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1243:(1959, p. 243) if he really believed in an innate connection between "pathos" and chromaticism, the composer replied: "Of course not; the association is entirely due to convention." Nevertheless, the convention is a powerful one and the emotional associations evoked by chromaticism have endured and indeed strengthened over the years. To quote Cooke (1959, p. 54) "Ever since about 1850—since doubts have been cast, in intellectual circles, on the possibility, or even the desirability, of basing one's life on the concept of personal happiness—chromaticism has brought more and more painful tensions into our art-music, and finally eroded the major system and with it the whole system of tonality."
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1602:, and by the beginning of that period were an important part of its melodic and harmonic resources. Chromatic tones arise in music partly from inflection of scale degrees in the major and minor modes, partly from secondary dominant harmony, from a special vocabulary of altered chords, and from certain nonharmonic tones... Notes outside the scale do not necessarily affect the tonality...tonality is established by the progression of roots and the tonal functions of the chords, even though the details of the music may contain all the tones of the chromatic scale.
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Sometimes...a melody based on a regular diatonic scale (major or minor) is laced with many accidentals, and although all 12 tones of the chromatic scale may appear, the tonal characteristics of the diatonic scale are maintained. ... Chromaticism he introduction of some pitches of the chromatic scale
858:
There was more prominent use of chromatic harmony, which employs chords containing tones not found in the prevailing major or minor scale. ... Chromatic chords add color and motion to romantic music. Dissonant, or unstable, chords were also more freely than during the classical era. By deliberately
1222:
A line cliché is any chromatic line that moves against a stationary chord. There are many different types of line clichés—most often in the root, fifth or seventh—but there are two named line clichés. The major line cliché moves from the fifth of the chord to the sixth, then back to the fifth.
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300:
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When one note of an interval is chromatic or when both notes are chromatic, the entire interval is called chromatic. Chromatic intervals arise by raising or lowering one or both notes of a diatonic interval, so that the interval is made larger or smaller by the interval of half step
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whose madrigals provide many examples and employ virtually the same symbolism. The chromatic symbolizing darkness doubt and grief and the diatonic light, affirmation and joy—this imagery has hardly changed for three centuries." When an interviewer asked
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A chromatic note is one which does not belong to the scale of the key prevailing at the time. Similarly, a chromatic chord is one which includes one or more such notes. A chromatic and a diatonic note, or two chromatic notes, create chromatic intervals.
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Assuming the starting chord is the tonic, the simplest form of the major line cliché forms a I–I+–vi–I+ progression. The minor line cliché moves down from the root to the major seventh, to the minor seventh, and can continue until the fifth.
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375:(1825—1900) "Chromaticism increased to the point that the major—minor key system began to be threatened. By the end of the period, keys often shifted so rapidly in the course of a composition that tonality itself began to break down."
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As tonality began to expand during the last half of the nineteenth century, with new combinations of chords, keys and harmonies being tried, the chromatic scale and chromaticism became more widely used, especially in the works of
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can be chosen to be understood through a
Marxist narrative as the "Other", racial, sexual, class or otherwise, to diatonicism's "male" self, whether through modulation, as to the secondary key area, or other means. For instance,
556:), that "chordal structures ... partially resultants of the descending bass lines" and that "chromatic evasiveness internally in the phrases countered by cadence strength and clarity", such as the "resolute movement from
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The chromatic expansion of tonality which characterizes much of nineteenth century music is illustrated in miniature by the substitution of a chromatic harmony for an expected diatonic harmony. This technique resembles the
1407:
760:
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260:. In simple terms, within each octave, diatonic music uses only seven different notes, rather than the twelve available on a standard piano keyboard. Music is chromatic when it uses more than just these seven notes.
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299:
1357:
593:, Op. 48, No. 4; "though most vertical sonorities include the seventh, ninth, eleventh, and thirteenth, the basic harmonic progressions are strongly anchored to the concept of root movement by fifths".
369:(1750—1825) "The major and minor keys were the basis of music in the classical period. Chromaticism was decorative for the most part and shifts from one key to another...were used to create formal divisions."
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1453:, p. 172 speaks of this music's "slow chromatic drift and its modulations as elusive as the soft drift into sleep itself, when the sharp edges of consciousness begin to blur and fade".
1519:
for itself as that of the strongest scale-step. If the composer yields to this urge of the scale-step within the diatonic system of which this scale-step forms part, I call this process
381:(1875—1920) "With the breakdown of the major—minor key system, impressionist composers began to experiment with other scales....particularly...pentatonic, modal, and whole-tone scales."
847:
By chromatic linear chord is meant simply a chord entirely of linear origin which contains one or more chromatic notes. A great many of these chords are to be found in the literature.
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1230:(1986, p. 254) speaks of a long established "dualism" in Western European harmonic language: "the diatonic on the one hand and the chromatic on the other as in the time of
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135:
1685:"feminine stink". However, McClary also contradicts herself saying that the same techniques used in opera to represent madness in women were historically highly prized in
363:(1600—1750) "The system of major and minor scales developed during the early part of the baroque period. This coincided with the emergence of key consciousness in music."
1275:
526:. Though these styles/methods continue to (re)incorporate tonality or tonal elements, often the trends that led to these methods were abandoned, such as modulation.
454:
1577:], initially effected an expansion of the tertian system; the overuse of the procedures late in the century forewarned the decline and near collapse [
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In the major mode a substitute chromatic consonance often proves to be a triad which has been taken from the parallel minor mode. This process ...is called
470:". Increased chromaticism is often cited as one of the main causes or signs of the "breakdown" of tonality, in the form of increased importance or use of:
220:
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84:
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into music that is basically diatonic in orientation, or music that is based on the chromatic scale instead of the diatonic scales.
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is the name given to the use of tones outside the major or minor scales. Chromatic tones began to appear in music long before the
514:
As tonal harmony continued to widen and even break down, the chromatic scale became the basis of modern music written using the
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581:
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286:, or "white key", scales). Chromatic elements are considered, "elaborations of or substitutions for diatonic scale members".
1978:
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However, a number of other chords may also be built on the degrees of the scale, and some of these are chromatic. Examples:
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For example, in the key of C major, the following chords (all diatonic) are naturally built on each degree of the scale:
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describes three forms of chromaticism: modulation, borrowed chords from secondary keys, and chromatic chords such as
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From the late 16th century onward, chromaticism has come to symbolize intense emotional expression in music. Pierre
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Examples of descending chromatic melodic lines that would seem to convey highly charged feeling can be found in:
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634:... Four consonant triads from the minor mode may replace their counterparts in the major mode. These we call
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38:
917:, the use of such chords is the use of chromatic harmony. In other words, at least one note of the chord is
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The progression is similar to
Gesualdo’s (above) with the bass line and voice moving in parallel thirds:
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936:
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1764:
Matthew Brown; Schenker, "The
Diatonic and the Chromatic in Schenker's "Theory of Harmonic Relations",
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1334:
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774:
622:, which involves the substitution of another diatonic chord for the expected diatonic goal harmony. ...
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this may be the result of metric issues, or simply the desire to use a portion of the chromatic scale
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Throughout the nineteenth century, composers felt free to alter any or all chord members of a given
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Chromaticism from "linear considerations" , borrowed chords, and extended chords from the ending of
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delaying the resolution of dissonance to a consonant, or stable, chord, romantic composers created
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393:(1900—present) "Popular music has remained the last bastion of the major-minor key system... The
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may contain an excessive amount of intricate detail that may interest only a particular audience
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271:
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s chromatic daring is what distinguishes truly serious composition of the vanguard from mere
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345:
1573:. Chromaticism, together with frequent modulations and an abundance of non-harmonicism [
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828:: "All improvised lines ... will include non-harmonic, chromatic notes." Similar to in the
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1328:
768:
8:
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structure according to their compositional needs and dictates. Pronounced or continuous
1500:
401:
387:(1920—present) "The chromatic scale has predominated in much of the music of our period."
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1645:
In the 16th century the repeated melodic semitone became associated with weeping, see:
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2005:
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The following timeline is abbreviated from its presentation by
Benward & Saker:
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2577:
2444:
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1028:
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2144:, p. 256. Oswald Jonas, ed. and annot. Elisabeth Mann Borgese, trans. MIT Press.
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1437:
The rich harmonization of a descending chromatic scale in the 'Sleep Motif' from
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257:
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Tymoczko, D. (2023, p.5), Tonality: an Owner’s Manual. Oxford
University Press.
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A chromatic scale is one which proceeds entirely by semitones, so dividing the
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246:
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2207:, p. 66. 5th edition revised by Devoto, Mark. W. W. Norton, New York/London.
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any relevant information, and removing excessive detail that may be against
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of, an interpolation in or deviation from this basic diatonic organization.
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The diatonic scale notes (above) and the non-scale chromatic notes (below)
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1914:
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the use of non-tonal chords as tonic "keys"/"scales"/"areas" such as the
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being a specific ordering or series of the chromatic scale, and later
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Cooper (1975), p. 229. Original with Roman numeral analysis only.
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Cooper (1975), p. 216. Original with Roman numeral analysis only.
1562:
1304:
1768:, Vol. 30, No. 1 (Spring 1986), pp. 1–33, citation on p. 1.
1741:, third edition (S.l.: Holt, Rinehart, and Wilson, 1979): p. 4.
1120:
Consonant chromatic triads, modulation to these triads would be
2520:
1890:
Justin Shir-Cliff, Stephen Jay, and Donald J. Rauscher (1965).
1755:
uses only natural signs and sharps since it is depicted rising.
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1654:
1438:
1227:
1087:
of V where it functions as vii7 of the V chord, written vii7/V.
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is often found in jazz and popular music with blues influence."
192:
1664:
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1251:
The death-wish of a spurned lover expressed in the madrigal
2107:, London and New York: Oxford University Press, p. 54.
1919:
Elements of the Jazz
Language for the Developing Improvisor
825:
308:
1689:
instrumental music, "In the nineteenth-century symphony,
998:
Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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2233:
Benward, Bruce & Saker, Marilyn (2003). "Glossary",
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The lover’s frustration expressed in ‘Morgengruss’ from
499:
hierarchical organizations of the chromatic set such as
2258:, Minneapolis, University of Minnesota Press, pp. 63-65
548:(1885), mm. 5–9, demonstrates chromaticism from use of
909:
that includes at least one note not belonging in the
1013:
normally resolves outwards by semitone to an octave.
1511:] manifests an irresistible urge to attain the
75:
may be too technical for most readers to understand
749:One of seven examples of linear chromaticism from
781:Notes which do not belong to the key are called
405:Mode mixture, using minor triads in the major key
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2165:, p. 217. Chicago: University of Chicago Press.
2325:
1495:Some individual views on chromaticism include:
1046:. The Neapolitan Sixth chord resolves to the V.
329:period, notably in the 1550s, often as part of
2256:Feminine Endings. Music, Gender, and Sexuality
821:into twelve equal steps of one semitone each.
289:
2536:
2311:
2267:"Opera", 55–58, from McClary (1991) p. 185n16
2186:, p. 208. New York: Dodd, Mead, and Company.
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1884:
1861:, p. 15. New York, New York: Schirmer Books.
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1057:sharpened subdominant with diminished seventh
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1077:IV diminished chord resolves to the V. The
53:Learn how and when to remove these messages
2543:
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2318:
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1881:
1798:
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693:Diminished seventh chords as chromatic vii
325:Chromaticism began to develop in the late
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1995:
1459:Sleep music from act 3 of Wagner's opera
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180:Learn how and when to remove this message
162:Learn how and when to remove this message
103:Learn how and when to remove this message
87:, without removing the technical details.
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1543:Chromaticism is almost by definition an
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379:Post-Romantic and Impressionistic Period
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2094:. London, Faber and Faber, p. 243.
1859:Techniques of the Contemporary Composer
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1730:
1728:
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1960:, p. 174. Brief edition. McGraw-Hill.
1790:Benward & Saker (2003), pp. 42–43.
1638:Chromaticism is often associated with
2524:
2299:
2235:Music: In Theory and Practice, Vol. I
1905:
1811:
85:make it understandable to non-experts
2090:Stravinsky, I. and Craft, R. (1959)
1758:
1725:
1027:II in first inversion is called the
734:Shir-Cliff, Jay, and Rauscher (1965)
704:Shir-Cliff, Jay, and Rauscher (1965)
423:, 2nd movement, in thirds: C–E–G–B–D
114:
59:
18:
1679:calls the chromaticism in Wagner's
1663:(1991) argues that chromaticism in
1429:
1219:, whether descending or ascending.
13:
2224:Benward & Saker (2003), p. 38.
1702:-ridden hack work." (p. 101)
1503:but also in the midst of it, each
863:of yearning, tension, and mystery.
835:
321:demonstrating chromaticism (video)
14:
2666:
2274:
1375:The seductive melody of the aria
1362:Schubert, Morgengruss, bars 12-15
1194:
1083:IV can also be understood as the
740:
487:of each chromatic step and other
349:, and in the theoretical work of
199:: lament bass bassline in Dm (D–C
34:This article has multiple issues.
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1465:
1405:
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1272:
1211:is a Latin term which refers to
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652:is the collection of all twelve
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119:
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16:Compositional technique in music
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2173:. Quoted in Brown (1986), p. 1.
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2022:
1971:
1950:
1941:
1932:
1627:
1499:Not only at the beginning of a
1402:"L'amour est un oiseau rebelle"
913:associated with the prevailing
905:A chromatic chord is a musical
824:Linear chromaticism is used in
42:or discuss these issues on the
2450:Emancipation of the dissonance
1872:
1851:
1842:
1833:
1805:
1034:. For example, in C Major: F–A
727:The minor mode in major keys (
266:is in contrast or addition to
1:
2352:Mode of limited transposition
2128:Wagner's Ring and its Symbols
1828:Technically a fifteenth chord
1718:
1380:L'amour est un oiseau rebelle
710:Other types of chromaticity:
2281:Chromaticism for Jazz Guitar
2203:Piston, Walter (1987/1941).
2184:Perspectives in Music Theory
2163:Emotion and Meaning in Music
1894:. New York: The Free Press.
995:
939:
881:
678:to those keys (V–I cadences)
144:Knowledge's inclusion policy
7:
2510:List of atonal compositions
2479:Quartal and quintal harmony
2237:, p. 359. Seventh Edition.
2140:Schenker, Heinrich (1954).
1814:Arnold Schoenberg's Journey
1705:
1055:iv diminished chord is the
636:chromatic triads by mixture
290:Development of chromaticism
10:
2671:
2161:Meyer, Leonard B. (1956).
1631:
1622:Benward & Saker (2003)
1525:and the phenomenon itself
1428:in the jazz example given
1424:(This phrase is quoted by
839:
662:List of chromatic chords:
420:Sechs kleine Klavierstücke
256:with other pitches of the
245:interspersing the primary
2631:
2558:
2502:
2420:
2375:
2337:
2092:Memories and Commentaries
2006:"The 'Major' Line Cliché"
1490:
1401:
1377:
1301:Dido's grief-laden Lament
1268:
1254:"Moro lasso al mio duolo"
1253:
1205:
986:vii = B diminished triad
1938:Forte (1979), pp. 19–20.
1816:. Harvard. p. 120.
921:. Any chord that is not
659:of the chromatic scale.
2254:McClary, Suzan (1991).
2054:"The Minor Line Cliché"
2030:"The Minor Line Cliché"
1766:Journal of Music Theory
1000:download the audio file
944:download the audio file
886:download the audio file
545:Variations symphoniques
243:compositional technique
2620:Polymodal chromaticism
2600:Diatonic and chromatic
2462:Polymodal chromaticism
2440:Dissonant counterpoint
2402:Second Viennese School
2126:Donington, R. (1963).
1958:Music: An Appreciation
1956:Kamien, Roger (1990).
1625:
1613:
1600:common-practice period
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681:Augmented sixth chords
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611:augmented sixth chords
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391:Jazz and Popular Music
322:
235:
227:
2568:Augmented sixth chord
2385:Twelve-tone technique
2182:Cooper, Paul (1975).
2105:The Language of Music
1947:Forte (1979), p. 352.
1878:Forte (1979), p. 497.
1812:Shawn, Allen (2003).
1802:Forte (1979), p. 498.
1614:
1593:
1581:] of the system .
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1097:augmented sixth chord
1059:chord. For example: F
919:chromatically altered
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530:Types of chromaticism
516:twelve-tone technique
466:, such as the opera "
412:
404:
346:Prophetiae Sibyllarum
306:
233:
195:
2286:"Passus duriusculus"
1857:Cope, David (1997).
1370:Schubert Morgengruss
1122:chromatic modulation
1117:, resolves to the V.
1009:The interval of the
974:iii = E minor triad
687:chords as chromatic
319:Joseph Patrick Moore
2060:. 26 September 2018
1983:The Jazz Piano Site
1348:Die schöne Müllerin
1269:Gesualdo moro lasso
983:vi = A minor triad
977:IV = F major triad
971:ii = D minor triad
385:Contemporary Period
2590:Chromatic fantasia
2456:Klangfarbenmelodie
2077:Boulez, P. (1986)
1712:20th-century music
1647:passus duriusculus
1567:chordal alteration
1485:
1434:
1372:
1364:
1338:
1292:
1207:passus duriusculus
980:V = G major triad
968:I = C major triad
852:Allen Forte (1979)
778:
643:Allen Forte (1979)
604:
587:Alexander Scriabin
579:
468:Tristan und Isolde
459:
407:
335:, in the music of
323:
236:
228:
2642:
2641:
2595:Chromatic mediant
2518:
2517:
2347:Equal temperament
2290:Bach-Cantatas.com
2243:978-0-07-294262-0
1892:Chromatic Harmony
1677:Catherine Clément
1535:Heinrich Schenker
1471:
1411:
1359:
1324:
1278:
1004:
948:
900:II–V–I in C minor
890:
764:
715:Pitch axis theory
674:, used to create
620:deceptive cadence
600:
575:
538:This phrase from
455:
415:Arnold Schoenberg
304:
224:
190:
189:
182:
172:
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164:
113:
112:
105:
57:
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2637:
2615:Neapolitan chord
2578:Chromatic fourth
2545:
2538:
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2521:
2445:Dynamic tonality
2367:Whole tone scale
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2130:. London: Faber.
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2081:, London. Faber.
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650:total chromatic
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316:bass guitarist
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1188:vii in minor.
1158:
1150:iv, vii, and
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723:Nonchord tone
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657:pitch classes
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550:parallel keys
547:
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541:
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508:Tristan chord
505:
502:
498:
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489:secondary key
486:
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480:leading tones
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307:Contemporary
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232:
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155:
152:November 2022
145:
141:
137:
131:
128:This article
126:
117:
116:
107:
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96:
93:November 2022
86:
82:
76:
73:This article
71:
62:
61:
56:
54:
47:
46:
41:
40:
35:
30:
21:
20:
2655:Chromaticism
2552:Chromaticism
2551:
2503:Compositions
2489:Tone cluster
2467:Polytonality
2454:
2430:Chromaticism
2429:
2423:and concepts
2357:Mystic chord
2289:
2263:
2255:
2250:
2234:
2229:
2220:
2204:
2199:
2183:
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2099:
2091:
2086:
2079:Orientations
2078:
2073:
2062:. Retrieved
2057:
2048:
2037:. Retrieved
2033:
2024:
2013:. Retrieved
2009:
1986:. Retrieved
1982:
1973:
1957:
1952:
1943:
1934:
1918:
1915:Coker, Jerry
1891:
1874:
1858:
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1844:
1835:
1827:
1813:
1807:
1765:
1760:
1738:
1735:Forte, Allen
1690:
1680:
1659:
1644:
1637:
1628:Connotations
1615:
1596:Chromaticism
1595:
1594:
1571:chromaticism
1570:
1569:resulted in
1560:
1542:
1526:
1520:
1498:
1494:
1399:Carmen aria
1390:
1346:
1308:
1245:
1225:
1221:
1201:music theory
1198:
1182:iv, ii, and
1156:VII in major
1085:tonicization
1017:
963:
926:
904:
869:Roger Kamien
857:
846:
823:
816:
802:
797:
782:
780:
729:mode mixture
709:
689:subdominants
661:
647:
635:
631:
627:
625:
616:
605:
590:
543:
540:Cesar Franck
513:
501:George Perle
485:tonicization
475:mode mixture
460:
418:
390:
384:
378:
372:
366:
360:
355:
344:
330:
324:
264:Chromaticism
262:
239:Chromaticism
238:
237:
176:
158:
149:
136:spinning off
129:
99:
90:
74:
50:
43:
37:
36:Please help
33:
2583:Lament bass
1714:– Classical
1687:avant-garde
1669:sonata form
1651:lament bass
1587:Paul Cooper
1501:composition
1462:Die Walküre
1445:Die Walküre
1297:ground bass
1032:sixth chord
830:bebop scale
810:Allen Forte
791:Allen Forte
676:modulations
395:blues scale
327:Renaissance
272:diatonicism
2484:Tone Clock
2435:Cyclic set
2421:Techniques
2376:Genres and
2338:Scales and
2103:Cooke, D.
2064:2022-08-25
2039:2022-08-25
2034:Hub Guitar
2015:2022-08-25
2010:Hub Guitar
1988:2022-08-25
1719:References
1672:narratives
1640:dissonance
1545:alteration
1505:scale-step
1232:Monteverdi
1029:Neapolitan
630:or simply
607:David Cope
140:relocating
39:improve it
2407:Serialism
2327:Atonality
1921:, p. 81.
1579:atonality
1527:chromatic
1441:'s opera
1389:'s opera
1307:'s opera
1213:chromatic
923:chromatic
783:chromatic
755:Hot House
666:Dominant
524:serialism
45:talk page
2649:Category
1917:(1997).
1752:♭
1706:See also
1665:operatic
1620:—
1605:—
1584:—
1550:—
1532:—
1393:(1875):
1343:Schubert
1311:(1689):
1236:Gesualdo
1217:bassline
1185:♮
1179:♯
1173:♭
1167:♮
1161:♮
1153:♭
1147:♯
1141:♭
1135:♭
1129:♭
1114:♯
1108:♭
1102:♭
1095:VI: The
1092:♭
1080:♯
1074:♯
1068:♭
1062:♯
1052:♯
1043:♭
1037:♭
1024:♭
959:iv7–V7–I
956:♯
897:♭
866:—
861:feelings
850:—
807:—
788:—
641:—
591:Preludes
520:tone row
438:♯
432:♯
426:♯
276:modality
268:tonality
247:diatonic
214:♭
208:♮
202:♯
2378:schools
2205:Harmony
2142:Harmony
1563:tertian
1515:of the
1482:YouTube
1422:YouTube
1335:YouTube
1305:Purcell
1289:YouTube
775:YouTube
632:mixture
250:pitches
79:Please
2340:tuning
2241:
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1692:Salome
1682:Isolde
1655:pianto
1653:, and
1610:(1987)
1589:(1975)
1555:(1956)
1537:(1906)
1509:degree
1491:Quotes
1477:Listen
1439:Wagner
1417:Listen
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1330:Listen
1284:Listen
1228:Boulez
1071:. The
1065:–A–C–E
871:(1976)
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793:(1979)
785:notes.
770:Listen
558:V of V
254:chords
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1517:tonic
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1164:iii,
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925:is a
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280:major
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1170:vi,
1144:II,
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1049:The
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