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Diatonic and chromatic

"Chromatic" redirects here. For other uses, see Chromatic (disambiguation).
Melodies can be based on a diatonic scale and maintain its tonal characteristics but contain many accidentals, up to all twelve tones of the chromatic scale, such as the opening of Henry Purcell's "Thy Hand, Belinda" from Dido and Aeneas (1689) with figured bass), which features eleven of twelve pitches while chromatically descending by half steps,[1] the missing pitch being sung later.
Melody
With figured bass
Béla Bartók: Music for Strings, Percussion and Celesta, movement I, fugue subject: chromatic.[2]
Bartók: Music ..., movement I, fugue subject: diatonic variant[2]

Diatonic and chromatic are terms in music theory that are used to characterize scales. The terms are also applied to musical instruments, intervals, chords, notes, musical styles, 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.[a]

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.[b] 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).[c]

Chromatic most often refers to structures derived from the twelve-note chromatic scale, which consists of all semitones. Historically, however, it had other senses, referring in Ancient Greek music theory to a particular tuning of the tetrachord, and to a rhythmic notational convention in mensural music of the 14th to 16th centuries.

  1. ^ Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p. 38. 7th ed. ISBN 978-0-07-294262-0.
  2. ^ a b Leeuw, Ton de (2005). Music of the Twentieth Century, p. 93. ISBN 90-5356-765-8


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