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A chromatic nonharmonic tone is a nonharmonic tone that is chromatic, or outside of the key and creates half-step motion. The use of which, especially chromatic appoggiaturas and chromatic passing tones, increased in the Romantic Period. [13]
Bebop scale is a term referring to the practice of adding a note (typically a chromatic passing tone) to any common seven tone scale in order to make it an eight tone scale. Having eight notes enables the primary chord tones to continuously fall on the on-beats when the scale is played sequentially. This is unlike common seven note scales in ...
Bebop scales add a single chromatic passing tone to the seven-note major scale (Ionian and Mixolydian modes). The added passing tone creates an eight-note scale that fits rhythmically evenly within a 4 4 measure of 8 eighth notes, thus making it useful in practicing.
Melodies can be based on a diatonic scale and maintain its tonal characteristics but contain many accidentals, up to all twelve tones of the chromatic scale, such as the opening of Henry Purcell's "Thy Hand, Belinda" from Dido and Aeneas (1689) with figured bass), which features eleven of twelve pitches while chromatically descending by half steps, [1] the missing pitch being sung later.
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.
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 chord-scale system may be compared with other common methods of improvisation, first, the older traditional chord tone/chord arpeggio method, and where one scale on one root note is used throughout all chords in a progression (for example the blues scale on A for all chords of the blues progression: A 7 E 7 D 7).
Diminished chord function is rarer but still exists. Half-diminished chords can function in the same way as fully diminished chords, such as in the chord progression CM 7 – C ♯ dim 7 – Dm 7, or Em 7 – E ♭ dim 7 – Dm 7, where the diminished chord serves as a chromatic passing chord preceding a chord with a diatonic