Diatonic vs. Chromatic Hammered Dulcimers

February 22, 2025

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By Nicolette Foss

There are a few terms that you may hear in hammered dulcimer circles, like “diatonic” or “chromatic.” In this blog post, we will break down exactly what the terms diatonic and chromatic mean, and how they apply to the hammered dulcimer. If you aren’t knowledgeable in music theory, don’t worry, this blog post was made just for you.

Here is a video we made to sum it all up:

 

Standard/Diatonic and Chromatic Hammered Dulcimers EXPLAINED!

 

Let’s start from our foundations of music theory. The most common musical system we use in Western music is what is known as 12-tone equal temperament (other musical systems include Just intonation or Pythagorean tuning which are less common). 

To understand 12 equal temperament (or 12-ET), we start with an octave, the interval space between two of the same letter notes. For example, C4 to C5 on a grand piano is the space of one octave. 12-ET divides the entire interval of one octave into 12 equally spaced parts. For those familiar with music notation, it looks something like this: 

The image above represents a grand piano’s C4 to C5, a full octave of C. Each of the 12 notes is separated by an interval of a half step aka a semitone. You’ll notice symbols, called accidentals, that indicate an alteration of a given pitch. The notes that are represented with a sharp (♯) symbol to the left of them indicate that a half step higher than that note should be played. In music notation, sharp (♯) means that the note played should be a semitone higher in pitch, while the flat symbol (♭) represents that note should be played a semitone lower in pitch. 

Additionally, as you can see, some notes can be represented in two ways. For instance, C♯ and D♭ are the same note but are just written differently. These are what are known as enharmonic equivalents. 

When we want to define which notes we choose to use in a piece of music, we group them into what is called a scale, which is a series of notes that are ordered by pitch, either ascending or descending. 

There are many different kinds of scales that we could use in music, so next let’s explore the common ones.

What is a Diatonic Scale?

Diatonic scales build the majority of melodies and harmonies we play today. Of the 12 pitches available per octave, the diatonic scale will use only seven of the possible pitches. Therefore, a diatonic scale is a musical scale with seven notes. Here Chris plays an example of a diatonic scale: 

🤔What is a diatonic scale? #hammereddulcimer

 

Whichever pattern of whole and half steps between the seven pitches is chosen will help create each scale’s unique mood. Diatonic scales have five whole (W) steps, and two half (H) steps in varying orders depending on what “mood” the composer has chosen. The beginning (or tonic) note each scale starts on is typically the name of the scale’s “key,” which helps us differentiate the groups of scales. 

As you may have already guessed, there are many diatonic scales due to the amount of possible combinations. Here are the main types of diatonic scales used today and the effects or moods they can create.

Types of diatonic scales:

  • The major scale or Ionian mode: The most commonly used scale in Western music, a major scale is considered to sound bright and cheerful. As an example, a C major scale would be the following pitches: C-D-E-F-G-A-B. The tonal distance between the frequencies of these pitches would be the following sequence: WWHWWWH. This sequence is the basis for all major scales. A few song examples that are written in a major key include “Imagine” by John Lennon, “Hallelujah” by Leonard Cohen, “Clint Eastwood” by the Gorillaz, and “Roxanne” by the Police. 
  • The minor scale or Aeolian mode: This scale is considered to sound darker, more somber, and more sorrowful than a major scale. It is also one of the most commonly used scale types. As an example, the pitches making up an A minor scale would be: A-B-C-D-E-F-G. Therefore, the minor scale interval sequence is as follows: WHWWHWW. This sequence is the basis for all minor scales. Minor key song examples include “Wish You Were Here” by Pink Floyd, “Mad World” by Gary Jules, “Losing My Religion” by R.E.M., and “Bad Romance” by Lady Gaga.
  • The Dorian mode: The Dorian mode can sound mysterious, delicate, and grand. This mode is often used by jazz musicians. Dorian mode is very similar sounding to the minor scale but slightly less dark, often being described as “darkness with a hint of light.” This is due to the mode’s sixth degree being raised a half step in contrast to the minor interval sequence, like so: WHWWWHW. As an example, the notes in an A Dorian scale are A-B-C-D-E-F♯-G. Song examples include “Scarborough Fair” by Simon & Garfunkel, “Purple Haze” by Jimi Hendrix, “Evil Ways” by Santana, and “So What” by Miles Davis.
  • The Mixolydian mode:  The Mixolydian mode is known for its groovy, upbeat sound with a bluesy edge. It is popular with blues players, jam bands, and jazz guitarists. The Mixolydian mode is similar to a major scale but with a lowered seventh note, making it only slightly darker sounding. The interval sequence would be WWHWWHW. As an example, a C Mixolydian scale would be: C-D-E-F-G-A-B♭. Song examples include “Clocks” by Coldplay, “Sweet Child O’ Mine” by Guns N’ Roses, “Manic Depression” by Jimi Hendrix, and “Don’t Stop ‘Til You Get Enough” by Michael Jackson.

What is a Chromatic Scale?

The chromatic scale is a musical scale consisting of 12 pitches per octave, each a semitone (or halftone) apart. Since the scale includes all available pitches in 12-ET, it is not tied to a specific key.

Using the C4 to C5 octave image we used as an example early in this post, semitones of the chromatic scale would be C- C#-D-D#-E-F-F#-G-G#-A-A#-B. The structure of a chromatic scale is therefore uniform throughout, unlike diatonic scales that are arranged in varying orders of tones and semitones.

To get a visual of what the chromatic scale looks like on an instrument, think of the white and black keys on a piano. If you start at any key on the piano and then hit the next 11 notes ascending (or descending) in order, you will have played a full chromatic scale. Here Chris demonstrates a chromatic scale on the piano, then on the dulcimer:

Hear the Chromatic Scale on Piano vs. Hammered Dulcimer

Why use chromatic notes in music?

Even though the chromatic scale helps form the basis of Western music theory, it is seldom fully used in the music or improvisation of today. However, the chromatic scale is often used to transition to a new key or section of music. This can help give more character to a piece. 

Since chromatic scales offer the full range of available tones, using chromatic notes can add more expression, color, ornamentation, and emotional depth to compositions. If you want to convey complex emotions and moods in your music, chromatic notes can help you do that. 

If you want to pepper some chromatic notes into your piece, you can implement them through the use of chromaticism. Chromatism is when notes are used that are outside of the diatonic scale or key the composition is based upon. You can do so by altering pitches a half tone higher or lower, which expands the harmonic possibilities. Typically this is displayed on the sheet music through accidentals that we mentioned earlier ♯, ♭, or ♮which is written to cancel out the previous sharp or flat. 

A step beyond chromaticism would be to go fully chromatic. This means that a piece of music is entirely composed using notes from the chromatic scale. 

Examples of music using chromatic notes: 

There are a variety of musical genres that use chromaticism or the full chromatic scale, including classical, blues, and rock. Here are some song examples that use chromatic notes: 

  • “Für Elise” by Beethoven 
  • “Ave Maria” by Franz Schubert 
  • “Flight of the Bumblebee” by Nikolai Rimsky-Korsakov
  • “Chains and Things” by BB King 
  • “Giant Steps” by John Coltrane 
  • “Born to Run” by Bruce Springsteen 
  • “Dazed and Confused” by Led Zeppelin 
  • “Master of Puppets” by Metallica 
  • “TNT” by AC/DC 

Some instruments have access to full chromatic scales while others don’t. For instance, the violin and piano can play any scale, while the glockenspiel is restricted to whatever scale it is tuned to.

Additionally, some instruments are available in both diatonic and chromatic versions, like the harmonica, harp, and the hammered dulcimer. Here at Songbird Dulcimers, we offer both diatonic and chromatic versions of hammered dulcimers. Let’s look closer at the differences between them. 

What is a Diatonic Hammered Dulcimer?

A diatonic hammered dulcimer is made with two bridges: a treble and a bass bridge. The treble has mostly higher notes and the bass bridge has mostly lower notes, although some of the same notes are repeated on both. 

Our 9/8 Fledgling is a purely diatonic hammered dulcimer.

Diatonic hammered dulcimers are constructed with diatonic scales in mind. We have found the best way to visualize most diatonic scales on the dulcimer is by thinking of them in “boxes.” 

Here the 7 notes of each diatonic scale are arranged into “boxes,” making up the keys of C, G, D, and F

When starting at the note at the lower right corner of the box, then playing the next three notes up, then moving over to the lower left corner of the same box and playing the next three notes up, you will be playing a major scale. Similarly, when starting at almost every unmarked note and repeating the same pattern, you will be playing a minor scale.

However, just because you are playing a diatonic dulcimer does not mean you are limited to only play all the set notes within that key. Depending on your model, you can pepper in some chromatic notes by finding the note in another key. Most of our diatonic hammered dulcimers (besides the Fledglings) are also what we call “mostly chromatic.” This is because they have access to at least one fully chromatic octave. Some of our standard diatonic dulcimers even boast 2+ chromatic octaves! The secret? Our mostly chromatic models have an additional tiny bridge above the treble bridge that allows for even more chromatic range in the high notes. 

Here are our diatonic models that we consider “mostly chromatic”, including their ranges and chromatic ranges: 

  • 13/12 Chickadee: Range from G3-E6 (196 Hz to 1318.51 Hz), Chromatic range from E4-D6, almost 2 octaves
  • 16/15 Phoebe: Range from D3-E6 (146.83 Hz to 1318.51 Hz) Chromatic range from B3-D6, 2+ octaves
  • 16/15 Finch: Range from D3-E6 (146.83 Hz to 1318.51 Hz) Chromatic range from B3-D6 which, 2+ octaves

While you should be able to get at least two full chromatic octaves with each of these models, there is still a limit to a diatonic hammered dulcimer’s range. The diatonic models do not have every semitone available for the full chromatic range of notes starting from the bottom of the bass bridge to the top of the treble bridge.

For this reason, we have chromatic hammered dulcimers which have an extra chromatic bridge or bridges to supplement the missing chromatic notes. Now, it is our pleasure to introduce you to the fully chromatic hammered dulcimer..

What is a Chromatic Hammered Dulcimer?

A chromatic hammered dulcimer incorporates the standard treble and bass bridge from a diatonic dulcimer, with an additional one or two bridges providing the missing chromatics from those bridges. The extra chromatic bridge can either be on the left or right side (on some of our models, you can tell us which side you prefer and we will do that for you). 

Our Finch Chromatic model is an example of a chromatic hammered dulcimer.

Our chromatic hammered dulcimers are what is called “fully chromatic.” A fully chromatic hammered dulcimer will include all 12 semitones per octave ranging from the note starting at the bottom of the bass bridge to the top of the treble bridge. You can play every semitone in between. For this reason, chromatic range is important to know when looking to buy a fully chromatic dulcimer. Here are the ranges and fully chromatic ranges of our chromatic dulcimers: 

You may have noticed in this list that some of these models have an extra bridge. This fourth bridge is what we call an extended range bridge. 

What is an Extended Range Bridge?

This version of our Finch Chromatic Pro model includes an extended range bridge on the lower left side

 

An extended range bridge is the added fourth bridge on our dulcimers. The extended range bridge can provide an even larger range of notes to choose from, typically lower notes. Some makers may utilize their fourth bridge as an extra chromatic bridge, but most of us use it to add more of the lower notes. We’d all like a little bit more bass after all! 

Hammered dulcimers with four bridges are built for a player who wants as many options as possible. We recommend these models for those serious about playing. Although our top-priced model, the Finch Chromatic Pro has four bridges, this doesn’t mean beginning players can’t start with four bridges. A fourth bridge may still be in your price range if you take a look at the 14/13/6/7 Voyageur, which is smaller and lighter than the Pro.

 

Diatonic or Chromatic: Which One For You?

So which should you go for? That depends on what kind of music you want to play, your musical experience level,  and your price point. We like to recommend diatonic hammered dulcimers to musical novices because we find that their setup is easier to understand (thinking of the diatonic scales in “boxes”) and they usually cost less than a chromatic. On the other hand, if you prefer to have access to more possibilities, we recommend a chromatic dulcimer. Let us know if you have any questions; we are here to help!

 

About the author: In her childhood, Nicolette Foss could be found playing underneath piles of sawdust in her father’s hammered dulcimer workshop. She helped with odds and ends in the business and learned the importance of hard work. Nicolette still works for the business today, running festival booths with her dad Chris, putting strings on dulcimers, and managing Songbird’s social media. If you’d like to hire Nicolette for content writing or copywriting work, contact her at: nicolettelady@protonmail.com

 

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