Ostwald's colour theory and working with the chromatic scale
Since the trumpets before 1814 (when valves were first used) could not produce the full chromatic scale
of thirteen tones in an octave, composers of the Romantic and previous eras confined music for the trumpet to fanfares and filler type sounds.
And if modulations are to be possible, a complex chromatic scale
is necessary with ever-changing tunings for pitches--e.
Wood thrushes can conform to the familiar Western diatonic scale; canyon wrens come close to the more complex chromatic scale
, and hermit thrushes sing with the pentatonic scale of traditional Asian music.
We offer a new approach to the perceptual space (H,S,I) (an Uniform Chromatic Scale
space about wick we describe its properties as well as the metrics to work in it.
Their choice of a colour palette subtly shifts one's emotional responses, turning a romantic tale into something cooler as the film progresses: warm browns and reds for Italy, the dark hues of the monastery and music master Poussin's chambers in Austria, cooler greens and yellows for British virtuoso Frederick Pope's estate, blues and earth tones appropriate for China during its Cultural Revolution, and a severely reduced, matter-of-fact use of the chromatic scale
for the auctioneering scenes in contemporary Montreal.
partitions the twelve notes of the chromatic scale
into six symmetrically related dyads' (p.
So hearing at the diatonic scale level is autonomous from hearing at the chromatic scale
Much is said in these letters of the applicability of hexachord-building, through the doctrine of conjunctae, on every note of the chromatic scale
, allowing in theory a breadth of chromaticism not to be matched in practice even by Gesualdo at the end of the sixteenth century (he was thus not taken aback by the chromatic experiment of Willaert's celebrated "duo" though he did question its correctness of tuning).
Atonality negates the primacy of a keynote or tonic; the notion of a scale built upon the tonic, to which certain of the twelve notes of the chromatic scale
belong and to which others are foreign; the building of harmonic combinations exclusively in thirds; and the distinction between consonant and dissonant combinations, especially the need to resolve dissonances into consonances.
Following his preliminary observations, Tosoroni provides charts outlining the general and extended ranges of the instrument, fingerings for a chromatic scale
spanning the entire range of the instrument, relations of the valves to the keys of the natural horn, and a method for tuning the valve slides.
The first song, "May," is rich in natural images with a chromatic scale
tone painting of bees in the accompaniment.