2502:], iii, 82–3) and prescribed in manuscript sources. Except where a melodic chromatic interval is introduced in the interests of vertical perfection (e.g. Old Hall, no. 101; see ex. 2d), musica ficta is by nature diatonic. Even music liberally provided with notated sharps is not necessarily chromatic. This has been called 'accidentalism'. Increasingly explicit use of accidentals and explicit degree-inflection culminates in the madrigals of Marenzio and Gesualdo, which are remote from medieval traditions of unspecified inflection, and co-exists in the 16th century both with older hexachordal practices and with occasional true melodic chromaticism. It is the small number of chromatic intervals in Lassus's Sibylline Prophecies (Carmina chromatica), for example, that determine its chromatic status, not the large number of sharps that give it 'chromatic' colouring according to looser modern usage.
1963:. In principle, any note or group of notes subjected to coloration or blackening was reduced to two-thirds of the value that it would have enjoyed in its pristine state. In respect of any note in mensural notation that was equal in duration to two of that next smaller in value, the coloration of three in succession caused each to undergo reduction to two-thirds of its erstwhile value, so creating a triplet ... In the case of any note that was equal in duration to three of that next smaller, the coloration of three together likewise effected a proportional reduction in the value of each to two-thirds, so reducing perfect value to imperfect and commonly creating the effect called hemiola ... On occasions coloured notes could appear singly to denote imperfect value, especially to inhibit unwanted perfection and alteration."
1118:
1436:
1394:
92:
125:
793:
38:
765:
1698:, to produce a "diatonic" rhythmic "scale" embedded in an underlying metrical "matrix". Some of these selections are diatonic in a way similar to the traditional diatonic selections of pitch classes (that is, a selection of seven beats from a matrix of twelve beats – perhaps even in groupings that match the tone-and-semitone groupings of diatonic scales). But the principle may also be applied with even more generality (including even
1934:
as closely similar simply because of the use of similar terms: "... the categories of the diatonic, chromatic and enharmonic genera developed within the framework of monodic musical culture and have little in common with the corresponding categories of modern music theory." There were several Greek systems, in any case. What is presented here is merely a simplification of theory that spans several centuries, from the time of
781:
492:
1363:
477:
1378:, Op. 58., the long, flowing melody of the first five bars is almost entirely diatonic, consisting of notes within the scale of E minor, the movement's home key. The only exception is the G sharp in the left hand in the third bar. By contrast, the remaining bars are highly chromatic, using all the notes available to convey a sense of growing intensity as the music builds towards its expressive climax.
2318:(London: Routledge & K. Paul, 1979), p. 162: "The fundamental instrument of early Greek music was the tetrachord or four-stringed lyre, which was tuned in accordance with the main concordances; the tetrachord was also the foundation of Greek harmonic theory"). The number of strings on early lyres and similar instruments is a matter of much speculation (see Martin Litchfield West,
230:
379:
328:
320:
312:
300:
371:
2486:– to produce successive or closely adjacent semitones did not necessarily compromise their diatonic status. The tenor of Willaert's so-called chromatic duo is entirely diatonic in its progressions (Bent, 1984), as are Lowinsky's examples of 'secret chromatic art' (Lowinsky, 1946) and indeed almost the entire repertory. True chromatic progressions (e.g. F–F
701:
3319:
727:. Such a sequence of pitches is produced, for example, by playing all the black and white keys of a piano in order. The structure of a chromatic scale is therefore uniform throughout—unlike major and minor scales, which have tones and semitones in particular arrangements (and an augmented second, in the harmonic minor).
1933:
These meanings in Greek theory are the ultimate source of the meanings of the words today, but through a great deal of modification and confusion in
Medieval times. It would therefore be a mistake to consider the Greek system and the subsequent Western systems (Medieval, Renaissance, or contemporary)
1972:
Some theorists derive such a scale from a certain series of pitches rising by six perfect fifths: F–C–G–D–A–E–B. These pitches are then rearranged by transposition to a single-octave scale: C–D–E–F–G–A–B (the standard C major scale, with the interval structure T–T–S–T–T–T). A few theorists call the
1200:
The chromatic expansion of tonality which characterizes much of nineteenth century music is illustrated in miniature by the substitution of a chromatic harmony for an expected diatonic harmony. This technique resembles the deceptive cadence, which involves the substitution of another diatonic chord
853:
Forte lists the chromatic intervals in major and natural minor as the augmented unison, diminished octave, augmented fifth, diminished fourth, augmented third, diminished sixth, diminished third, augmented sixth, minor second, major seventh, major second, minor seventh, doubly diminished fifth, and
743:, are restricted to the scale to which they are tuned. Among this latter class, some instruments, such as the piano, are always tuned to a chromatic scale, and can be played in any key, while others are restricted to a diatonic scale, and therefore to a particular key. Some instruments, such as the
686:
is most often used inclusively with respect to music that restricts itself to standard uses of traditional major and minor scales. When discussing music that uses a larger variety of scales and modes (including much jazz, rock, and some tonal 20th-century concert music), writers often adopt the
2240:
are those built on, or using, the five non-diatonic degrees of the scale." (Strictly, there is an uncertainty to be noted here, involving harmonies that would be diatonic because they are built on unaltered degrees of a diatonic scale, but chromatic because they include a non-diatonic note:
3027:
is one between harmonies with no diatonic relationship, harmonies that do not coexist in any single diatonic system of key and mode. For this purpose, the harmonic form of the minor scale is considered the tonal-harmonic basis of its diatonic system. A usual characteristic of the chromatic
449:
812:
When one note of an interval is chromatic or when both notes are chromatic, the entire interval is called chromatic. Chromatic intervals arise by raising or lowering one or both notes of a diatonic interval, so that the interval is made larger or smaller by the interval of half step
1097:
If the tritone is assumed diatonic, the classification of written intervals on this definition is not significantly different from the "drawn from the same diatonic scale" definition above as long as the harmonic minor and ascending melodic minor scale variants are not included.
421:
opens with a prologue proclaiming, "these chromatic songs, heard in modulation, are those in which the mysteries of the Sibyls are sung, intrepidly," which here takes its modern meaning referring to the frequent change of key and use of chromatic intervals in the work. (The
362:
from the 14th century, this was used to indicate a temporary change in metre from triple to duple, or vice versa. This usage became less common in the 15th century as open white noteheads became the standard notational form for minims (half-notes) and longer notes called
2662:
A "pentatonic" scale is a scale formed from two intervals of different sizes, such that groups of several adjacent instances of the smaller interval are separated by single instances of the larger interval. Therefore a generic "pentatonic" can contain more than five
358:) of certain notes. The details vary widely by period and place, but generally the addition of a colour (often red) to an empty or filled head of a note, or the "colouring in" of an otherwise empty head of a note, shortens the duration of the note. In works of the
1677:. Or a larger set of underlying pitch classes may be used instead. For example, the octave may be divided into varying numbers of equally spaced pitch classes. The usual number is twelve, giving the conventional set used in Western music. But Paul Zweifel uses a
899:
2200:). This highly restrictive interpretation is effectively equivalent to the idea that diatonic triads are those drawn from the notes of the major scale alone, as this source rather roughly puts it: "Diatonic chords are wholly contained within a major scale."
1383:
1415:
with a rich, intoxicating chord progression. In contrast, the bars that follow are entirely diatonic, using notes only within the scale of E major. The passage is intended to convey the god Wotan putting his daughter Brünnhilde into a deep sleep.
1421:
1681:
approach to analyse different sets, concluding especially that a set of twenty divisions of the octave is another viable option for retaining certain properties associated with the conventional "diatonic" selections from twelve pitch classes.
1343:. (The title ‘Humour’ should be interpreted as meaning ‘mood’, here.) The first four bars are largely diatonic. These are followed by a passage exploiting chromatic harmony, with the upper part forming an ascending, followed by a descending
2322:(Oxford and New York: Oxford University Press, 1994), especially pp. 62–64). Many later instruments had seven or perhaps more strings, and in that case the tetrachord must be thought of as based on a selection of four adjacent strings.
2209:
Often the content of "diatonic harmony" in this sense includes such harmonic resources as diminished sevenths on the leading note – possibly even in major keys – even if the text uses a classification for chords that should exclude those
116:
137:
2450:"The root of the Italian term is that of 'colour', and it is probably related through its use of diminution (the little notes that 'rush' to the next long note, as Bernhard writes) to the mensural practice of coloration" (
1747:
are treated as mutually exclusive opposites, concerning common practice music. This article deals mainly with common practice music, and later music that shares the same core features (including the same particular use of
1384:
1422:
1094:) are smaller than or equal to diatonic semitones (E–F) in size, With consonant intervals such as the major third, the nearby interval (a diminished fourth in the case of a major third) is generally less consonant.
1186:
in C minor. Some writers use the phrase "diatonic to" as a synonym for "belonging to". Therefore a chord is not said to be "diatonic" in isolation, but can be said to be "diatonic to" a particular key if its notes
284:("four strings"). A diatonic tetrachord comprised, in descending order, two whole tones and a semitone, such as A G F E (roughly). In the chromatic tetrachord the second string of the lyre was lowered from G to G
558:
The white keys are the modern analog of the gamut. In its most strict definition, therefore, a diatonic scale is one that may be derived from the pitches represented in successive white keys of the piano (or a
2024:
A few exclude only the harmonic minor as diatonic, and accept the ascending melodic, because it comprises only tones and semitones, or because it has all of its parts analysable as tetrachords in some way or
2659:
A "diatonic" scale is a scale formed from two intervals of different sizes, such that groups of several adjacent instances of the larger interval are separated by single instances of the smaller interval.
974:
80:
2702:. See also extensive analysis in the excerpt from "The leading tone in direct chromaticism: from Renaissance to Baroque", Clough, John, 1957, in the same subsection below.) Outside of music altogether,
2067:, even though some of these occur in scales that everyone accepts as diatonic. (For example, the diminished fifth formed by B and F, which occurs in C major.) There are even some writers who define all
542:. The semitones are separated as much as they can be, between alternating groups of three tones and two tones. Here are the intervals for a string of ascending notes (starting with F) from the gamut:
1826:), of disputed etymology. Most plausibly, it refers to the intervals being "stretched out" in that tuning, in contrast to the other two tunings, whose lower two intervals were referred to as πυκνόν (
115:
1084:) that occurs when 12-note-per-octave keyboards are tuned to meantone temperaments whose fifths are flatter than those in 12-tone equal temperament. In a generalized meantone temperament, chromatic
641:
Some writers consistently include the melodic and harmonic minor scales as diatonic also. For this group, every scale standardly used in common practice music and much similar later music is either
631:-diatonic, since they are not transpositions of the white-note pitches of the piano. Among such theorists there is no agreed general term that encompasses the major and all forms of the minor scale.
68:
136:
1124:'s 1907 list of, "diatonic triads", diatonic seventh-chords," and two examples of, "diatonic ninth-chords," the "large" and "small" ninth chords; all from the C major or the C harmonic minor scale
1065:. Instruments limited to 12 pitches per octave can only produce a chain of 11 fifths, resulting in a "break" at the ends of the chain. This causes intervals that cross the break to be written as
1994:. Equally certainly, the second "inclusive" meaning is still strongly represented in non-academic writing (as can be seen by online searches of practically oriented music texts at, for example,
1895:) also meant the instrument itself. And it could also mean the interval of a perfect fourth between the pitches of the fixed top and bottom strings; therefore the various tunings were called
375:
was referred to as "chromatic" because of its abundance of "coloured in" black notes, that is semiminims (crotchets or quarter notes) and shorter notes, as opposed to the open white notes in
962:
1353:
2335:; but in OED this is only given as a distinct word with a distinct etymology ("Not harmonic; not in harmony; dissonant,..."). The motivation and sources of the Greek term ἐναρμονικός (
1107:
By chromatic linear chord is meant simply a chord entirely of linear origin which contains one or more chromatic notes. A great many of these chords are to be found in the literature.
3095:
harmonies (in both major and minor), because there exists some diatonic system in which both harmonies occur. With C major, for example, both occur in the subdominant minor, F minor.
1986:
The first "exclusive" usage seems to be gaining greater currency. Certainly it is becoming close to standard in academic writing, as can be seen by querying online archives (such as
1315:
Chromatic harmony may be defined as the use of successive chords that are from two different keys and therefore contain tones represented by the same note symbols but with different
950:
2347:: "good placement of parts", "harmony", "a scale, mode, or τόνος "). So in some way the term suggests harmoniousness or good disposition of parts, but not in the modern sense of
975:
81:
2861:, Dover, New York, 1954, pp. 433–435 and 546–548. The two notes of a diatonic semitone have different letter names; those of a chromatic semitone have the same letter name.
69:
1487:. Generally – not universally – a note is understood as diatonic in a context if it belongs to the diatonic scale that is used in that context; otherwise it is chromatic.
2011:
A very clear statement of the "exclusive" stance is given in the excerpt from "The leading tone in direct chromaticism: from
Renaissance to Baroque", Clough, John, 1957,
751:, and glockenspiel, are available in both diatonic and chromatic versions (although it is possible to play chromatic notes on a diatonic harmonica, they require extended
1665:
of those scales) should count as diatonic is unsettled, as shown above. But the broad selection principle itself is not disputed, at least as a theoretical convenience.
2482:
Each tetrachord or hexachord is a diatonic entity, containing one diatonic semitone; but the tight overlapping of hexachordal segments – some as small as an isolated
2817:
1335:
periods also began experimenting with the expressive possibilities of contrasting diatonic passages of music with chromatic ones. Here, for example is part of the
2357:(London: Faber and Faber, 1978); Liddell and Scott; etc.) For more information, especially concerning the various exact tunings of the enharmonic tetrachord, see
963:
1352:
2314:
It is unclear whether the lyre in question was itself a presumed four-stringed instrument ("τετράχορδον ὄργανον"), as some have suggested (see Peter Gorman,
1203:
In the major mode a substitute chromatic consonance often proves to be a triad which has been taken from the parallel minor mode. This process ...is called
951:
1382:
2153:, as used in: "The trill rises chromatically by step above this harmonic uncertainty, forming a chromatic fourth ..." The term as used in the phrase
1690:
It is possible to generalise this selection principle even beyond the domain of pitch. The diatonic idea has been applied in analysis of some traditional
1023:
equal temperament), there is a difference in tuning between notes that are enharmonically equivalent in 12-tone equal temperament. In systems based on a
846:, occurring in C harmonic minor) is considered diatonic if the harmonic minor scale is considered diatonic, but chromatic if the harmonic minor scale is
1578:
In musica ficta and similar contexts, a melodic fragment that does not include a chromatic semitone, even if two semitones occur contiguously, as in F
1420:
191:
refers to musical elements derived from the modes and transpositions of the "white note scale" C–D–E–F–G–A–B. In some usages it includes all forms of
100:
2075:, and since for him only the major scale is diatonic, only the intervals formed above the tonic in the major are diatonic;). Some theorists take the
1176:
is adhered to – whereby only transposed 'white note scales' are considered diatonic – even a major triad on the dominant scale degree in C minor (G–B
1575:
Movement between harmonies that both belong to at least one shared diatonic system (from F–A–C to G–B–E, for example, since both occur in C major).
1385:
792:
1423:
1998:). Overall, considerable confusion remains; on the evidence presented in the list of sources, there are very many sources in the third category:
1533:
Movement between harmonies that are not elements of any common diatonic system (that is, not of the same diatonic scale: movement from D–F–A to D
1006:
represent the same pitch, so the diatonic interval C–F (a perfect fourth) sounds the same as its enharmonic equivalent—the chromatic interval C–E
2219:
Some of these are chords "borrowed" from a key other than the prevailing key of a piece; but some are not: they are derivable only by chromatic
3226:
2830:
2276:
972:
78:
1959:
Details of the practice for certain periods: "The device that was both the simplest and the most stable and durable was that known as
1319:. Four basic techniques produce chromatic harmony under this definition: modal interchange, secondary dominants, melodic tension, and
764:
117:
1752:, harmonic and melodic idioms, and types of scales, chords, and intervals). Where other music is dealt with, this is specially noted.
138:
2906:
2556:
2303:
1921:
550:
And here are the intervals for an ascending octave (the seven intervals separating the eight notes A–B–C–D–E–F–G–A) from the gamut:
66:
1117:
2918:"Because of the variability of 6 and 7, there are sixteen possible diatonic seventh chords in minor ... __º7_____viiº__" (
2707:
1375:
2038:
analysis of common practice music, even these writers do not typically consider non-standard uses of some familiar scales to be
1134:
are generally understood as those that are built using only notes from the same diatonic scale; all other chords are considered
960:
3010:"... most chromatic harmony can be read as diatonic harmony with chromatic inflection", a view attributed to Simon Sechter in
1836:, "dense, compressed"). For more information, especially concerning the various exact tunings of the diatonic tetrachord, see
1351:
973:
79:
1973:
original untransposed series itself a "scale". Percy
Goetschius calls that series the "natural scale"; see further citation
948:
63:), which features eleven of twelve pitches while chromatically descending by half steps, the missing pitch being sung later.
67:
1393:
902:
704:
452:
3338:
2572:
1435:
383:, commonly used for the notation of sacred music. These uses for the word have no relationship to the modern meaning of
2391:
961:
91:
2655:
Throughout this paper, I use the terms "diatonic," "pentatonic" and "chromatic" in their generic senses, as follows:
1142:, this definition, too, is ambiguous. And for some theorists, chords are only ever diatonic in a relative sense: the
2127:(so that all perfect, major, minor, augmented, diminished intervals are "diatonic intervals"). It is not clear what
1354:
213:. Historically, however, it had other senses, referring in Ancient Greek music theory to a particular tuning of the
124:
3219:
949:
31:
3139:
2622:
997:
206:
3091:, Berry, Wallace, Prentice-Hall, 1966, pp. 109–110, note 5. The author even includes movement between tonic and
3353:
3343:
1661:
has been confined to the domain of pitch, and in a fairly restricted way. Exactly which scales (and even which
1162:
780:
1211:....Four consonant triads from the minor mode may replace their counterparts in the major mode. These we call
891:
example above, classification would still depend on whether the harmonic minor scale is considered diatonic.
3348:
2822:
364:
3303:
1874:). For more information, especially concerning the various exact tunings of the chromatic tetrachord, see
1250:
671:), and this can lead to confusions and misconceptions. Sometimes context makes the intended meaning clear.
600:
338:
lowered by a quarter tone). For all three tetrachords, only the middle two strings varied in their pitch.
181:
2015:. The excerpt acknowledges and analyses the difficulties with logic, naming, and taxonomy in that stance.
3363:
3251:
3212:
3174:
Rahn, J. (1996). "Turning the
Analysis around: Africa-Derived Rhythms and Europe-Derived Music Theory".
1950:
360 CE). Specifically, there are more versions of each of the three tetrachords than are described here.
1943:
560:
417:
3123:, Persichetti, Vincent, Norton, 1961, pp. 50–51. Persichetti also makes an exceptional use of the term
875:
interval because it does not appear in the prevailing diatonic key; conversely, in C minor it would be
1559:
and similar contexts, a melodic fragment that includes a chromatic semitone, and therefore includes a
3032:– the change of one or more notes from one form (sharp, natural, or flat) to another" Wallace Berry,
2666:"Chromatic" refers to the interval formed between adjacent pitch-classes of any equal-tempered scale.
1032:
1020:
1016:
3058:"In the change from major to minor is supported by the chromatic progression ... in the bass"
2042:. For example, unusual modes of the melodic or harmonic minor scale, such as used in early works by
1507:
Alteration of a note that makes it (or the harmony that includes it) chromatic rather than diatonic.
996:
equivalent, there is no difference in tuning (and therefore in sound) between them. For example, in
519:; here the word is used in one of the available senses: the all-encompassing gamut as described by
1868:– or, specifically as a musical term, "a modification of the simplest music" (Liddell and Scott's
41:
Melodies can be based on a diatonic scale and maintain its tonal characteristics but contain many
3273:
3191:
3156:
3137:
Zweifel, P. F. (1996). "Generalized
Diatonic and Pentatonic Scales: A Group-Theoretic Approach".
2993:
2639:
2617:
2566:
2220:
1601:
1183:
1070:
1028:
905:
707:
455:
1260:
At other times, especially in textbooks and syllabuses for musical composition or music theory,
37:
1607:
Chromatic modulation is modulation via a chromatic progression, in the first sense given above.
3278:
2902:
2826:
2791:
2552:
2433:
2299:
2272:
2236:
are those built on the seven degrees of whatever major or minor diatonic scale is being used.
1917:
1328:
1320:
1066:
843:
520:
476:
412:
234:
218:
95:
2774:(Cambridge Music Handbooks), Cambridge and New York: Cambridge University Press, 2005, p. 66.
507:, strictly) notionally derive, and it may be thought of as constructed in a certain way from
180:. They are very often used as a pair, especially when applied to contrasting features of the
3358:
3298:
3261:
3183:
3148:
3092:
2884:
2631:
2358:
2247:–A in C major, for example. But the intention is clearly that such harmonies are chromatic.)
2146:
1618:
1277:
1081:
830:
is itself ambiguous, distinguishing intervals is also ambiguous. For example, the interval B
527:
435:
427:
367:. Similarly, in the 16th century, a form of notating secular music, especially madrigals in
192:
161:
50:
378:
311:
299:
3308:
3288:
2811:
1875:
1715:
1691:
1678:
1412:
1344:
1273:
1246:
1143:
1024:
696:
679:
take the extension to harmonic and melodic minor even further, to be even more inclusive.
327:
319:
290:, so that the two lower intervals in the tetrachord were semitones, making the pitches A G
202:
108:
55:
1510:
Melodic movement between a diatonic note and a chromatically altered variant (from C to C
2888:, p.3. Wm. A Kaun Music Company. . Macro and Roman numeral analysis not in the original.
2071:
intervals as chromatic (Goetschius assesses all intervals as if the lower note were the
1644:
scales) may also be construed as reduced forms of a diatonic scale but are not labelled
538:, recurring in a certain pattern with five tones (T) and two semitones (S) in any given
491:
350:(Italian) was occasionally used in the Medieval and Renaissance periods to refer to the
296:
F E. In the enharmonic tetrachord the second string of the lyre was lowered further to G
3293:
3256:
2079:
to be simply a measure of the number of "scale degrees" spanned by two notes (so that F
1837:
1694:, for example. Some selection or other is made from an underlying superset of metrical
1407:
1402:
1281:
1121:
723:
scale consists of an ascending or descending sequence of pitches, always proceeding by
624:
516:
471:
370:
229:
1272:
is then harmony that extends the available resources to include chromatic chords: the
3332:
3246:
2387:
2175:
2072:
1720:
1674:
1340:
1332:
1130:
1077:
620:
607:
572:
260:
253:
173:
165:
157:
46:
1782:
For inclusion of the harmonic minor and the ascending melodic minor see the section
1362:
1059:
are not enharmonically equivalent but are instead different by an amount known as a
3235:
3127:
in this context: "Diatonic scales of five tones are harmonically limited ...".
2429:
2291:
2179:
1770:
1695:
1634:
1556:
1166:
740:
576:
504:
431:
402:
305:
169:
153:
60:
879:. This usage is still subject to the categorization of scales above, e.g. in the B
865:
for an interval may depend on context. For instance, in C major, the interval C–E
239:, Charles Rollin (1768). The text gives a typically fanciful account of the term
195:
that are in common use in
Western music (the major, and all forms of the minor).
135:
114:
3266:
2538:
1939:
1766:
1762:
1467:
1316:
818:
568:
564:
42:
2984:
Tischler, H. (1958). "Re: Chromatic
Mediants: A Facet of Musical Romanticism".
2922:, Kostka, Stefan and Payne, Dorothy, McGraw-Hill, 3rd edition 1995, pp. 64–65).
619:
Some writers consistently classify the other variants of the minor scale – the
2795:
2678:, in this article. See also an exceptional usage by Persichetti, in a note to
2119:
are "at a chromatic interval of nine semitones"). Some theorists use the term
2043:
1995:
1935:
993:
752:
531:
389:
214:
2149:. Something close to this usage may be found in print. For example, the term
258:
In ancient Greece there were three standard tunings (known by the Latin word
2699:
2600:
2547:
2012:
1974:
1814:
1673:
The selection of pitch classes can be generalised to encompass formation of
1371:
1336:
771:
744:
2785:
2125:
an interval named on the assumption of the diatonic system of
Western music
2063:. There are theorists who define all augmented and diminished intervals as
1870:
755:
techniques, and some chromatic notes are only usable by advanced players).
434:, especially its chromatic tetrachord, notably by the influential theorist
2103:
represent the same "diatonic interval": a seventh); and they use the term
495:
The diatonic scale notes (above) and the non-scale chromatic notes (below)
2141:
1749:
1257:
means little, because chromatic chords are also used in that same system.
1085:
1044:
724:
535:
499:
Medieval theorists defined scales in terms of the Greek tetrachords. The
359:
210:
187:
These terms may mean different things in different contexts. Very often,
2577:. "It is not an independent scale, but derives from the diatonic scale."
45:, up to all twelve tones of the chromatic scale, such as the opening of
17:
2349:
1947:
1253:. When diatonic harmony is understood in this sense, the supposed term
1234:
177:
3195:
3160:
2997:
2643:
1828:
1061:
736:
539:
411:
began to approach its modern usage in the 16th century. For instance
2479:. The entire passage is relevant to present points in this article:
2353:, which has to do with simultaneous sounds. (See Solon Michaelides,
2331:
Occasionally, as in the Rollin excerpt shown in this section, spelt
3187:
3152:
2635:
503:
was the series of pitches from which all the
Medieval "scales" (or
2618:"Balzano and Zweifel: Another Look at Generalized Diatonic Scales"
1987:
1783:
1641:
1434:
1418:
1392:
1380:
1361:
1349:
1116:
970:
958:
946:
475:
228:
123:
105:
90:
76:
64:
36:
426:
belonged to an experimental musical movement of the time, called
280:, and the sequences of four notes that they produced were called
3318:
748:
3208:
3204:
579:, most of which included both versions of the "variable" note B
2498:
2174:
This is because the third of the triad does not belong to the
1900:
2107:
to mean the number of semitones spanned by any two pitches (F
1401:
A further example may be found in this extract from act 3 of
2698:, Crotch, William, 1830. (See the quotation from this text,
716:
Chromatic scale on C: full octave ascending and descending
1912:
For general and introductory coverage of Greek theory see
2440:(6th ed.). New York: W. W. Norton. pp. 188–190.
2131:
would mean, if anything, in parallel with this usage for
1657:
Traditionally, and in all uses discussed above, the term
904:
Audio playback is not supported in your browser. You can
706:
Audio playback is not supported in your browser. You can
530:
from one note to the next in this
Medieval gamut are all
454:
Audio playback is not supported in your browser. You can
2467:, though this is incorrect Latin; the title is given as
1942:(c. 362 BCE – after 320 BCE), to such late theorists as
304:, so that the two lower interval in the tetrachord were
2648:
An explicit example of such an extended general use of
2885:
Manual of Harmony: Theoretical and Practical, Volume 1
2382:
Roger Bowers, "Proportional notation", 2. Coloration,
1916:, Barbour, J. Murray, 2004 (reprint of 1972 edition),
438:
in his treatise on ancient and modern practice, 1555.
3062:, Schoenberg, Arnold, Faber & Faber, 1983, p. 54.
2000:
Diatonic used vaguely, inconsistently, or anomalously
1795:
Translating the term used by Greek theorists: γένος,
1765:(and equivalently the descending melodic minor), the
1621:
that draws its notes from the diatonic scale (in the
160:. The terms are also applied to musical instruments,
2055:
There are several other understandings of the terms
1397:
Beethoven Piano Concerto 4 slow movement, bars 47–55
1389:
Beethoven Piano Concerto 4 slow movement, bars 47–55
1076:
intervals, with the most notable example being the "
599:
There are specific applications in the music of the
236:
The History of the Arts and Sciences of the Antients
2759:
The Chromatic Fourth during Four Centuries of Music
2492:–G) are occasionally allowed in theory (Marchetto,
2339:) are little understood. But the two roots are ἐν (
1370:In the following passage from the slow movement of
1015:However, in the majority of other tunings (such as
430:). This usage comes from a renewed interest in the
2810:
2694:in any other sense. A rare exception is found in
1458:Notes which do not belong to the key are called
603:, and later music that shares its core features.
201:most often refers to structures derived from the
3103:
3101:
1201:for the expected diatonic goal harmony. ...
233:Tetrachord genera of the four-string lyre, from
30:"Chromatic" redirects here. For other uses, see
2653:
2480:
1456:
1198:
1105:
810:
2679:
2675:
914:Pythagorean diatonic and chromatic interval: E
663:Still other writers mix these two meanings of
610:as diatonic. As for other forms of the minor:
3220:
3070:
3068:
2901:, McGraw-Hill, 5th edition, 2003, pp. 60–61.
2355:The Music of Ancient Greece: An Encyclopaedia
1411:. The first four bars harmonize a descending
1191:to the underlying diatonic scale of the key.
387:, but the sense survives in the current term
268:) of a lyre. These three tunings were called
217:, and to a rhythmic notational convention in
132:, movement I, fugue subject: diatonic variant
8:
2857:Helmholtz, Hermann, trans. Alexander Ellis,
2611:
2609:
2551:: Holt, Rinehart, and Wilson. pp. 4–5.
2522:
554:T–S–T–T–S–T–T (five tones and two semitones)
465:Diatonic scale on C equal tempered and just.
27:Terms in music theory to characterize scales
3049:(Prentice-Hall, 1966), pp. 109–110, note 5.
3036:(Prentice-Hall, 1966), pp. 109–110, note 5.
2979:
2977:
2384:New Grove Dictionary of Music and Musicians
2157:itself perhaps means just what it means in
2046:, are almost never described as "diatonic".
1914:Tuning and Temperament, A Historical Survey
1475:In modern usage, the meanings of the terms
1172:If the strictest understanding of the term
3227:
3213:
3205:
2373:, Barsky, Vladimir, Routledge, 1996, p. 2.
1483:vary according to the meaning of the term
739:, can play any scale; others, such as the
2971:, Winter, Robert, Wadsworth, 1992, p. 35.
2733:The Theory and Practice of Tone-Relations
2588:The Theory and Practice of Tone-Relations
1818:is ultimately from the Greek διατονικός (
1291:can be used of single classes of chords (
101:Music for Strings, Percussion and Celesta
2533:
2531:
1761:This definition encompasses the natural
1516:in G major, or vice versa, for example).
1266:harmony that uses only "diatonic chords"
798:Chromatic (rear) and diatonic harmonicas
490:
3078:, "Musica Ficta", I, ii, cited earlier.
2744:See also, for example, Harrison, Mark,
2407:, Pendragon, New York, 1978, pp. 147ff.
2287:
2285:
2260:
1732:
1169:is accepted as diatonic in minor keys.
760:
2564:
1327:Instrumental compositions of the late
1307:can be used in this distinct way also.
606:Most, but not all writers, accept the
2956:
2944:
2933:Contemporary Music Theory – Level Two
2870:
2845:
2746:Contemporary Music Theory – Level Two
2719:
2603:, accepts only the major as diatonic.
2546:
1640:Other pentatonic scales (such as the
7:
2897:Kostka, Stefan, and Payne, Dorothy,
1702:selection from a matrix of beats of
1626:
1000:and its multiples, the notes F and E
687:exclusive use to prevent confusion.
571:(same as the descending form of the
511:tetrachords. The origin of the word
483:as defined by George William Lemon,
1938:(c. 580 BCE – c. 500 BCE), through
1784:Modern meanings of "diatonic scale"
1233:are also applied inconsistently to
523:(which includes all of the modes).
1158:is diatonic "to" or "in" C minor.
1138:. However, given the ambiguity of
575:), but not the old ecclesiastical
25:
563:thereof). This would include the
546:... –T–T–T–S–T–T–S–T–T–T–S–T– ...
3317:
2790:. New York: St. Martin's Press.
2161:, but here applied to a melodic
2145:, as for example in the article
1548:The same as the second sense of
791:
779:
763:
675:Some other meanings of the term
377:
369:
326:
318:
310:
298:
133:
112:
3060:Structural Functions of Harmony
2696:Elements of Musical Composition
2590:, Schirmer, 1931 edition, p. 3.
1245:any kind of harmony inside the
1043:intervals. Under a generalized
1035:, these intervals are labelled
221:of the 14th to 16th centuries.
184:music of the period 1600–1900.
2405:The Notation of Medieval Music
2296:Music of the Twentieth Century
1990:) for recent uses of the term
939:
895:In different systems of tuning
735:Some instruments, such as the
156:that are used to characterize
1:
3014:, "Analysis", §II: History 3.
2757:See also Williams, Peter F.,
2708:Von Luschan's chromatic scale
2269:Music: In Theory and Practice
992:In cases where intervals are
3176:Black Music Research Journal
2386:, second edition, edited by
2267:Benward & Saker (2003).
901:
703:
515:is explained in the article
451:
2417:Harvard Dictionary of Music
1897:divisions of the tetrachord
1637:arrangement of those notes.
1633:: C–D–E–G–A, or some other
1604:via a diatonic progression.
1563:in the second sense, above.
1268:. According to this usage,
1213:chromatic triads by mixture
1161:On this understanding, the
3380:
2784:Lovelock, William (1971).
2772:Beethoven: Violin Concerto
2680:#Diatonic_pentatonic_scale
2676:#Extended pitch selections
2471:(which is plural of Latin
2438:A History of Western Music
2394:(London: Macmillan, 2001).
1852:is from Greek χρωματικός (
1629:) is sometimes called the
1443:, act 3, magic sleep music
1431:, act 3, magic sleep music
1182:–D) would be chromatic or
694:
469:
400:
251:
32:Chromatic (disambiguation)
29:
3315:
3242:
3140:Perspectives of New Music
3121:Twentieth-Century Harmony
2859:On the Sensations of Tone
2809:William, Drabkin (2001).
2623:Perspectives of New Music
2271:, Vol. I, p. 38. 7th ed.
1822:), itself from διάτονος (
1769:, and the ecclesiastical
1669:Extended pitch selections
1631:diatonic pentatonic scale
1529:is used in three senses:
1503:) is used in two senses:
998:12-tone equal temperament
854:doubly augmented fourth.
774:, a brand of glockenspiel
623:(ascending form) and the
207:12-tone equal temperament
2882:Ziehn, Bernhard (1907).
2571:: CS1 maint: location (
2523:Grout & Palisca 2001
1617:One very common kind of
1163:diminished seventh chord
857:Additionally, the label
397:Renaissance chromaticism
308:, making the pitches A G
209:, which consists of all
2986:Journal of Music Theory
2823:Oxford University Press
2690:It is not usual to use
2510:, "Musica Ficta", I, ii
2419:, 2nd ed., "Chromatic".
1600:Diatonic modulation is
1571:is used in two senses:
1080:" (which is actually a
1047:tuning, notes such as G
906:download the audio file
708:download the audio file
649:forms of the minor) or
456:download the audio file
365:white mensural notation
3304:Polymodal chromaticism
3284:Diatonic and chromatic
2787:The rudiments of music
2669:
2513:
1856:), itself from χρῶμα (
1675:non-traditional scales
1473:
1444:
1432:
1398:
1390:
1367:
1359:
1339:Piece ‘His Humour’ by
1223:
1125:
1115:
1012:(an augmented third).
985:
968:
956:
871:could be considered a
824:
601:Common Practice Period
496:
488:
244:
142:
121:
88:
86:
74:
3252:Augmented sixth chord
3025:chromatic progression
2599:Goetschius, as cited
2343:: "in") and ἁρμονία (
2135:. Some theorists use
1944:Alypius of Alexandria
1527:chromatic progression
1499:(alternatively spelt
1438:
1426:
1396:
1388:
1365:
1357:
1241:Often musicians call
1120:
978:
966:
954:
850:considered diatonic.
494:
479:
418:Prophetiae Sibyllarum
232:
127:
94:
84:
72:
40:
3030:chromatic inflection
2463:Rendered by many as
2165:rather than a scale.
1569:diatonic progression
1561:chromatic inflection
1550:chromatic inflection
1497:chromatic inflection
1448:Miscellaneous usages
1376:Piano Concerto No. 4
1366:Farnaby - His Humour
1358:Farnaby - His Humour
1033:meantone temperament
667:(and conversely for
3339:Ancient Greek music
2731:Goetschius, Percy,
2586:Goetschius, Percy.
2320:Ancient Greek music
2238:Chromatic harmonies
2182:of C minor (C, D, E
1481:chromatic note/tone
942:
786:Chromatic Pixiphone
731:Musical instruments
569:natural minor scale
342:Medieval coloration
3274:Chromatic fantasia
2969:Music for Our Time
2818:Grove Music Online
2652:and related terms:
2616:Gould, M. (2000).
2473:carmen chromaticum
2469:Carmina chromatica
2465:Carmina chromatico
2316:Pythagoras, a Life
2234:Diatonic harmonies
2137:chromatic interval
2129:chromatic interval
2105:chromatic interval
2061:chromatic interval
1477:diatonic note/tone
1445:
1433:
1399:
1391:
1368:
1360:
1321:chromatic mediants
1220:Allen Forte (1979)
1126:
1112:Allen Forte (1979)
1029:Pythagorean tuning
986:
969:
957:
940:
497:
489:
245:
143:
122:
89:
87:
75:
3326:
3325:
3279:Chromatic mediant
3111:, p. 125, note 2.
2832:978-1-56159-263-0
2722:, pp. 19–20.
2277:978-0-07-294262-0
2121:diatonic interval
2077:diatonic interval
2057:diatonic interval
1812:The English word
1653:Modern extensions
1545:–A, for example).
1424:
1386:
1355:
1305:chromatic harmony
1270:chromatic harmony
1255:chromatic harmony
990:
989:
976:
964:
952:
910:
844:diminished fourth
712:
636:"Inclusive" usage
614:"Exclusive" usage
485:English Etymology
460:
139:
118:
85:With figured bass
82:
70:
51:Thy Hand, Belinda
16:(Redirected from
3371:
3321:
3299:Neapolitan chord
3262:Chromatic fourth
3229:
3222:
3215:
3206:
3200:
3199:
3171:
3165:
3164:
3134:
3128:
3118:
3112:
3105:
3096:
3093:Neapolitan sixth
3085:
3079:
3076:New Grove Online
3072:
3063:
3056:
3050:
3043:
3037:
3021:
3015:
3008:
3002:
3001:
2981:
2972:
2966:
2960:
2954:
2948:
2942:
2936:
2931:Harrison, Mark,
2929:
2923:
2916:
2910:
2895:
2889:
2880:
2874:
2868:
2862:
2855:
2849:
2843:
2837:
2836:
2821:(8th ed.).
2814:
2806:
2800:
2799:
2781:
2775:
2768:
2762:
2755:
2749:
2742:
2736:
2729:
2723:
2717:
2711:
2688:
2670:
2647:
2613:
2604:
2597:
2591:
2584:
2578:
2576:
2570:
2562:
2550:
2545:(3rd ed.).
2535:
2526:
2520:
2514:
2511:
2508:New Grove Online
2491:
2490:
2477:New Grove Online
2461:
2455:
2454:, "Coloratura").
2448:
2442:
2441:
2430:Grout, Donald J.
2426:
2420:
2414:
2408:
2401:
2395:
2380:
2374:
2368:
2362:
2359:Enharmonic genus
2329:
2323:
2312:
2306:
2289:
2280:
2265:
2248:
2246:
2245:
2230:
2224:
2217:
2211:
2207:
2201:
2199:
2198:
2193:
2192:
2187:
2186:
2172:
2166:
2155:chromatic fourth
2147:Chromatic fourth
2118:
2117:
2112:
2111:
2102:
2101:
2096:
2095:
2090:
2089:
2084:
2083:
2053:
2047:
2032:
2026:
2022:
2016:
2009:
2003:
1984:
1978:
1970:
1964:
1957:
1951:
1931:
1925:
1910:
1904:
1885:
1879:
1847:
1841:
1832:), from πυκνός (
1810:
1804:
1793:
1787:
1786:in this article.
1780:
1774:
1759:
1753:
1737:
1619:pentatonic scale
1612:Pentatonic scale
1589:
1588:
1583:
1582:
1544:
1543:
1538:
1537:
1515:
1514:
1471:
1425:
1387:
1356:
1301:diatonic harmony
1299:, for example),
1293:dominant harmony
1278:Neapolitan sixth
1262:diatonic harmony
1243:diatonic harmony
1221:
1181:
1180:
1157:
1156:
1151:
1150:
1113:
1093:
1092:
1082:diminished sixth
1058:
1057:
1052:
1051:
1011:
1010:
1005:
1004:
984:
983:
977:
965:
953:
943:
937:
936:
931:
930:
925:
924:
919:
918:
890:
889:
884:
883:
870:
869:
841:
840:
835:
834:
822:
795:
783:
767:
645:(the major, and
590:
589:
584:
583:
436:Nicola Vicentino
428:musica reservata
382:
381:
374:
373:
337:
336:
331:
330:
323:
322:
315:
314:
303:
302:
295:
294:
289:
288:
193:heptatonic scale
141:
140:
120:
119:
83:
71:
21:
3379:
3378:
3374:
3373:
3372:
3370:
3369:
3368:
3354:Music of Greece
3344:Byzantine music
3329:
3328:
3327:
3322:
3313:
3309:Secondary chord
3289:English cadence
3238:
3233:
3203:
3202:
3173:
3172:
3168:
3136:
3135:
3131:
3119:
3115:
3106:
3099:
3086:
3082:
3073:
3066:
3057:
3053:
3045:Wallace Berry,
3044:
3040:
3028:progression is
3022:
3018:
3009:
3005:
2983:
2982:
2975:
2967:
2963:
2955:
2951:
2943:
2939:
2930:
2926:
2917:
2913:
2896:
2892:
2881:
2877:
2869:
2865:
2856:
2852:
2844:
2840:
2833:
2808:
2807:
2803:
2783:
2782:
2778:
2769:
2765:
2756:
2752:
2743:
2739:
2735:, 1931, p. 6. .
2730:
2726:
2718:
2714:
2704:chromatic scale
2692:chromatic scale
2689:
2685:
2615:
2614:
2607:
2598:
2594:
2585:
2581:
2563:
2559:
2537:
2536:
2529:
2521:
2517:
2512:
2506:
2488:
2487:
2462:
2458:
2449:
2445:
2434:Palisca, Claude
2428:
2427:
2423:
2415:
2411:
2403:Parrish, Carl,
2402:
2398:
2381:
2377:
2369:
2365:
2330:
2326:
2313:
2309:
2290:
2283:
2266:
2262:
2257:
2252:
2251:
2243:
2242:
2231:
2227:
2218:
2214:
2208:
2204:
2196:
2195:
2190:
2189:
2184:
2183:
2173:
2169:
2159:chromatic scale
2139:to mean simply
2115:
2114:
2109:
2108:
2099:
2098:
2093:
2092:
2087:
2086:
2081:
2080:
2054:
2050:
2033:
2029:
2023:
2019:
2010:
2006:
1985:
1981:
1971:
1967:
1958:
1954:
1932:
1928:
1911:
1907:
1903:, "Tetrachord".
1886:
1882:
1876:Chromatic genus
1860:), which means
1848:
1844:
1811:
1807:
1799:; plural γένη,
1794:
1790:
1781:
1777:
1760:
1756:
1738:
1734:
1729:
1716:Major and minor
1712:
1692:African rhythms
1688:
1679:group-theoretic
1671:
1655:
1614:
1597:
1586:
1585:
1580:
1579:
1541:
1540:
1535:
1534:
1523:
1512:
1511:
1493:
1472:
1466:
1455:
1450:
1419:
1413:chromatic scale
1381:
1350:
1345:chromatic scale
1297:E minor harmony
1287:Since the word
1274:augmented sixth
1251:common practice
1222:
1219:
1205:mixture of mode
1202:
1197:
1178:
1177:
1154:
1153:
1148:
1147:
1144:augmented triad
1114:
1111:
1104:
1090:
1089:
1055:
1054:
1049:
1048:
1025:cycle of fifths
1008:
1007:
1002:
1001:
981:
980:
971:
959:
947:
934:
933:
928:
927:
922:
921:
916:
915:
912:
911:
909:
897:
887:
886:
881:
880:
867:
866:
838:
837:
832:
831:
823:
817:
809:
804:
803:
802:
799:
796:
787:
784:
775:
768:
733:
714:
713:
711:
699:
697:Chromatic scale
693:
691:Chromatic scale
597:
595:Modern meanings
587:
586:
581:
580:
474:
468:
467:
466:
463:
462:
461:
459:
444:
442:Diatonic scales
405:
399:
376:
368:
344:
334:
333:
325:
317:
309:
297:
292:
291:
286:
285:
256:
250:
227:
203:chromatic scale
182:common practice
176:, and kinds of
134:
113:
77:
65:
56:Dido and Aeneas
35:
28:
23:
22:
15:
12:
11:
5:
3377:
3375:
3367:
3366:
3361:
3356:
3351:
3349:Musical scales
3346:
3341:
3331:
3330:
3324:
3323:
3316:
3314:
3312:
3311:
3306:
3301:
3296:
3294:False relation
3291:
3286:
3281:
3276:
3271:
3270:
3269:
3259:
3257:Borrowed chord
3254:
3249:
3243:
3240:
3239:
3234:
3232:
3231:
3224:
3217:
3209:
3201:
3188:10.2307/779378
3166:
3153:10.2307/833490
3147:(1): 140–161.
3129:
3125:diatonic scale
3113:
3097:
3080:
3064:
3051:
3038:
3016:
3003:
2973:
2961:
2959:, p. 498.
2949:
2947:, p. 497.
2937:
2924:
2911:
2890:
2875:
2873:, p. 352.
2863:
2850:
2838:
2831:
2801:
2776:
2770:Robin Stowel,
2763:
2750:
2737:
2724:
2712:
2672:
2671:
2668:
2667:
2664:
2660:
2650:diatonic scale
2636:10.2307/833660
2605:
2592:
2579:
2557:
2527:
2525:, p. 188.
2515:
2504:
2456:
2443:
2421:
2409:
2396:
2375:
2363:
2324:
2307:
2281:
2259:
2258:
2256:
2253:
2250:
2249:
2225:
2212:
2202:
2167:
2048:
2027:
2017:
2004:
1979:
1965:
1952:
1926:
1905:
1891:(τετράχορδον;
1880:
1842:
1838:Diatonic genus
1805:
1788:
1775:
1754:
1731:
1730:
1728:
1725:
1724:
1723:
1718:
1711:
1708:
1687:
1684:
1670:
1667:
1654:
1651:
1650:
1649:
1638:
1613:
1610:
1609:
1608:
1605:
1596:
1593:
1592:
1591:
1576:
1565:
1564:
1553:
1546:
1522:
1519:
1518:
1517:
1508:
1492:
1489:
1485:diatonic scale
1464:
1454:
1451:
1449:
1446:
1403:Richard Wagner
1325:
1324:
1309:
1308:
1285:
1282:seventh chords
1258:
1217:
1196:
1193:
1174:diatonic scale
1140:diatonic scale
1122:Bernhard Ziehn
1109:
1103:
1100:
994:enharmonically
988:
987:
903:
900:
898:
896:
893:
828:diatonic scale
815:
808:
805:
801:
800:
797:
790:
788:
785:
778:
776:
769:
762:
759:
758:
757:
732:
729:
705:
702:
700:
695:Main article:
692:
689:
677:diatonic scale
673:
672:
660:
659:
655:
654:
638:
637:
633:
632:
625:harmonic minor
616:
615:
596:
593:
556:
555:
548:
547:
521:Guido d'Arezzo
517:Guidonian hand
472:Diatonic scale
470:Main article:
464:
453:
450:
448:
447:
446:
445:
443:
440:
398:
395:
343:
340:
252:Main article:
249:
246:
226:
223:
219:mensural music
174:musical styles
104:, movement I,
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3376:
3365:
3362:
3360:
3357:
3355:
3352:
3350:
3347:
3345:
3342:
3340:
3337:
3336:
3334:
3320:
3310:
3307:
3305:
3302:
3300:
3297:
3295:
3292:
3290:
3287:
3285:
3282:
3280:
3277:
3275:
3272:
3268:
3265:
3264:
3263:
3260:
3258:
3255:
3253:
3250:
3248:
3247:Altered chord
3245:
3244:
3241:
3237:
3230:
3225:
3223:
3218:
3216:
3211:
3210:
3207:
3197:
3193:
3189:
3185:
3181:
3177:
3170:
3167:
3162:
3158:
3154:
3150:
3146:
3142:
3141:
3133:
3130:
3126:
3122:
3117:
3114:
3110:
3109:Form in Music
3104:
3102:
3098:
3094:
3090:
3089:Form in Music
3084:
3081:
3077:
3071:
3069:
3065:
3061:
3055:
3052:
3048:
3047:Form in Music
3042:
3039:
3035:
3034:Form in Music
3031:
3026:
3020:
3017:
3013:
3007:
3004:
2999:
2995:
2991:
2987:
2980:
2978:
2974:
2970:
2965:
2962:
2958:
2953:
2950:
2946:
2941:
2938:
2935:, 1999, p. 7.
2934:
2928:
2925:
2921:
2920:Tonal harmony
2915:
2912:
2908:
2907:9780070358744
2904:
2900:
2899:Tonal Harmony
2894:
2891:
2887:
2886:
2879:
2876:
2872:
2867:
2864:
2860:
2854:
2851:
2848:, p. 21.
2847:
2842:
2839:
2834:
2828:
2824:
2820:
2819:
2813:
2805:
2802:
2797:
2793:
2789:
2788:
2780:
2777:
2773:
2767:
2764:
2760:
2754:
2751:
2748:, 1999, p. 5.
2747:
2741:
2738:
2734:
2728:
2725:
2721:
2716:
2713:
2709:
2706:may refer to
2705:
2701:
2697:
2693:
2687:
2684:
2683:
2681:
2677:
2665:
2661:
2658:
2657:
2656:
2651:
2645:
2641:
2637:
2633:
2630:(2): 88–105.
2629:
2625:
2624:
2619:
2612:
2610:
2606:
2602:
2596:
2593:
2589:
2583:
2580:
2574:
2568:
2560:
2558:0-03-020756-8
2554:
2549:
2544:
2543:Tonal Harmony
2540:
2534:
2532:
2528:
2524:
2519:
2516:
2509:
2503:
2501:
2500:
2495:
2485:
2478:
2474:
2470:
2466:
2460:
2457:
2453:
2447:
2444:
2439:
2435:
2431:
2425:
2422:
2418:
2413:
2410:
2406:
2400:
2397:
2393:
2389:
2388:Stanley Sadie
2385:
2379:
2376:
2372:
2367:
2364:
2360:
2356:
2352:
2351:
2346:
2342:
2338:
2334:
2328:
2325:
2321:
2317:
2311:
2308:
2305:
2304:90-5356-765-8
2301:
2297:
2293:
2292:Leeuw, Ton de
2288:
2286:
2282:
2278:
2274:
2270:
2264:
2261:
2254:
2239:
2235:
2229:
2226:
2222:
2216:
2213:
2206:
2203:
2181:
2177:
2176:natural minor
2171:
2168:
2164:
2160:
2156:
2152:
2151:chromatically
2148:
2144:
2143:
2138:
2134:
2130:
2126:
2122:
2106:
2078:
2074:
2070:
2066:
2062:
2058:
2052:
2049:
2045:
2041:
2037:
2031:
2028:
2021:
2018:
2014:
2008:
2005:
2001:
1997:
1993:
1989:
1983:
1980:
1976:
1969:
1966:
1962:
1956:
1953:
1949:
1945:
1941:
1937:
1930:
1927:
1923:
1922:0-486-43406-0
1919:
1915:
1909:
1906:
1902:
1898:
1894:
1890:
1884:
1881:
1877:
1873:
1872:
1871:Greek lexicon
1867:
1863:
1859:
1855:
1851:
1846:
1843:
1839:
1835:
1831:
1830:
1825:
1821:
1817:
1816:
1809:
1806:
1802:
1798:
1792:
1789:
1785:
1779:
1776:
1772:
1768:
1764:
1758:
1755:
1751:
1746:
1742:
1736:
1733:
1726:
1722:
1721:Universal key
1719:
1717:
1714:
1713:
1709:
1707:
1705:
1701:
1697:
1693:
1685:
1683:
1680:
1676:
1668:
1666:
1664:
1660:
1652:
1647:
1643:
1639:
1636:
1632:
1628:
1624:
1620:
1616:
1615:
1611:
1606:
1603:
1599:
1598:
1594:
1577:
1574:
1573:
1572:
1570:
1562:
1558:
1554:
1551:
1547:
1532:
1531:
1530:
1528:
1520:
1509:
1506:
1505:
1504:
1502:
1498:
1490:
1488:
1486:
1482:
1478:
1469:
1463:
1461:
1452:
1447:
1442:
1437:
1430:
1417:
1414:
1410:
1409:
1404:
1395:
1379:
1377:
1373:
1364:
1348:
1346:
1342:
1341:Giles Farnaby
1338:
1334:
1330:
1322:
1318:
1314:
1313:
1312:
1306:
1302:
1298:
1294:
1290:
1286:
1283:
1279:
1275:
1271:
1267:
1263:
1259:
1256:
1252:
1248:
1244:
1240:
1239:
1238:
1236:
1232:
1228:
1216:
1214:
1210:
1206:
1194:
1192:
1190:
1185:
1175:
1170:
1168:
1165:built on the
1164:
1159:
1145:
1141:
1137:
1133:
1132:
1123:
1119:
1108:
1101:
1099:
1095:
1087:
1083:
1079:
1075:
1072:
1068:
1064:
1063:
1046:
1042:
1038:
1034:
1030:
1026:
1022:
1018:
1013:
999:
995:
945:
944:
938:
907:
894:
892:
878:
874:
864:
860:
855:
851:
849:
845:
829:
820:
814:
806:
794:
789:
782:
777:
773:
766:
761:
756:
754:
750:
746:
742:
738:
730:
728:
726:
722:
717:
709:
698:
690:
688:
685:
680:
678:
670:
666:
662:
661:
658:"Mixed" usage
657:
656:
652:
648:
644:
640:
639:
635:
634:
630:
626:
622:
621:melodic minor
618:
617:
613:
612:
611:
609:
608:natural minor
604:
602:
594:
592:
578:
574:
573:melodic minor
570:
566:
562:
561:transposition
553:
552:
551:
545:
544:
543:
541:
537:
533:
529:
524:
522:
518:
514:
510:
506:
502:
493:
486:
482:
478:
473:
457:
441:
439:
437:
433:
429:
425:
420:
419:
414:
413:Orlando Lasso
410:
404:
396:
394:
392:
391:
386:
380:
372:
366:
361:
357:
353:
349:
341:
339:
329:
321:
313:
307:
306:quarter tones
301:
283:
279:
275:
271:
267:
263:
262:
255:
254:Genus (music)
247:
242:
238:
237:
231:
224:
222:
220:
216:
212:
208:
204:
200:
196:
194:
190:
185:
183:
179:
175:
171:
167:
163:
159:
155:
152:are terms in
151:
147:
131:
126:
111:: chromatic.
110:
107:
103:
102:
97:
93:
62:
58:
57:
52:
48:
47:Henry Purcell
44:
39:
33:
19:
3364:Chromaticism
3283:
3236:Chromaticism
3182:(1): 71–89.
3179:
3175:
3169:
3144:
3138:
3132:
3124:
3120:
3116:
3108:
3088:
3083:
3075:
3059:
3054:
3046:
3041:
3033:
3029:
3024:
3019:
3011:
3006:
2992:(1): 94–97.
2989:
2985:
2968:
2964:
2952:
2940:
2932:
2927:
2919:
2914:
2898:
2893:
2883:
2878:
2866:
2858:
2853:
2841:
2816:
2804:
2786:
2779:
2771:
2766:
2761:, OUP, 1997.
2758:
2753:
2745:
2740:
2732:
2727:
2715:
2703:
2695:
2691:
2686:
2673:
2654:
2649:
2627:
2621:
2595:
2587:
2582:
2542:
2539:Forte, Allen
2518:
2507:
2497:
2493:
2483:
2481:
2476:
2472:
2468:
2464:
2459:
2451:
2446:
2437:
2424:
2416:
2412:
2404:
2399:
2392:John Tyrrell
2383:
2378:
2371:Chromaticism
2370:
2366:
2354:
2348:
2344:
2340:
2336:
2332:
2327:
2319:
2315:
2310:
2295:
2268:
2263:
2237:
2233:
2228:
2215:
2205:
2180:Aeolian mode
2170:
2162:
2158:
2154:
2150:
2140:
2136:
2132:
2128:
2124:
2120:
2104:
2076:
2068:
2064:
2060:
2056:
2051:
2039:
2035:
2030:
2020:
2007:
1999:
1991:
1982:
1968:
1960:
1955:
1929:
1913:
1908:
1896:
1893:tetrákhordon
1892:
1888:
1887:In practice
1883:
1869:
1865:
1861:
1857:
1853:
1849:
1845:
1833:
1827:
1823:
1819:
1813:
1808:
1800:
1796:
1791:
1778:
1757:
1744:
1740:
1735:
1703:
1699:
1689:
1672:
1662:
1658:
1656:
1645:
1630:
1622:
1568:
1566:
1560:
1557:musica ficta
1549:
1526:
1524:
1500:
1496:
1494:
1484:
1480:
1476:
1474:
1459:
1457:
1440:
1428:
1406:
1400:
1369:
1326:
1310:
1304:
1300:
1296:
1292:
1288:
1280:, chromatic
1276:chords, the
1269:
1265:
1261:
1254:
1242:
1230:
1226:
1224:
1212:
1208:
1204:
1199:
1188:
1173:
1171:
1167:leading note
1160:
1139:
1135:
1128:
1127:
1106:
1096:
1073:
1060:
1040:
1036:
1014:
991:
913:
876:
872:
862:
858:
856:
852:
847:
827:
825:
811:
741:glockenspiel
734:
720:
718:
715:
683:
682:In general,
681:
676:
674:
668:
664:
650:
646:
642:
628:
605:
598:
577:church modes
557:
549:
525:
512:
508:
500:
498:
484:
480:
432:Greek genera
423:
416:
408:
406:
403:Chromaticism
388:
384:
355:
351:
347:
345:
281:
277:
273:
269:
265:
259:
257:
248:Greek genera
240:
235:
198:
197:
188:
186:
154:music theory
149:
145:
144:
129:
99:
61:figured bass
59:(1689) with
54:
3267:Lament bass
2337:enarmonikós
1940:Aristoxenus
1854:khrōmatikós
1767:major scale
1763:minor scale
1521:Progression
1468:Allen Forte
1441:Die Walküre
1429:Die Walküre
1408:Die Walküre
1329:Renaissance
1317:accidentals
1247:major–minor
819:Allen Forte
565:major scale
282:tetrachords
96:Béla Bartók
43:accidentals
3333:Categories
2957:Forte 1979
2945:Forte 1979
2871:Forte 1979
2846:Forte 1979
2812:"Diatonic"
2796:1039070588
2720:Forte 1979
2496: [
2333:inharmonic
2255:References
2221:alteration
2210:resources.
2044:Stravinsky
1996:Amazon.com
1936:Pythagoras
1889:tetrachord
1862:complexion
1820:diatonikós
1602:modulation
1595:Modulation
1491:Inflection
1331:and early
1249:system of
1225:The words
1207:or simply
1078:wolf fifth
1071:diminished
1027:, such as
753:embouchure
567:, and the
424:Prophetiae
401:See also:
390:coloratura
352:coloration
324:E (where F
278:enharmonic
215:tetrachord
3012:New Grove
2682:, below.
2674:See also
2567:cite book
2484:coniuncta
2452:New Grove
2298:, p. 93.
2188:, F, G, A
2178:scale or
2065:chromatic
2034:However,
1961:coloratio
1850:Chromatic
1745:chromatic
1623:exclusive
1567:The term
1525:The term
1501:inflexion
1495:The term
1460:chromatic
1405:'s opera
1372:Beethoven
1311:However,
1231:chromatic
1136:chromatic
1129:Diatonic
1086:semitones
1074:chromatic
1067:augmented
1041:chromatic
873:chromatic
859:chromatic
807:Intervals
772:Pixiphone
770:Diatonic
745:harmonica
725:semitones
721:chromatic
669:chromatic
651:chromatic
536:semitones
528:intervals
409:chromatic
407:The term
385:chromatic
356:coloratio
348:cromatico
346:The term
274:chromatic
264:, plural
241:chromatic
211:semitones
199:Chromatic
162:intervals
150:chromatic
130:Music ...
2541:(1979).
2505:—
2494:GerbertS
2489:♯
2436:(2001).
2345:harmonía
2294:(2005).
2244:♯
2197:♭
2191:♭
2185:♭
2163:interval
2142:semitone
2133:diatonic
2123:to mean
2116:♭
2110:♯
2100:♮
2094:♮
2088:♭
2082:♯
2040:diatonic
1992:diatonic
1864:, hence
1824:diátonos
1815:diatonic
1750:tonality
1741:diatonic
1710:See also
1659:diatonic
1646:diatonic
1587:♭
1581:♯
1552:, above.
1542:♯
1536:♯
1513:♯
1465:—
1439:Wagner,
1427:Wagner,
1337:Virginal
1227:diatonic
1218:—
1179:♮
1155:♮
1149:♭
1110:—
1091:♯
1056:♭
1050:♯
1045:meantone
1037:diatonic
1009:♯
1003:♯
982:♯
941:Compare
935:♯
929:♮
923:♮
917:♮
888:♭
882:♮
877:diatonic
868:♭
863:diatonic
839:♭
833:♮
826:Because
816:—
684:diatonic
665:diatonic
643:diatonic
588:♭
582:♮
509:diatonic
360:Ars Nova
335:♮
293:♭
287:♭
270:diatonic
189:diatonic
146:Diatonic
128:Bartók:
18:Diatonic
3359:Harmony
3107:Berry,
2350:harmony
1706:size).
1686:Rhythms
1625:sense,
1333:Baroque
1289:harmony
1235:harmony
1209:mixture
1195:Harmony
1184:altered
1021:31-tone
1017:19-tone
487:, 1783.
354:(Latin
225:History
178:harmony
109:subject
53:" from
3196:779378
3194:
3161:833490
3159:
2998:842933
2996:
2905:
2829:
2794:
2663:tones.
2644:833660
2642:
2555:
2302:
2275:
2036:beyond
2025:other.
1920:
1866:colour
1858:khrṓma
1834:pyknós
1829:pyknón
1739:Often
1470:(1979)
1462:notes.
1284:, etc.
1264:means
1189:belong
1131:chords
1102:Chords
1062:diesis
821:(1979)
737:violin
540:octave
276:, and
266:genera
166:chords
158:scales
73:Melody
3192:JSTOR
3157:JSTOR
2994:JSTOR
2700:below
2640:JSTOR
2601:below
2475:) in
2113:and E
2091:and F
2073:tonic
2069:minor
2013:below
1988:JSTOR
1975:below
1899:(see
1797:génos
1771:modes
1727:Notes
1696:beats
1663:modes
1642:pelog
1635:modal
1627:above
1453:Tones
1053:and A
926:and E
627:– as
532:tones
513:gamut
505:modes
501:gamut
481:Gamut
261:genus
170:notes
106:fugue
3087:See
3074:See
2903:ISBN
2827:ISBN
2792:OCLC
2573:link
2553:ISBN
2548:s.l.
2390:and
2300:ISBN
2273:ISBN
2059:and
1918:ISBN
1801:génē
1743:and
1584:–G–A
1479:and
1303:and
1229:and
1152:–G–B
1088:(E–E
1031:and
1019:and
749:harp
526:The
332:is F
148:and
49:'s "
3184:doi
3149:doi
3023:"A
2632:doi
2499:sic
2241:D–F
2194:, B
1948:fl.
1901:OED
1704:any
1700:any
1555:In
1374:'s
1069:or
1039:or
979:C–E
967:C–F
955:C–E
861:or
848:not
842:(a
647:all
629:non
534:or
415:'s
205:in
3335::
3190:.
3180:16
3178:.
3155:.
3145:34
3143:.
3100:^
3067:^
2988:.
2976:^
2825:.
2815:.
2638:.
2628:38
2626:.
2620:.
2608:^
2569:}}
2565:{{
2530:^
2432:;
2341:en
2284:^
2097:–E
2085:–E
1977:).
1539:–F
1295:,
1237::
932:-E
920:-F
885:–E
836:–E
747:,
719:A
591:.
585:/B
393:.
272:,
172:,
168:,
164:,
98::
3228:e
3221:t
3214:v
3198:.
3186::
3163:.
3151::
3000:.
2990:2
2909:.
2835:.
2798:.
2710:.
2646:.
2634::
2575:)
2561:.
2361:.
2279:.
2232:"
2223:.
2002:.
1946:(
1924:.
1878:.
1840:.
1803:.
1773:.
1648:.
1590:.
1347::
1323:.
1215:.
1146:E
908:.
813:.
710:.
653:.
458:.
316:F
243:.
34:.
20:)
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