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a D# note between chords such as Cmaj7 and Dm7) or part of longer sequences of notes. This can be done with single chromatic notes (e.g. Using chromatic notes between chords are a common approach, not at least in jazz. In the C Major, for example, the scale tones are C, D, E, F, G, A, B and the passing tones are Db, Eb, Gb, Ab, Bb. Many scales include seven notes and there are five passing notes in a such scale. These can be seen as the opposite of target notes. Chromatic passing tonesĬhromatic notes can be used as passing notes, which are played shortly between notes in the key. This short melody line shows how a bass walk made by adding chromatic notes (F# in the second bar and D in the third bar) can be constructed. You can also bring in more octaves in the exercise. As you get more secure, you can gradually increase the tempo. The exercise can be mirrored for the left hand. Begin slowly and play strictly according to the advised fingerings. 2 really outlines the 3 by including the. The formula for this scale is 12b334456b7. 1, you can see an example of what I’ll call the country chromatic scale. As you’ll notice, these are all chord tones. Notice the instructions for fingerings: you should mainly alternate the thumb and the middle finger. The most important notes in a dominant 7 tonality are the root, 3, 5 and b7. This scale can be used for an exercise of the control over your fingers: Therefore, the G Chromatic Scale would begin at G and consist of all notes to the next G including one octave. The formula is uncomplicated: all notes are included. You will not find pictures of chromatic scales in all keys, it would be somewhat unnecessary due to the similarities.
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If we take the Chromatic Scale in C as an example, it can be played as:Īscending: C, C#, D, D#, E, F, F#, G, G#, A, A#, B, Cĭescending: C, B, Bb, A, Ab, G, Gb, F, E, Eb, D, Db, C This can be referred to as a chromatic movement. For example, in a sequence of notes such as G - F# - F as a bass walk from the G to the Em chord. Chromatic scales are not very useful as groundworks for a composition, instead they can be integrated as parts of songs. As you can see on the picture below, all notes in the octave are included. However, the German sixth can also act as a dominant 7th chord of another key through enharmonic changes.įor example, in C, the German 6th can become dominant 7th of D flat if the F sharp is rewritten as a G flat.The Chromatic Scale consists of twelve notes that each are one semi-step apart (it can be compared with the contrary diatonic scale), and is also called the Half-tone Scale. For example, in C the German sixth would naturally pivot the piece to G (the dominant). The typical modulation you see is where the augmented 6th chord is built on the flattened submediant in the existing key and then leads to the dominant which becomes the new key. The term chromatic has to do with colors.
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Diatonic chord progression: Chord movement from one diatonic chord to another. The German sixth is the most commonly used of the three and works well as a pivot chord for modulation. Diatonic chords: Chords that are made up of the notes of a given key. This extract from Schubert’s Waltz in C major is an example of a German sixth: The German sixth has a perfect 5th added instead of the augmented 4th: Have a look/listen to this example of a French sixth from Beethoven’s Pathetique Piano Sonata: The French sixth has an augmented 4th interval added above the bass: Here is a very famous example of an Italian sixth taken from Beethoven’s Symphony No. The Italian Sixth is the simplest of the three versions as it uses just the 3 basic notes from the augmented 6th chord: All three of the chords include the major 3rd interval and the augmented 6th interval above the root note, but have differences in the other note added: There are 3 common types of augmented sixth chords you will come across. If this is the case then the harmony usually leads to V (or sometimes Ic-V). Typically, the lower note moves down a semitone and the upper note moves up a semitone to form an octave. They usually occur in minor key, but can be found in major keys through use of additional accidentals to “borrow” notes from the parallel minor scale.Īugmented 6th chords are dissonant and so “want” to resolve. They are very useful in modulation to different keys and have been used in various forms since the Renaissance period.Īugmented sixth chords are typically built on the flattened submediant (the 6th note of the scale) Augmented 6th chords are chromatic chords that are built upon the interval of a major 3rd and an augmented 6th.