These examples are illustrative but likely have few real-world applications. As long as the total pitch change adds up to -6 (and accounting for any of the listed exceptions), you get a G. These fingerings would be extremely unlikely to work on a traditional woodwind, but with the EWI the possibilities are wide open. Or LH 3, LH pinky 2, RH 1, and RH pinky 2. I could also produce a G with, for example, LH 1, LH 2, and RH 3. If I press LH 1, LH 2, and LH 3, the pitch is lowered from C-sharp by a total of 6 semitones, producing the G fingering familiar to saxophonists, oboists, flutists, and clarinetists.īut that is only one possible combination. If LH 3 is not pressed, RH1 produces -1 (this makes 1 + 1 B-flat possible) No effect when used in combination with LH pinky 1 If LH 1 is not pressed, LH2 produces -1 (this makes LH middle finger C possible) If both LH 1 and LH 2 are pressed, LH bis has no effect For example, pressing none of the keys produces a C-sharp: C-sharpĪdding any key will alter the C-sharp pitch by a given amount: key We can consider the individual EWI keys as having individual functions, rather than being inherently interdependent.
#AKAI EWI USB DIMENSIONS MANUAL#
The current manual (“revision D”) shows a mere 17 fingerings in its EWI mode fingering chart (11 chromatic pitches, with B-flat through D having fingerings in two octaves, and B-flat having one additional alternate fingering). You might consider this article to be subtitled, “Why you should be using the ‘EWI’ fingering mode.” The mode I am considering here is the “EWI” mode, as the “flute,” “oboe,” and “saxophone” modes sacrifice some flexibility for the sake of increased familiarity to traditional woodwind players. Note that the current-model EWI4000s, using version 2.4 of the operating system, includes several fingering modes. The fingerings can be invented completely from scratch, with no acoustical limitations.ĮWI fingerings are designed to draw upon the best of both worlds-the familiarity of traditional woodwind fingerings, and the flexibility of a non-acoustical fingering system. Since the instrument’s tone production system uses electronic circuitry and software, rather than a vibrating air column, the fingering system don’t necessarily have to use the fingers in sequence, and forked fingerings don’t have any inherent problems. (Some modern woodwinds use special mechanisms to correct for this, such as the F resonance mechanism on a high-quality oboe.)Īn electronic woodwind-style instrument, such as the Akai EWI series, uses a fingering system that is designed to be similar to a traditional woodwind, so that a traditional woodwind player can easily adapt to it. “Forked” fingerings, in which a lower tonehole is closed while one above it is open, often produce somewhat inferior results-notes that are mismatched in timbre and/or intonation. Adding the next farther finger drops the pitch again, and so on toward the bell end of the instrument. When the “first” finger (the one closest to the mouthpiece) closes a hole, the pitch drops, perhaps by a whole step. For example, a certain note might be produced with an “open” fingering (all toneholes open). Woodwind fingerings at their most basic use the fingers in sequence. With traditional woodwind instruments, the fingers work together to change the effective length of the instrument’s body tube by opening and closing toneholes.
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