The above examples present the diatonic ascending 5-6 sequence (Example 5) and its chromaticized variant (Example 6). 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. Note that both of these include an inconsistent pattern of intervals between chord roots in the second measure. A diatonic descending-fifths sequence with alternating secondary dominant-seventh chords. Fill in the pairs of notes between these cornerstones with the appropriate accidentals. Its spelling is, however, often dependent upon major or minor key signatures and whether the scale is ascending or descending. A diatonic ascending 5-6 sequence. (C - C, Eb - Eb, etc.) major scale, or any minor scale), then the key signature will be the guide as to whether to use sharps or flats for the chromatic scale. Example 5. The diatonic version of this sequence alternates root motion by perfect fourth with either major or minor seconds. The C-sharp chromatic scale has 12 notes, and uses every half-tone / semitone position. A chromatic scale (descending) This step gives descending note names to the piano keys identified in step 2. Melodic C Minor Scale Intervals. A chromatic descending 5-6 sequence using inverted chords on every weak beat. The voice leading in the above sequence requires some attention. We can't talk about the "chromatic scale in the key of C", for example. A similar problem arises with the chord qualities used at the beginning of each subsequent copy of the sequence model. Example 6. 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. Chromatic scale, all keys. An important result of the elision is that the leading tone of the first dominant-seventh chord, B, resolves down by half step to become the new chordal seventh. The sequence model, a root progression by descending fifth, is transposed down by second in each subsequent copy of the model. 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. To play a chromatic scale, simply start on the note of your choice, and then play ALL the semitones until you reach the starting note again. 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. This step shows the ascending C-sharp chromatic scale, going from the lowest to the highest note in the scale. Donington (1963, p. 172) speaks of this music's "slow chromatic drift and its modulations as elusive as the soft drift into sleep itself, when the sharp edges of consciousness begin to blur and fade." The final result is a sequence in which the chord on every strong beat is a major triad with roots a major second apart. The first chord of the sequence is major, so for it to be a chromatic sequence, we must change the remaining first chords of each iteration to be major as well. © 2020 Copyright Veler Ltd, All Rights Reserved. Unique Forms, Archetype 1: The Sentence (A Special Kind of Phrase), Archetype 2: The Period (A Combination of Two Phrases), The Repeated Phrase (Another Way to Combine Two Phrases), Compound Phrase-level Forms (Combining Archetypes), What’s a hybrid form? The tonic note (shown as *) is the starting point and is always the 1st note in the chromatic scale. Compound), Details about Refrains, Episodes, and Auxiliary Sections in Rondo Form, Authentic cadences (they sound conclusive! When it comes to playing chromatic scales on the guitar, you are not necessarily starting and stopping on the “root” of the scale. In cases like this, it is often convenient to also analyze the music using lead-sheet symbols. G major key signature, and we want to use the chromatic scale to identify notes outside that scale, sharps would be used for those chromatic scale notes. ), Writing Half Cadences (using I and V only). Example 4. The chromatic scale has no set enharmonic spelling that is always used. 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. Chromaticized diatonic sequences include can include chromatic embellishments or chromatic chords, such as applied (secondary) dominants. [footnote]These hybrid forms come from William Caplin (2013), Analyzing Classical Form. Thus, there is only one chromatic scale. C chromatic scale (descending) This step gives descending note names to the piano keys identified in step 2. C Chromatic scale . The familiar “Pachelbel” sequence (Example 8) can derive a chromatic sequence in a couple of ways. B Chromatic Scale Descending. This step gives descending note names to the piano keys identified in step 2. A chromatic ascending step sequence, featuring secondary dominant chords. 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. The same fingers play the same keys. When you listen to Example 10, for instance, notice that the D major chord that finishes the sequence hardly sounds like the tonic, even though, nominally, it is. In a later step, if sharp or flat notes are used, the exact accidental names will be chosen. A chromatic descending-fifths sequence with interlocking secondary dominant-seventh chords. It is also notated so that no scale degree is used more than twice in succession (for instance, G♭ – G♮ – G♯).
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