asr 10 w/25 tones in just

Hello all fellow tuners:

I have a question to all ensoniq or asr 10 sampler owners.
I 've got an instrument with a 25 tone just intonation scale that I'm
trying to use to mock up this vocal quartet piece of mine, that's a free
rhythm , chordal piece. The only way I can get the notes to be remotely
similar to what's on the keyboard is breaking the scale up into 8
different pitch tables, then copying the instrument eight times, each
with a different pitch table chosen.
Does anyone know of any easier way to realize this? As of now, I have to
go over to the sampler and push the next button for the different section of
the tuning ,which creates an unwanted scale in the musical phrasing. There
doesn't seem to be a way to
switch between tunings in mid-flight. Is there a better way via midi?
I could put all the notes I need spread all amongst one
keyboard/pitchtable, but I think it would take months for me to realize
that way, the notes not being close to what they are on the notation.
Maybe I have to finally get a sequencer. Would that help things?
Any ideas
anyone? Thanks,
Sasha Bogdanowitsch

Tony,

Keyboard music of Sweelinck, Froberger, Frescobaldi, etc. is usually
performed in a shade of meantone. I am not aware of many works that
prescripe a specific temperament. There are some modern works like these

Gyo"rgi Ligeti: Passacaglia ungherese (1/4-comma meantone) for harpsichord
Jean Lesage: Les unite's discre`tes (Werckmeister III) for 2 harpsichords

which are originally for a certain tuning.

Manuel Op de Coul coul@ezh.nl

On Wed, 11 Mar 1998 Manuel.Op.de.Coul@ezh.nl wrote:
> I am not aware of many works that
> prescripe a specific temperament.

I would be very surprised to find any historic works that specified a
particular tuning--such exactitude is a very modern sensibility. I
mean, when the original temperament wars were going on (the Baroque)
we're talking about a time when composers often didn't care if you used
a flute or a violin to play the top part in a sonata! Plus, choosing an
appropriate tuning would have been (in most cases rightly) assumed to be
something the performer was easily capable of, and thus entirely
unnecessary for the composer.

--pH http://library.wustl.edu/~manynote
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