Kurzweil K2500 Bedienungsanleitung

Note Numbers and Intonation Tables

Note Numbers for Percussion Keymaps

5-1

Chapter 5

Note Numbers and IntonationTables

K2500 Note Numbers and MIDI Note Numbers

K2500 MIDI

C -1—B -1 0—11

C 0—B 0 12—23

C 1—B 1 24—35

C 2—B 2 36—47

C 3—B 3 48—59

C 4 (Middle C)—B 4 60—71

C 5—B 5 72—83

C 6—B 6 84—95

C 7—B 7 96—107

C 8—B 8 108—119

C 9—G 9 120—127

You can assign samples to keymaps in the range from C 0 to G 9. The K2500 will respond to

MIDI events in the octave from C -1 to B -1. If a Note On event is generated in the range from C

-1 to B -1, the K2500 will respond by setting the Intonation key correspondingly (C -1 will set it

to C, C# -1 will set it to C#, etc.)

Note Numbers for Percussion Keymaps

Most of the K2500’s percussion programs have keymaps that place the various percussion

timbres at standardized key locations. There are eight drum keymaps: Preview Drums, ﬁve 5-

octave kits (two dry and three ambient), a 2-octave kit, and the General MIDI kit. The keymap

30 General MIDI Kit adheres as closely as possible to the General MIDI standard for placement

of timbres. As a rule, programs that use this keymap can be assigned in percussion tracks for

prerecorded sequences and will play appropriate timbres for all percussion notes.

The timbres are located consistently within the 5-octave kit keymaps so you can interchange

keymaps within percussion programs freely without changing the basic timbres assigned to

various notes (snare sounds will always be at and around Middle C, for example). The note

assignments for the timbres in the 5-octave kit and 2-octave kit keymaps are listed below. MIDI

note number 60 (Middle C) is deﬁned as C 4.

5-Octave Percussion Keymaps (C2 - C7)

MIDI NOTE NUMBER KEY NUMBER SAMPLE ROOT

36-37 C2-C#2 Low Tom

38-39 D2-D#2 Low Mid Tom

40-41 E2-F2 Mid Tom

42-43 F#2-G2 Hi MidTom

44-45 G#2-A2 Mid Hi Tom

46 A#2 Hi Tom

47–51 B 2–D# 3 Kick

52–54 E3–F#3 Snare (Sidestick)

Note Numbers and Intonation Tables

Note Numbers for Percussion Keymaps

5-2

55-56 G3-G#3 Low Snare (dual vel. on Dry Kit 1)

57-59 A3-B3 Mid Snare (dual vel. on Dry Kit 1)

60-61 C4-C#4 Hi Snare (dual vel. on Dry Kit 1)

62–64 D 4–E 4 Closed HiHat

65–67 F 4–G 4 Slightly Open HiHat

68–69 G# 4–A 4 Open HiHat

70–71 A# 4–B 4 Open to Closed HiHat

72 C 5 Foot-closed HiHat

73-74 C#5-D5 Low Crash Cymbal

75-78 D#5-F#5 Pitched Crash Cymbals

79 G5 Splash Cymbal

80 G#5 Ride Cymbal (Rim)

81-82 A5-A#5 Ride Cymbal (Rim and Bell)

83-84 B5-C6 Ride Cymbal (Bell)

85 C# 6 Cowbell

86 D 6 Handclap

87 D# 6 Timbale

88 E 6 Timbale Shell

89 F 6 Conga Tone

90 F#6 Conga Bass Hi

91 G 6 Conga Slap

92 G#6 Conga Bass Low

93 A 6 Clave

94 A# 6 Cabasa

95–96 B 6–C 7 Tambourine Shake

2-Octave Percussion Keymaps (C3 - C5)

MIDI NOTE NUMBER KEY NUMBER SAMPLE ROOT

48–49 C 3–C# 3 Kick

50 D 3 Low Tom

51 D# 3 Cowbell

52 E 3 Low Tom

53 F 3 Mid Tom

54 F# 3 Cowbell

55 G 3 Mid Tom

56 G# 3 Timbale

57 A 3 High Tom

58 A# 3 Snare (Sidestick)

59 B 3 High Tom

60-61 C4-C#4 Snare (dual velocity)

62 D 4 Closed HiHat

63 D#4 Ride Cymbal (Rim and Bell)

64 E 4 Closed HiHat

65 F 4 Slightly Open HiHat

66 F# 4 Crash Cymbal

67 G 4 Slightly Open HiHat

68 G# 4 Crash Cymbal

69 A 4 Open HiHat

70 A# 4 Crash Cymbal

71 B 4 Open to Closed HiHat

72 C 5 Foot-closed HiHat

Note Numbers and Intonation Tables

List and Description of Intonation Tables

5-3

List and Description of IntonationTables

1 Equal No detuning of any intervals. The standard for modern western music.

2 Classic Just Tunings are defined based on the ratios of the frequencies between intervals. The origi-

nal tuning of Classical European music.

3 Just

7th Similar to classic Just, but with the Dominant 7th flatted an additional 15 cents.

4 Harmonic The perfect 4th, Tritone, and Dominant 7th are heavily flatted.

5 Just Harmonic

6 Werkmeister Named for its inventor, Andreas Werkmeister. It’s fairly close to equal temperament,

and was developed to enable transposition with less dissonance.

7 1/5th Comma

8 1/4th Comma

9 Indian Raga Based on the tunings for traditional Indian music.

10 Arabic Oriented toward the tunings of Mid-Eastern music.

11 1Bali/Java Based on the pentatonic scale of Balinese and Javanese music.

12 2Bali/Java A variation on 1Bali/Java, slightly more subtle overall.

13 3Bali/Java A more extreme variation.

14 Tibetan Based on the Chinese pentatonic scale.

15 CarlosAlpha Developed by Wendy Carlos, an innovator in microtonal tunings, this intonation table

flats each interval increasingly, resulting in an octave with quarter-tone intervals.

16 Pyth/aug4 This is a Pythagorean tuning, based on the Greek pentatonic scale. The tritone is 12 cents

sharp.

17 Pyth/dim5 This is a Pythagorean tuning, based on the Greek pentatonic scale. The tritone is 12 cents

flat.

18 Obj v

n.n

Not an intonation table; indicates version number of K2500 ROM objects.

In general, you should select a non-standard intonation table when you’re playing simple

melodies (as opposed to chords) in a particular musical style. When you use intonation tables

based on pentatonic scales, you’ll normally play pentatonic scales to most accurately reproduce

those styles. An excellent reference source for further study of alternative tunings is

Tuning In:

Microtonality in Electronic Music

, by Scott R. Wilkinson.

Note Numbers and Intonation Tables

List and Description of Intonation Tables

5-4

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