Diatonic and chromatic Totally Explained

Everything about Diatonic totally explained

Diatonic and chromatic are terms in music theory that are most often used to characterise scales, and are also applied to 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.
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 (see details ). 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). Chromatic refers to structures derived from the chromatic scale, which consists of all semitones.

History

Greek genera

genus, plural genera) of the four-string lyre – an instrument that was accepted as a model for other instrumental and vocal music. These three tunings were called diatonic, chromatic, and enharmonic, and the sequences of four notes that they produced were called tetrachords ("four strings"). A diatonic tetrachord comprised, in descending order, two whole tones and a semitone, such as A G F E (roughly). In the chromatic tetrachord the second string of the lyre was lowered from G to G♭, so that the two lower intervals in the tetrachord were semitones, making the pitches A G♭ F E. In the enharmonic tetrachord the tuning had two quarter tone intervals at the bottom: A F F♭ E (where F♭ is F♮ lowered by a quarter tone). For all three tetrachords, only the middle two strings varied in their pitch.

Medieval coloration

The term cromatico (Italian) was occasionally used in the Medieval and Renaissance periods to refer to the coloration [Latincoloratio] of certain notes. The details vary widely by period and place, but generally the addition of a colour (often red) to an empty or filled head of a note, or the "colouring in" of an otherwise empty head of a note, shortens the duration of the note. In works of the Ars Nova from the 14th century, this was used to indicate a temporary change in metre from triple to duple, or vice versa. This usage became less common in the 15th century as open white noteheads became the standard notational form for minims (half-notes) and longer notes (see white mensural notation). Similarly, in the 16th century, notation in a 4/4 time signature was referred to as "chromatic" notation because of its abundance of "coloured in" black notes, that's semiminims (crotchets or quarter notes) and shorter notes, as opposed to the open white notes of the more common 2/2 metre. These uses for the word have no relationship to the modern meaning of chromatic, but the sense survives in the current term coloratura.

Renaissance chromaticism

The term chromatic began to approach its modern usage in the 16th century. For instance Orlando Lasso's Prophetiae Sibyllarum opens with a prologue proclaiming, "these chromatic songs, heard in modulation, are those in which the mysteries of the Sibyls are sung, intrepidly," which here takes its modern meaning referring to the frequent change of key and use of chromatic intervals in the work. (The Prophetiae belonged to an experimental musical movement of the time, called musica reservata). This usage comes from a renewed interest in the Greek genera, especially its chromatic tetrachord, notably by the influential theorist Nicola Vicentino in his treatise on ancient and modern practice, 1555.

ť See also: Chromaticism

Diatonic scales

Background: the Medieval gamut Medieval theorists defined scales in terms of the Greek tetrachords. The gamut was the series of pitches from which all the Medieval "scales" (or modes, strictly) are notionally derived, and it may be thought of as constructed in a certain way from diatonic tetrachords.
The intervals from one note to the next in this Medieval gamut are all tones or semitones, recurring in a certain pattern with five tones (T) and two semitones (S) in any given octave. The semitones are separated as much as they can be, between alternating groups of three tones and two tones. Here are the intervals for a random string of ascending notes (starting with F, in fact) from the gamut:

... –T–T–T–S–T–T–S–T–T–T–S–T– ...

And here are the intervals for one random ascending octave (the seven intervals separating the eight notes A–B–C–D–E–F–G–A, in fact) from the gamut:

T–S–T–T–S–T–T [fivetones and two semitones]

In its most strict definition, therefore, a diatonic scale is one that may be derived from the pitches represented in successive white keys of the piano (or a transposition thereof): the modern equivalent of the gamut. This would include the major scale, the natural minor scale (same as the descending form of the melodic minor), and the old ecclesiastical church modes.

Modern meanings of "diatonic scale"

Given the background presented above, we now move on to address the music of the Common Practice Period, and later music that shares its core features (see note 1, above).
All writers accept the major scale as diatonic. Most, but not all, accept the natural minor (and the descending melodic minor) as diatonic. As for other forms of the minor:

"Exclusive" usage: Some writers consistently classify the other variants of the minor scale – the melodic minor (ascending form) and the harmonic minor – as non-diatonic, since they're not transpositions of the white-note pitches of the piano. Among such theorists there's no agreed general term that encompasses the major and all forms of the minor scale.
"Inclusive" usage: Some writers consistently include the melodic and harmonic minor scales as diatonic also. For this group, every scale standardly used in common practice music and much similar later music is either diatonic (the major, and all forms of the minor) or chromatic.

"Mixed" usage: Still other writers mix these two meanings of diatonic (and conversely for chromatic), and this may lead to confusions and misconceptions. Sometimes, though not always, the context makes it clear which meaning is intended. For print sources employing each of these usages (for scales, and derived usages for intervals, etc.), see the list of sources, below.
There are a few other meanings of the term diatonic scale, some of which take the extension to harmonic and melodic minor even further, to be even more inclusive.
In general, diatonic is most often used inclusively with respect to music that restricts itself to standard uses of traditional major and minor scales. When discussing music that uses a larger variety of scales and modes (including much jazz, rock, and some tonal 20th-century concert music), writers often adopt the exclusive use to prevent confusion.

Chromatic scale

A chromatic scale consists of an ascending or descending sequence of pitches proceeding always by semitones. Such a sequence of pitches would, for example, be produced by playing black and white keys of a piano in order, without leaving any out. The structure of a chromatic scale is therefore uniform throughout, unlike major and minor scales which have tones and semitones in particular arrangements (and an augmented second, in the harmonic minor).

Diatonic and chromatic intervals

The diatonic intervals are usually understood as those between some pair of notes both drawn from the same diatonic scale. Intervals that can't be so derived are, by this way of thinking, called chromatic intervals. Because diatonic scale is itself ambiguous (see above), this way of distinguishing intervals is also ambiguous. For example, the interval B♮–E♭ (a diminished fourth, occurring in C harmonic minor) is considered diatonic if the harmonic minor scale is considered diatonic; but it's considered chromatic if the harmonic minor scale is not considered diatonic.
Additionally, the label chromatic or diatonic for an interval may be sensitive to context. For instance, in a passage in C major, the interval C–E♭ could be considered a chromatic interval because it doesn't appear in the prevailing diatonic key; conversely in C minor it would be diatonic. This usage is still subject to the categorization of scales as above, for example in the B♮–E♭ example above, classification would still depend on whether the harmonic minor scale is considered diatonic.

Intervals in different systems of tuning

In equal temperament, there's no difference in tuning (and therefore in sound) between intervals that are enharmonically equivalent. For example, the notes F and E♯ represent exactly the same pitch, so the diatonic interval C–F (a perfect fourth) sounds exactly the same as its enharmonic equivalent – the chromatic interval C–E♯ (an augmented third). In systems other than equal temperament, however, there's often a difference in tuning between intervals that are enharmonically equivalent. In tuning systems that are based on a cycle of fifths, such as Pythagorean tuning and meantone temperament, these alternatives are labelled as diatonic or chromatic intervals.
   Under these systems the cycle of fifths isn't circular in the sense that a pitch at one end of the cycle (for example G♯) isn't tuned the same as the enharmonic equivalent at its other end (A♭); they're different by an amount known as a comma. This broken cycle causes intervals that cross the break to be written as augmented or diminished chromatic intervals. In meantone temperament, for instance, chromatic semitones (C–C♯) are smaller than diatonic semitones (C–D♭), and with consonant intervals such as the major third the chromatic equivalent is generally less consonant.
   The exception to this classification is the tritone, of which both enharmonic forms (for example C–F♯ and C–G♭) are equally distant along the cycle of fifths, making them inversions of each other at the octave. Because of this the ambiguity can't be resolved where octave equivalence is assumed, and the label diatonic or chromatic for either form of tritone isn't useful in the context of tuning (the choice is arbitrary, and therefore unspecific).
   If the tritone is assumed diatonic, the classification of written intervals by this definition isn't significantly different from the "drawn from the same diatonic scale" definition given above as long as the harmonic minor and ascending melodic minor scale variants are not included. Aside from tritones, all intervals that are either augmented or diminished are chromatic, and the rest are diatonic.

Diatonic and chromatic chords

Diatonic chords are generally understood as those that are built using only notes from the same diatonic scale; all other chords are considered chromatic. However, given the ambiguity of diatonic scale, this definition, too, is ambiguous. And for some theorists, chords are only ever diatonic in a relative sense: the augmented triad E♭–G–B♮ is diatonic "to" or "in" C minor. On this understanding, the diminished seventh chord built on the leading note is accepted as diatonic in minor keys. If the strictest understanding of the term diatonic scale were adhered to, even a major triad on the dominant scale degree in C minor (G–B♮–D) would be chromatic or altered in C minor. Some writers use the phrase "diatonic to" as a synonym for "belonging to".

Diatonic and chromatic harmony

The words diatonic and chromatic are also applied inconsistently to harmony:

Often musicians call diatonic harmony any kind of harmony inside the major–minor system of common practice. When diatonic harmony is understood in this sense, the supposed term chromatic harmony means little, because chromatic chords are also used in that same system.

At other times, especially in textbooks and syllabuses for musical composition or music theory, diatonic harmony means harmony that uses only "diatonic chords". According to this usage, chromatic harmony is then harmony that extends the available resources to include chromatic chords: the augmented sixth chords, the Neapolitan sixth, chromatic seventh chords, etc.

Since the word harmony can be used of single classes of chords (dominant harmony, E minor harmony, for example), diatonic harmony and chromatic harmony can be used in this distinct way also.

Miscellaneous usages

Diatonic and chromatic notes

In modern usage, the meanings of the terms diatonic note and chromatic note vary according to the meaning of the term diatonic scale. Generally – not universally – a note is understood as diatonic in a context if it belongs to the diatonic scale that's used in that context; otherwise it's chromatic.

Chromatic inflection

The term chromatic inflection (alternatively spelt inflexion) is used in two senses:

Alteration of a note that makes it (or the harmony that includes it) chromatic rather than diatonic.

Melodic movement between a diatonic note and a chromatically altered variant (from C to C# in G major, or vice versa, for example).

Chromatic progression

The term chromatic progression is used in three senses:

Movement between harmonies that are not elements of any common diatonic system (that is, not of the same diatonic scale: movement from D–F–A to D#–F#–A, for example).

The same as the second sense of chromatic inflection, above.

In musica ficta and similar contexts, a melodic fragment that includes a chromatic semitone, and therefore includes a chromatic inflection in the second sense, above.

Diatonic progression

The term diatonic progression is used in two senses:

Movement between harmonies that both belong to at least one shared diatonic system (from F–A–C to G–B–E, for example, since both occur in C major).

In musica ficta and similar contexts, a melodic fragment that doesn't include a chromatic semitone, even if two semitones occur contiguously, as in F♯–G–A♭.

Diatonic and chromatic modulation

Diatonic modulation is modulation via a diatonic progression.

Chromatic modulation is modulation via a chromatic progression, in the first sense given above.

Diatonic pentatonic scale

One very common kind of pentatonic scale that draws its notes from the diatonic scale (in the exclusive sense, above) is sometimes called the diatonic pentatonic scale: C–D–E–G–A[–C], or some other modal arrangement of those notes.

Other pentatonic scales (such as the pelog scales) may also be construed as reduced forms of a diatonic scale, but are not labelled diatonic.

Modern extensions of the diatonic idea

Traditionally, and in all uses discussed above, the term diatonic has been confined to the domain of pitch, and in a fairly restricted way. The common idea in those uses is that a specific selection is made from an underlying superset of pitches. A particular subset of seven pitch classes is selected from a superset of twelve semitonally incrementing pitch classes, to yield a particular heptatonic scale. Exactly which heptatonic scales (and even which modes of those scales) should count as diatonic is unsettled, as shown above. But the broad selection principle itself isn't disputed, at least as a theoretical convenience.

Extended pitch selections

The selection of pitch classes can be generalised to encompass formation of non-traditional scales from the underlying twelve chromatic pitch classes. Or a larger set of underlying pitch classes may be used instead. For example, the octave may be divided into varying numbers of equally spaced pitch classes. The usual number is twelve, giving the conventional set used in Western music. But Paul Zweifel uses a group-theoretic approach to analyse different sets, concluding especially that a set of twenty divisions of the octave is another viable option for retaining certain properties associated with the conventional "diatonic" selections from twelve pitch classes.

Diatonic rhythms

It is possible to generalise this selection principle even beyond the domain of pitch. The diatonic idea has been applied in analysis of some traditional African rhythms, for example. Some selection or other is made from an underlying superset of metrical beats, to produce a "diatonic" rhythmic "scale" embedded in an underlying metrical "matrix". Some of these selections are diatonic in a way similar to the traditional diatonic selections of pitch classes (that is, a selection of seven beats from a matrix of twelve beats – perhaps even in groupings that match the tone-and-semitone groupings of diatonic scales). But the principle may also be applied with even more generality (including even any selection from a matrix of beats of any size).

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