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by DavidPiper
1887 days ago
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> Figuring out what it means to have a chromatic scale "for a given key" is advanced music theory Interesting... Do you have any links for learning more about this - maybe some analyses? My take on chromatic scales (in the context of this post) is that the very existence of a(n equally tempered 12 tone) chromatic scale is the axiom the OP is using but not stated - hence a comment further up/down about P5s not necessarily being equivalent to d6 in other tunings. My take on chromatic scales (outside the context of this post) is that there is only one, like there are only two whole-tone scales, etc, and that it wouldn't necessarily make sense to say "the E chromatic scale" - instead you'd say "playing a chromatic scale over an E major harmony" (for example). However, if there are cases where it's useful to be more specific I'd be really keen to go deeper. |
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Ooh, good catch-- I completely left out tuning systems!
But again-- the point of "basic" music theory is to simplify the practice of discussing music. In that context, the fundamental purpose of the chromatic scale is to introduce the complete set of note names, as well as the range of the piano pitches. This gives the student a full set from which to derive all other concepts like scales, keys, triads, and all the other fundaments of the common practice period.
So again, if you start with a chromatic scale and then start talking about the differences in half-step intervals along it-- boom. Huge conceptual warp.
Honestly, I don't know much about the intersection between symmetric scales and alternate tuning systems. Personally, it seems like it would be an incredibly esoteric niche, although I can imagine some funny musical jokes with the idea. :)