Diatonic and Chromatic VoicePrism User Manual
DIATONIC AND
CHROMATIC:
EXPLAINED
We've described scalic and chordal harmonies as diatonic, and shift harmonies as
chromatic; but what do those words mean?
Look at a piano keyboard. Between middle "C" and the next "C" there are twelve
keys - 7 white keys and 5 black keys. Each of those keys are pitched one semitone
apart for a total of, you guessed it, 12 semitones. The chromatic scale uses all twelve
semitone notes opposed to the diatonic scales. Thus there is only one chromatic
scale, but 12 each of the major, minor, etc. diatonic scales (C major, C# major, D
major, etc). Most of us have grown up hearing the traditional "doh ray me fah so la
tee doh" diatonic scale, so that harmonies based on the diatonic scale sound correct.
What does this mean, harmony-wise?
Diatonic scale harmonies can only use notes within specified scale or chord, so a
“third above” harmony voice actually varies between 3 and four semitones above
the lead note where the chromatic harmony would stay exactly 4 semitones (a major
3rd) above each note.
To recap: we have three different harmony modes that use chromatic or diatonic
scales.
Shifting, which uses the chromatic, 12
semitone scale, changes the input
pitch by a fixed number of semitones.
Chordal, which uses the root, third,
fifth and sometimes seventh of the
many diatonic scales, pitches the har-
mony voice to the closest note con-
tained within the chord.
Scalic, which uses one of many dia-
tonic scales, pitches the harmony
voice to the nearest note contained
within the scale.
Theory aside, the best way to get great sound is to experiment with all of
VoicePrism's possible harmony modes. Not only will you develop a intuitive sonic
sense of what works best where, but by investigating different permutations and
combinations you could discover some delightful sounds you might otherwise have
missed.
Go forth. Create harmony. Have fun.
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