The #chromaticscale or #twelvetonescale is a musical scale with twelve pitches, each a semitone above or below its adjacent pitches. As a result, in 12-tone equal temperament (the most common temperament in Western music), the chromatic scale covers all 12 of the available pitches. Thus, there is only one chromatic scale.[a]  Moreover, in equal temperament, all the semitones have the same size (100 cents) and there are twelve semitones in an octave (1200 cents). As a result, the notes of an equal-tempered chromatic scale are equally-spaced.  The chromatic scale...is a series of half steps which comprises all the pitches of our [12-tone] equal-tempered system.  ââAllen Forte (1979)[1] All of the pitches in common use, considered together, constitute the chromatic scale. It is made up entirely of successive half steps, the smallest interval in Western music....Counting by half steps, an octave includes twelve different pitches, white and black keys together. The chromatic scale, then, is a collection of all the available pitches in order upward or downward, one octave's worth after another.  ââWalter Piston (1987)[2] A chromatic scale is a nondiatonic scale consisting entirely of half-step intervals. Since each tone of the scale is equidistant from the next [symmetry] it has no tonic [key].[3] ... Chromaticism [is t]he introduction of some pitches of the chromatic scale into music that is basically diatonic in orientation, or music that is based on the chromatic scale instead of the diatonic scales.[4]  ââBenward & Saker (2003)  Notation  The circle of fifths drawn within the chromatic circle as a star dodecagram.[6] The chromatic scale has no set enharmonic spelling that is always used. Its spelling is, however, often dependent upon major or minor key signatures and whether the scale is ascending or descending. In general, the chromatic scale is usually notated with sharp signs when ascending and flat signs when descending. It is also notated so that no scale degree is used more than twice in succession (for instance, Gâ â Gâź â GâŻ).  Similarly, some notes of the chromatic scale have enharmonic equivalents in solfege. The rising scale is Do, Di, Re, Ri, Mi, Fa, Fi, Sol, Si, La, Li, Ti and the descending is Ti, Te/Ta, La, Le/Lo, Sol, Se, Fa, Mi, Me/Ma, Re, Ra, Do, However, once 0 is given to a note, due to octave equivalence, the chromatic scale may be indicated unambiguously by the numbers 0-11 mod twelve. Thus two perfect fifths are 0-7-2. Tone rows, orderings used in the twelve-tone technique, are often considered this way due to the increase ease of comparing inverse intervals and forms (inversional equivalence).   weki