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24
En
Alternate tuning list
No. Scale name Displayed Explanation
1 Equal Temperament
Equal Temperme..
The default Western tuning, based on the twelfth root of two.
2 Harmonic Series
HrmA1-60
MIDI notes 36-95 reflect harmonics 2 through 60 based on the fundamental of A= 27.5
Hz. The low C on a standard 5 octave keyboard acts as the root note (55 Hz), and the
harmonics play upwards from there. The remaining keys above and below the 5 octave
range are filled with the same intervals as Carlos’ Harmonic 12 Tone that follows.
3 Carlos Harmonic Twelve Tone
HrmA-12T
Wendy Carlos’ twelve note scale based on octave-repeating harmonics.
A= 1/1 (440 Hz).
1/1 17/16 9/8 19/16 5/4 21/16 11/8 3/2 13/8 27/16 7/4 15/8
4 Meantone Temperament
Meantone
An early tempered tuning, with better thirds than 12-ET. Sounds best in
the key of C. Use this to add an authentic touch to performances of early
Baroque music.
C=1/1 (260 Hz)
5 1/4 Tone Equal Temperament
1/4TonET
24 notes per octave, equally spaced 24root2 intervals. Mexican composer
Julian Carillo used this for custom-built pianos in the early 20th century.
6 19 Tone Equal Temperament
19ToneET
19 notes per octave (19root2) offering better thirds than 12-ET, a better
overall compromise if you can figure out the keyboard patterns.
7 31 Tone Equal Temperament
31ToneET
Many people consider 31root2 to offer the best compromise towards just intonation in an
equal temperament, but it can get very tricky to keep track of the intervals.
8 Pythagorean C
PythagoC
One of the earliest tuning systems known from history, the Pythagorean scale is
constructed from an upward series of pure fifths (3/2) transposed down into a single
octave. The tuning works well for monophonic melodies against fifth drones, but has a very
narrow palate of good chords to choose from.
C=1/1 (261.625 Hz)
1/1 256/243 9/8 32/27 81/64 4/3 729/512 3/2 128/81 27/16 16/9 243/128
9
Just Intonation in A with 7-limit Tritone
at D#
JIA7/5D
A rather vanilla 5-limit small interval JI, except for a single 7/5 tritone at D#, which offers
some nice possibilities for rotating around bluesy sevenths.
A=1/1 (440 Hz)
1/1 16/15 9/8 6/5 5/4 7/5 3/2 8/5 5/3 9/5 15/8
10 3-5 Lattice in A
3-5LattA
A pure 3 and 5-limit tuning which resolves to very symmetrical derived relationships
between notes.
A=1/1 (440 Hz)
1/1 16/15 10/9 6/5 5/4 4/3 64/45 3/2 8/5 5/3 16/9 15/8
11 3-7 Lattice in A
3-7LattA
A pure 3 and 7 -limit tuning which resolves to very symmetrical derived relationships
between notes. Some of the intervals are very close together, offering several choices for
the same nominal chords.
A= 1/1 (440 Hz)
1/1 9/8 8/7 7/6 9/7 21/16 4/3 3/2 32/21 12/7 7/4 63/32
12 Other Music 7-limit Black Keys in C
7LimBlkC
Created by the group Other Music for their homemade gamelan, this offers a wide range of
interesting chords and modes.
C=1/1 (261.625 Hz)
1/1 15/14 9/8 7/6 5/4 4/3 7/5 3/2 14/9 5/3 7/4 15/8
13 Dan Schmidt Pelog/Slendro
PelSlenB
Created for the Berkeley Gamelan group, this tuning fits an Indonesian-style heptatonic
Pelog on the white keys and pentatonic Slendro on the black keys, with B and BA acting as
1/1 for their respective modes. Note that some of the notes will have the same frequency.
By tuning the 1/1 to 60 Hz, Dan found a creative way to incorporate the inevitable line hum
into his scale.
BA, B = 1/1 (60 Hz)
1/1 1/1 9/8 7/6 5/4 4/3 11/8 3/2 3/2 7/4 7/4 15/8
14 Yamaha Just Major C
JlMajYam
When Yamaha decided to put preset microtunings into their FM synth product line, they
selected this and the following tuning as representative just intonations. As such, they
became the de-facto introduction to JI for many people. Just Major gives preferential
treatment to major thirds on the sharps, and a good fourth relative to the second.
C= 1/1 (261.625 Hz)
1/1 16/15 9/8 6/5 5/4 4/3 45/32 3/2 8/5 5/3 16/9 15/8
15 Yamaha Just Minor C
JlMinYam
Similar to Yamaha’s preset Just Major, the Just Minor gives preferential treatment to minor
thirds on the sharps, and has a good fifth relative to the second.
C= 1/1 (261.625 Hz)
1/1 25/24 10/9 6/5 5/4 4/3 45/32 3/2 8/5 5/3 16/9 15/8
16
Harry Partch 11-limit 43 Note Just
Intonation
Partch11
One of the pioneers of modern microtonal composition, Partch built a unique orchestra
with this tuning during the first half of the 20th century, to perform his own compositions.
The large number of intervals in this very dense scale offers a full vocabulary of expressive
chords and complex key changes. The narrow spacing also allows fixed-pitched
instruments like marimbas and organs to perform glissando-like passages.
G = 1/1 (392 Hz, MIDI note 67)
1/1 81/80 33/32 21/20 16/15 12/11 11/10 10/9 9/8 8/7 7/6 32/27 6/5 11/9 5/4
14/11 9/7 21/16 4/3 27/20 11/18 7/5 10/7 16/11 40/27 3/2 32/21 14/9 11/7 8/5
18/11 5/3 27/16 12/7 7/4 16/9 9/5 20/11 11/6 15/8 40/21 64/33 160/81
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