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Sigue más música de los 50s y 60s en nuestro blog: http://eldiaenquelamusicamurio.blogspot.com/ "Wouldn't It Be Nice" es una canción escrita por Brian Wilson, Tony Asher y Mike Love. Es una de las canciones más inmortales de The Beach Boys, por ello ha sido puesta en varios discos de compilación.

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Schoenberg Variations for Orchestra, Op. 31

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Introduction, Theme with Nine Variations, and Finale This set of variations was the first large scale twelve-tone work that Schoenberg wrote. As expected, the audience did not accept it well.

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R.E.M. - "Losing My Religion" In Major Key

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More from MajorScaled TV: https://www.facebook.com/MajorScaledTv R.E.M.'s famous ballad "Losing My Religion" digitally reworked with a major scale. The original song is in A minor. So in the middle section, when it goes to a chord rooted in the 6th scale degree, it goes into an F major chord.

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"Wonderful world" by Louis Armstrong reworked to minor key. More: http://www.facebook.com/majorversusminor

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Katy Perry - I Kissed A Girl (Official Music Video)

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"Wicked Game" The world was on fire and no one could save me but you. It's strange what desire will make foolish people do. I never dreamed that I'd meet somebody like you. And I never dreamed that I'd lose somebody like you.

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Beatles Piano Lesson Shawn Cheek Tutorial

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Let it Be (BEATLES) Piano Cover Lesson with Chords/Lyrics

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Cover Lesson with chords and lyrics ;) ...Please LIKE, SHARE, and SUBSCRIBE if this was a help to you! Woohootiehoo and Best of luck!

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A major feature of the blues scale is the use of blue notes; however, since blue notes are considered alternative inflections, a blues scale may be considered to not fit the traditional definition of a scale. At its most basic, a single version of this blues scale is commonly used over all changes (or chords) in a twelve bar blues progression.

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Chopin-Etude no. 5 in G flat major, Op. 10 no. 5, "Black Key"

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Etude no. 5 in G flat major Opus 10 no. 5 "Black Key" Frederic Chopin Performed by Murray Perahia

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At least 2 chords creating a sense of resolution

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In music of the common practice period, cadences are divided into four types, according to their harmonic progression: authentic, plagal, half, and deceptive. Typically, phrases end on authentic or half cadences, and the terms plagal and deceptive refer to motion that avoids or follows a phrase-ending cadence.

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More than 1 key at once!

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Polytonality (also polyharmony ( Cole and Schwartz 2012)) is the musical use of more than one key simultaneously. Bitonality is the use of only two different keys at the same time. Polyvalence is the use of more than one harmonic function, from the same key, at the same time ( Leeuw 2005, 87).

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Every scale has modes - and there are MORE modes.
These are just the modes of the Major scale

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Sharp 6 and 7 on the way up, natural on the way down!
This has a complicated history but really you can do either

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Minor 3rd, Sharp 7

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Semitones - name
0  Unison
1  m2
2  M2
3  m3
4  M3
5  P4
6 dim 5 / aug 4
7  P5
8  m6
9  M6
10  m7
11  M7

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In Western music theory, the most common naming scheme for intervals describes two properties of the interval: the quality (perfect, major, minor, augmented, diminished) and number (unison, second, third, etc.). Examples include the minor third or perfect fifth. These names identify not only the difference in semitones between the upper and lower notes, but also how the interval is spelled.

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Music that does not conform to the tonal hierarchies of 17th century onward
See 12-tone...?

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Twelve-tone technique-also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition-is a method of musical composition devised by Austrian composer Arnold Schoenberg (1874-1951) and associated with the " Second Viennese School" composers, who were the primary users of the technique in the first decades of its existence.

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Music constructed from 3rds, minor or major

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In music theory, tertian ( Latin: , "of or concerning thirds") describes any piece, chord, counterpoint etc. constructed from the intervals of ( major and minor) thirds. An interval such as that between the notes A and C encompasses 3 semitone intervals (A-B-B-C) and is termed a minor third while one such as that between C and E encompasses 4 semitones (C-D-D-E-E) and is called a major third.

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Tertian (mostly)
Major - all from major scale
Minor - minor 3rd, minor 7 - all from minor scale
Dominant - Major 3rd, minor 7
Diminished - minor 3rd, dim 5, dim 7 (M6)

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A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh above the chord's root. When not otherwise specified, a "seventh chord" usually means a dominant seventh chord: a major triad together with a minor seventh.

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Sus 2, Sus 4
No 3rd
In Jazz, a Sus is usually a dominant 7 with a 9 and a 4

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The term is borrowed from the contrapuntal technique of suspension , where a note from a previous chord is carried over to the next chord, and then resolved down to the third or tonic, suspending a note from the previous chord.

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The scale which the piece of music is arguably in for the majority

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Methods that establish the key for a particular piece can be complicated to explain and vary over music history.[citation needed ] However, the chords most often used in a piece in a particular key are those that contain the notes in the corresponding scale, and conventional progressions of these chords, particularly cadences, orient the listener around the tonic.

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Starting the chord from a note other than it's root

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Under inversion, perfect intervals remain perfect, major intervals become minor and vice versa, augmented intervals become diminished and vice versa. (Double diminished intervals become double augmented intervals, and vice versa.) Traditional interval names add together to make nine: seconds become sevenths and vice versa, thirds become sixes and vice versa, and fourths become fifths and vice versa.

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The following is a list of musical chords and simultaneities:

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List of musical scales and modes - Wikipedia

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The following is a list of musical scales and modes. Degrees are relative to the major scale.

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3 notes stacked in 3rds
OR any group of 3 notes

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The root tone of a triad, together with the degree of the scale to which it corresponds, primarily determine a given triad's function. Secondarily, a triad's function is determined by its quality: major, minor, diminished or augmented. Major and minor chords are the most commonly used chord qualities in Western classical, popular and traditional music.

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A way to describe the interval in relation to the Tonic, which is the root note of a scale, and seen as the most important.
Names or Roman Numerals.
Typically only used with Diatonic Scales

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In music theory, scale degree refers to the position of a particular note on a scale relative to the tonic, the first and main note of the scale from which each octave is assumed to begin. Degrees are useful for indicating the size of intervals and chords, and whether they are major or minor.

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B to B - the Tonic triad is a Diminished chord!

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Locrian is the word used to describe the inhabitants of the ancient Greek regions of Locris. Although the term occurs in several classical authors on music theory, including Cleonides (as an octave species) and Athenaeus (as an obsolete harmonia), there is no warrant for the modern usage of Locrian as equivalent to Glarean's Hyperaeolian mode, in either classical, Renaissance, or later phases of modal theory through the 18th century, or modern scholarship on ancient Greek musical theory and practice.

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Also the Natural Minor!
And the relative minor of C, being A to A

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The word Aeolian, like the names for the other ancient Greek tonoi and harmoniai, is an ethnic designation: in this case, for the inhabitants of Aeolis (Αἰολίς)-the Aeolian Islands and adjacent coastal district of Asia Minor.

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G to G - Known as Moloch in Kleizmer music

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Mixolydian mode may refer to one of three things: the name applied to one of the ancient Greek harmoniai or tonoi, based on a particular octave species or scale; one of the medieval church modes; a modern musical mode or diatonic scale, related to the medieval mode.

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F to F - like an FM but with a sharpened 4th

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This sequence of pitches roughly describes the fifth of the eight Gregorian (church) modes, known as Mode V or the authentic mode on F, theoretically using B but in practice more commonly featuring B ( Powers 2001).

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E to E in CM
Gypsy, Jazz

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The Phrygian mode (pronounced ) can refer to three different musical modes: the ancient Greek tonos or harmonia sometimes called Phrygian, formed on a particular set of octave species or scales; the Medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter.

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Mode - for example, CM scale starting on D

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Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek harmoniai (characteristic melodic behaviour, or the scale structure associated with it), one of the medieval musical modes, or, most commonly, one of the modern modal diatonic scales, corresponding to the white notes from D to D, or any transposition of this.

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Mode - also the Major scale!

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It is the name assigned by Heinrich Glarean in 1547 to his new authentic mode on C (mode 11 in his numbering scheme), which uses the diatonic octave species from C to the C an octave higher, divided at G (as its dominant, reciting note or tenor) into a fourth species of perfect fifth (tone-tone-semitone-tone) plus a third species of perfect fourth (tone-tone-semitone): C D E F G + G A B C ( Powers 2001a).

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Same as major if starting from the 6th interval of the major
Relative Minor

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Each degree of the scale, starting with the tonic (the first, lowest note of the scale), is represented by a number. Their difference from the major scale is shown. Thus, a number without a sharp or flat represents a major (or perfect) interval. A number with a flat represents a minor interval.

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7 note scale (not necc. 12tet)
Most of the ones we use!

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A heptatonic scale is a musical scale that has seven pitches per octave.

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5 note scale (not necc. 12tet)
Blues scale

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The first two phrases of the melody from Stephen Foster's "Oh! Susanna" are based on the major pentatonic scale[1]

Pentatonic scale in Ravel's Ma mère l'Oye III. "Laideronnette, Impératrice des Pagodes", mm. 9-13.[1]

Pentatonic scale in Debussy's Voiles, Preludes, Book I, no. 2, mm. 43-45.[2]

A pentatonic scale is a musical scale with five notes per octave, in contrast to the heptatonic scale, which has seven notes per octave (such as the major scale and minor scale).

Pentatonic scales were developed independently by many ancient civilizations and are still used in various musical styles to this day. There are two types of pentatonic scales: those with semitones (hemitonic) and those without (anhemitonic).

Minyō scale on D,[4] equivalent to yo scale on D,[5] with brackets on fourths

Miyako-bushi scale on D, equivalent to in scale on D, with brackets on fourths[6]

Musicology commonly classifies pentatonic scales as either hemitonic or anhemitonic. Hemitonic scales contain one or more semitones and anhemitonic scales do not contain semitones. (For example, in Japanese music the anhemitonic yo scale is contrasted with the hemitonic in scale.) Hemitonic pentatonic scales are also called "ditonic scales", because the largest interval in them is the ditone (e.g., in the scale C-E-F-G-B-C, the interval found between C-E and G-B). (This should not be confused with the identical term also used by musicologists to describe a scale including only two notes.)

Anhemitonic pentatonic scales can be constructed in many ways. The major pentatonic scale may be thought of as a gapped or incomplete major scale, using scale tones 1, 2, 3, 5, and 6 of the major scale. One construction takes five consecutive pitches from the circle of fifths; starting on C, these are C, G, D, A, and E. Rearranging the pitches to fit into one octave creates the major pentatonic scale: C, D, E, G, A.

Another construction works backward: It omits two pitches from a diatonic scale. If one were to begin with a C major scale, for example, one might omit the fourth and the seventh scale degrees, F and B. The remaining notes then make up the major pentatonic scale: C, D, E, G, and A.

Omitting the third and seventh degrees of the C major scale obtains the notes for another transpositionally equivalent anhemitonic pentatonic scale: F, G, A, C, D. Omitting the first and fourth degrees of the C major scale gives a third anhemitonic pentatonic scale: G, A, B, D, E.

The black keys on a piano keyboard comprise a G-flat (or equivalently, F-sharp) major pentatonic scale: G-flat, A-flat, B-flat, D-flat, and E-flat, which is exploited in Chopin's black key étude.

Although various hemitonic pentatonic scales might be called minor, the term is most commonly applied to the relative minor pentatonic derived from the major pentatonic, using scale tones 1, 3, 4, 5, and 7 of the natural minor scale. (It may also be considered a gapped blues scale.) The C minor pentatonic scale, the relative minor of the E-flat pentatonic scale, is C, E-flat, F, G, B-flat. The A minor pentatonic, the relative minor of C pentatonic, comprises the same tones as the C major pentatonic, starting on A, giving A, C, D, E, G. This minor pentatonic contains all three tones of an A minor triad.

The standard tuning of a guitar uses the notes of an E minor pentatonic scale: E-A-D-G-B-E, contributing to its frequency in popular music.

Japanese mode is based on Phrygian mode, but use scale tones 1, 2, 4, 5, and 6 instead of scale tones 1, 3, 4, 5, and 7.

The pentatonic scale (containing notes C, D, E, G and A) has five modes, which are derived by treating a different note as the tonic:

Ricker assigned the major pentatonic scale mode I while Gilchrist assigned it mode III.

Each mode of the pentatonic scale (containing notes C, D, E, G and A) can be thought of as the five scale degrees shared by three different diatonic modes with the two remaining scale degrees removed:

Each pentatonic scale can be thought of as the five notes shared by three different heptatonic modes.

Each mode of the pentatonic scale (containing notes C, D, E, G and A) features different intervals of notes from the tonic according to the table below. Note the omission of the semitones above (m2) and below (M7) the tonic as well as the tritone (TT).

The intervals used in the pentatonic scale compared to the heptatonic scale.

Ben Johnston gives the following Pythagorean tuning for the minor pentatonic scale:

Naturals in that table are not the alphabetic series A to G without sharps and flats: Naturals are reciprocals of terms in the Harmonic series (mathematics), which are in practice multiples of a fundamental frequency. This may be derived by proceeding with the principle that historically gives the Pythagorean diatonic and chromatic scales, stacking perfect fifths with 3:2 frequency proportions (C-G-D-A-E). Considering the anhemitonic scale as a subset of a just diatonic scale, it is tuned thus: 20:24:27:30:36 (A-C-D-E-G = ----).

Just pentatonic tuning of Lou Harrison's "American gamelan", Old Granddad.[13] This gives the proportions 24:27:30:36:40.

(A minor seventh can be 7:4, 16:9, or 9:5; a major sixth can be 27:16 or 5:3. Both were chosen to minimize ratio parts.)

Assigning precise frequency proportions to the pentatonic scales of most cultures is problematic as tuning may be variable.

Slendro approximated in Western notation.[14]

For example, the slendro anhemitonic scale and its modes of Java and Bali are said to approach, very roughly, an equally-tempered five-note scale, but their tunings vary dramatically from gamelan to gamelan.

Pentatonic scales occur in many musical traditions:

Indian classical music, both Hindustani and Carnatic traditions

Ancient Tamil music, see the Section "Evolution of panns".

Peruvian Chicha cumbia

Indigenous ethnic folk music of Assam

Sudanese Arab Music

Folk songs of peoples of the Middle Volga region (such as the Mari, the Chuvash and Tatars)

Native American music, especially in highland South America (the Quechua and Aymara), as well as among the North American Indians of the Pacific Northwest[citation needed ]

Most Turkic, Mongolic and Tungusic music of Siberia and the Asiatic steppe is written in the pentatonic scale

Western Impressionistic composers such as French composer Claude Debussy.

Examples of its use include Chopin's Etude in G-flat major, op. 10, no. 5, the "Black Key" etude, in the major pentatonic.

Giacomo Puccini used pentatonic scales in his operas Madama Butterfly and to imitate east Asian musical styles. Puccini also used whole-tone scales in the former to invoke similar ideas.

Indian classical music has hundreds of ragas, of which many are pentatonic. Examples include Raag Abhogi Kanada (C, D, E-flat, F, A), Raag Bhupali (C, D, E, G, A), Raag Bairagi (C, D-flat, F, G, B-flat), Raag Chandrakauns (C, E-flat, F, A-flat, B), Raag Dhani (C, E-flat, F, G, B-flat), Raag Durga (C, D, F, G, A), Raag Gunakari (C, D-flat, F, G, A-flat), Raag Hamsadhwani (C, D, E, G, B), Raag Hindol (C, E, F#, A, B), Raag Kalavati (C, E, G, A, B-flat), Raag Katyayani (C, D, E-flat, G, A-flat), Raag Malkauns (C, E-flat, F, A-flat, B-flat), Raag Megh (C, D, F, G, B-flat), Raag Shivaranjani (C, D, E-flat, G, A), Raag Shuddha Sarang (C, D, F#, G, B), Raag Tilang (C, E, F, G, B), Raag Vibhas (C, D-flat, E, G, A-flat), Raag Vrindavani Sarang (C, D, F, G, B), and others.

(For Tamil Music System, See here - Ancient Tamil music#Evolution of panns )

D Yo scale

The major pentatonic scale is the basic scale of the music of China and the music of Mongolia as well as many Southeast Asian musical traditions such as that of the Karen people as well as the indigenous Assamese ethnic groups. The pentatonic scale predominates most Eastern countries as opposed to Western countries where the heptatonic scale is more commonly used. The fundamental tones (without meri or kari techniques) rendered by the five holes of the Japanese shakuhachi flute play a minor pentatonic scale. The yo scale used in Japanese shomyo Buddhist chants and gagaku imperial court music is an anhemitonic pentatonic scale shown below, which is the fourth mode of the major pentatonic scale.

Temperated pentatoncs

In Javanese gamelan music, the slendro scale has five tones, of which four are emphasized in classical music. Another scale, pelog, has seven tones, and is generally played using one of three five-tone subsets known as pathet, in which certain notes are avoided while others are emphasized.

Somali music uses a distinct modal system that is pentatonic, with characteristically long intervals between some notes. As with many other aspects of Somali culture and tradition, tastes in music and lyrics are strongly linked with those in nearby Ethiopia, Eritrea, Djibouti and Sudan.

In Scottish music, the pentatonic scale is very common. Seumas MacNeill suggests that the Great Highland bagpipe scale with its augmented fourth and diminished seventh is "a device to produce as many pentatonic scales as possible from its nine notes" (although these two features are not in the same scale). Roderick Cannon explains these pentatonic scales and their use in more detail, both in Piobaireachd and light music. It also features in Irish traditional music, either purely or almost so. The minor pentatonic is used in Appalachian folk music. Blackfoot music most often uses anhemitonic tetratonic or pentatonic scales.

In Andean music, the pentatonic scale is used substantially minor, sometimes major, and seldom in scale. In the most ancient genres of Andean music being performed without string instruments (only with winds and percussion), pentatonic melody is often led with parallel fifths and fourths, so formally this music is hexatonic.

Rock guitar solo almost all over B minor pentatonic

Jazz music commonly uses both the major and the minor pentatonic scales. Pentatonic scales are useful for improvisers in modern jazz, pop, and rock contexts because they work well over several chords diatonic to the same key, often better than the parent scale. For example, the blues scale is predominantly derived from the minor pentatonic scale, a very popular scale for improvisation in the realms of blues and rock alike. For instance, over a C major triad (C, E, G) in the key of C major, the note F can be perceived as dissonant as it is a half step above the major third (E) of the chord. It is for this reason commonly avoided. Using the major pentatonic scale is an easy way out of this problem. The scale tones 1, 2, 3, 5, 6 (from the major pentatonic) are either major triad tones (1, 3, 5) or common consonant extensions (2, 6) of major triads. For the corresponding relative minor pentatonic, scale tones 1, 3, 4, 5, 7 work the same way, either as minor triad tones (1, 3, 5) or as common extensions (4, 7), as they all avoid being a half step from a chord tone.

U.S. military cadences, or jodies, which keep soldiers in step while marching or running, also typically use pentatonic scales.

Hymns and other religious music sometimes use the pentatonic scale; for example, the melody of the hymn " Amazing Grace", one of the most famous pieces in religious music.

The common pentatonic major and minor scales (C-D-E-G-A and C-E-F-G-B, respectively) are useful in modal composing, as both scales allow a melody to be modally ambiguous between their respective major ( Ionian, Lydian, Mixolydian) and minor ( Aeolian, Phrygian, Dorian) modes ( Locrian excluded). With either modal or non-modal writing, however, the harmonization of a pentatonic melody does not necessarily have to be derived from only the pentatonic pitches.

Most Tuareg songs are pentatonic, as is most other music from the Sahel and Sudan regions.

The pentatonic scale plays a significant role in music education, particularly in Orff-based, Kodály-based, and Waldorf methodologies at the primary or elementary level.

The Orff system places a heavy emphasis on developing creativity through improvisation in children, largely through use of the pentatonic scale. Orff instruments, such as xylophones, bells and other metallophones, use wooden bars, metal bars or bells, which can be removed by the teacher, leaving only those corresponding to the pentatonic scale, which Carl Orff himself believed to be children's native tonality.

Children begin improvising using only these bars, and over time, more bars are added at the teacher's discretion until the complete diatonic scale is being used. Orff believed that the use of the pentatonic scale at such a young age was appropriate to the development of each child, since the nature of the scale meant that it was impossible for the child to make any real harmonic mistakes.

In Waldorf education, pentatonic music is considered to be appropriate for young children due to its simplicity and unselfconscious openness of expression. Pentatonic music centered on intervals of the fifth is often sung and played in early childhood; progressively smaller intervals are emphasized within primarily pentatonic as children progress through the early school years. At around nine years of age the music begins to center on first folk music using a six-tone scale, and then the modern diatonic scales, with the goal of reflecting the children's developmental progress in their musical experience. Pentatonic instruments used include lyres, pentatonic flutes, and tone bars; special instruments have been designed and built for the Waldorf curriculum.

Jeff Burns, Pentatonic Scales for the Jazz-Rock Keyboardist (Lebanon, Indiana: Houston Publishing, 1997). ISBN 978-0-7935-7679-1.

Jeremy Day-O'Connell, Pentatonicism from the Eighteenth Century to Debussy (Rochester: University of Rochester Press 2007) - the first comprehensive account of the increasing use of the pentatonic scale in 19th-century Western art music, including a catalogue of over 400 musical examples.

Trần Văn Khê, "Le pentatonique est-il universel? Quelques reflexions sur le pentatonisme", The World of Music 19, nos. 1-2:85-91 (1977). English translation: "Is the pentatonic universal? A few reflections on pentatonism" pp. 76-84. - via JSTOR (subscription required)

Yamaguchi Masaya (New York: Charles Colin, 2002; New York: Masaya Music, Revised 2006). Pentatonicism in Jazz: Creative Aspects and Practice. ISBN 0-9676353-1-4

Kurt Reinhard, "On the problem of pre-pentatonic scales: particularly the third-second nucleus", Journal of the International Folk Music Council 10 (1958). JSTOR 835966 (subscription required)

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A pentatonic scale is a musical scale with five notes per octave, in contrast to the heptatonic scale, which has seven notes per octave (such as the major scale and minor scale). Pentatonic scales were developed independently by many ancient civilizations and are still used in various musical styles to this day.

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All the notes from a 12tet in order; both black and white keys on keyboard

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Chromatic scale: every key of one octave on the piano keyboard

The chromatic scale (or twelve-tone scale) is a set of twelve pitches (more completely, pitch classes) used in tonal music, with notes separated by the interval of a semitone. Chromatic instruments, such as the piano, are made to produce the chromatic scale, while other instruments capable of continuously variable pitch, such as the trombone and violin, can also produce microtones, or notes between those available on a piano.

Most music uses subsets of the chromatic scale such as diatonic scales. While the chromatic scale is fundamental in western music theory, it is seldom directly used in its entirety in musical compositions or improvisation.

The chromatic scale is a musical scale with twelve pitches, each a semitone, also known as a half-step, above or below its adjacent pitches. As a result, in 12-tone equal temperament (the most common tuning in Western music), the chromatic scale covers all 12 of the available pitches. Thus, there is only one chromatic scale.[a] The ratio of the frequency of one note in the scale to that of the preceding note is given by .[1]

In equal temperament, all the semitones have the same size (100 cents), and there are twelve semitones in an octave (1200 cents). As a result, the notes of an equal-tempered chromatic scale are equally-spaced.

The chromatic scale...is a series of half steps which comprises all the pitches of our [12-tone] equal-tempered system.

All of the pitches in common use, considered together, constitute the chromatic scale. It is made up entirely of successive half steps, the smallest interval in Western music....Counting by half steps, an octave includes twelve different pitches, white and black keys together. The chromatic scale, then, is a collection of all the available pitches in order upward or downward, one octave's worth after another.

A chromatic scale is a nondiatonic scale consisting entirely of half-step intervals. Since each tone of the scale is equidistant from the next [ symmetry] it has no tonic [ key]. ...
Chromaticism [is t]he introduction of some pitches of the chromatic scale into music that is basically diatonic in orientation, or music that is based on the chromatic scale instead of the diatonic scales.

The ascending and descending chromatic scale is shown below.

Chromatic scale drawn as a circle

The diatonic scale notes (above) and the non-scale chromatic notes (below)[2]

The twelve notes of the octave- all the black and white keys in one octave on the piano-form the chromatic scale. The tones of the chromatic scale (unlike those of the major or minor scale) are all the same distance apart, one half step. The word chromatic comes from the Greek chroma, color; and the traditional function of the chromatic scale is to color or embellish the tones of the major and minor scales. It does not define a key, but it gives a sense of motion and tension. It has long been used to evoke grief, loss, or sorrow. In the twentieth century it has also become independent of major and minor scales and is used as the basis for entire compositions.

The circle of fifths drawn within the chromatic circle as a star dodecagram.[7]

The chromatic scale has no set enharmonic spelling that is always used. Its spelling is, however, often dependent upon major or minor key signatures and whether the scale is ascending or descending. In general, the chromatic scale is usually notated with sharp signs when ascending and flat signs when descending. It is also notated so that no scale degree is used more than twice in succession (for instance, G - G - G).

Similarly, some notes of the chromatic scale have enharmonic equivalents in solfege. The rising scale is Do, Di, Re, Ri, Mi, Fa, Fi, Sol, Si, La, Li, Ti and the descending is Ti, Te/Ta, La, Le/Lo, Sol, Se, Fa, Mi, Me/Ma, Re, Ra, Do, However, once 0 is given to a note, due to octave equivalence, the chromatic scale may be indicated unambiguously by the numbers 0-11 mod twelve. Thus two perfect fifths are 0-7-2. Tone rows, orderings used in the twelve-tone technique, are often considered this way due to the increased ease of comparing inverse intervals and forms ( inversional equivalence).

Pythagorean

The most common conception of the chromatic scale before the 13th century was the Pythagorean chromatic scale (). Due to a different tuning technique, the twelve semitones in this scale have two slightly different sizes. Thus, the scale is not perfectly symmetric. Many other tuning systems, developed in the ensuing centuries, share a similar asymmetry.

where is a diatonic semitone ( Pythagorean limma) and is a chromatic semitone ( Pythagorean apotome).

The chromatic scale in Pythagorean tuning can be tempered to the 17-EDO tuning (P5 = 10 steps = 705.88 cents).

Just intonation

In 5-limit just intonation the chromatic scale, Ptolemy's intense chromatic scale[citation needed ], is as follows, with flats higher than their enharmonic sharps, and new notes between E-F and B-C (cents rounded to one decimal):

Just intonation tuning can be approximated by 19-EDO tuning (P5 = 11 steps = 694.74 cents).

The ancient Chinese chromatic scale is called . However, "it should not be imagined that this gamut ever functioned as a scale, and it is erroneous to refer to the 'Chinese chromatic scale', as some Western writers have done. The series of twelve notes known as the twelve lü were simply a series of fundamental notes from which scales could be constructed." However, "from the standpoint of tonal music [the chromatic scale] is not an independent scale, but derives from the diatonic scale," making the Western chromatic scale a gamut of fundamental notes from which scales could be constructed as well.

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The chromatic scale (or twelve-tone scale) is a set of twelve pitches (more completely, pitch classes) used in tonal music, with notes separated by the interval of a semitone. Chromatic instruments, such as the piano, are made to produce the chromatic scale, while other instruments capable of continuously variable pitch, such as the trombone and violin, can also produce microtones, or notes between those available on a piano.

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One octave divided into equally sized steps
12 in western music, 24 in classical arabian
Developed to smooth out dissonance inherent within Just intonation, all intervals in equal temp. are slightly different to those in just
Pianos are tuned like this, with some differences...
Non-fretted instruments and voice tend to slip into just intonation anyway

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An equal temperament is a musical temperament, or a system of tuning, in which the frequency interval between every pair of adjacent notes has the same ratio. In other words, there are equal ratios of the frequencies of any adjacent pair, and, since pitch is perceived roughly as the logarithm of frequency, equal perceived "distance" from every note to its nearest neighbor.

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One octave divided into equal

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An equal temperament is a musical temperament, or a system of tuning, in which the frequency interval between every pair of adjacent notes has the same ratio. In other words, there are equal ratios of the frequencies of any adjacent pair, and, since pitch is perceived roughly as the logarithm of frequency, equal perceived "distance" from every note to its nearest neighbor.

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One octave

# data[].attributes.attachment_link.description
An equal temperament is a musical temperament, or a system of tuning, in which the frequency interval between every pair of adjacent notes has the same ratio. In other words, there are equal ratios of the frequencies of any adjacent pair, and, since pitch is perceived roughly as the logarithm of frequency, equal perceived "distance" from every note to its nearest neighbor.

# data[].attributes.attachment_link.description
An equal temperament is a musical temperament, or a system of tuning, in which the frequency interval between every pair of adjacent notes has the same ratio. In other words, there are equal ratios of the frequencies of any adjacent pair, and, since pitch is perceived roughly as the logarithm of frequency, equal perceived "distance" from every note to its nearest neighbor.

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A string vibrates at it's length
But also it's half length
It's 1/3rd
It's 1/4th
and so on, ad infinitum
each vibration less powerful.
What happens when I half the length of the string?
It is the varying power of each vibration which creates the tone of a sound
And it is these divisions of a string, or pitch, or frequency, which all tuning systems are based upon.
Just intonation is the truest representation of these divisions.

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Just intonation can be contrasted and compared with equal temperament, which dominates Western instruments of fixed pitch (e.g., piano or organ) and default MIDI tuning on electronic keyboards.

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7 pitches (plus 1 8ve)
Obtained from a chain of 6 perfect 5ths

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The major scale (or Ionian scale) is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note (from Latin "octavus", the eighth).