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22
Chapter 3. Changing Various Settings
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.
This is set to “Equal” when the instrument is turned on.
1.
While holding down the [Metronome] and [Reverb/
Key Touch] buttons, press the appropriate key (F3–B3)
on the keyboard.
You can choose from among the seven temperaments
described below.
■
Setting the Tonic
When playing with tuning other than equal temperament,
you need to specify the tonic note 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 tonic note.
1.
While holding down the [Metronome] and [Reverb/
Key Touch] buttons, press the tonic (root) of the key
(C4–B4).
* When performing in ensemble with other instruments, be
aware that depending on the key, there may be some shifting of
the pitch. Tune the HP101 to the standard pitch of the other
instruments.
Temperament Tonic
C4 C5 C6 C7 C8C3C2C1
While holding down the [Metronome] button and
[Reverb/Key Touch] button, press the corresponding key.
Key
Temper-
ament
Qualities
F3
Equal
In this tuning, each octave is divided
into twelve equal steps. Every
interval produces about the same
amount of slight dissonance.
F3
Pythagor
ean
This tuning, devised by the
philosopher Pythagoras, eliminates
dissonance in fourths and fifths.
Dissonance is produced by third-
interval chords, but melodies are
euphonious.
G3
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
beautiful sonorities.
G3
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.
A3
Mean
Tone
This scale makes some compromises
in just intonation, enabling
transposition to other keys.
B3
Werck-
meister
This temperament combines the
Mean Tone and Pythagorean
tunings. Performances are possible in
all keys (first technique, III).
B3
Kirn-
berger
This is an improvement of the Mean
Tone and Just tunings that provides a
high degree of freedom of
modulation. Performances are
possible in all keys (III).
Key
Temper-
ament
Qualities
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