In the Musical theory, the semitone indicates smallest joint interval of the diatonic scale, being equivalent roughly to half of the your, from where its name.

• the tone and the semitone are the basic intervals, which by addition, make it possible to obtain all the others: third, quad, fifth, etc

• There exist two categories of semitone, each one having its own function, its own nature and its clean wide: the semitone diatonic and the chromatic semitone .

Semitone diatonic

The Demi-ton diatonic exists in a native state - i.e., without recourse to the deteriorations - in the diatonic scale natural, on the one hand between the notes semi and F , on the other hand, between the notes if and C - the other intervals being let us tons.

• the semitone diatonic has a gravitational function. It is located between two notes of different names - for example, “ do-ré$\backslash \; flat$ ”.

Chromatic semitone

The chromatic Demi-ton is obtained by means of a deterioration: this one shares each tone of the diatonic scale in two semitones: a semitone diatonic and a chromatic semitone. The chromatic semitone thus corresponds to the difference between the your and the semitone diatonic.

• the chromatic semitone has an expressive function. It is located between two of the same notes name - for example, “ do-do$\backslash \; sharp$ ”.

Chromatic scale

The musical scale only made up of semitones is called chromatic scale. This one contains seven semitones diatonic and five chromatic semitones.

Inequality of the semitones

According to the theory inherited the 19th century, the semitone diatonic is smaller than the chromatic semitone, while in the Tempérament mesotonic employed at the time baroque, it is larger than the chromatic semitone.

To include/understand the inversion of the halves-tons, it should well be intended that the prototype of the second minor one - semitone diatonic - is the relation sensitive-tonic. The temperament mesotonic is built on the pure major third (smaller than in the equal temperament), and the sensitive one, for harmonic reasons, is initially regarded as the third of the agreement of dominant - therefore, in D , the do$\backslash \; sharp$ , third of the the , is low, and the semitone diatonic do$\backslash \; sharp$-ré large. Later, one considers especially the ascending feeling of sensitive attracted by the tonic, and the do$\backslash \; sharp$ becomes (on the instruments monodic, and with the voice) higher than on the equalized keyboard, and do$\backslash \; sharp$-ré a smaller semitone.

The 17th century of the keyboards with broken Feintes allowed, by dividing into two each one what one names today black keys, to carry out this difference, i.e. to be able to differently play a do$\backslash \; sharp$ from a ré$\backslash \; flat$ .

Equalization of the semitones

The system known as of the equal temperament made it possible to simplify the chromatic scale by equalizing its twelve semitones: semitone diatonic and chromatic semitone have from now on the same extent. However, them orthography differs, and one will take care not to confuse “ do-ré$\backslash \; flat$ ” and “ do-do$\backslash \; sharp$ ”, which does not have the same expressive direction, even if ré$\backslash \; flat$ and do$\backslash \; sharp$ , enharmonic notes , have same the Fréquence on the majority of the current instruments.

Intervals smaller than the semitone

Although absent from the musical system, of the intervals smaller than the semitone were always considered in the Western music, in general in a theoretical way - in particular different the comas. One also finds microtones, in particular of the quarter-with-tons, in non-European musics, like since the end of the 19th century in Western music.

See too

• Deterioration (musical theory)
• Cycle of the seven notes
• chromatic Semitone
• Semitone diatonic
• diatonic Scale
• theoretical and technical Glossary of the Western music
• Interval (music)
• Your (music)

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