It can be helpful to learn more about acoustics... Many frigid artificial compositional systems were created in music that don't work at all from acoustic standpoint.
In general, simplicity is the key, I don't say that more complex music can't work in theory, but it's often simple building blocks creating more complex textures, chords, melodies etc.

https://en.wikipedia.org/wiki/Musical_acoustics
https://arxiv.org/html/1202.4212v1

 

Yes I know that simplicity is better most of time.But like I said,maybe I won't play in chromatic,it's for my own knowledges at least.

I think there is a reason if humans have created the scales we know,because chromatic doesn't work well.

Thanks for your links,I'm already reading them!

 

Can you explain a little more in detail what do you mean?
I'm not sure I understand ... there is probably a problem in my understanding of English...

 

You are wrong, if you think that chromatic (12 notes ) scale was before others... It's the opposite. There are like 7000 years old flutes found in China that use 7note scale that is near equal (it is known that in Eastern Asia 7 ET or something near it was the "chromatic"; see for example the traditional music of Thailand). Most folk music around the whole world uses unequal scales of 5 notes.

Each note can be used as a major/minor (or whatever modal scale you) use tone center.
The Western notation can be pretty confusing, because naming schemes are based on Pythagorean tuning and intervals from Just Intonation, or if we have to be more precise: fifth/fourth generated scales in some kind of unequal tuning, so don't get bothered in counting in how many ways we can notate or spell a certain musical passage. It's kind of good for 7note major scales or the modes, but it can fail miserably - check any dense passage by Liszt or similar in a remote key. It's basically unreadable unless you are very good. That's why people were suggesting something like chromatic staves notation, but of course it won't happen anytime soon, because of how conservative we are; instrument transpositions in orchestral/band music is a similar topic - everyone hates them, they serve no purpose now and were used only because old instruments were very primitive and limited.

 

I never said that.

 

Yes but that does not mean one have been created before the other one.

 

Works well but a bit weird without resolution like this opus (made by midi):

Of course you can use it in a jazzy or other fashions and make another opus.

 

Last edited by a moderator: Jan 25, 2019

No prob my friend

In 12 tone e.t
You have symmetrical structures as the building blocks for everything else
Take the diminished 7th chord
Here is the chromatic scale with B dim7 in bold
A#bcc#dd#eff#gg#a
See how the dim7 chord is made of equally spaced notes? This symmetrical shape contains 4 dominant 7 chords inside (because 3 diminished 7 chords in chromatic scale )
That is example of symmetrical chord
But what about symmetrical scales like the whole tone , chromatic, augmented?
These symmetrical structures are called Key collections .
This means each note in the collection is a key
So with the chromatic scale in other words
Cc#dd#eff#gg#aa#bc
Each note here is a major Key
What about whole tone scale ?
F G A B C# D#
This is also a key collection
Each note is a major key
So in 12 tone e
T.
Any symmetrical scale is a key collection
Meaning each one of the notes inside of the scale is its own major Key
Here is the key of c major
( The note C)
Cdefgabc
1 cegb
2 dfac
3 egbd
4 face
5 gbdf
6aceg
7bdfa

In a major key such as this
I cegb ,III egb , vi aceg are home
Iidfac ,IV face .are away home
V gbdf,vii%bdfa ate farthest from home
So with whole tone scale
F G A B C# D#
Or chromatic
Cc#dd#eff#gg#aa#bc
Each note is a major Key

But what about major scale itself?
That is a note collection because it is not symmetrical.

Here is how you arrive at a major key

First you start with chromatic scale
Then break it into 2 equal parts
Or whole tone scale
First one
C d e f# g# a#
Second
C# d# f g a b
So we create C major key by taking first notes of first whole tone scale C D E
Then we take the last 4 notes of second whole tone scale F G A B
Put together
Cdefgab

You can create all the major keys that way
By rotating out the notes of both whole tones like conveyour belt .
Instead of
C D e f# g# a#
C goes at end now
D e f# g# a# c
Same with second whole tone
C# d# f g a b
C# goes at end now
D# f g a b c#
So all together

De f# g# a# c
D# f g a b c#

So to create d major key first 2 notes of first whole tone scale
D e f#
And last 4 notes of the second whole tone scale
G a b c#
All together
D major
D e f# g a b c#

 

Last edited: Feb 2, 2019

Next the chromatic scale is fully used by each major key let's see how first key of c major
C D e f g a b

1cegb
2dfac
3egbd
4face
5gbdf
6acrg
7bdfa
Now you have 3 functions home or no tension
1cegb, III egbd, vi aceg
Next you have little away from home or some tension
Iidfac iv face
Last you have full tension or far from home
V gbdf vii%bdfa
Now to see where chromatic scale is used in c major we look at our tense chord far from home the V
Gbdf
The a lteration we have for this chord is
G# a# c# d#
So full v chord is
G b c# d d# f a c# d#

This means we don't use the c note on the V
So in cmajor if you put just the I chord with the V and it's alterations you get the chromatic scale
Cc#dd#eff#gg#aa#bc
The same goes for every other major scale
The way to think of this is in the form of tension or release but inside the context of a major key
When you on the tension portion every note except the tonic can be used as tension
Then when on the I chord you use I , III , vi, chords