diatonically


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Related to diatonically: diatonic scale, diatonicism

di·a·ton·ic

 (dī′ə-tŏn′ĭk)
adj. Music
Of or using only the seven tones of a standard scale without chromatic alterations.

[Late Latin diatonicus, from Greek diatonikos : dia-, dia- + tonos, tone; see tone.]

di′a·ton′i·cal·ly adv.
di′a·ton′i·cism (-ĭ-sĭz′əm) n.
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References in periodicals archive ?
Patterns are short motives that move up or down sequentially and diatonically, like 1231, 2342, 3453 and so on.
Studying his music, one never doubts that Nielsen was thinking diatonically, but he did so in an unanchored sort of way.
Thus, we have heard male and female voices, after having pursued to their most elevated limit the diatonic notes which appertain to the full voice, take the falsetto voice, in order to rise higher, then descending diatonically, always retaining the falsetto, unto a certain distance below the limit at which the full voice had stopped; so that the same diatonic notes which have been produced in ascending by the full voice, are produced in descending by the falsetto voice.
McFerrin's live performances include spontaneity (for example, he sometimes chooses audience members with whom he orchestrates an improvisational duet), but his music is more conventionally tonally and rhythmically integrated than Medulla; Bjork's album includes many traditional harmonies and familiar metrical patterns but also disrupts these with interacting parts that do not align diatonically or metrically.
This eighth-note pattern weaves through various five-finger patterns, both chromatically and diatonically, and extends at times beyond the five-finger pattern creating unusual fingering combinations.
But because the line does not resolve diatonically as the harmony suggests that it should, the cadence instead feels unfinished, just as Orlando and Rosalind feel unsatisfied by the false nuptials to the point that both proclaim the need to end the role-playing.
By focusing on the arguments between supporters and opponents carried out in the European music press at the time, the author is able to construct a "reception history" that contradicts these explanations, pointing instead to fears that composers would be enticed to use them without limits, for example using the trumpet diatonically outside the clarion register or using the horn melodically in all registers without having to consider the sound of stopped tones.