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Chromatic scale drawn as a circle The diatonic scale notes (above) and the non-scale chromatic notes (below) [2] The twelve notes of the octave—all the black and white keys in one octave on the piano—form the chromatic scale. The tones of the chromatic scale (unlike those of the major or minor scale) are all the same distance apart, one ...
Melodies can be based on a diatonic scale and maintain its tonal characteristics but contain many accidentals, up to all twelve tones of the chromatic scale, such as the opening of Henry Purcell's "Thy Hand, Belinda" from Dido and Aeneas (1689) with figured bass), which features eleven of twelve pitches while chromatically descending by half steps, [1] the missing pitch being sung later.
Chromatic fourth: lament bass bassline in Dm (D–C ♯ –C(♮)–B–B ♭ –A) The diatonic scale notes (above) and the non-scale chromatic notes (below) [1] Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. In simple terms, within each octave ...
For the chromatic scale, the octave is divided into twelve equal parts, each semitone (half-step) is an interval of the twelfth root of two so that twelve of these equal half steps add up to exactly an octave. With fretted instruments it is very useful to use equal temperament so that the frets align evenly across the strings.
According to Slonimsky's definition, Pan-diatonicism sanctions the simultaneous use of any or all seven tones of the diatonic scale, with the bass determining the harmony . The chord-building remains tertian, with the seventh, ninth, or thirteenth chords being treated as consonances functionally equivalent to the fundamental triad.
The Pythagorean scale is any scale which can be constructed from only pure perfect fifths (3:2) and octaves (2:1). [5] In Greek music it was used to tune tetrachords, which were composed into scales spanning an octave. [6] A distinction can be made between extended Pythagorean tuning and a 12-tone Pythagorean temperament.
Chromatic scales involve both. Three immediately adjacent keys produce a basic chromatic tone cluster. Prototypical tone clusters are chords of three or more adjacent notes on a chromatic scale , that is, three or more adjacent pitches each separated by only a semitone .
For instance, the tone from C to D (in short, C–D) can be decomposed into the two semitones C–C ♯ and C ♯ –D by using the note C ♯, which in a chromatic scale lies between C and D. This means that, when a chromatic scale is used, a tritone can be also defined as any musical interval spanning six semitones: TT = T+T+T = S+S+S+S+S+S.