Hi guys,
Before anything,happy new year!

I know the basic theory and basic scales since some years,I've spent thousand hours exploring these scales,but now I'm curious to explore the chromatic scale.Or at least to perfect my own knowledges.

My problem is that I don't know which chords/chord progressions I should use.

I've searched through the web but I don't find anything about that.

Any expert here in music theory,like @MMJ2017 or @Baxter or @Avenger?[the site don't find our friend avenger,is he gone like Superliquidsunshine,or am I blacklisted??? I don't hope]

Thanks in advance.

Sorry for my English.

 

Sorry, in my first answer I had misunderstood your question.
Do you meant which chords to use for each note of a chromatic scale (complete)?

 

Last edited: Jan 6, 2019

Yes I know that.But I've read some artists compose in chromatic scale and I would know how they do that.
I've also read that you can make melodies in chromatic but using only some chords with thirds,fourfths,fifths,etc like you do with other common scales.
Maybe I misunderstood?..

 

Last edited: Jan 5, 2019

It's indescribable and unformulatable. Please read this thread first:
https://audiosex.pro/threads/what-does-this-simple-sentence-mean.41819/

Every composer devises his/her own method and some decades later, helpless and jobless theorists discover those scores and try to formulate them and propound the results of their findings as some general rules and bewilder the next generation of composers and this faulty menstrual cycle is repeated but I'm sure you're smart enough to draw back yourself from this defective vision.

 

He is not asking what you think about theory. This is not the topic.

He is looking for some explanation about how to compose using the chromatic scale.

 

Listen to Bix Biederbecker's piano suites. Especially the composoition called Flashes.

Try this...

Harmonise a major scale into its chords.

Then join each chord up by adding an accidental between each chord. Kind of like voice leading. Some pitches work more effectively than others.

The flat 6 (of the key) nearly always sounds good.

 

Last edited: Jan 5, 2019

By 'join up' I mean 'connect'.

So Cmaj for 1 bar.

On 4th beat of measure play a Db OR a Ab note as a connector.

Then move to Dminor in measure two.

When moving to measure three, Eminor. Any of the notes of Dminor could be raised.

When you get to the end of the harmonised scale you've played a chromatic scale through it.

 

Last edited: Jan 5, 2019

You could find something to start with Schoenberg's twelve-tone system, and serialism.
There is an interesting bunch of information here (click)

IMHO, there is not a lot of explanation about this, because it is not used very much, and when it is, it's usually only part of a composition, but not the base of it. Also "Chromaticism" let you a lot of freedom, so in this case, I would use my ears.

 

Last edited: Jan 6, 2019

its
No Avenger

 

Yes, I know and I just told him there's not a powerful and reliable general-purpose explanation for that kind of freedom and everyone deals with it in his own way. What everyone plans and builds is kind of a proprietary brand which works for himself and not necessarily for others like most software codes.

 

Would you care to explain?

 

This guy has the compulsive habit of asserting his aversion to theories. All the topics commented on by him appear to be about the same thing, like a scratched disc.

 

It may be useful to consider this:
http://music.stackexchange.com/questions/40000/chords-in-the-chromatic-scale

Try hexachords that complement each other by inversion or transposition.

Also, You can use transposed scales so that when combined, they form a chromatic scale, like C, C#, Eb, E, F#, G, A, Bb and C#, D, E, F, G, G#, A#, B (the second scale has the missing notes that complement the chromatic scale). You can use chords coming from both scales, combining them, gravitating around them. Using this approach, you can combine many scales since there is a complementarity relationship.

 

Last edited: Jan 6, 2019

This kind of subjective point of view doesn't help a lot....

However thanks to you all,now I get some trails.
I will try to apply this now!

 

Most people don't want to face the obvious facts ...

 

I will tell my own experience:

It depends on which note of the chromatic scale is emphasized in melody. That note will be the tonic. Then you can build chords based on this on the scale. You can build any chord you want until when it conveys the emotion you want with the melody you are using.

However, the common method for chromatic scale is starting from the tonic and choosing every other note as chord notes (3 notes chord or more).

Fucking agree with this, people should get a life.

 

use the ones that sound good and work, easy

 

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