P-ART MICROTONAL SCALES excerpt of The P ART Sound Set Manual for the digitale wave synthesizer ESQ1 (SQ80) (Ensoniq) ESQ1 MICROTONAL PATCHES
# A25. 9-T EP 9-equal temperament
This DIGITAL PIANO(EP) is based on OSC2 = e.pno. 9-t E P is detuned to a new musical tone-SCALE: 9-tone scale.
If you ask for references to the normal chromatic scale (divided in 12 equal semitones): C4 (= key #37)of the 9-t EP- scale is the only one note that have the same pitch as C4 in the regular 12-tone scale. In 9-T EP the octaves are divided in NINE equal pitch intervals instead of normally 12 equal intervals.
Play a major sixth (C3-A3) and you hear a distance of one octave. Normally you need an interval of twelve half steps between C3 and C4. The distance D3-B3(!) and not D4 is one octave.
If you play C3-Eb3 (standard = minor third ) -surprise- it's a major third that sounds!
If you play C-F, then you listen to a perfect fifth and not a perfect fourth.
The capital point however is that the 9-tone scale of 9-T EP is very suitable to improvise pianomusic. Believe me, it opens incredible new horizons.
Please, don't try to execute standard scores on the normal way with 9-T EP.
Of course, you can try and hear the difference. Make fun!
# A26. 24-T TR quarter-tones
This is the interesting 24-tone scale to play QUARTER NOTES- music. The TRUMPET (OSC2= SAW) is modulated by KBD2 (-32) .
The twelve half steps of the normal chromatic temperament are dispersed over two full octaves of the normal scaled keyboard.
Try to play the normal diatonic scale using the following keymap:
C2 E2 G#2 Bb2 D3 F#3 Bb3 C4
(=C3) (=D3) (=E3) (=F3) (=G3) (=A3) (=B3) (=C4)
You 'll never play BAD chords with this scale!!!
When you play a cluster, there are only consonant harmonies and never dissonant notes in the chord.
To correct the little detuned upper key # 61 in this scale, I have increased a little bit the frequence with KBD(+1) in OSC2.
# A27. '6 T FL macrotuning: a 6-tone scale
This fluty (FL)- patch is a 6-tone scale:
from C3 (=C3) to F#3 (=C4).
Two octaves are compressed in one normal tempered octave! OSC2 of hidden waveform # 46 is modulated by KBD2 +50 and KBD+48 .
The incredibly high notes are required to mute the upper keys.
You play -with ease- music with 2 or 10 fingers, without knowledge of standard chordintervals or chordprogressions. Your music is always in perfect harmony. No matter how many fingers in the left and right hand you may use. Whichever intervals or clusters you play, there always is a deep very consonant music.
With '6-T FLpatch you can't play false notes because of the special intervals between the keys . Remember, all this is available on your ESQ-1 in one patch: '6 T FL.
# A33. SENSY3 (brass pitch-change by touch)
Go to the hill and play BRASS.
First of all, feel very slowly the TOUCH(=velocity) of each key.
With a finger on the same key, you'll play a nice line of brass!
C3 (key # 25): a soft touch produces Eb2(= key # 16!), a hard played C3 sounds like A3 , and so on. After playing for a while, you put down more fingers on your keyboard. Try and you'll enjoy conducting a polyfonic BRASS-ensemble. Each key produces a tone that differs from the normal note-position.
key # 25 = pitch of key # 18,
key # 29 = pitch of # 39 and
key # 32= pitch of # 30 (a large D minor instead of a perfect C-E-G).
One logical rule using SENSY 3:
on the lower keys you can't achieve the same frequency as on the upper keys. There is indeed a small progression of pitch from low to high!
The pitch of the SAW-waveform is modulated by VEL2(+25).
>>>> If you try to play with VEL2 = -25 or other negative values, it is necessary to increase the OCT-tuning level.
>>>> The reason for modulating the pitch with VEL2 instead of VEL is stricktly a musical decision. Try: with pitch-control by VEL, the keys you touch simultaneously in a normal chord, are sounding like BAD clusters instead of consonant intervals.
# A23. 'BALI upper half
Two oscillators with hidden waveform # 46(WAVE045) affect only the upper half of the keyboard. The non-standard tuned scales (the oscillators are modulated by KBD2 and KBD) deliver different intervals between the keys. 'BALI is a realistic simulation of the traditional mallets, associated to the gamelan music of BALI.
>>>> Open the third DCA and in the lowest octave you find an extremely attractive ETHNIC guitar-ensemble of India .
>>>> Turn the amplitude of OSC1 and OSC2 OFF and you 'll get:
# A24. 'INDIA keys C1-E2: tabla (L) sharadiya-vina (R)
This patch sounds only in the lowest area C1-E2!
How to play 'INDIA?
Play the rhythm pattern on the LOW TABLA:
use one finger of the left hand on key #1 and with the right hand you play with a very picked light touch a fast staccato melody.
You hear also the strings of the SHARADIYA-VINA (Indian lute) : touch the keys with various independent fingers (right hand) in the same lowest keyboard area (E- E2) .
Two hands are controlling the complete Indian traditional ensemble based on a single waveform (hidden waveform # 54) on ONE octave of the keyboard.
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