Viscount Chorale 3 User Manual page 14

Viscount Chorale 3
HOW TO MOVE AROUND INSIDE THE SCREENS
The screen cursor is in the form of the field displayed in reverse; in the screen shown above, for example,
the cursor is located on the MEMORY BANK parameter.
As explained in point 2.3, to move the cursor use the [FIELD
[FIELD ] moves the cursor to the field above, [FIELD
If a menu consists of more than one screen, an arrow symbol indicating that previous and/or subsequent
pages are available will appear in the top right-hand corner.
there are pages after the one currently displayed
there are pages before the one currently displayed
there are pages before and after the one currently displayed
To access a submenu or a function, press the [ENTER] key; to exit the current screen use the [EXIT]
button.
To adjust parameters or select the various settings / options, use the [VALUE +] and [VALUE -] buttons.
In the "natural" tuning system, based on the acoustic phenomenon of harmonic sounds, two important musical intervals, the
major third and the perfect fifth, cannot be made to coexist in the "pure" state (i.e. beat-free). Therefore, over the centuries a
variety of compromise solutions known as TEMPERAMENTS have been invented and realised. These give priority to one or
the other interval by modifying them in various ways.
In the ancient world and the Middle Ages, until the last few decades of the 17
which the fifths were retained perfectly pure, was in use. The resulting major third was particularly unattractive in sound, and
was therefore treated as a dissonance.
However, the music of the time was mainly monodic, and the early forms of vocal and instrumental polyphony made a great
deal of use of the interval of a fifth. With the early Renaissance, and the start of the great flowering of vocal polyphony, the
interval of a major third gradually came to be heard as consonant and not dissonant. The instruments with fixed tuning, such
as the organ and harpsichord, gradually adapted to this situation by adopting a system of temperament known as "Meantone",
which gave the major third priority over the fifth. This temperament is particularly important because it was the temperament
in normal use in Europe in the 16
the Chorale 3, first and foremost the MEANTONE.
MEANTONE
- 8 pure major thirds: E flat - G / B flat - D / F - A / C - E / G - B / D - F # / A - C# / E - G.
- 4 unusable major thirds (diminished fourths): B - D# / F# - A# / C# - E# / A flat - C.
- 1 fifth known as the "wolf" (very dissonant extended fifth): A flat - E flat.
- Highly irregular chromatic scale (meaning that chromatic compositions are given a very distinctive voice)
- Keys usable with this temperament: C maj. / D maj. / G maj. / A maj. / B flat maj. and the relative minors.
The temperaments which follow allow all the major and minor keys to be used, although those with the most alterations have
a highly distinctive voice, in contrast with the modern equal temperament.
WERCKMEISTER
This temperament, invented by the organist and musical theorist Andreas Werckmeister, is recommended for performing the
German musical repertoire of the late 1600s.
KIRNBERGER
This temperament, developed by Johann Philipp Kirnberger, pupil of J.S. Bach, is also suitable for playing the German
A BRIEF NOTE ON TEMPERAMENTS
and 17 Centuries, until the early 18
th th
] and [FIELD
] locates it on the one below.
Century, the "Pythagorean" tuning system, in
th
Century. Here are the six temperaments available on
th
12
Owner's Manual
] buttons.