Which opera is harmonically based on the chromatic scale

This is a harmonic consideration, and since tonality is based on harmonic qualities of sonance, it is appropriate, since fifths add stability to triads, and also facilitate root-movement by fifths to the nearest, most closely related keys, as in the circle of fifths: C, no sharps, G, 1 sharp, etc. The fifth is seven semitones.

Its inversion, the fourth, is five semitones. The other intervals fall within the octave, and are recursive, i. This is why the diminished seventh chord is the key to "a lot of all this" modern thought: the notion of symmetry is developed from this.

Of course, in the wake of all the drama, nobody remembers that, now, but the issue was resolved, as far as I am concerned. This thread will explore that idea. Frank Martin is another composer who was thinking chromatically, although he was not a toner. Martin's technique in the Petite Symphonie concertante seems to be similar to Bartok, in that he uses the octatonic scale throughout. This scale, also known as the diminished scale, divides the octave into three 4-note diminished seventh chords.

Thus, three 'tonic stations' are formed, which gives the effect of 3 constantly shifting, yet unmistakably tonal, centers of activity. Plus, these diminished sevenths are ambiguous in their meaning as well, giving us more to grasp on-to as making 'tonal sense;' The diminished seventh on vii in tonality can easily be interpreted as an incomplete V7, and is resolved as if it were. This can create the illusion of V7s which constantly shift and resolve. Aside from what you call "constantly shifting, yet unmistakably tonal, centers of activity", imo what most marks these composers is a return to almost ascetic, neo-Baroque and neo-Classical textures.

Martin even used the harpsichord, to profound effect imo. That's a major departure from early Stravinsky, Bartok, and of course Debussy himself, all of whom also used the octatonic scale you mention and other techniques of tonal ambiguity but all of whom were still deeply entrenched in late 19th-century romantic traditions.

There is so much more to 20th century Modernism than the trend towards "chromaticism" you have been discussing. But I agree that ending the tyranny of the diatonic scale was a profound step.

Page 5 of 6 First 1 2 3 4 5 6 Last Jump to page:. By Huilunsoittaja in forum Classical Music Discussion. Replies: 50 Last Post: Jul, Replies: 4 Last Post: Jun, Replies: 5 Last Post: Jan, What is '' chromaticism''? By peeyaj in forum Classical Music Discussion. Replies: 46 Last Post: Oct, There's your chromatic scale! Some theorists will argue that the chromatic scale is a tonal scale.

Their arguments can be justified very easily. However, if you are just beginning to experiment with the chromatic scale, I recommend thinking of it in the way described above for the time being. Once you have a better understanding of the fundamentals, read more about it!

Hope that helps! It's a great scale to use in all sorts of music. A chromatic scale, which is a musical scale that divides an octave into semitones, consists of 12 half-steps. For example: a chromatic scale starting on C will have the following series of notes: c - c - d - d - e - f - f - g - g - a - a - b - c.

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Which instrument is sometimes used by a symphony orchestra to set the pitch for the other instruments in the orchestra. Q: Which opera is harmonically based on the chromatic scale? Write your answer Related questions. A tone row is based on what kind of scale? Singing in octaves is considered a monophonic texture. Heterophony often occurs in non-Western music and sometimes in folk music. Related to tempo: consult the Oxford Music Online commonly in Italian from the 17thth c.

Related to musical forms: Generally capital letters are used to distinguish different sections of a composition. A capital refers to an exact repetition. A lowercase letter refers to the same music but new text. A prime number after the capital refers to a variation of the music from the original section. The musical form is repeated using different verses of text, as in a hymn or folksong. Many hymns use the far form. This is typically used in dances. When a group dances are combined into a suite, the dances generally all stay in the same key.

This term is also called a ground bass, a chaconne, and a passacaglia. These are common in the Renaissance and Baroque periods. Generally in a theme and variations, the theme itself is identifiable. Variation sets are commonly used in the Classical period as the slow movement of a string quartet or symphony.