Chromaticism
Chromaticism is a compositional technique that intersperses primary diatonic pitches with other pitches of the chromatic scale. Within each octave, standard piano keyboards offer twelve available notes. Diatonic music uses only seven different notes from this set. Music becomes chromatic when it utilizes more than just those seven notes. This approach stands in contrast or addition to tonality and modality. Chromatic elements function as elaborations of or substitutions for diatonic scale members. The total chromatic represents the collection of all twelve equally tempered pitch classes. A chromatic scale proceeds entirely by semitones. It divides the octave into twelve equal steps of one semitone each.
Chromaticism began to develop in the late Renaissance period during the 1550s. Composers like Cipriano de Rore utilized these techniques often as part of musica reservata. Orlando Lasso contributed through his work Prophetiae Sibyllarum. Nicola Vicentino explored these concepts in theoretical writings. The system of major and minor scales developed during the early part of the baroque period between 1600 and 1750. This era coincided with the emergence of key consciousness in music. By the classical period spanning 1750 to 1825, chromaticism served decorative purposes mostly. Key shifts created formal divisions within compositions. Richard Wagner expanded tonal harmony during the last half of the nineteenth century. His opera Tristan und Isolde exemplified increased chromatic usage. Increased chromaticism became a main cause of the breakdown of tonality. Keys shifted so rapidly that tonality itself began to break down by 1900.
David Cope describes three forms of chromaticism including modulation and borrowed chords. Augmented sixth chords appear frequently in harmonic analysis. These chords resolve to the dominant chord marked V. A specific augmented sixth chord contains notes such as A, C(, C, D, or E), F. Neapolitan sixth chords function as chromatic subdominants. In the key of C Major, this chord consists of F, A, D. It resolves directly to the V chord. Diminished seventh chords serve as chromatic vii7. The iv diminished chord acts as the sharpened subdominant. Examples include F, A, C, E resolving to the V chord. Mode mixture involves using minor triads in major keys. Alexander Scriabin utilized extended chords in his Preludes Op. 48 No. 4. Most vertical sonorities there included sevenths, ninths, elevenths, and thirteenths. Basic harmonic progressions remained anchored to root movement by fifths. Parallel scales and pitch axis theory offer other types of chromaticity.
From the late 16th century onward, chromaticism came to symbolize intense emotional expression. Pierre Boulez spoke of a dualism in Western European harmonic language. He noted that Monteverdi and Gesualdo employed virtually the same symbolism. Their madrigals show the diatonic representing light and affirmation. Chromatic elements symbolized darkness doubt and grief instead. This imagery has hardly changed for three centuries. Susan McClary argued that chromaticism in operatic narratives functions as the Other. She viewed it through a Marxist narrative regarding racial or sexual differences. Catherine Clément called the chromaticism in Wagner's Isolde feminine stink. Nevertheless, the convention remains powerful despite Stravinsky's skepticism. Igor Stravinsky replied that the association is entirely due to convention. David Cooke stated that since about 1850, chromaticism brought painful tensions into art music. Doubts cast on personal happiness eroded the major system. Repeated melodic semitones became associated with weeping in the 16th century. The passus duriusculus and lament bass techniques illustrate this connection.
Linear chromaticism appears frequently in jazz improvisation. Dizzy Gillespie demonstrated these concepts during his solo from Hot House. All improvised lines include non-harmonic chromatic notes. Similar patterns appear in the bebop scale. These choices may result from metric issues or simple desire. Musicians use portions of the chromatic scale freely. Popular music remained the last bastion of the major-minor key system until recent times. The blues scale serves as a chromatic variant of the major scale. It often appears in jazz and popular genres with blues influence. Jerry Coker wrote about elements of the Jazz Language for developing improvisor. He noted that linear chromaticism helps navigate harmonic changes. A line cliché moves against a stationary chord. The major line cliché forms a I, I+, vi, I+ progression. The minor line cliché moves down from root to fifth. These structures allow musicians to create complex textures within standard frameworks.
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Common questions
What is chromaticism in music and how does it differ from diatonic music?
Chromaticism is a compositional technique that intersperses primary diatonic pitches with other pitches of the chromatic scale. Diatonic music uses only seven different notes from the twelve available notes on a standard piano keyboard, while chromatic music utilizes more than those seven notes.
When did chromaticism begin to develop and which composers used these techniques during the late Renaissance period?
Chromaticism began to develop in the late Renaissance period during the 1550s. Composers like Cipriano de Rore utilized these techniques often as part of musica reservata, Orlando Lasso contributed through his work Prophetiae Sibyllarum, and Nicola Vicentino explored these concepts in theoretical writings.
How did Richard Wagner expand tonal harmony and what opera exemplified increased chromatic usage?
Richard Wagner expanded tonal harmony during the last half of the nineteenth century. His opera Tristan und Isolde exemplified increased chromatic usage, leading to rapid key shifts that caused tonality itself to begin breaking down by 1900.
What specific augmented sixth chords appear frequently in harmonic analysis and how do they resolve?
Augmented sixth chords appear frequently in harmonic analysis and resolve to the dominant chord marked V. A specific augmented sixth chord contains notes such as A, C flat, D, or E flat, F, and resolves directly to the V chord.
Why did chromatic elements symbolize darkness doubt and grief instead of light and affirmation in Western European music from the late 16th century onward?
From the late 16th century onward, chromaticism came to symbolize intense emotional expression where diatonic elements represented light and affirmation while chromatic elements symbolized darkness doubt and grief. This imagery has hardly changed for three centuries despite Stravinsky's skepticism regarding the association.