Escala cromática (Wikipedia)

http://es.wikipedia.org/wiki/Escala_crom%C3%A1tica

La escala cromática, también llamada escala dodecáfona o duodécuple,¹en música es una escala o modo musical constituido por una sucesión de docesonidos, alturas o notas diferentes dentro de una octava.² Contiene los docesemitonos de la escala temperada occidental. Todas las otras escalas en lamúsica occidental tradicional son subconjuntos de esta escala. Cada nota está separada de sus vecinas superior e inferior por el intervalo de medio tono.

En un piano actual o en otro instrumento afinado en temperamento igual, todos los semitonos son del mismo tamaño (100 cents). En otras palabras, las notas de una escala cromática en temperamento igual se encuentran a distancias exactamente iguales unas de otras. Una escala cromática en temperamento igual es una escala no diatónica que carece de tónica debido a la simetría de sus notas equidistantes.³ La concepción más común de la escala cromática antes del siglo XIII era la escala cromática pitagórica. Debido a una técnica de afinación diferente, los doce semitonos en esta escala presentan dos tamaños ligeramente diferentes. En consecuencia, la escala no es perfectamente simétrica. Muchos otros sistemas de afinación desarrollados en los siglos venideros, comparten una asimetría similar. Las alturas equidistantes únicamente son proporcionadas por los sistemas de afinación del temperamento igual, que son ampliamente utilizados en la música contemporánea.

Terminología e historia

El término «cromático» deriva de la palabra griega chroma, que significa "color". Los romanos analizaban los géneros usando pocos términos, entre ellos diatónico,enarmónico y cromático, siendo el último con el color entre los tres otros tipos que fueron considerados como modos a color. El género cromático contenía una tercera menor en la parte superior y dos semitonos en la inferior creando una cuarta justa en los extremos. Sin embargo, el término más cercano usado por losgriegos para nuestro uso moderno de «cromático» es pyknon o la densidad ("condensación") de los géneros cromáticos o enarmónicos.

En la actualidad los músicos utilizan este término para hacer referencia a la música que incluye las notas que no son parte de la escala principal, y también como palabra descriptiva para esas notas particulares no diatónicas. Las notas cromáticas se entiende tradicionalmente como adornos, sombreados o inflexiones armónicamente no esenciales de notas diatónicas. En la música tonal y otros tipos de música esta escala es poco usada fuera de los usos decorativos ascendentes o descendentes que no tienen ninguna dirección armónica y se consideran clichés.

Cromatismo

David Benavente (1994) describe tres formas de cromatismo: modulación, acordes tomados de tonalidades secundarias y acordes cromáticos tales como acordes de sexta aumentada. Lista de acordes cromáticos:

• Acordes de séptima de dominante de tonalidades vecinas, usadas para modular a esas tonalidades (cadencias V⁷-I).
• Acordes de sexta aumentada.
• Acordes de sexta napolitana como subdominantes cromáticas.
• Acordes de séptima disminuida como VII⁷ cromáticas.
• Acordes alterados
• Acordes expandidos
  • (Shir-Cliff, etc., 1965)

Otros asuntos cromáticos:

• El modo menor en las tonalidades mayores (mixtura de modos)
  • (Shir-Cliff, etc., 1965)

A medida que la tonalidad comenzó a expandirse durante la segunda mitad del siglo XIX, con nuevas combinaciones de acordes, tonalidades y armonías que se empleaban, la escala cromáticas y el cromatismo comenzaron a usarse más frecuentemente, en especial en las obras de Richard Wagner, tales como la óperaTristan und Isolde. El incremento del cromatismo incrementado es a menudo citado como una de las principales causas o signos del "quiebre" de la tonalidad, en la forma de la cada vez mayor importancia del uso de:

• Mixtura de modos
• Tonos conductores
• Tonicalización de cada nota cromáticas y otras áreas de tonalidades vecinas
• Espacio modulatorio
• Organizaciones jerárquicas del espacio cromático como los de George Perle
• El uso de acordes no tonales tales como tonalidades/escalas/áreas tónicas, como el acorde de Tristán.

Como la armonía tonal continuó extendiéndose pese al quiebre, la escala cromática siguió siendo parte de la base de la música moderna en el dodecafonismo, donde una serie dodecafónica es una ordenación específica de la escala cromática, y del posterior serialismo. Aunque estos estilos/métodos continúan (re)incorporando la tonalidad o elementos tonales, a menudo las tendencias que llevaron a estos métodos fueron abandonadas, por ejemplo la modulación.

Susan McClary (1991) argumenta que el cromatismo en la narrativa de la ópera y la forma sonata puede ser mejor comprendida como el "otro", racial, sexual, socialmente u otros, del propio diatonismo "masculino". Fuese a través de la modulación, como a una área de tonalidad vecina, u otros medios. Por ejemplo, Clement llama al cromatismo en la Isolde de Wagner "olor femenino" (Opera, 55-58, de McClary pág. 185sig). Sin embargo, McClary también anota que las mismas técnicas usadas en la música para representar la locura en la mujer representan históricamente la vanguardia en la música instrumental, "en la sinfonía delsiglo XIX, el atrevido cromatismo de la ópera Salomé de Richard Strauss es lo que distingue una composición realmente seria de la vanguardia de un trabajo hecho de clichés recortados."

• Categoría:Escalas musicales
• Escala monotónica
• Escala ditónica
• Escala tritónica
• Escala tetratónica
• Escala pentatónica
• Escala hexatónica
• Escala heptatónica
• Escala octatónica

"Estructuras de escalas"

Fuente:http://www.thecipher.com/

"ESCALAS"(http://www.lotusmusic.com/lm_scales.html)

http://www.lotusmusic.com/lm_scales.html

Scales

The most important scale used in pop, jazz, country, rock, and classical music today is a 7-note scale called the diatonic major scale. This section describes the diatonic scale and other musical concepts associated with it, including modes, chords, and intervals.

The second most important scale is the natural minor scale. This scale is derived from the diatonic major scale and shares the same notes and chords.

In modern western music the diatonic scale pattern is the basis for fifteen major keys. Each of these keys begins on a different note. The note that begins a key becomes the name of that key.

The key of C major is an example of one such key. When we start playing a diatonic scale pattern beginning with C, the result is C, D, E, F, G, A, B and C. When we repeat the beginning note of the scale we have played an octave. An octave is the tonal distance between two notes with the frequency of the higher note being twice that of the lower.

Diatonic Scale vs. Chromatic Scale
In our western music culture there are twelve tones between each octave. This series of twelve tones is called a chromatic scale. The distance between each tone of a chromatic scale is called a half step. Two half steps make a whole step. There are, of course, six whole steps in an octave. Below is a chromatic scale beginning and ending on C.

In the above example the scale begins and ends on C. If we wanted, we could repeat the sequence of tones to higher or lower octaves. The tones that make up the octave have been given letter names (A, B, C, D, etc.). Sometimes a single tone is called by two different names, i.e., C# and Db, D# and Eb (see Enharmonics).

A diatonic major scale, on the other hand, consists of seven notes spaced in a specific way consisting of whole steps and half steps between them. By the way, in a system called solmization, the diatonic major scale is sung "do, re, mi, fa, so, la, ti, do." The diatonic major scale in the key of C looks like this:

In the diatonic scale system, no matter what key is chosen, the spacing of the scale notes in steps is always: whole, whole, half, whole, whole, whole, half. The beginning note does not affect how the subsequent notes are spaced.

The diatonic scales is just one of many scales used in music today. It is popular because the intervals between the notes is pleasant to our ears North American ears. Though there may be some scientific reason why this one is so popular, it is probably because we are used to hearing it.

Other cultures around the world have developed other scales that sound good to them by altering the intervals between the notes. The different spacing between the notes of the chromatic scale is what makes Mid-Eastern, Indian, and Chinese music sound different from most of our pop music.

Types of Scales
As mentioned above the diatonic scale (also known as the Major scale) has a particular sound that distinguishes it from other scales. The two most important characteristics that gives this scale its unique sound are the third and seventh note. The third note is two full steps away from the root. This is an interval called a major 3rd. Scales with this interval tend to sound bright and strong. Scales with the third note only a step and a half apart, that is, a minor 3rd interval tend to sound soft and moody.

Major & Minor Scales
Scales can be grouped into two groups depending on the third note of the scale. Scales with a major 3rd interval between the root and third note are called Major scales. Scales with a minor 3rd interval between the root and third note are called Minor. There are a few exectpions, however.

The second characteristic of the Major scale that sets it apart is that the seventh note of the scale is a half step away from the octave. This distance creates a tension that is quickly dissipated when the root note follows the seventh note in a melodic run. The quality gives the scale a grounded quality to its sound. Other scales that have the seventh note further away, that is, a larger interval distance, sound airy and indefinite.

Below are examples of a few of the many scales from around the world. They all have different sounds depending on the distances between the notes.

"ESCALAS MODALES" (http://www.lotusmusic.com/lm_modes.html)

http://www.lotusmusic.com/lm_modes.html

Modes

A mode is a new scale derived from the notes of another scale. A mode begins and ends on a note that belongs to the original scale and has all the same notes as the scale from which it is derived. The difference is simply the beginning note. Modes have been given names depending on what note of the original scale the mode begins on. The names come from locales around ancient Greece. The first mode which begins on the first note of the scale and is called Ionian (this is identical to the Major scale). The Dorian mode begins on the second note, and so on.

Although these modes share the same notes as the scale from which they are derived, when played they have subtly different sounds. Soloists often base their improvisations on modes, and change from one mode to another as the chords change in a song.

The different tonal qualities of the modes is a function of the relative spacing of the notes from the beginning note. The diagram below shows the names of the modes of major scales, the notes they begin on, and the spacing of notes in the mode. This example shows the modes of C major. However, the spacing between notes and the mode names are the same for all the major keys.

The Natural Minor Scale
Within the major scale is a mode that is so popular that it has risen to the status of a full fledged scale. The sixth mode of the major scale is the Aeolian mode but it is better know as the Natural Minor Scale. This is the most common of all the minor scales and is used in every aspect of Western music (that is music of western culture not as in country-western).

This means that every major scale has a counter-part natural minor scale that shares all of the same notes. For instance, the sixth mode of the C Major scale is A Aeolian. This is a natural minor scale known as A Minor. C Major and A Minor have all of the same notes. Because of this relationship, A Minor is called the relative minor of C Major.

The Natural Minor scale is actually the same as the Aeolian Mode. They share the same notes as the Major scale from which they are derived.

"estructuras de acordes"http://www.lotusmusic.com/lm_chordbasics.html

http://www.lotusmusic.com/lm_chordbasics.html

Chord Basics

Chords are created when several notes of a scale (or mode) are played simultaneously. A triad chord is made up of the 1st, 3rd, and 5th note of the scale or mode. There are seven triad chords that belong to each major and minor key. Because these chords are made up only of notes from one key, they are called diatonic to that key.

The tonal distances between 1st, 3rd, and 5th notes differ according to the mode from which it is derived. This gives the chords their different sounds and becomes the basis for harmonic movement in a piece of music.

This chart shows the modes that make up the C Major scale. Choosing the 1st, 3rd, and 5th note of these modes creates the triad chords (three-note chords) that are diatonic to the key of C Major.

Music nomenclature (what things are called) can be confusing. In the example above you will notice these chords are called major and minor. Yes, chords are called major and minor and scales are called major and minor. On this website I will try to make it clear which is which by capitalizing the scale name. That is, C Major will refer to the seven-note scale (also known as key of C Major). C major will refer to the three-note chord.

"Artículos del Prof. Ricky Schneider"

http://www.clases-guitarra-online.com/tensiones-en-los-acordes-9-11-y-13/

TENSIONES EN LOS ACORDES 9, 11 Y 13

  9 enero, 2013 | Armonía, BLOG

Las tensiones en los acordes 9, 11 y 13 no son parte fundamental de estos, es decir que no definen su función armónica, se agregan para dar un embellecimiento, para crear una segunda línea melódica que se mueva por debajo de la melodía principal o para definir los diferentes estilos musicales. Son fundamentales para acompañar estilos como el jazz o la bossa nova, etc. A nadie se le ocurriría acompañar una bossa con acordes de tríada, simplemente porque no sonaría a tal.Vamos a ver aquí una regla básica para saber cuáles son las tensiones disponibles en cada uno de los acordes diatónicos (los que se forman con notas de la tonalidad).

Todos sabemos, o deberíamos saber, que un acorde se forma por superposición de terceras.   Ejemplo: C mayor= C, E, G. Donde E es la tercera de C y G la tercera de E. Por consiguiente si lo vemos desde la tónica (C) E es la tercera y G la quinta.

Si agregamos una tercera más (B) llegamos a un acorde cuatríada: C, E. G, B (Cmaj7).

Con este mismo criterio continuamos agregando terceras y aparecen la 9ª, la 11ª y la 13ª (que son la 2ª, la 4ª 7 la 6ª una octava arriba) es decir C, E, G, B, D, F, A, toda la escala mayor ordenada por terceras.

A no asustarse, esto no quiere decir que vayamos a tocar las 7 notas en un acorde, veremos como disponerlas y cuando.

La regla fundamental para saber qué tensiones pueden utilizarse (tensiones disponibles) es:

Una tensión no podrá ser la b9 de una de las notas del acorde.

Dicho de una forma más simple, no podrá estar medio tono por encima de una de las notas de la cuatríada.

En el caso anterior, el F no será una tensión disponible para el acorde de primer grado Cmaj7, pues es la b9 de E (F está medio tono por encima de E (b2) y al subirlo una octava se transforma en b9)

Con este mismo criterio elaboraremos un cuadro para cada uno de los acordes diatónicos:

Las notas en rojo son las tensiones disponibles, las sombreadas las que no. Resumiendo quedaría así:

Algunas reglas para ayudar a la memoria:

1. Todos los menores llevan 11
2. Todos los mayores llevan 9 y 13
3. El IV es el único con #11
4. El VII es el único con b13

Excepciones

1. Vemos que el segundo grado no admite 13 a pesar de no ser una b9. Esto se debe a que esta tensión formaría un tritono con la 3ª del acorde (F-B), cambiándole su función de subdominante a dominante.
2. El acorde de V puede llevar todas las tensiones, inclusive alteradas, pero eso ya es un tema para tratar más adelante.
3. Cuando vemos un acorde 6 (C6: C,E,G,A) el A no se nombra como 13 porque está reemplazando a la 7ª, o sea que forma parte de la cuatríada y no es tensión.

Fórmulas de las escalas

Una vez entendido (y recordado esto) lo aprovecharemos para saber construir las fórmulas de las escala, donde cada nota estará indicada por el grado del acorde o tensión que representa. Si es una tensión no disponible se nombrará 1 octava por debajo.

Veamos unos ejemplos sobre lo ya visto.

I grado (escala jónica) T, 9, 3, 4, 5, 13, 7

V grado (escala mixolidia) T, 9, 3, 4, 5, 13, b7

El uso

Aplicando estos criterios podremos agregar cualquier tensión disponible a cualquier acorde. El criterio será puramente estético o de estilo, como el pintor que selecciona los colores.

Como dije antes esto creará una segunda línea melódica por debajo de la melodía principal. Generalmente la tensión irá como voz lead (la nota más aguda del acorde)

Un par de ejemplos sobre II V I

Dm7      G7 13   Cmaj7 9

Aquí la voz lead desciende por la escala: F en Dm7, E en G7 13, D en Cmaj7 9

Dm7 9    G7 13   Cmaj7

Aquí la voz lead es una nota pedal (E): E en Dm7 9, E en G7 13, E en Cmaj7

Hasta aquí la teoría, en siguientes posts veremos cómo encontrar las tensiones sobre las disposiciones de acordes que ya conocemos.

"ESTRUCTURAS DE ESCALAS"

"ESTRUCTURAS DE ACORDES"

"Ubicación de intervalos en el diapasón de la guitarra"

Intervalos

"ESTRUCTURA INTERVALICA Y ARMONICA DE LA ESCALA MAYOR NATURAL"

Jazz Guitar Corner: Melodic Minor Modes Made Easy (Matt Warnock)

Matt Warnock

When learning how to play jazz, and other improvisational genres of music, learning how to play the seven modes of melodic minor is an essential skill any guitarist should have in their soloing tool belt.

While we know that learning the seven modes of melodic minor is important, sometimes it can seem like a tough task, and we feel we have to start from scratch when learning these seven modes.

But that doesn’t have to be the case.

In this lesson, you will learn how to simply change one note of each major mode in order to quickly learn all seven modes of the melodic minor scale.

If you are new to the major modes, check out my previous lesson, Major Modes Made Easy, for a refresher on these important melodic devices.

Melodic Minor Mode 1

To begin, let’s take a look at how you can alter one note from the Ionian mode to create the first mode of melodic minor, otherwise known as the melodic minor scale itself.

In order to do this, you play an Ionian mode but lower the third note of the fingering to form the first mode of melodic minor. Because of this alteration, you can think of the MM 1 fingering as being an Ionian b3 shape.

Here is how those two interval patterns compare.

Ionian: R 2 3 4 5 6 7
MM 1: R 2 b3 4 5 6 7

Here's how that interval pattern looks on the fretboard, with one note difference between the two being indicated by the blue highlight in the MM 1 shape.

Once you have learned the MM 1 shape, you can practice applying it to a minor family chord, such as m7, m6, m9, or mMaj7, in order to bring this shape to your improvisational practice as well as technical.

Melodic Minor Mode 2

Let’s now take a look at how you can alter one note from the Dorian mode to create the second mode of melodic minor. In order to do this, you play a Dorian mode but lower the 2nd note of the fingering to form the second mode of melodic minor.

Because of this alteration, you can think of the MM 2 fingering as being a Dorian b2 shape.

Here is how those two interval patterns compare.

Dorian: R 2 b3 4 5 6 b7
MM 2: R b2 b3 4 5 6 b7

Here's how that interval pattern looks on the fretboard, with one note difference between the two being indicated by the blue highlight in the MM 2 shape.

Once you've learned the MM 2 shape, you can practice soloing with this mode over a 7th chord, bringing out a 13susb9 sound, in order to apply this shape to your improvisational practice as well as technical.

Melodic Minor Mode 3

We’ll now move on to altering one note from the Phrygian mode to create the third mode of melodic minor, otherwise known as the Lydian augmented scale.

In order to do this, you play a Phrygian mode but lower the root note of the fingering to form the third mode of melodic minor. Because of this alteration, you can think of the MM 3 fingering as being a Phrygian b1 shape.

This may seem funny, lowering the root note, but it makes it very easy to turn a Phrygian mode into the third mode of melodic minor on the fretboard from a fingering standpoint.

Here's how those two interval patterns compare.

Phrygian: R b2 b3 4 5 b6 b7
MM 3: R 2 3 #4 #5 6 7 (or bR b2 b3 4 5 b6 b7 when compard to Phrygian)

Here's how that interval pattern looks on the fretboard, with one note difference between the two being indicated by the blue highlight in the MM 3 shape.

Once you have learned the MM 3 shape you can practice soloing with this mode over a maj7th chord, bringing out a maj7#5 sound, in order to apply this shape to your improvisational practice as well as technical.

Melodic Minor Mode 4

Let’s now alter one note from the Lydian Mode to create the fourth mode of Melodic Minor, otherwise known as the Lydian dominant scale.

In order to do this, you play a Lydian mode but lower the seventh note of the fingering to form the fourth mode of melodic minor.
Because of this alteration, you can think of the MM 4 fingering as being a Lydian b7 shape.

Here's how those two interval patterns compare.

Lydian: R 2 3 #4 5 6 7
MM 4: R 2 3 #4 5 6 b7

Here's how that interval pattern looks on the fretboard, with one note difference between the two being indicated by the blue highlight in the MM 4 shape.

Once you've learned the MM 4 shape you can practice soloing with this mode over a dominant family chord such as 7th, 9th or 13th, bringing out a #11 sound, in order to apply this shape to your improvisational practice as well as technical.

Melodic Minor Mode 5

Moving on, you can now alter one note from the Mixolydian mode to create the fifth mode of melodic minor. In order to do this, you play a Mixolydian mode but lower the sixth note of the fingering to form the fifth mode of melodic minor.

Because of this alteration, you can think of the MM 5 fingering as being a Mixolydian b6 shape. Here's how those two interval patterns compare.

Mixolydian: R 2 3 4 5 6 b7
MM 5: R 2 3 4 5 b6 b7

Here's how that interval pattern looks on the fretboard, with one note difference between the two being indicated by the blue highlight in the MM 5 shape.

Once you've learned the MM 5 shape, you can practice soloing with this mode over a dominant family chord such as 7th, 9th or 13th, bringing out a b13 sound, in order to apply this shape to your improvisational practice as well as technical.

Melodic Minor Mode 6

Let’s now alter one note from the Aeolian mode to create the sixth mode of melodic minor, otherwise known as the Locrian Natural 2 scale. In order to do this, you play an Aeolian mode but lower the fifth note of the fingering to form the sixth mode of melodic minor.

Because of this alteration, you can think of the MM 6 fingering as being an Aeolian b5 shape.

Here's how those two interval patterns compare.

Aeolian: R 2 b3 4 5 b6 b7
MM 6: R 2 b3 4 b5 b6 b7

Here's how that interval pattern looks on the fretboard, with one note difference between the two being indicated by the blue highlight in the MM 6 shape.

Once you've learned the MM 6 shape, you can practice soloing with this mode over a m7b5 chord in order to apply this shape to your improvisational practice as well as technical.

Melodic Minor Mode 7

Lastly, you can alter one note from the Locrian mode to create the seventh mode of melodic minor, otherwise known as the altered scale. In order to do this, you play a Locrian mode but lower the 4th note of the fingering to form the seventh mode of melodic minor.

Because of this alteration, you can think of the MM 7 fingering as being a Locrian b4 shape.

Here's how those two interval patterns compare.

Locrian: R b2 b3 4 b5 b6 b7
MM 7: R b3 b3 b4 b5 b5 b7

Here's how that interval pattern looks on the fretboard, with one note difference between the two being indicated by the blue highlight in the MM 7 shape.

Matt Warnock is the owner of mattwarnockguitar.com, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the U.K., where he teaches Skype guitar students all over the world, and is an examiner for the London College of Music (Registry of Guitar Tutors).

Fuente:http://www.guitarworld.com/jazz-guitar-corner-melodic-minor-modes-made-easy