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A pithy way of saying it is that intonation is the process by which a temperament is achieved. Intonation is what is done in order that the sound is produced at the desired/intended pitch. This can be done as part of instrument setup, e.g. "setting the guitar intonation", or as an integral part of performing the music, e.g. as in expressive intonation. ...


3

All the manuals and documentation for the Yamaha CP5 can be found at this link: http://download.yamaha.com/search/product/?language=en&site=usa.yamaha.com&category_id=16365&product_id=1048812 The answer to your question is on page 27 of the English-language Reference Manual at the above link -- it is not found in the Owners Manual, which is a ...


3

I know that you state that you are not looking for "workarounds", but I should point this out. There is indeed not a properly-supported means of doing microtonality within the MIDI specification itself. However, there is an extremely well-established and widely-accepted and implemented system for microtonality with synthesizers and virtual instruments ...


3

The MIDI Tuning Standard allows for arbitrary remapping of all 128 note values. It was ratified in 1992, and can be implemented by both GM and GM2 devices. (Very few do, however.) There are also Scale/Octave Tuning messages, which allow slight adjustments to the 12 tones in an octave. Only these are required by GM2.


3

There's scattered support for other 12-tone temperaments, but MIDI just isn't going to be able to work with tuning systems with more notes. It's an issue of the amount of information that a MIDI message can encode--the existing standard is for a 7-bit (128-value) note number, which is enough to encode over 10 octaves of 12-tone, but only 5 octaves of ...


3

Note: For the sake of discussion, I'm limiting myself here to equal temperaments, which is the most common way of tuning keyboards. Other systems exist, of course, but would probably only confuse the matter. Why do B and C and E and F not have a sharp note between them? Simply because, acoustically speaking, there is no room in our current system for ...


2

If you are talking about microtonality - of which I know little, there will have to be a lot more than just changes to E/F and B/C. It's possible to have notes between any adjacent semitones. There could be as many extra notes between G and G# as between E and F. It just happens that it's accepted (and has been for centuries) that the note called F is ...


1

Well, before the keyboard instruments were well tempered, it was impossible to play in tune (i.e. with good intonation) in certain keys. And by the old system it would be impossible to do the annual (or semi-annual) tuning in such a way as to be able to play all keys in tune. Modern string players still have this problem, albeit to a much lesser extent. ...


1

Edouard provided a perfect explanation. I don't have to add anything to that. Just a couple of comments: I would be very surprised if your digital piano was tuned with sharp low notes and flat high notes. Perhaps the samples Roland uses for the high notes have particularly strong (flat) harmonics and you are sensitive to them? It would be interesting if ...


1

The simple answer is that the layout of the piano keyboard is the most useful and efficient possible for playing in equal temperament. If you want to play music in all 12 Major and all 12 Minor keys, this is the keyboard you need. As another answer has observed, our notation system is centered on the key of C Major, so it is only natural that the keyboard ...


1

There are some ambiguities in the way your question is stated. It is difficult to interpreted it in a non-arbitrary way; if you suggest adding one key for E# in addition to the present F key why not suggest for example the addition of two keys for B-flat and A-sharp respectively? And if you suggest reinterpreting E# as the quarter-tone between E and F, why ...



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