Hence, the interval between C and D is a diatonic half-step. A chromatic half-step is a half-step formed by two notes that are identical in letter name.
For example, C and C : …or Db and D: …are chromatic half-steps. C and C : …is considered to be a chromatic half-step because C and C are identical in letter name and so is the half-step between Db and D: …which consists of two notes that are identical in letter name.
Hence, the interval between C and C is a chromatic half-step. Hence, the interval between Db and D is a chromatic half-step. Any half-step between two notes that are alphabetically identical is a chromatic half-step. The chromatic scale is the musical scale with twelve pitches that are a half step apart.
Definition 1. A diatonic scale is a seven-note musical scale with 5 whole steps and 2 half steps, where the half steps have the maximum separation usually 2 or 3 notes apart.
What are the 12 notes? A song can be played so that any one of these twelve notes will be the tonal center or home base.
Why is it called an octave? The name octave refers to the interval between the first note and 8th note of such a scale. It is called an octave because it is typically represented as part of a 7-note scale. A 7-note scale has 8 notes technically, but there are 7 different note names in the scale, since the 8th note is the same as the first note.
How many notes are in a scale? What is the meaning of chromatic scale? The chromatic scale or twelve-tone scale is a musical scale with twelve pitches, each a semitone above or below its adjacent pitches. As a result, the notes of an equal-tempered chromatic scale are equally-spaced. Why does an octave have 12 notes? By dividing each octave into 12 intervals, you maximize the number of pleasingly sounding pairs of notes.
That is because the number 12 is divisible by more small numbers than any other number less than So in modern western music they use 12 intervals. There may be other acoustic issues at work. As an aside, my teacher has a rule of thumb for adjusting to just intonation. He says in sharp keys play sharps flat and in flat keys play flats sharp. This rule takes into account our desire to nmaximize the sonority of the open strings.
It adjusts for the two sizes of whole step that particularly affect the 3rd degree of the scale. From Peter Ouyang Posted on June 6, at AM The system of tuning described by Sassmanshaus is what almost all classically trained violinists use when playing scales. People try to come up with formalized systems to describe things like this so-called "Pythagorean tuning", for example , but it boils down to one simple idea -- in scale passages, most people like to hear narrow half-steps because it tends to make leading tones sound more like leading tones.
For example, we like to hear a high C-sharp in D major so the C sounds like it "wants to resolve" to D. When we hear arpeggios and chords, sometimes people like to hear slightly different tuning, again depending on the context. Take C in an A major triad. If you tune the C as a pure major third relative to the A, it's actually quite flat compared to equal temperament -- about 14 cents. Where you place the C affects the quality of the chord.
When it's closer to the pure major third, the chord will probably sound more "blended" , but if the C-sharp is tuned higher, the chord will sound a bit "brighter" or perhaps a little "jangly. The key in which the piece is played determines the relationships of the notes. But the Pythagorean scale is not useful in modern harmonic style due to the wolf 5th.
Duffin's book describes and acknowledges expressive tuning i.
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