counting starts at the beginning of the mea-
sure, in intervals of sixteenth-note upbeats.
A1
The metronome plays with a backbeat added
to each beat.
A2
Counting is with triplets for each beat.
A3
The added sounds are shuffled.
flashes in red
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