This bit from Bitwig's Grid tutorial series walks through how to constrain a continuous LFO signal to discrete musical pitches, covering two distinct approaches: stepping through every semitone versus using Pitch Quantize to land only on chosen scale degrees.
The "by semitone" mode works like an auto-tune for control signals, snapping a flowing pitch signal to each individual semitone it passes through. Pitch Quantize goes further, letting you define exactly which semitones the signal should land on, so the modulation only triggers specific steps in a scale or chord.
Pitch Quantize also offers a second distribution mode that spreads steps evenly across the signal's range rather than snapping to the nearest pitch. The difference shows up clearly on an oscilloscope: what was a smooth triangle wave becomes a uniform staircase, with slight irregularities appearing when the octave range is uneven.
Because the source here is an LFO rather than a sequencer, curve controls and wave shaping can introduce subtle timing variations that break away from mechanical patterns. The result is something that behaves like an arpeggiator but arrives there through modulation logic rather than conventional note triggering.