ENSONIQ TS-10 Specifications download pdf (Page 49)

Section 2 — System Page Parameters TS-12 Musician’s Manual

Various ROM System Pitch-Tables

By using the data entry controls, you can select from a large assortment of traditional, modern,

ethnic, and exotic pitch-tables for use as the System pitch-table. These ROM pitch-tables are:

• PYTHAGRN-C — Early tuning derived by calculating 12 perfect fifths and adjusting the

octaves downward as necessary. Leaves all fifths except the one between G# and D# very

pure. The entire mathematical anomaly encountered by tuning up 12 perfect fifths (called the

Pythagorean comma) is accounted for in the interval between G# and D#.

• JUST INT-C — Designed so that the major intervals in any scale are very pure, especially the

third and fifth.

• MEANTONE-C — One of the earliest attempts to derive a tuning which would accommodate

music played in a variety of keys. The major third interval is very pure.

• WRKMEISTR-C — Derived by Andreas Werkmeister, a contemporary of Bach, this is a further

attempt to create a temperament which would accommodate music played in any key.

• VALLOTTI-C — A variation of Pythagorean tuning in which the first 6 fifths in the circle of

fifths are flat by 1/6 of the Pythagorean Comma. This is probably close to the tuning used by

Bach for his Well-Tempered Clavier.

• GRK-DIATONC — The basic building block of ancient Greek music (in which most modern

western music has its roots) was the tetra chord - four notes and three intervals spanning a

perfect fourth. The placement of the two inner notes of the tetra chord determined its genus -

diatonic, chromatic or enharmonic. This pitch-table is derived from two diatonic tetra chords,

combined to form a seven-note scale similar to the modern diatonic scale. It is to be played

only on the white keys. Tone center is E.

• GRK-CHROMAT — This pitch-table is derived from two chromatic tetra chords (the intervals

are, roughly, quarter-tone, half-step, major third), combined to form a seven-note scale. It is

meant to be played on the white keys. Tone center is E.

• GRK-ENHARM — This pitch-table is derived from two enharmonic tetra chords (the intervals

are, more or less, two quarter-tones followed by a major third), combined to form a seven-note

scale. It is meant to be played on the white keys. Tone center is E.

• TURKISH-A — This is a typical Turkish octave-based scale using only one quarter tone. The

second note in the scale is tuned 40 cents flat from the equal-tempered equivalent; in this

tuning B is 40 cents flatter from B natural. The scale rises from A.

• ARABIC-1 — The intervals in this table form the basis for much Middle Eastern music. Here

the octave is divided into 17 intervals, corresponding to the fret intervals of some stringed

instruments used in this area. The scale rises from the base pitch of C4 in a series of three

repeating intervals (in cents) of 90, 90, 24; and so on. From C4 to F5 represents an octave.

• ARABIC-2 — Similar to Arabic 1, except that here the octave is divided into 24 intervals. This

makes one pitch octave cover two keyboard octaves, meaning that the fingering will be the

same in any octave. This scale rises from the base pitch of C4 in a series of four repeating

intervals (in cents) of 24, 66, 24, 90; and so on.

• ARABIC-3 — This is a 12-tone scale using quarter tones (notes tuned sharp or flat by 50 cents

from their equal-tempered equivalents) on the C#, E, G# and B keys.

• ARABIC-4 — Another octave-based scale with an Arabic flavor. In this case the “quarter

tones” are not perfectly equal, imparting a distinctive character to the notes.

• JAVA-PELOG1 — One of the two main scales of the gamelan orchestras of Java and Bali is the

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ENSONIQ TS-10 Specifications Page 49

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ENSONIQ TS-10 Specifications Page 49

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