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 generally used by guitar players for its accessibility when applied to traditional minor scale shapes (that is, it is simply easier for guitarists to play). However, many players and resources adhere to the traditional spelling of the scale. The bebop major scale is derived from the Ionian mode (major scale) and has a chromatic passing tone between the 5th and 6th notes. \override Score.TimeSignature #'stencil = ##f \relative c' { </score> This scale is often used over major sixth chords and major seventh chords. The bebop melodic minor scale is derived from the ascending form of the melodic minor scale