Editing Semitone (section)

==History==

The semitone appeared in the music theory of Greek antiquity as part of a diatonic or chromatic [[tetrachord]], and it has always had a place in the diatonic scales of Western music since. The various [[Musical mode|modal]] scales of [[medieval music]] theory were all based upon this diatonic pattern of [[whole tone|tones]] and semitones.

Though it would later become an integral part of the musical [[Cadence (music)|cadence]], in the early polyphony of the 11th century this was not the case. [[Guido of Arezzo]] suggested instead in his ''[[Micrologus]]'' other alternatives: either proceeding by whole tone from a [[major second]] to a unison, or an ''occursus'' having two notes at a [[major third]] move by contrary motion toward a unison, each having moved a whole tone.

"As late as the 13th century the half step was experienced as a problematic interval not easily understood, as the irrational {{sic}} remainder between the perfect fourth and the [[ditone]] <math>\left(\begin{matrix} \frac{4}{3} \end{matrix} / {{\begin{matrix} (\frac{9}{8}) \end{matrix}}^2} = \begin{matrix} \frac{256}{243} \end{matrix}\right)</math>." In a melodic half step, no "tendency was perceived of the lower tone toward the upper, or of the upper toward the lower. The second tone was not taken to be the 'goal' of the first. Instead, the half step was avoided in [[Clausula (music)|clausulae]] because it lacked clarity as an interval."<ref name="Dahlhaus">[[Carl Dahlhaus|Dahlhaus, Carl]], trans. Gjerdingen, Robert O. ''Studies in the Origin of Harmonic Tonality''. Princeton University Press: Princeton, 1990. {{ISBN|0-691-09135-8}}.</ref>

[[File:Marenzio solo e pensoso chromatic.png|thumb|Dramatic chromatic scale in the opening measures of [[Luca Marenzio]]'s ''Solo e pensoso'', ca. 1580 [[File:Marenzio solo e pensoso opening.MID]]]]
However, beginning in the 13th century [[cadence (music)|cadences]] begin to require motion in one voice by half step and the other a whole step in contrary motion.<ref name="Dahlhaus"/> These cadences would become a fundamental part of the musical language, even to the point where the usual accidental accompanying the minor second in a cadence was often omitted from the written score (a practice known as [[musica ficta]]). By the 16th century, the semitone had become a more versatile interval, sometimes even appearing as an augmented unison in very [[chromatic]] passages. [[Music semiotics|Semantically]], in the 16th century the repeated melodic semitone became associated with weeping, see: [[chromatic fourth|passus duriusculus]], [[lament bass]], and [[pianto]].

By the [[Baroque music|Baroque era]] (1600 to 1750), the [[tonality|tonal]] harmonic framework was fully formed, and the various musical functions of the semitone were rigorously understood. Later in this period the adoption of [[well temperament]]s for instrumental tuning and the more frequent use of [[enharmonic]] equivalences increased the ease with which a semitone could be applied. Its function remained similar through the [[Classical music|Classical]] period, and though it was used more frequently as the language of tonality became more chromatic in the [[Romantic music|Romantic]] period, the musical function of the semitone did not change.

In the 20th century, however, composers such as [[Arnold Schoenberg]], [[Béla Bartók]], and [[Igor Stravinsky]] sought alternatives or extensions of tonal harmony, and found other uses for the semitone. Often the semitone was exploited harmonically as a caustic dissonance, having no resolution. Some composers would even use large collections of harmonic semitones ([[tone clusters]]) as a source of cacophony in their music (e.g. the early piano works of [[Henry Cowell]]). By now, enharmonic equivalence was a commonplace property of [[equal temperament]], and instrumental use of the semitone was not at all problematic for the performer. The composer was free to write semitones wherever he wished.