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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.
In music theory a diatonic scale is a heptatonic (seven-note) scale that includes five whole steps (whole tones) and two half steps (semitones) in each octave, in which the two half steps are separated from each other by either two or three whole steps. In other words, the half steps are maximally separated from each other.
In all three contexts, "mode" incorporates the idea of the diatonic scale, but differs from it by also involving an element of melody type. This concerns particular repertories of short musical figures or groups of tones within a certain scale so that, depending on the point of view, mode takes on the meaning of either a "particularized scale ...
A melody (from Greek μελῳδία (melōidía) 'singing, chanting'), [1] also tune, voice, or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm , while more figuratively, the term can include other musical elements such as ...
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 ...
In music, the tonic is the first scale degree of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone [1] that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as do.
The non-diatonic sequence tends to modulate to a new tonality or to cause temporarily tonicization. At least two instances of a sequential pattern—including the original statement—are required to identify a sequence, and the pattern should be based on several melody notes or at least two successive harmonies .
Within the diatonic modes of the major scale, in addition to the Aeolian mode (which is the natural minor scale), the Dorian mode and the Phrygian mode also fall under this definition. Conversely, the Locrian mode has a minor third, but a diminished fifth (thus containing a diminished triad ), and is therefore not commonly referred to as a ...