Chromatic scale common conception of the chromatic scale before the 13th century was the Pythagorean chromatic scale (). Due to a different tuning technique, the twelve semitones in this scale have two slightly different sizes. Thus, the scale is not perfectly symmetric. Many other tuning systems, developed in the ensuing centuries, share a similar asymmetry. In Pythagorean tuning (3-limit just intonation) the chromatic scale is tuned as follows, with sharps higher than their enharmonic flats: These are 17-EDO Pythagorean tuning approximations. In 5-limit just intonation the chromatic scale, Ptolemy's intense chromatic scale, is as follows, with flats higher than their enharmonic sharps,
Bebop scale as the bebop minor scale) is derived from the Dorian mode and has a chromatic passing tone between the minor 3rd and the perfect 4th. \override Score.TimeSignature #'stencil = ##f \relative c' { </score> It has all the notes in both the Dorian scale and the Mixolydian scale of the same root. It is the 5th mode of the bebop dominant scale. A second form of the bebop Dorian scale features a major seventh bebop note between the dominant seventh and the tonic. \override Score.TimeSignature #'stencil = ##f \relative c' { </score> The second style, featuring the major seventh, is