{"id":10882,"date":"2015-12-31T00:00:00","date_gmt":"2015-12-31T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=10882"},"modified":"2024-10-14T20:20:40","modified_gmt":"2024-10-15T04:20:40","slug":"sixth-day-christmas-six-common-melodic-progressions","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/sixth-day-christmas-six-common-melodic-progressions\/","title":{"rendered":"Sixth Day Of Christmas: Six Common Melodic Progressions"},"content":{"rendered":"

As you’ve learned in past lessons<\/a>, the octave can be divided into equal parts and melodic progressions are a product of the division of the octave into such equal parts. <\/p>\n

On the first day<\/a> of Christmas, we covered the totality of the octave and how melodic and harmonic materials can be found within its compass.<\/p>\n

In today\u2019s post, I\u2019m going to take you deeper into octave<\/a> studies by exploring its division into equal parts.<\/p>\n

Review of the Octave<\/h2>\n

There are seven natural tones in music. These tones are represented using the first seven alphabets \u2013 A to G.
\n
\nOctave is the eighth<\/em> tone in series starting from any of the natural tones above. For example,
\nA to A:
\n
\nD to D:
\n
\nThe eighth tone is considered important because it has the same letter name as the first tone. The octave (8th tone of) C is C, the octave of F is F etc.<\/p>\n

Even though the octave is the eighth tone, it encompasses all the pitch classes in music \u2013 twelve of them.<\/p>\n

The octave of C…
\n
\n…contains all twelve pitch classes:
\n
\nIn this post, we\u2019re going to represent the octave with twelve<\/strong>, as opposed to seeing it as the eighth tone and associating it with eight<\/strong>.<\/p>\n

You may not be used to the consideration of the octave as twelve but for the sake of what we\u2019re going to study here, let\u2019s consider the octave as a totality of twelve pitch classes.<\/p>\n

Melodic Progressions<\/h2>\n

The octave in its totality (of twelve pitch classes) can be divided into a certain number of parts. <\/p>\n

This divisions will yield what we call melodic progressions<\/em>. There are several melodic progressions in music, however, we\u2019ll cover six common ones that are important in chord progressions and scale formation. These melodic progressions include:<\/p>\n

\u2022 Semitone
\n\u2022 Wholetone
\n\u2022 Sesquitone
\n\u2022 Ditone
\n\u2022 Tritone<\/p>\n

The two unfamiliar ones in the list include sesquitone<\/strong> and diatessaron<\/strong>. Semitone, wholetone, ditone and tritone are pretty common so you may have heard of them before. If you haven\u2019t, then read on because I’ll be covering each of the melodic progressions above in today’s post. <\/p>\n

Let’s get started with the very first – semitone progression.<\/p>\n

Semitone Progression<\/h2>\n

The division of the octave into twelve equal parts will produce the semitone progression.<\/p>\n

The octave in its totality contains twelve pitch classes. Therefore, the division of these twelve pitch classes into twelve parts can be mathematically given as:<\/p>\n

12 pitch classes\/12 equal parts = 1<\/p>\n

Therefore, from one pitch class to an adjacent pitch class<\/strong> in any direction (ascending or descending) is a semitone progression. There are twelve semitone progressions in one octave:
\nC-C\u266f
\n[thrive_lead_lock id=’11374′]
\nC\u266f-D
\nD-D\u266f
\nD\u266f-E
\nE-F
\nF-F\u266f
\nF\u266f-G
\nG-G\u266f
\nG\u266f-A
\nA-A\u266f
\nA\u266f-B
\nB-C[\/thrive_lead_lock]<\/p>\n

This melodic progression is closely related to two intervals<\/a>:<\/p>\n

Augmented Unison
\nMinor second<\/p>\n

(Read this post on Melodic Progressions vs Intervals<\/a>).<\/p>\n

*”Half step” is often used interchangeably with “semitone progression.”<\/p>\n

Wholetone Progression<\/h2>\n

Division of the octave into six equal parts will produce the wholetone progression.<\/p>\n

The octave in its totality contains twelve pitch classes. Therefore, the division of these twelve pitch classes into six equal parts can be mathematically given as:<\/p>\n

12 pitch classes\/6 equal parts = 2<\/p>\n

Therefore, from one pitch class to two adjacent pitch classes<\/strong> in any direction (ascending or descending) will yield a wholetone progression. In one octave, there are six wholetone progressions:<\/p>\n

C-D
\n[thrive_lead_lock id=’11374′]
\nD-E
\nE-F\u266f
\nF\u266f-G\u266f
\nG\u266f-A\u266f
\nA\u266f-C
\n[\/thrive_lead_lock]<\/p>\n

This melodic progression is related to two known intervals:<\/p>\n

Major second
\nDiminished third<\/p>\n

Sesquitone Progression<\/h2>\n

Sesquitone progression is a product of the division of the octave into four equal parts.<\/p>\n

Considering the octave as a totality of twelve pitch classes, if we go ahead and divide it into three equal parts, we\u2019ll have:<\/p>\n

12 pitch classes\/4 equal parts = 3<\/p>\n

Therefore, from one pitch class to three adjacent pitch classes<\/strong> in any direction (ascending or descending) will yield a sesquitone progression. In every octave, there are four sesquitone progressions:<\/p>\n

C-D\u266f
\n[thrive_lead_lock id=’11374′]<\/span>
\nD\u266f-F\u266f
\nF\u266f-A
\nA-C
\n[\/thrive_lead_lock]<\/span><\/p>\n

The Italian word sesqui<\/em> means half. Therefore sesquitone literally means an addition of a half step to a wholetone (which is sometimes called a tone) progression. If you do the math:<\/p>\n

Wholetone (2) + Half (1) = Sesquitone (3)<\/p>\n

Elements of the diminished (seventh) chord and scales are related to this very cycle. If you are familiar with diminished seventh chords in all the keys, you won’t have any difficulty whatsoever in understanding this melodic progression. For example, D diminished seventh chord:
\n
\n…is closely related to the sesquitone progression. If we go ahead and calculate the interval between chord tones, we can see that:<\/p>\n

D to F:
\n
\nF to A\u266d:
\n
\nA\u266d to C\u266d:
\n
\n…and C\u266d to D:
\n
\n…are all sesquitone progressions (in between the notes in each case are three adjacent pitch classes [sesquitone]).<\/p>\n

(I recommend reviewing this post on melodic progressions vs intervals<\/a>).<\/p>\n

Ditone Progression<\/h2>\n

The octave can also be divided into three equal parts. The product of such a division is the ditone progression.<\/p>\n

The octave (in its totality) contains twelve pitch classes. Therefore, the division of these twelve pitch classes into three equal parts can be mathematically given as:<\/p>\n

12 pitch classes\/3 equal parts = 4<\/p>\n

Therefore, from one pitch class to four adjacent pitch classes<\/strong> in any direction (ascending or descending) will yield a ditone progression. Every octave can be broken down to three ditone progressions. Using the octave of C as an example, we\u2019ll have:<\/p>\n

C-E:
\n
\nE-G\u266f:
\n
\nG\u266f-C:
\n<\/p>\n

In the English language, the prefix \u201cdi\u201d is mostly used to denote two. Therefore, the term ditone literally means \u201ctwo wholetones.\u201d<\/p>\n

Considering that a wholetone progression has the value of two (adjacent pitch classes), a ditone will have twice of that value \u2013 four<\/strong> (adjacent pitch classes).<\/p>\n

Let it not escape your notice that this melodic progression has something to do with the augmented triad. It practically takes the same effort of remembering the augmented chord in remembering the ditone progression. <\/p>\n

For example, F augmented triad:
\n
\n…is closely related to the ditone progression. This is because a breakdown of the interval between chord tones will show that:<\/p>\n

F to A:
\n
\nA to C\u266f:
\n
\n…and C\u266f to F:
\n
\n…are all ditone progressions (in between the notes in each case are four adjacent pitch classes [ditone]).<\/p>\n

Diatessaron Progression<\/h2>\n

The diatessaron progression is different from other melodic progressions we\u2019ve covered so far. The diatessaron involves the division of 5 octaves into twelve equal parts.<\/p>\n

There are exactly 60 semitone progressions in 5 octaves. Let me show you how.
\nIf every octave has twelve semitone progressions, that means that 5 octaves will have sixty semitone progressions (12 x 5 = 60).<\/p>\n

Division of these 60 semitone progressions into twelve equal parts can be mathematically given as:<\/p>\n

60 semitone progressions \/ 12 equal parts = 5<\/p>\n

Therefore, from one pitch class to five adjacent pitch classes<\/strong> in any direction (ascending or descending) will yield a diatessaron progression. Five octaves can be broken down to twelve diatessaron progressions.<\/p>\n

Permit me to use a four octave keyboard for this illustration.<\/p>\n

C-F
\nF-B\u266d
\nB\u266d-E\u266d
\nE\u266d-A\u266d
\nA\u266d-D\u266d
\nD\u266d-G\u266d
\nF\u266f-B
\nB-E
\nE-A
\nA-D
\nD-G
\nG-C<\/p>\n

In ancient Greece, diatessaron<\/a> means four<\/strong>.<\/p>\n

Notwithstanding that the diatessaron is a melodic progression of five adjacent pitch classes, it represents an interval of a fourth (between the first and fourth degree of the major and minor scales) C to F consists of 5 semitone progressions:
\n<\/p>\n

F is also the fourth scale step in the major and minor scales of C:<\/p>\n

C major
\n<\/p>\n

C minor
\n<\/p>\n

If you\u2019re already familiar with the interval cycle of fourths<\/a> in music, then relating to diatessaron progressions won\u2019t be difficult.<\/p>\n

\"circleoffiths1\"<\/p>\n

Tritone Progression<\/h2>\n

Division of the octave into two equal parts yields the tritone progression.<\/p>\n

The octave in its totality contains twelve pitch classes. Therefore, the division of these twelve pitch classes into two equal parts can be mathematically given as:<\/p>\n

12 pitch classes \/ 2 parts = 6<\/p>\n

Therefore, from one pitch class to six adjacent pitch classes in any direction will yield a tritone progression. You can only find two tritone progressions in one octave:<\/p>\n

C-F\u266f<\/p>\n

F\u266f-C<\/p>\n

This melodic progression is closely related to two chromatic dissonant intervals<\/a>:<\/p>\n

Augmented fourths
\nDiminished fifths<\/p>\n

There was a time in music when these intervals were called the devil in music<\/a> because of their extreme dissonance<\/a>. <\/p>\n

Final Words<\/h2>\n

There’s much more to melodic progressions than we covered here. If you really want to learn more about melodic progressions, opt into our early bird list for the comprehensive course we’re releasing in 2016 that delves deeper into the concepts covered here by [thrive_2step id=’11346′]clicking here.<\/span>[\/thrive_2step]<\/span><\/span><\/p>\n

These melodic progressions will prove helpful in the study of [thrive_2step id=’11346′]scales<\/span>[\/thrive_2step]<\/span>, [thrive_2step id=’11361′]chords<\/span>[\/thrive_2step]<\/span> and [thrive_2step id=’11364′]chord progressions<\/span><\/span>[\/thrive_2step].<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Melodic progressions are the result of an octave being divided into equal parts. In this post, learn 6 common melodic progressions and where they’re found.<\/p>\n","protected":false},"author":9,"featured_media":22994,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[1923,17,1912,1911,1802,1909,1910,1853,1908],"class_list":["post-10882","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-piano","tag-12-days-of-christmas","tag-basic-songs","tag-diatessaron-progression","tag-ditone-progression","tag-melodic-progressions","tag-semitone-progression","tag-sesquitone-progression","tag-tritone-progression","tag-wholetone-progression","post-wrapper","thrv_wrapper"],"yoast_head":"\nSixth Day Of Christmas: Six Common Melodic Progressions - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"Melodic progressions are the result of an octave being divided into equal parts. 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