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''Diatonic'' and '''''chromatic''''' are terms in Music Theory that are most often used to characterise Scales , and are also applied to Intervals , Chords , Notes , Musical Style s, and kinds of Harmony . They are very often used as a pair, especially when applied to contrasting features of the Common Practice music of the period 1600–1900.Often ''diatonic'' and ''chromatic'' 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 Tonality , harmonic and melodic idioms, and types of scales, chords, and intervals). Where other music is dealt with, this is specially noted. These terms may mean different things in different contexts. Very often, ''diatonic'' refers to musical elements derived from the modes and transpositions of the "white note scale" C–D–E–F–G–A–B (see details ).This definition encompasses the natural Minor Scale (and equivalently the descending melodic minor), the Major Scale , and the ecclesiastical Modes . In some usages it includes all forms of Heptatonic scale that are in common use in Western music (the major, and all forms of the minor).For inclusion of the harmonic minor and the ascending melodic minor see the section Modern Meanings Of "diatonic Scale" in this article. '''''Chromatic''''' refers to structures derived from the Chromatic Scale , which consists of all Semitones . HISTORY Greek genera See Also: Tetrachord In ancient Greece there were three standard tunings (known by the Latin word '' (c. 580 BCE – c. 500 BCE), through Aristoxenus (c. 362 BCE – after 320 BCE), to such late theorists as Alypius Of Alexandria (fl. 360 CE). Specifically, there are more versions of each of the three tetrachords than are described here. Medieval coloration The term cromatico (Italian) was occasionally used in the Medieval and Renaissance periods to refer to the ''coloration'' of certain notes (i.e., written in solid red or black ink with a void, white center as opposed to the standard solid black notes). In works of the Ars Nova from the 14th century, this was used to indicate a temporary change in meter 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 (see '' White Mensural Notation '').Parrish, Carl, ''The Notation of Medieval Music'', Pendragon, New York, 1978, pp. 147ff.''Harvard Dictionary of Music'', 2nd ed., "Chromatic". Similarly, in the 16th century, notation in a 4/4 time signature was referred to as "chromatic" notation because of its abundance of "coloured in" black notes, that is semiminims (quavers or quarter notes) and shorter notes, as opposed to the open white notes of the more common 2/2 metre.Grout, Donald J, and Palisca, Claude, ''A History of Western Music'', 6th ed., Norton, New York, 2001, pp. 188–190. These uses for the word have no relationship to the modern meaning of ''chromatic'', but the sense survives in the current term '' Coloratura ''."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" (''New Grove'', "Coloratura"). Renaissance chromaticism The term ''chromatic'' began to approach its modern usage in the 16th century. For instance Orlando Lasso 's ''Prophetiae Sibyllarum'' opens with a prologue proclaiming, "these chromatic songs,Rendered by many as ''Carmina chromatico'', though this is incorrect Latin; the title is given as ''Carmina chromatica'' (which is plural of Latin ''carmen chromaticum'') in ''New Grove Online''. The entire passage is relevant to present points in our article: ::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 ''coniuncta'' – 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♯–G) are occasionally allowed in theory (Marchetto, ''GerbertS'', 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 Lasso'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. ::(''New Grove Online'', "Musica Ficta", I, ii) 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 ''Prophetiae'' belonged to an experimental musical movement of the time, called Musica Reservata ). This usage comes from a renewed interest in the Greek Genera , especially its chromatic tetrachord, notably by the influential theorist Nicola Vicentino in his treatise on ancient and modern practice, 1555.Grout et al., 2001, p. 188. See also: Chromaticism DIATONIC SCALES See Also: Diatonic scale Background: the Medieval gamut Medieval theorists defined scales in terms of the Greek tetrachords. The ''gamut'' was the series of pitches from which all the Medieval "scales" (or (which includes all of the modes), but generalised as an unending string of pitches. The Intervals from one note to the next in this Medieval gamut are all Tones or Semitones , recurring in a certain pattern with five tones (T) and two semitones (S) in any given Octave . 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 random string of ascending notes (starting with F, in fact) from the gamut: ...–T–T–T–S–T–T–S–T–T–T–S–T–... And here are the intervals for one random ascending octave (the seven intervals separating the eight notes A–B–C–D–E–F–G–A, in fact) from the gamut: T–S–T–T–S–T–T T; two S 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[–S ). A few theorists call the original untransposed series itself a "scale". Percy Goetschius calls that series the "natural scale" (''The Theory and Practice of Tone-Relations'', Schirmer, 1931 edition, p. 3; see further citation Below ). 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 tuning is assumed unless otherwise noted. This would include the Major Scale , the Natural Minor Scale (same as the descending form of the Melodic Minor ), and the old ecclesiastical Church Modes . Modern meanings of "diatonic scale" Given the background presented above, we now move on to address the music of the Common Practice Period , and later music that shares its core features (see note 1, above). All writers accept the Major Scale as diatonic. Most, but not all,Goetschius, as cited Below , accepts only the major as diatonic. accept the Natural Minor (and the descending Melodic Minor ) as diatonic. As for other forms of the minor:
For print sources employing each of these usages (for scales, and derived usages for intervals, etc.), see The List Of Sources, Below .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 JSTOR ) for recent uses of the term ''diatonic''. 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, Amazon.com ). Overall, considerable confusion remains: on the evidence presented in the list of sources, there are very many sources in the third category: ''Diatonic used vaguely, inconsistently, or anomalously''. There are a few other meanings of the term ''diatonic scale'', some of which take the extension to harmonic and melodic minor even further, to be even more inclusive.An explicit example of such an extended general use of ''diatonic scale'' and related terms: ::Throughout this paper, I use the terms "diatonic," "pentatonic" and "chromatic" in their generic senses, as follows: ::1. 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. ::2. 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 tones. ::3. "Chromatic" refers to the interval formed between adjacent pitch-classes of any equal-tempered scale. ::(Gould, Mark, "Balzano and Zweifel: another look at generalised diatonic scales", ''Perspectives Of New Music'', vol. 38 no. 2, pp. 88–105; see introductory section online ) In general, ''diatonic'' 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 twentieth-century concert music), writers often adopt the exclusive use to prevent confusion. =Diatonic and chromatic notes In modern use, the meanings of the terms ''diatonic note'' and ''chromatic note'' vary according to the meaning allocated to the term ''diatonic scale''. Generally, but not universally, a note is understood to be diatonic in a certain context if it belongs to the diatonic scale that is in use in that context; otherwise it is chromatic. CHROMATIC SCALE See Also: Chromatic scale A chromatic scale consists of an ascending or descending sequence of pitches proceeding always by Semitones . Such a sequence of pitches would, for example, be produced by playing black and white keys of a piano in order, without leaving any out. 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).It is not usual for ''chromatic scale'' to be used in any different sense from this. A rare exception is found in ''Elements of Musical Composition'', Crotch, William, 1830 1991, Boethius Press, Aberystwyth, Wales , pp. 21–22. (See the quotation from this text, Below. ) Outside of music altogether, ''chromatic scale'' may refer to Von Luschan's Chromatic Scale . DIATONIC AND CHROMATIC INTERVALS The ''diatonic , occurring in C harmonic minor) is considered diatonic if the harmonic minor scale is considered diatonic;See for example ''The Rudiments of Music'', Lovelock, William, 1971. but it is considered chromatic if the harmonic minor scale is ''not'' considered diatonic.See for example the citation from ''Grove Music Online'' ("Diatonic"), Below . Intervals in different systems of tuning In Equal Temperament , there is no difference between the tuning of intervals that are Enharmonic ally equivalent. For example, the notes F and E♯ represent exactly the same pitch, so the diatonic interval C–F (a perfect fourth) sounds exactly the same as its enharmonic equivalent – the chromatic interval C–E♯ (an augmented third). In systems other than Equal Temperament , however, there is often a difference in sound between intervals that are enharmonically equivalent, and these alternatives may be labelled as ''diatonic'' or ''chromatic'' intervals. This distinction most commonly arises in tuning systems that are based on a Cycle Of Fifths , such as Pythagorean Tuning , and Meantone Temperament , which were common before the Classical period of music. Under these systems the cycle of fifths isn't circular in the sense that a pitch at one end of the cycle (e.g. G♯) is not tuned the same as the Enharmonic equivalent at its other end (A♭), which is different by an amount known as a Comma . This broken cycle causes intervals that cross the break to be written as Augmented or Diminished ''chromatic'' intervals. In meantone temperament, for instance, chromatic Semitone s (C–C♯) are smaller than diatonic semitones (C–D♭),Helmholtz, Hermann, trans. Alexander Ellis, ''On the Sensations of Tone'', Dover, New York, 1954, pp. 433–435 and 546–548. and with Consonant intervals such as the major third the chromatic equivalent is generally less consonant. In tuning systems derived from a cycle of fifths the classification of intervals as diatonic or chromatic is not ambiguous. All intervals that are either augmented or diminished, excepting the Tritone (of which both forms, the augmented fourth and diminished fifth, are tuned the same), are chromatic, and the rest are diatonic. This definition is consistent with the "drawn from the same diatonic scale" definition above as long as the harmonic minor and ascending melodic minor scale variants are not included. DIATONIC AND CHROMATIC CHORDS ''Diatonic in C minor.This is because the third of the triad does not belong to the Natural Minor scale or Aeolian Mode of C minor (C, D, E♭, F, G, A♭, B♭). 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" (Harrison, Mark, ''Contemporary Music Theory – Level Two'', 1999, p. 7). Some writers use the phrase "diatonic to" as a synonym for "belonging to". Here, a chord could be considered "diatonic to" a scale even where the scale itself is not itself considered diatonic. DIATONIC AND CHROMATIC HARMONY The words ''diatonic'' and ''chromatic'' are also applied inconsistently to Harmony :
NOTES PUBLISHED SOURCES FOR "DIATONIC", IN COMMON PRACTICE MUSIC Notes:
''Diatonic'' excludes the harmonic and melodic minor scales :1. The Oxford Companion to Music (Online {Link without Title} ; current print edition is the same: ISBN 0198662122, p. 1106) ::Scale 3. Diatonic Scale: [... The sixth and seventh degrees of the minor scale are unstable and result in two forms, '''neither of them diatonic''': the '''harmonic minor''', with the characteristic interval of an augmented 2nd; and the '''melodic minor'''[...] :: see the same source, and an older edition (same as the first edition), below in other categories. :2. Grove Music Online (see p. 295 in the print version) ::Diatonic (from Gk. dia tonos: 'proceeding by whole tones'). ::Based on or derivable from an octave of seven notes in a particular configuration, as opposed to chromatic and other forms of scale. A seven-note scale is said to be diatonic when its octave span is filled by five tones and two semitones, with the semitones maximally separated, for example '''the major scale''' '''(T–T–S–T–T–T–S)'''. The '''natural minor''' scale and the '''church modes''' (see Mode) are also diatonic. :: see the same source, ''Grove Music Online'', below also. :3. The Harvard Dictionary of Music 4th edition, p. 239 ::Diatonic: (1) A scale with seven pitches (heptatonic) that are adjacent to one another on the circle of fifths; thus, one in which each letter name represents only a single pitch and '''which is made up of whole tones and semitones arranged in the pattern embodied in the white keys of the piano keyboard'''; hence, '''any major or ''pure minor'' scale and any church mode''' as distinct from the chromatic scale. :4. Elements of Musical Composition, Crotch, William , 1830 1991, Boethius Press, Aberystwyth, Wales , pp. 21–22 ::In modern music, the seventh note ''Si'' is often made one semitone higher, and then the scale of the minor key becomes chromatic. The sixth and seventh notes are both occasionally altered at the same time, and then also the scale is chromatic. [... This is the usual method of ascending the minor key, but in descending, the ancient diatonic scale is commonly used. :: rare instance of classifying the harmonic minor and the ascending melodic minor as ''chromatic''. :5. The Theory and Practice of Tone-Relations, Goetschius, Percy , Schirmer, 1931 edition, Chapters I and XI ::The diatonic scale comprises the tones of the major mode. Upon examination it is found that the contiguous intervals of the diatonic scale, unlike those of the natural scale (a scale of rising fifths from F to B, the keynote being C), are not uniform, but differ as follows: :: diagram is shown of a C major scale with slurs pointing out the semitone placement between scale steps 3 and 4, and 7 and 8. ::The line of research and argument above proves that, of the two modes recognized and employed in modern music, that one known as major (because its prin. triads have a major third) is the natural one. The other, i.e., the minor mode considers the harmonic minor scale as the only legitimate minor mode ''', is consequently to be regarded as an unnatural or artificial mode, and is accounted for as an arbitrary modification of the natural major mode'''. ''Diatonic'' includes the harmonic and melodic minor scales :1. Oxford Companion to Music, ed. Scholes, Percy , "Diatonic and chromatic", 9th edition, 1955, p. 291 ::Diatonic and Chromatic: diatonic scales are the major and minor, made up of tones and semitones ('''in the case of the harmonic minor scale, also an augmented second'''), as distinct from the chromatic[... :2. Oxford Concise Dictionary of Music (Online {Link without Title} ; current print edition is the same) ::For the older European scales, used in the Church's plainsong and in folk song, see modes. Two of these ancient modes remained in use by composers, when the other 10 were almost abandoned, and these are our major and minor scales – the latter, however, subject to some variations in its 6th and 7th notes. Taking C as the keynote these scales (which have provided the chief material of music from about AD 1600 to 1900) run as follows: the first figure in the article, showing the major scale on C, then the harmonic minor on C, then the ascending and descending melodic on C; text continues immediately with: '''The major and minor scales are spoken of as DIATONIC SCALES, as distinct from a scale using nothing but semitones, which is the CHROMATIC SCALE,''' [...] :3. Music Notation and Terminology, Gehrkens, Karl Wilson, Barnes, NY, 1914 :: {Link without Title} There are three general classes of scales extant at the present time, viz.: (1) Diatonic; (2) Chromatic; (3) Whole-tone. :: {Link without Title} The word diatonic means "through the tones" (i.e., through the tones of the key), and is applied to both major and minor scales of our modern tonality system. In general a diatonic scale may be defined as one which proceeds by half-steps and whole-steps. There is, however, one exception to this principle, viz., in the progression six to seven in the harmonic minor scale, which is of course a step-and-a-half. :4. Tonal Harmony in Concept and Practice, Forte, Allen , NY, Holt, Rinehart, and Winston, 3rd edition, 1979, p. 14 ::The diatonic minor scale therefore has three forms: natural, melodic, and harmonic. :5. The New Penguin Dictionary of Music, Jacobs, Arthur, Penguin, 4th edition (1977) reprinted with revisions (1986) :: ''diatonic'', pertaining to a given major or minor key (opposite of CHROMATIC); so ''diatonic scale'', any one of the major or minor scales; [... :: ''major, minor'', [... The ''minor'' scale is divided for theoretical purposes into three types, by an equal treatment of natural, melodic, and harmonic minor scales, with figures showing each form :6. Harmony: Its Theory and Practice, Prout, Ebenezer, Augener, 16th edition 1901, Chapter I, p. 3 ::8. A SCALE is a succession of notes arranged according to some regular plan. Many different kinds of scales have been used at various times and in various parts of the world; in modern European music only two are employed, which are called the ''diatonic'' and the ''chromatic'' scale. ::9. The word "diatonic" has already been explained in §6 as meaning "through the degrees". A diatonic scale is a succession of notes in which there is one note, neither more nor less, on each degree of the staff – that is to say, on each line and space. to Chapter II, p. 17, where the sources of the modern scales in the old system of modes are explained. There are two varieties of the diatonic scale, known as the ''major'' (or greater) and ''minor'' (or less) scale from the nature of the interval between the first and third notes of the scale. figures, showing an ascending octave of the C major scale (Ex. 4) and of the C harmonic minor scale (Ex. 5). Other forms of the minor scale frequently to be met with will be explained later. melodic is introduced and explained in Chapter VII, pp. 80–83, §§ 206–210. ''Diatonic'' used vaguely, inconsistently, or anomalously :1. Grove Music Online ::Diatonic (same article as cited above) {Link without Title} An '''interval''' is said to be '''diatonic''' if it is '''available within a diatonic scale'''. The following intervals and their compounds are all diatonic: minor 2nd (S), major 2nd (T), minor 3rd (TS), major 3rd (TT), perfect 4th (TTS), perfect 5th (TTST), minor 6th (STTTS), major 6th (TTSTT), minor 7th (TSTTTS), major 7th (TTSTTT) and the octave itself. '''The tritone, in theory diatonic according to this definition, has traditionally been regarded as the alteration of a perfect interval, and hence chromatic'''; it may be either a semitone more than a perfect 4th (augmented 4th: TTT) or a semitone less than a perfect 5th (diminished 5th: STTS). :2. Grove Music Online ::Minor (i). (1) The name given to '''a diatonic scale whose octave, in its natural form''', is built of the following ascending sequence, in which T stands for a tone and S for a semitone: T–S–T–T–S–T–T). The note chosen to begin the sequence, called the key note, also becomes part of the name of the scale; a D minor scale, for instance, consists of the notes D–E–F–G–A–B♭–C–D. In practice, however, some notes of the scale are '''altered chromatically''' to help impart a sense of direction to the melody. The '''harmonic minor''' scale has a raised seventh, in accordance with the need for a major triad on the fifth step (the Dominant chord). The melodic minor scale has a raised sixth and a raised seventh when it is ascending, borrowing the leading-note function of the seventh step from the major scale; in descending, though, it is the same as the natural minor scale. :3. The Cambridge History of Western Music Theory, ed. Thomas Christensen, 2004 :: different usages by different major theorists. :4. Encyclopaedia Britannica ( Print version is the same.) Also '''Concise Britannica''', "Diatonic" ([http://concise.britannica.com/ebc/article-9030300/diatonic Print version is the same.) ::The "harmonic" minor that results is, strictly speaking, no longer a diatonic scale, unlike "melodic" minor, which simply borrows its upper tetrachord from the parallel major, i.e., the major scale beginning and ending on the same pitch. :: accepts the ascending melodic as diatonic. :5. Elementary Training for Musicians Hindemith, Paul , 2nd edition, 1949, p. 58 :: (diatonic = consisting of whole- and half-tone steps) [... . :: definition fails to ''exclude'' the ascending melodic as diatonic, and fails to ''include'' the harmonic minor. :6. Oxford Companion to Music (Online {Link without Title} ; current print edition is the same) ::diatonic (from Gk. dia tonikos, 'at intervals of a tone). In the major–minor tonal system, '''a diatonic feature''' – which may be a single note, an interval, a chord, or an extended passage of music – is '''one that uses exclusively notes belonging to one key'''. In practice, '''it can be said to use a particular scale, but only with the proviso that the alternative submediants and leading notes of harmonic and melodic minor allow up to nine diatonic notes''', compared with the seven available in a major scale. :: exact intention with regard to classification of the harmonic and melodic minor scales is unclear, and likely to be inconsistent. :7. Theory of Harmony ( Schoenberg, Arnold , (translation of 3rd edition, 1922), 1983, p. 32 ::In the seven chords that we build on the seven tones of the major scale we use no tones other than these same seven – ''the tones of the scale'', the ''diatonic tones''. :: and melodic minor scales aren't necessarily excluded. Not very clear. :8. A Dictionary of Musical Terms Baker, Theodore, 1923 edition ::Diatonic: (In modern usage) By, through, with, within, or embracing the tones of the standard major or minor scale. :: phrase "standard major or minor scale" is ambiguous, and could include all forms of the minor. SEE ALSO |
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