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A passing tone (PT) or passing note is a nonchord tone prepared by a chord tone a step above or below it and resolved by continuing in the same direction stepwise to the next chord tone (which is either part of the same chord or of the next chord in the harmonic progression).
The bebop major scale is derived from the Ionian mode (major scale) and has a chromatic passing note added (a ♯ 5) between the 5th and 6th degrees of the major scale. . Adding the ♯ 5 note to the seven-note major scale allows the chord tones 1, 3, 5 and 6 (a major 6th chord) to land on on-beats when the scale is played sequen
Passing chord in B ♭ from across the circle of fifths (tritone, see also tritone substitution): B ♮ 7 Play ⓘ. [1] The circle of fifths drawn within the chromatic circle as a star dodecagon. [2] In music, a passing chord is a chord that connects, or passes between, the notes of two diatonic chords. [3] "
The diatonic scale notes (above) and the non-scale chromatic notes (below) [13] 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) notionally derive, and it may be thought of as constructed in a certain way from diatonic tetrachords.
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 ...
The following example is in C major. The lowest part is a "lament bass" that descends from the tonic to the dominant using chromatic passing tones before returning at the end up to the tonic in a perfect cadence. The upper voice moves in the opposite direction from the dominant note up to the tonic.
Chromatic fourth: lament bass bassline in Dm (D–C ♯ –C(♮)–B–B ♭ –A) The diatonic scale notes (above) and the non-scale chromatic notes (below) [1] Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. In simple terms, within each octave ...
This motif also appears in measures 6, 10, and 12, several times later in the work, [clarification needed] and at the end of the last act.. Martin Vogel [] points out the "chord" in earlier works by Guillaume de Machaut, Carlo Gesualdo, J. S. Bach, Mozart, Beethoven, or Louis Spohr [1] as in the following example from the first movement of Beethoven's Piano Sonata No. 18: