View source for Enharmonic keyboard

An '''enharmonic keyboard''' is a [[musical keyboard]], where [[enharmonic]]ally equivalent [[note (music)|notes]] do not have identical [[Pitch (music)|pitch]]es. A conventional keyboard has, for instance, only one key and pitch for '''{{sc|C}}'''[[Sharp (music)|{{music|#}}]] and '''{{sc|D}}'''[[Flat (music)|{{music|b}}]], but an enharmonic keyboard would have two different keys and pitches for these notes. Traditionally, such keyboards use [[split sharp|black split keys]] to express both notes,{{efn|
"The concept of enharmonicity arises from the fact that certain tone pairs seem to refer to almost identical pitches. For example, from a given '''{{sc|C}}''' we ... will find that the pitches of '''{{sc|C}}'''{{music|#}} and D{{music|b}} are close to each other (exactly how close will depend on the methods we allow for finding them). '''{{sc|C}}'''{{music|#}} and '''{{sc|D}}'''{{music|b}} are obviously not identical, but they are close enough to be treated as identical in certain musical settings. Therefore, they are enharmonically equivalent. An enharmonic instrument is an instrument where multiple ways of producing enharmonically equivalent tones are available. For example, an enharmonic keyboard could have separate keys for '''{{sc|C}}'''{{music|#}} and '''{{sc|D}}'''{{music|b}}, as well as for each tone in other enharmonic pairs such as '''{{sc|D}}'''{{music|#}} / '''{{sc|E}}'''{{music|b}}, '''{{sc|F}}'''{{music|#}} / '''{{sc|G}}'''{{music|b}}, '''{{sc|G}}'''{{music|#}} / '''{{sc|A}}'''{{music|b}} and '''{{sc|A}}'''{{music|#}} / '''{{sc|B}}'''{{music|b}}. An enharmonic keyboard is thus guaranteed to have more than 12&nbsp;keys per octave."{{sfnp|Jerkert|2010|p=121}}}}{{efn|"Enharmonic instruments should be understood as musical instruments presenting a number of pitches per octave that significantly surpasses the twelve notes of the standard western tuning systems (equal temperament, meantone tuning or whatever). This begins with harpsichords or organs with a few split upper keys, goes to keyboards with 17, 19, 31 or 43&nbsp;notes per octave and ends with theoretical systems and ideas for instruments (less often the instruments themselves) up to far over 100&nbsp;pitches per octave"{{sfnp|Jerkert|2010|p=121}} }} but ''diatonic'' white keys may also be split.{{efn|"Note, however, that the extra keys need not be found among the sharps and flats. For example, {{harvp|Barbieri|2008|p=20}} shows an organ from the end of the 1400s with no extra black keys but with two E&nbsp;keys, one suitable for use in an E&nbsp;major chord, and another better fitted as the third in a C&nbsp;major chord".{{sfnp|Rasch|2009|p=61}}}}

As an important device to compose, play and study [[enharmonic]] [[music]],{{efn|
"Enharmonic music is music ... that is mostly to be found in the surroundings of enharmonic instruments. Without those instruments nearby, it makes little sense to produce such music".{{sfnp|Rasch|2009|p=61}}
}}
enharmonic keyboards are capable of producing [[microtones]] and have separate keys for at least some pairs of not equal pitches that must be [[Enharmonic| enharmonically equal]] in [[keyboard instruments|conventional keyboard instruments]].<ref>
{{cite dictionary 
 |title = Enharmonic keyboard
 |dictionary = [[Harvard Dictionary of Music]]
 |year = 2003  |edition = 4th |page = 295
 |isbn = 978-0-674-01163-2
 |url = https://books.google.com/books?id=02rFSecPhEsC&dq=Enharmonic+Keyboard&pg=PA295
 |via = Google books
|last1 = Randel
 |first1 = Don Michael
 |publisher = Harvard University Press
 }}
</ref>

== The term (divergence of scholar opinions) ==
"Enharmonic keyboard" is a term used by scholars in their studies of enharmonic keyboard instruments ([[Pipe organ|organ]], [[harpsichord]], [[piano]],{{sfnp|Tukhmanova|2005|pp=23–26}}
[[Pump organ|harmonium]] and [[synthesizer]]) with reference to a [[Musical keyboard|keyboard]] with more than 12&nbsp;keys per [[octave]]. Scholarly consensus about the term's precise definition currently has not been established.{{citation needed|date=November 2012}}

The [[The New Grove Dictionary of Music and Musicians|New Grove Dictionary (2001)]] defines an "enharmonic keyboard" as "a keyboard with more than 12&nbsp;keys and sounding more than 12&nbsp;different pitches in the octave",<ref>
{{cite dictionary
 |url = http://www.oxfordmusiconline.com/
 |last = Meeùs |first = Nicolas
 |year = 2001
 |title = Enharmonic keyboard
 |dictionary = [[The New Grove Dictionary of Music and Musicians]]
 |editor1 = Sadie, Stanley  |editor1-link = Stanley Sadie 
 |editor2 = Tyrrell, John   |editor2-link = John Tyrrell (musicologist)
 |access-date = 12 Oct 2012
}}
</ref>
however the article does not specify the origin of the term. {{harvp|Rasch|2002}} suggested applying the term "enharmonic keyboard" more precisely, to keyboards with 29–31&nbsp;keys per octave.{{sfnp|Rasch|2002}}{{page needed|date=December 2016}}

{{harvp|Barbieri|2007}}, in his turn, raised the objection that this use of the term is contrary to early theoretical works.{{sfnp|Barbieri|2007}}{{efn|
The only theoretical evidence that agrees with Rasch's usage is found in one (not yet published) manuscript by some Benedetto Bresciani, written {{circa|1719}}.
:
As for historical evidence, confusion has often reigned over the terminology of split-keyed instruments, which were sometimes called ''chromatic'', sometimes ''enharmonic''. The builders (or persons who only described the construction) of such keyboard instruments often gave them names without any reference to [[Genus (music)|genus]], like ''archicembalo'' ([[Nicola Vicentino]]), ''cembalo pentarmonico'' ([[Giovanni Battista Doni]]), ''[[clavicymbalum]] universale'' ([[Michael Praetorius]]) or even simply ''clauocembalo'' (that is [[clavicembalo]]; [[Gioseffo Zarlino]].</ref>
{{cite web
 |title = Le istitutioni harmoniche
 |year = 1558
 |website = euromusicology.zoo.cs.uu.nl
 |type = book review
 |url = http://euromusicology.zoo.cs.uu.nl/dynaweb/tmiweb/z/zarih58/@Generic__BookView;cs=default;ts=default;lang=ru?DwebQuery=clauocembalo
 |url-status = dead 
}}
</ref>
}}{{efn|
"In 1548 Dominicus Pizaurensis has built harpsichord with 19 divisions of the octave by the order and description of G. Zarlino ... the earliest enarmonic instrument ... manufacture date of which is known exactly
:
{{lang-ru|В 1548 году Доминикус Пизауренсис построил клавесин с 19 делениями в октаве по заказу и описанию Дж. Царлино... самый ранний энармонический инструмент... дата изготовления которого известна точно}}{{sfnp|Burundukovskaya|2008|p=185}}
}}

Some modern scholars [e.g. {{harvp|Wraight|Stembridge|1994}}] describe instruments with such keyboards as ''split-keyed instruments''.<ref>
{{cite journal
 |first = C. |last = Stembridge
 |year = 1992
 |title = Music for the cimbalo cromatico and other split-keyed instruments in seventeenth-century Italy
 |journal = Performance Practice Review 
 |volume = 1  |pages = 5–43
|doi = 10.5642/perfpr.199205.01.08
 }}
</ref><ref>
{{cite journal
 |first = C. |last = Stembridge
 |year = 1993
 |title = The cimbalo cromatico and other Italian keyboard instruments with nineteen or more divisions to the octave: Surviving specimens and documentary evidence
 |journal = Performance Practice Review 
 |volume = 6 |issue = 1 |pages = 33–59
|doi = 10.5642/perfpr.199306.01.02
 }}
</ref><ref>
{{cite journal
 |first1 = D.  |last1 = Wraight
 |first2 = C.  |last2 = Stembridge
 |year = 1994
 |title = Italian split-keyed instruments with fewer than nineteen divisions to the octave
 |journal = Performance Practice Review 
 |volume = 7 |issue = 2 |pages = 150–181
|doi = 10.5642/perfpr.199407.02.08
 }}
</ref>

== Known realizations ==
[[File:Enharmonic clavizin.jpg|thumb|200px| [[Vladimir Odoevsky|Odoevsky's]] enharmonic ''klavitsin'' (Russia, 1864), in fact piano with 19&nbsp;keys per octave]]
{{stack|[[File:Archicembalo en Cents.jpg|thumb|200px|[[Vicentino]]'s enharmonic keyboard (Italy, 1555) with version of tuning in cents]]}}
[[File:Fokker organ keyboard design.png|thumb|200px|Schematic representation of [[Adriaan Fokker|Fokker's]] microtonal keyboard<ref>
{{cite AV media
 |title = {{grey|[title not cited: re. Fokker's microtonal keyboard]}}
 |medium = video
 |url=https://www.youtube.com/watch?v=zYW0OwHtjOs
 |via=YouTube
}}
</ref> for a {{nobr|31 {{sc|EDO}}}} pipe organ (Fokker organ) with two manuals and pedal, built by him]]
{{stack|[[File:Alleyorgan.jpg|thumb|200px| Joseph Alley's enharmonic reed organ (U.S., {{circa|1867}}, [[just intonation|5&nbsp;limit J.I.]] non-closed) ]] }}
[[File:MIM Orthotonophonium Schiedmayer.jpg|thumb|200px|[[Arthur von Oettingen|von Oettingen's]] [[orthotonophonium]] (Germany, 1914). {{nobr|53 {{sc|EDO}},}} 60&nbsp;keys per octave]]

One of the first instruments with an enharmonic keyboard was the [[archicembalo]] built by [[Nicola Vicentino]], an [[Italy|Italian]] [[Renaissance]] [[composer]] and [[music theory|music theorist]]. The archicembalo had 36&nbsp;keys per octave and was very well suited for [[meantone temperament]].{{efn|
The best description of archicembalo along with recordings using the rebuilt instrument can be found in {{harvp|Cordes|2007}}<ref>
{{cite book
 |last=Cordes |first=Manfred
 |year=2007
 |title=Nicola Vicentions Enharmonik: Musik mit 31&nbsp;Töne
 |publisher=[[Akademische Druck- und Verlagsanstalt]]
 |location=Graz
 |isbn=978-3-201-01884-5
}}
</ref>
There are many other descriptions of archicembalo given by modern scholars, e.g. in {{harvp|Stembridge|1993|p=54&nbsp;ff}}<!--
'The Cimbalo Cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence)' ''Performance Practice Review'', '''6''':1 , p.54 ff.
-->
}}
Vicentino also had made one ''arciorgano'' in Rome and one ''arciorgano'' in Milan. Both pipe organs were equipped with enharmonic keyboards, like those of the archicembalo.{{sfnp|Barbieri|2008|pp=309–313}} None of Vicentino's instruments survive.

Many instruments with enharmonic keyboards were built during the Renaissance and [[Baroque]] eras. Most composers and performers who used these instruments are virtually unknown today. Among them are [[Johann Kaspar Kerll]]'s teacher, [[Giovanni Valentini]], who played a [[harpsichord]] with 77&nbsp;keys for 4&nbsp;octaves (19&nbsp;keys per octave plus one extra C), and [[Friedrich Suppig]],{{sfnp|Suppig|1990}}{{page needed|date=December 2016}} published one of the definitive works for an instrument with an enharmonic keyboard: The ''Fantasia'' of the ''Labyrinthus Musicus'', which is a multi-sectional composition that makes use of all 24&nbsp;keys and is intended for a keyboard with 31&nbsp;notes per octave and pure [[major third]]s.

With the advent of [[microtonal music]] in the 20th&nbsp;century, instruments with enharmonic keyboards became more fashionable, as did [[early music|early]] and [[Baroque music]] for such instruments. For performance and recording purposes, either old instruments are reconstructed or two recordings of two differently [[musical tuning|tuned]] instruments are combined in one, thus creating an effect of an enharmonic keyboard.

[[Isomorphic keyboard|Isomorphic note-layouts]] are a class of enharmonic keyboard, opened in 1721 by Ivo Salzinger's ''Tastatura nova perfecta'', Germany.{{sfnp|Barbieri|2008|pp=337–341}} One isomorphic note-layout, the [[Wicki-Hayden note layout|Wicki]], when mapped to a hexagonal array of buttons, is particularly well-suited to the control of enharmonic scales. The orientation of its hexagonal columns of [[octave]]s and [[Musical temperament|tempered]] [[perfect fifth]]s place all the notes of every [[well-formed scale]] – [[pentatonic scale|pentatonic]] ([[cardinality]]&nbsp;5), [[diatonic scale|diatonic]] (cardinality 7), [[chromatic scale|chromatic]] (cardinality&nbsp;12), and enharmonic (cardinality&nbsp;19) – in a tight, contiguous cluster.

The notes of each progressively-higher cardinality are appended to the outer edges of the lower-cardinality scale, such that each well-formed scale's note-controlling buttons are embedded, unchanged, within the set of those controlling the higher-cardinality scales. Hence, the skills gained in learning to play chromatic music on a chromatic Wicki keyboard can be applied, without modification, to performance on an enharmonic Wicki keyboard.

[[Isomorphic keyboard]]s were not discovered until the latter half of the 19th&nbsp;century.{{citation needed|date=November 2012}}

== See also ==
* [[Equal temperament]]
* [[Fokker organ]]
* [[Meantone temperament]]
* [[Musical tuning]]
* [[Jankó keyboard]]

==Notes==
{{notelist}}

==Citations==
{{reflist|25em}}

== References ==
{{refbegin|25em|small=yes}}

* {{cite journal
 |last=Barbieri |first=Patrizio
 |year=2007
 |title=Pietro della Valle: the Esthèr oratorio (1639) and other experiments in the "stylus metabolicus". With new documents on triharmonic instruments
 |journal=Recercare. Rivista per lo studio e la pratica della musica antica
 |volume=XIX |issue=1–2 |pages=96–97
<!--
 |editor1-first=Arnaldo |editor1-last=Morelli
 |location=Lucca|publisher=LIM Editrice srl
--> 
 |isbn=978-88-7096-526-1 |issn=1120-5741
 |url=http://www.patriziobarbieri.it/pdf/recercarexix.pdf
}}

* {{cite book
 |last = Barbieri  |first = Patrizio
 |title = Enharmonic instruments and music 1470-1900
 |year = 2008
 |publisher = Il Levante Libreria Editrice
 |location = Latina, IT
 |isbn = 978-88-95203-14-0
 |pages = 309–313
 |url = http://www.patriziobarbieri.it/1.htm
 |access-date = 2008-12-04  |url-status = dead
 |archive-url = https://web.archive.org/web/20090215045859/http://www.patriziobarbieri.it/1.htm
 |archive-date = 2009-02-15
}}

* {{cite journal
 |last = Burundukovskaya  |first = E.
 |year = 2008
 |title = Italian harpsichord and clavichord 16th and 17th&nbsp;centuries
 |department = Enarmonic instruments / Philology and art history 
 |journal = Bulletin of the [[Chelyabinsk State University]]
 |series = 20
 |volume = 121  |issue = 22  |pages = 181–187
<!--
 |editor-first = M.V. |editor-last = Zagidullina
 |publisher = [[Chelyabinsk State University]]
 |place = Chelyabinsk, RU
-->
 |issn = 1994-2796  |lang = ru
 |url = http://www.lib.csu.ru/vch/121/028.pdf
 |url-status = dead
 |archive-url = https://web.archive.org/web/20121114110829/http://www.lib.csu.ru/vch/121/028.pdf
 |archive-date = 2012-11-14
}}

* {{cite journal
 |last = Jerkert  |first = Jesper
 |year = 2010
 |title = Review of Patrizio Barbieri's ''Enharmonic Instruments and Music 1470–1900''
 |journal = Svensk Tidskrift för Musikforskning [Swedish Journal of Musicology]
 |volume = 92  |page = 121
 |issn = 1653-9672   |type = book review
 |url=http://www.jerkert.se/jesper/rec-barbieri-stm.pdf
}}

* {{cite dictionary 
 |last = Meeùs |first = Nicolas
 |year = 2001
 |title = Enharmonic keyboard
 |dictionary = [[The New Grove Dictionary of Music and Musicians]]
 |editor1 = Sadie, Stanley  |editor1-link = Stanley Sadie
 |editor2 = Tyrrell, John   |editor2-link = John Tyrrell (musicologist)
 |url=http://www.grovemusic.com/
 |access-date = 2012-10-16  |url-status = dead
 |archive-url=https://web.archive.org/web/20080516041031/http://www.grovemusic.com/
 |archive-date = 2008-05-16  |df = dmy-all
}}

* {{cite dictionary 
 |editor-last = Randel  |editor-first = Don Michael
 |year = 2003
 |title = Enharmonic
 |dictionary = [[Harvard Dictionary of Music]]  |edition = 4th
 |page = 295
 |publisher = Harvard University Press
 |location = Boston, MA
 |isbn = 0-674-01163-5
 |url = https://books.google.com/books?id=02rFSecPhEsC&dq=Enharmonic+Keyboard&pg=PA295
}}

* {{cite journal
 |last = Rasch |first = Rudolf
 |year = 2002  |publication-date = 2003
 |title = On terminology for diatonic, chromatic, and enharmonic keyboards
 |series = Chromatic and Enharmonic Music and Musical Instruments in the 16th and 17th&nbsp;Centuries
 |journal = Schweizer Jahrbuch für Musikwissenschaft [Swiss Annual for Musicology]
 |volume = 22  |pages = 21–33 
 |editor-first = Joseph  |editor-last = Willimann
 |publisher = Peter Lang Publishing Group
 |place = Bern, CH
 |isbn = 978-3-03910-088-0  |issn = 0259-3165
 |url = http://www.peterlang.com/index.cfm?event=cmp.ccc.seitenstruktur.detailseiten&seitentyp=produkt&pk=12781&cid=5&concordeid=10088
 |url-status = dead
 |archive-url = https://web.archive.org/web/20130625103147/http://www.peterlang.com/index.cfm?event=cmp.ccc.seitenstruktur.detailseiten&seitentyp=produkt&pk=12781&cid=5&concordeid=10088
 |archive-date = 2013-06-25
}}

* {{cite journal
 |last = Rasch |first = Rudolf
 |year = 2009
 |title = Review of Patrizio Barbieri: ''Enharmonic Instruments and Music 1470-1900''
 |journal = Thirty-One. The Journal of the Huygens-Fokker Foundation
 |volume = 1 |pages = 61
 |editor = Gilmore, Bob
 |location = Amsterdam, NL
 |publisher = [[Stichting Huygens-Fokker]] Centre for Microtonal Music
 |url = http://www.huygens-fokker.org/thirty-one/documents/ReviewofPatrizioBarbieri_EnharmonicInstrumentsandMusic-RudolfRasch.pdf
}}

* {{cite book
 |last = Suppig |first = Friedrich
 |title = Labyrinthus musicus ; Calculus musicus
 |edition = manuscript facsimile 
 |orig-year = 1722 |year = 1990
 |editor-last = Rasch |editor-first = Rudolf
 |series = Tuning and Temperament Library  |volume = 3 
 |place = Utrecht, NL
 |publisher = Diapason Press
 |isbn = 9070907178
 |url = https://books.google.com/books?id=FAk8AQAAIAAJ&q=fantasia
 |via = Google books
}}

* {{cite journal
 |last = Tukhmanova |first = Z.
 |year=2005
 |title = Enharmonic piano of prince V.F. Odoevsky
 |journal = [[Early Music (journal)|Старинная музыка [Early Music]<nowiki/>]]
 |volume = 29–30  |issue = 3–4  |pages = 23–26
 |issn = 1999-6810 |lang = ru
<!--
 |editor-first=Yu. S. |editor-last=Bocharov
 |publisher = Literary Agency PREST
 |location=Moscow, RU
-->
 |url = http://stmus.nm.ru/arc.htm
 |access-date = 2012-10-18  |url-status = dead
 |archive-url = https://web.archive.org/web/20130303130302/http://www.stmus.nm.ru/arc.htm
 |archive-date = 2013-03-03
}}

{{refend}}

==Further reading==
* {{cite web
 |last=Allen |first=John S.
 |title=The general keyboard in the age of MIDI
 |website = bikexprt.com
 |url=http://www.bikexprt.com/music/bosanqet.htm
}}
* {{cite journal
 |last = Khramov  |first = Mykhaylo
 |date = December 2011
 |title = On Amount of notes in octave
 |journal = Ninãd, Journal of the ITC-SRA
 |volume = 25  |pages = 31–37
 |issn = 0973-3787
 |url = http://www.itcsra.org/sra_story/sra_story_research/sra_story_resrch_links/sra_story_resrch_pubs/pdf/ninad_volume_25.pdf
<!--
 |editor1=Datta, Asoke Kumar
 |editor2=Sengupta, Ranjan
 |publisher=ITC Sangeet Research Academy. Dept. of Academic Research
 |location=Kolkata, India
-->
}}
* {{cite encyclopedia
 |last = Owen  |first = Barbara
 |year = 2006
 |title = Enharmonic organ
 |editor1 = Bush, Douglas
 |editor2 = Kassel, Richard
 |encyclopedia = The Organ: An encyclopedia
 |place = New York, NY
 |isbn = 0-415-94174-1
 |pages = 183–184
}}

{{Microtonal music}}
{{Musical keyboards}}

{{DEFAULTSORT:Enharmonic Keyboard}}
[[Category:Musical keyboard layouts]]
[[Category:Musical tuning]]