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Diatonic and chromatic
''Diatonic'' ((ギリシア語:διατονική)) and ''chromatic'' ((ギリシア語:χρωματική)) are terms in music theory that are most often used to characterize scales, and are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900.〔Often ''diatonic'' and ''chromatic'' are treated as mutually exclusive opposites, concerning common practice music. This article deals mainly with common practice music, and later music that shares the same core features (including the same particular use of tonality, harmonic and melodic idioms, and types of scales, chords, and intervals). Where other music is dealt with, this is specially noted.〕
These terms may mean different things in different contexts. Very often, ''diatonic'' refers to musical elements derived from the modes and transpositions of the "white note scale" C–D–E–F–G–A–B.〔This definition encompasses the natural minor scale (and equivalently the descending melodic minor), the major scale, and the ecclesiastical modes.〕 In some usages it includes all forms of heptatonic scale that are in common use in Western music (the major, and all forms of the minor).〔For inclusion of the harmonic minor and the ascending melodic minor see the section Modern meanings of "diatonic scale" in this article.〕 ''Chromatic'' most often refers to structures derived from the chromatic scale, which consists of all semitones. Historically, however, it had other senses, referring in Ancient Greek music theory to a particular tuning of the tetrachord, and to a rhythmic notational convention in mensural music of the 14th through 16th centuries.
==History==
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