Owner`s manual

CHAPTER 6 -

Appendices

6.1.13

Dan Schmidt Pelog/Slendro

Created for the Berkeley Gamelan group, this tuning  ts an Indonesian-style heptatonic

Pelog on the white keys and pentatonic Slendro on the black keys, with B and Bb acting

as 1/1 for their respective modes. Note that some of the notes will have the same

frequency. By tuning the 1/1 to 60 Hz, Dan found a creative way to incorporate the

inevitable line hum into his scale.

Bb, B = 1/1 (60 Hz)

1/1 1/1 9/8 7/6 5/4 4/3 11/8 3/2 3/2 7/4 7/4 15/8

6.1.14

Yamaha Just Major C

When Yamaha decided to put preset microtunings into their FM synth product line, they

selected this and the following tuning as representative just intonations. As such, they

became the de-facto introduction to JI for many people. Just Major gives preferential

treatment to major thirds on the sharps, and a good fourth relative to the second.

C= 1/1 (261.625)

1/1 16/15 9/8 6/5 5/4 4/3 45/32 3/2 8/5 5/3 16/9 15/8

6.1.15

Yamaha Just Minor C

Similar to Yamaha=92s preset Just Major, the Just Minor gives preferential treatment to

minor thirds on the sharps, and has a good  fth relative to the second.

C= 1/1 (261.625)

1/1 25/24 10/9 6/5 5/4 4/3 45/32 3/2 8/5 5/3 16/9 15/8

6.1.16

Harry Partch 11-limit 43 Note Just Intonation

One of the pioneers of modern microtonal composition, Partch built a unique orchestra

with this tuning during the  rst half of the 20

century, to perform his own compositions.

The large number of intervals in this very dense scale offers a full vocabulary of

expressive chords and complex key changes. The narrow spacing also allows  xed-pitched

instruments like marimbas and organs to perform glissando-like passages.

G = 1/1 (392 Hz, MIDI note 67)

1/1 81/80 33/32 21/20 16/15 12/11 11/10 10/9 9/8 8/7 7/6

32/27 6/5 11/9 5/4 14/11 9/7 21/16 4/3 27/20 11/8 7/5

10/7 16/11 40/27 3/2 32/21 14/9 11/7 8/5 18/11 5/3 27/16 12/7

7/4 16/9 9/5 20/11 11/6 15/8 40/21 64/33 160/81