CONCERT CDP2000-BK
Advanced operation
17
Soft pedal intensity
5.6.2
Use this function to adjust the intensity of the soft pedal effect.
Please enter EDIT mode (see chapter 5.1) and select the
+
following function.
Function:
E4.2
Value:
1 ... 5
Description:
3:
Normal soft pedal intensity (default setting)
1:
Low soft pedal intensity
5:
High soft pedal intensity
The function will be effective only if the left pedal is
+
used as a soft pedal, but NOT to start/stop the music
sequencer (see chapter 5.5.8).
Fine tuning
5.6.3
The CDP2000-BK can be detuned slightly to adapt it to other
instruments or tunings. The setting made here affects the pitch
of all keys.
The following section describes how to adjust the fine tuning of
the CDP2000-BK. The tuning shown in the display is referenced
to the concert pitch „A" in Hertz (Hz).
Please enter EDIT mode (see chapter 5.1) and select the
+
following function.
Function:
E1
Value:
427 ... 453
Description:
440:
Western European equal tuning (default setting)
453:
Maximum detuning upwards
427:
Maximum detuning downwards
1/5-Hz steps are shown as follows (figures separated by one or
two dots):
440:
440 Hz
4.40:
440,2 Hz
44.0:
440,4 Hz
440.:
440,6 Hz
4.40.:
440,8 Hz
Tunings
5.6.4
The CDP2000-BK provides different tunings developed during
the past few centuries. The tuning used most often today is called
equal tuning and has been a characteristic element of the music
composed from the 19
th
century up to the present. However, for
some baroque pieces (e.g. by J. S. Bach) it can be interesting to
use an older tuning system.
In the history of music, the development of the individual tunings
can be traced back to the development of scales and polyphony
and the resulting adaptation of instruments and their tuning. Apart
from these historical reasons the limited tuning aids available in
former times played an important role for the practical implemen-
tation of tunings.
The CDP2000-BK provides the following tunings:
Equal tuning (default setting)
>
Equal tuning divides one octave into twelve intervals of equal size
or spacing. Thus, each half-tone is detuned slightly to the same
extent, with the octave being the only perfect interval. This has
been the most common tuning since the 19
th
century, as it makes
it possible to play all twelve major/minor keys.
Pure major/minor intonation
>
This tuning is based on the perfect tuning of the seven notes of
one scale (e.g. C major). Triads played one fifth above or below are
also perfect, since they use the notes of the basic key. However,
all other keys are not playable, since their frequency relationships
change depending on the basic note.
This tuning can only be used for music that strictly follows a clas-
sical cadence comprising tonic, dominant and subdominant.
Pythagorean tuning
>
The Pythagorean tuning is based on perfect fifths. As a conse
-
quence, all thirds are impure.
This tuning was used for early music up to the late Middle Ages.
The homophonic or two-part polyphonic music of the time did not
use any thirds, but only perfect unison, fourth, fifth and octave
intervals.
Meantone tuning
>
Meantone tuning resulted from the change in the perception of
dissonant intervals during the Renaissance period and from the
beginnings of chromaticism and polyphony. Polyphony made the
third the most important interval in music. Therefore, meantone
tuning is based on perfect thirds rather than perfect fifths to tune
the twelve notes of a scale. However, this also means that some
scales are unplayable.
Today, the meantone tuning can still be used for works from the
early 16
th
and 17
th
centuries (e.g. G. F. Handel).
Werckmeister/Kirnberger tuning
>
The Werkmeister and Kirnberger tunings result from first attempts
to realize a well-tempered tuning which – unlike the Pythagorean
and meantone tunings – allows for playing in all twelve keys. The
advantages of the Pythagorean and meantone tunings, i.e. the
slight detuning of some fifth intervals, have also been included in
the Werkmeister/Kirnberger tunings
Both tunings are interesting to use for works from the baroque
period (e.g. J. S. Bach). Werkmeister is a popular tuning for
organ works.
The following section describes how to change the tuning of the
CDP2000-BK.
Please enter EDIT mode (see chapter 5.1) and select the
+
following function.
Function:
E2.1
Value:
1 ... 7
Description:
1:
Equal tuning (default setting)
2:
Pure major tuning
3:
Pure minor tuning
4:
Pythagorean tuning
5:
Meantone tuning
6:
Werckmeister tuning
7:
Kirnberger tuning
With the exception of equal tuning, all tunings must be marked
by a basic note.
Here’s how to set the basic note:
Function:
E2.2
Value:
C ... B
Description:
Altered notes are marked by dashes above or below the note
name. A dash above the note name raises a note, a dash below
the note lowers it.
The display shows:
c
-
:
c sharp (C
#
)
e
-
:
e flat (E
b
)
