28

This question seems to arise from a “linear” mental model of notes. C♭ C C♯ D♭ D D♯ E♭ E E♯ F♭ F F♯ G♭ G G♯ A♭ A A♯ B♭ B B♯ C♭ C C♯ Like a piano keyboard, but somehow with 31 notes per octave instead of 12. (Building or playing such an instrument is left as an exercise for the reader.) But instead, look at the notes in Circle of Fifths ...


18

That's because the solfege syllables for the non-chromatic notes (Do, Re, Mi, Fa, Sol, La, Si/Ti) were first. They were thoroughly historically anchored in music theory, long before someone thought about adding chromatically altered versions of them. Because most vowels were already used it was very difficult to invent a system 'on top' of the already known ...


16

It is because B and C are closer together than the difference between B and B♯ and the difference between C and C♭. That is, they are all some sort of semitone apart. Alternatively, note that B♯ is also higher than C♭ in every 12-tone temperament, because in the 12-tone system B♯ is the same pitch as C, while C♭ is the same pitch as B. but this doesn't ...


11

The diatonic notes, of course, came first. Sometime after that, the chromatic notes were described by the system. (It's important that we use Ti instead of Si, as you'll soon note.) To sharpen notes, the vowel sound in the syllable was changed to i (rhymes with tree), as in Di, Ri, Fi, Si, Li, etc. To flatten notes, the vowel sound was changed to e (rhymes ...


9

It sounds like a chromatic mediant because C and E major are themselves chromatic mediants. You've just added in a passing chord between them. We could call this "planing," which is just moving a particular chord shape or type up and down by parallel motion. Planing often stays within a key (it's thus called "tonal planing"), meaning that the chord ...


9

It's a good question, and one a beginner may ponder for a long time! Simple answer involves terminology. Scales are simply sets of notes, ordered ascending/descending. So many (many, many) sets of notes exist - humans love ordering and pigeon-holing - and have done just that. One such scale incorporates all the notes found on a piano - the black and white ...


8

In a modern western orchestra, that's about it. Unless you're foolish enough to try to write precise pitches for flexatone or slide whistle, and then try to write a chromatic scale. Playing a chromatic scale on timpani is definitely dubious. Besides the speed and accuracy needed, you would be re-tuning the same drum as you played it, which would cause a ...


7

This isn't quite an answer, but is also too long for a comment, and I think it will point you in the right direction. The conventions for the spelling of 31TET are related to the conventions of meantone temperaments, and in a sense 31TET can be seen as a special case of a "completed" meantone temperament. And if you pick out a subset of 31TET the intervals ...


6

In a more tonal context, the chords C, D, and E can be interpreted as ♭VI-♭VII-I of E major (with substantial borrowing from the tonic minor). This interpretation can be questioned if the next chord is, say, an F major chord.


6

Here's a quote from the question with the question's incorrect assumption in bold: Say, I want to write a track in the key of D. So I have the notes D,E,F#,G,A,B & C#. I cannot use any other notes than these. Key is mostly about the home note. The home note is D. Secondarily, it is about the home chord, specifically, whether the home chord has a ...


5

Chromatic doesn't necessarily mean non-tonal. There has been chromatic music since before Gregorian Chant (A Bb was used to avoid tritones.) Most of the following is related to "classical" (or Common Practice) music theory; it has only an accidental relation to pop or jazz theory. Among the most famous chromatic pieces from the Renaissance would be that of ...


5

Here is an example of a chromatic scale from Mozart's B flat piano sonata K.333, the Andante Cantabile movement which has a key signature of E flat major. The excerpt is from m.54... I highlighted in yellow the passage involving the notes of the OP's question. A G# is not used. The Ab of the key signature is used and then a natural is applied to it to ...


5

Just 'unpack' the terminology and then re-apply it to your question. 'Chromatic Mediant' The 'mediant' just means that the roots of the two chords are separated by a third. Starting from a tonic chord the other chord root found at a third ascending or descending is either the mediant or the submediant. Those two labels are just collapsed - for convenience -...


5

Edit: I tried to construct a meta-model of styles of harmony at the end of this answer. Functional harmony is a simple narrow "mini-game" that can be played on the larger field of music. If you sit down at a fixed tonic and do the functional harmony thing like it's supposed to be done, so that the listener's sense of tonic is retained, then the functional ...


5

D♭, not D♯. But stick to the main part of the explanation, where the original melody, rooted in A and rising up a perfect 5th to E is inverted. It still ends up a 5th away from A, but this time a perfect 5th DOWN, ending on D, which now feels like the root. That's the end of story as far as the 'negative melody' is concerned. Having got his ...


5

The song is in F major, so that E♭9♯11 chord is really just an altered ♭VII chord. In music of this style ♭VII is often used as a type of dominant, so measures 5–8 just alternate between tonic and this dominant substitute. As for the Bm7♭5 in m. 9, ultimately it's the start of a larger sequence: notice how m. 9 just moves down a ...


5

It sounds like you're off to a good start, but I agree that it sounds a bit random. This exercise you have written falls clearly in the Western tonal system, and in that system each pitch has a function - what I mean is that certain pitches have pull toward other pitches. But in your piece, you just go to the new chord, then right back to where you were. ...


5

I would say, to best understand harmonization of all music, it would help you to move beyond this concept: When choosing chords in a tonal, diatonic concept, the formula is somewhat clear to me. If it's a note in the scale, choose I, IV or V if in doubt. I suspect that most songwriters and composers are not at all thinking like that. It's not like they ...


5

The concept of modal interchange (or "modal borrowing" or "mode mixture") is that you "borrow" a chord quality that is diatonic in the parallel key. If you're in, say, C major, you can borrow chords that are diatonic to C minor (and vice versa). So to find opportunities to borrow diminished triads, let's first find where those ...


4

As topo morto commented, the opening of the first clip is in a clear G# minor. (It might help to conceptualize that first chord as having an A# root instead of a Bb root.) The only difference between G# natural minor and F# major is that the first has E while the latter has E#. Thus when you mention in the second clip that you hear an E, you're right! But ...


4

I think the confusion comes from the naming of the notes. In C major, the notes will be C,D,E,F,G,A,B and the next C. This gives all the notes you need diatonically to play in key C.With the button pressed in, you'll get the notes from C#. These are C#,D#,E#,F#,G#,A#,B#, and the next C#. This gives all the diatonic notes to play in C# (or Db , with different ...


4

You have to look at what you have and look at where you are going. Like you said, the A does not naturally exist in C major, however, I think it would be a stretch to say it borrowed from A major since there is such a big jump to the parallel major of the relative minor key especially since the Em doesn't make A seem like a temporary tonic and neither G7 nor ...


4

Is there perhaps a technique I can use to lower the pitch of the E to Eb while blowing a C triad? No there isn't. For minor key chord stuff people tend to play chromatic harmonicas in D minor or Eb minor (and in that sense they become partially diatonic instruments). I saw a video the other day that I now can't find, of Jason Ricci playing a chromatic live ...


4

I play this using only fingers 1, 2, and 3. I play all the black keys with finger 3, and all the white keys except the Fs and Cs with finger 1. Finger 2 is used for the Fs and Cs. You could use 2 instead of 3 for all the black keys except F# and C# and then go 3-2-1 for F#-F-E and C#-C-B. I don't think trying to use all five fingers is going to be viable, ...


4

Instruments capable of chromatic runs over their whole range at high speed[1]: Keyboard: Piano Harpsichord Organ Accordion Ondes Martenot (also full-range glissando) Synthesizer Celesta Strings: Violin Viola Cello Double Bass Guitar Mandolin Banjo Hurdy-Gurdy Brass: Horn (modern valved) Trumpet Trombone Tuba Woodwinds: Flute Oboe Clarinet Bassoon ...


4

For instance, in Chopin's Nocturne in B-flat minor in the first measure there's an accidental on the fourth note. But it's really just a change from B-flat natural minor to B-flat harmonic minor, which has the A note, which isn't in the natural minor. This idea makes the assumption that Chopin intended to compose music in something called the "B-flat ...


4

The key word here is serialism. Serialism means that the compositional process is determined by a series, or list, of pitches and various transformations that occur to this series. A twelve-tone serialist will create a listing of all twelve pitches, using each once and only once. They can use this series (also known as a row), but they can also: Transpose ...


4

Even if we're exclusively in one diatonic scale, we would sometimes use out-of-chord notes in the melody, e.g. A over a C chord. As long as we approach them properly, the music would sound good (how exactly we do it is something you'll probably learn later on if you continue learning music theory). Out of chord notes create a temporary dissonance, which gets ...


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