Category 3: embellishing tones involving static notes, Identifying the phrase model in harmonic analysis, Substituting the leading-tone chord in place of V(7), Using the leading-tone chord as a half-diminished-seventh chord, Writing plagal motion after an authentic cadence, Writing plagal motion at a phrase beginning, Secondary V and V7 as altered diatonic chords, Connection to the lament-bass progression, Ger+6 in major keys ($\downarrow\hat{3}$ vs. $\uparrow\hat{2}$ – me vs. ri), Deriving a CT°7 chord from multiple neighbor tones, More Networks of Neo-Riemannian Transformations, Applying Chord-Scales to Progressions within a Key, Using the clock face to transpose and invert, Important considerations with collections, The Emergence and Evolution of the Twelve-tone Technique, For the ‘attack-sustain’ (‘resonance’) effect, Recognizing and identifying applied chords, Applied V and V7 as altered diatonic chords, Creative Commons Attribution-ShareAlike 4.0 International License. For both C major key signature and A natural minor key signature, there are no sharp or flat notes, so since there is no key signature, we have no clue as to whether to use sharp or flat names to identify any non-natural notes. The audio files below play every note shown on the piano above, so middle C (marked with an orange line at the bottom) is the 2nd note heard. If it were to traverse the entire octave, the sequence would divide the octave into major seconds. Example 4. Sleep music from Act 3 of Wagner's opera Die Walkure. The voice leading in the above sequence requires some attention. A chromatic descending 5-6 sequence using inverted chords on every weak beat. In Example 7, though, the sequence stops once it reaches the E major triad, treats that triad as a dominant chord, and modulates into A major. A diatonic descending-fifths sequence. Diatonic sequences preserve the interval size, but not the quality, to ensure that they stay within a single key. Because every chord is interpreted as a dominant-seventh of the chord that follows, it is not possible to resolve both the leading tone and the chordal seventh as normal. For: C ocarina | G ocarina (click on the score to view exercises for any scale; see also Wikipedia). As you go down you play the same keys, except that some of the notes would be enharmonic equivalents, which means that they are the same keys with different names. Although there seem to be no generally agreed rules on how to handle this, one common music theory convention is to use sharps when ascending the scale ie. 2) Write "two" of each note between the end notes except for C and F. 3) Flatten the 2nd note of each note pair. The formula for a melodic minor scale is whole step – half step – whole step – whole step – whole step – whole step – half step. tnt musical services®. C-sharp chromatic scale (descending) This step gives descending note names to the piano keys identified in step 2. The above examples present the diatonic ascending 5-6 sequence (Example 5) and its chromaticized variant (Example 6). The example shows the expected C-major resolution in parentheses. As is the case whenever you connect seventh chords with roots a fifth apart, the voice leading requires an elided resolution. We interpret this as V7 of the chord that follows, which is, in turn, another dominant-seventh chord. Example 1. For example, if a sharp-based key signature is used, eg. © 2020 Copyright Veler Ltd, All Rights Reserved. In particular, the chords identified with asterisks in the example are only labeled as such for consistency. Therefore, the G Chromatic Scale would begin at G and consist of all notes to the next G including one octave. (W-H-W-W-W-W-H) The descending formula is the natural minor scale formula backwards. This version of the sequence traverses the octave by major seconds, outlining the whole-tone scale and creating a strong sense of harmonic ambiguity by its end. In a sense, we mentally skip over the expected chord to get to the next dominant-seventh chord. Chromatic scale, all keys. Most classical western music (the music of Bach and Beethoven, for … A chromatic scale (descending) This step gives descending note names to the piano keys identified in step 2. Each note is one Half-tone / semitone (1 piano key - white or black) away from the next one, shown as H in the diagram below. Fill in the pairs of notes between these cornerstones with the appropriate accidentals. Descending: C, B, Bb, A, Ab, G, Gb, F, E, Eb, D, Db, C. You will not find pictures of chromatic scales in all keys, it would be somewhat unnecessary due to the similarities. Chromaticized diatonic sequences include can include chromatic embellishments or chromatic chords, such as applied (secondary) dominants. Start with a high Bb, put F in the middle, then finish on a low Bb. Diatonic sequences repeat musical segments and are transposed in a regular pattern within a key. An elided resolution of a dominant-seventh chord. A chromatic descending 5-6 sequence that modulates from D major to C major. Example 7. Eb major key signature, where flat note names would be used. A diatonic descending thirds sequence. The chords that initiate the sequence model and each successive copy contain altered scale degrees, The chords within the pattern are of the same quality and type as those within each successive copy of that pattern, The sequences derive from those that divide the octave equally. To go down the scale, you simply reverse the order of numbers. In fact, you should not really think in terms of there being a root for chromatic scales. Because the sequence uses chords entirely from the key of G major, the root progressions don’t match exactly throughout the sequence. A similar problem arises with the chord qualities used at the beginning of each subsequent copy of the sequence model. The familiar “Pachelbel” sequence (Example 8) can derive a chromatic sequence in a couple of ways. For example, the root progression between the IV and viio chords is an augmented fourth, whereas the root progressions between every other pair of chords is either a perfect fifth or perfect fourth. A chromatic descending-fifths sequence with interlocking secondary dominant-seventh chords. We “cheat” in the sequence in this way in order to keep the music within a single key. This step applies the chromatic scale note positions starting from C-sharp, so that the correct piano keys and note pitches can be identified. Note that both of these include an inconsistent pattern of intervals between chord roots in the second measure. Example 8. As explained in the above step, since we were working with a scale that has no sharps or flats, we will use flat notes when descending. Chord voicings should match between all corresponding components. The familiar “Pachelbel” sequence (Example 8) can derive a chromatic sequence in a couple of ways. It is also notated so that no scale degree is used more than twice in succession (for instance, G♭ – G♮ – G♯). Its spelling is, however, often dependent upon major or minor key signatures and whether the scale is ascending or descending. ), Writing Authentic Cadences (TRIADS ONLY! 1) Write the beginning and end note of the scale. The chromatic scale has no set enharmonic spelling that is always used.