890:
546:
593:
948:
1254:(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."
1004:
1407:
1613:, 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.
757:
1275:
413:
421:
1467:
1325:
242:
1378:
456:
36:
204:
132:
77:
2646:
306:
584:
1627:
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
869:
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
609:
1233:
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.
814:
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
585:
610:
773:
309:
1249:
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
809:
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.
313:
312:
308:
307:
314:
1234:
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.
1420:
386:(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."
311:
472:
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
1685:
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,
772:
567:), 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
628:
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
1287:
271:. 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.
1421:
464:
604:, 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".
380:(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."
1480:
1288:
1464:, 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".
1530:
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
1333:
463:
392:(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."
858:
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.
1367:
1241:(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
1481:
310:
583:
608:
95:
1696:"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
374:(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."
545:
537:. 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.
233:
1334:
1067:
592:
1588:], initially effected an expansion of the tertian system; the overuse of the procedures late in the century forewarned the decline and near collapse [
1368:
637:
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
481:". 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:
774:
2553:
1419:
2253:
154:
756:
2328:
234:
1286:
2223:
2202:
2181:
2160:
1976:
1937:
1910:
1877:
1832:
1757:
190:
172:
113:
63:
1628:
into music that is basically diatonic in orientation, or music that is based on the chromatic scale instead of the diatonic scales.
1609:
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
465:
1390:
525:
As tonal harmony continued to widen and even break down, the chromatic scale became the basis of modern music written using the
2460:
1479:
297:, or "white key", scales). Chromatic elements are considered, "elaborations of or substitutions for diatonic scale members".
1989:
1366:
1029:
However, a number of other chords may also be built on the degrees of the scale, and some of these are chromatic. Examples:
1406:
2362:
430:
49:
1007:
975:
For example, in the key of C major, the following chords (all diatonic) are naturally built on each degree of the scale:
951:
893:
2405:
150:
146:
2520:
2489:
1332:
620:
describes three forms of chromaticism: modulation, borrowed chords from secondary keys, and chromatic chords such as
1237:
From the late 16th century onward, chromaticism has come to symbolize intense emotional expression in music. Pierre
2546:
1492:
1432:
1345:
1299:
785:
499:
1369:
2064:
1650:
1257:
Examples of descending chromatic melodic lines that would seem to convey highly charged feeling can be found in:
1358:
1274:
645:... Four consonant triads from the minor mode may replace their counterparts in the major mode. These we call
2341:
2321:
928:, the use of such chords is the use of chromatic harmony. In other words, at least one note of the chord is
765:
555:
412:
253:
2630:
2610:
2472:
2450:
2412:
2291:
1610:
1597:
420:
282:
1363:
The progression is similar to
Gesualdo’s (above) with the bass line and voice moving in parallel thirds:
232:
2665:
2578:
2539:
2395:
1107:
621:
526:
356:
1775:
Matthew Brown; Schenker, "The
Diatonic and the Chromatic in Schenker's "Theory of Harmonic Relations",
633:, which involves the substitution of another diatonic chord for the expected diatonic goal harmony. ...
843:
this may be the result of metric issues, or simply the desire to use a portion of the chromatic scale
1687:
1132:
329:
1572:
Throughout the nineteenth century, composers felt free to alter any or all chord members of a given
596:
Chromaticism from "linear considerations" , borrowed chords, and extended chords from the ending of
1511:
1466:
870:
delaying the resolution of dissonance to a consonant, or stable, chord, romantic composers created
2600:
2466:
2314:
1722:
1555:
1010:
954:
929:
896:
686:
597:
568:
478:
404:(1900—present) "Popular music has remained the last bastion of the major-minor key system... The
141:
may contain an excessive amount of intricate detail that may interest only a particular audience
2605:
2357:
2249:
2219:
2198:
2177:
2156:
1972:
1933:
1906:
1873:
1828:
1753:
1545:
871:
725:
664:
630:
425:
337:
55:
1709:
s chromatic daring is what distinguishes truly serious composition of the vanguard from mere
455:
2625:
2588:
2455:
2377:
1657:
1584:. Chromaticism, together with frequent modulations and an abundance of non-harmonicism [
1563:
1523:
1311:
1217:
1039:
695:
572:
505:
361:
347:
342:
286:
207:
839:: "All improvised lines ... will include non-harmonic, chromatic notes." Similar to in the
2635:
2615:
2372:
1644:
1436:
1339:
1251:
1021:
779:
761:
660:
268:
1576:
structure according to their compositional needs and dictates. Pronounced or continuous
398:(1920—present) "The chromatic scale has predominated in much of the music of our period."
1324:
241:
2620:
2583:
2482:
2422:
1702:
1656:
In the 16th century the repeated melodic semitone became associated with weeping, see:
1585:
1519:
1455:
1269:
1246:
938:
921:
564:
474:
257:
1377:
2659:
2573:
2504:
1671:
1618:
1577:
1527:
917:
852:
733:
707:
678:
576:
518:
351:
264:
260:
2040:
2016:
367:
The following timeline is abbreviated from its presentation by
Benward & Saker:
2499:
2477:
2367:
1532:
1211:
1095:
879:
739:
682:
560:
550:
511:
495:
490:
485:
2296:
2155:, p. 256. Oswald Jonas, ed. and annot. Elisabeth Mann Borgese, trans. MIT Press.
1478:
1448:
The rich harmonization of a descending chromatic scale in the 'Sleep Motif' from
1418:
1331:
1285:
771:
607:
582:
462:
231:
2593:
2127:
Tymoczko, D. (2023, p.5), Tonality: an Owner’s Manual. Oxford
University Press.
1925:
1745:
1697:
1682:
1679:
1661:
1307:
1042:
925:
840:
820:
801:
699:
667:
405:
326:
294:
290:
828:
A chromatic scale is one which proceeds entirely by semitones, so dividing the
17:
2494:
2445:
2306:
1515:
1486:
1426:
1293:
1242:
617:
323:
2218:, p. 66. 5th edition revised by Devoto, Mark. W. W. Norton, New York/London.
2417:
2337:
1589:
1223:
933:
534:
274:
153:
any relevant information, and removing excessive detail that may be against
1710:
1558:
of, an interpolation in or deviation from this basic diatonic organization.
245:
The diatonic scale notes (above) and the non-scale chromatic notes (below)
2400:
1353:
1227:
530:
517:
the use of non-tonal chords as tonic "keys"/"scales"/"areas" such as the
278:
203:
1573:
1315:
533:
being a specific ordering or series of the chromatic scale, and later
1692:
1665:
1449:
1238:
829:
1675:
1465:
1405:
1397:
1376:
1364:
1323:
1273:
755:
419:
304:
202:
1859:
Cooper (1975), p. 229. Original with Roman numeral analysis only.
1850:
Cooper (1975), p. 216. Original with Roman numeral analysis only.
2645:
1779:, Vol. 30, No. 1 (Spring 1986), pp. 1–33, citation on p. 1.
1752:, third edition (S.l.: Holt, Rinehart, and Wilson, 1979): p. 4.
1131:
Consonant chromatic triads, modulation to these triads would be
836:
319:
2535:
2531:
2310:
1901:
Justin Shir-Cliff, Stephen Jay, and Donald J. Rauscher (1965).
1766:
uses only natural signs and sharps since it is depicted rising.
1098:
of V where it functions as vii7 of the V chord, written vii7/V.
408:
is often found in jazz and popular music with blues influence."
125:
70:
29:
1262:
The death-wish of a spurned lover expressed in the madrigal
2118:, London and New York: Oxford University Press, p. 54.
1930:
Elements of the Jazz
Language for the Developing Improvisor
1700:
instrumental music, "In the nineteenth-century symphony,
1009:
Audio playback is not supported in your browser. You can
953:
Audio playback is not supported in your browser. You can
895:
Audio playback is not supported in your browser. You can
2244:
Benward, Bruce & Saker, Marilyn (2003). "Glossary",
1352:
The lover’s frustration expressed in ‘Morgengruss’ from
510:
hierarchical organizations of the chromatic set such as
2269:, Minneapolis, University of Minnesota Press, pp. 63-65
559:(1885), mm. 5–9, demonstrates chromaticism from use of
91:
920:
that includes at least one note not belonging in the
1024:
normally resolves outwards by semitone to an octave.
2513:
2431:
2386:
2348:
1522:] manifests an irresistible urge to attain the
86:
may be too technical for most readers to understand
760:One of seven examples of linear chromaticism from
792:Notes which do not belong to the key are called
416:Mode mixture, using minor triads in the major key
2176:, p. 217. Chicago: University of Chicago Press.
1625:
1604:
1570:
1552:
1508:
1506:Some individual views on chromaticism include:
1057:. The Neapolitan Sixth chord resolves to the V.
867:
856:
812:
790:
626:
340:period, notably in the 1550s, often as part of
2267:Feminine Endings. Music, Gender, and Sexuality
832:into twelve equal steps of one semitone each.
2547:
2322:
2278:"Opera", 55–58, from McClary (1991) p. 185n16
2197:, p. 208. New York: Dodd, Mead, and Company.
1897:
1895:
1872:, p. 15. New York, New York: Schirmer Books.
1278:
1263:
1068:sharpened subdominant with diminished seventh
8:
2011:
2009:
1471:
1453:
1411:
1387:
1797:
1795:
1793:
1791:
1789:
1787:
1785:
1215:
1088:IV diminished chord resolves to the V. The
64:Learn how and when to remove these messages
2554:
2540:
2532:
2329:
2315:
2307:
1809:
1807:
704:Diminished seventh chords as chromatic vii
336:Chromaticism began to develop in the late
1470:Sleep music from act 3 of Wagner's opera
1461:
191:Learn how and when to remove this message
173:Learn how and when to remove this message
114:Learn how and when to remove this message
98:, without removing the technical details.
1921:
1919:
1554:Chromaticism is almost by definition an
591:
544:
411:
390:Post-Romantic and Impressionistic Period
240:
2105:. London, Faber and Faber, p. 243.
1870:Techniques of the Contemporary Composer
1741:
1739:
1735:
1971:, p. 174. Brief edition. McGraw-Hill.
1801:Benward & Saker (2003), pp. 42–43.
1649:Chromaticism is often associated with
2246:Music: In Theory and Practice, Vol. I
96:make it understandable to non-experts
7:
2101:Stravinsky, I. and Craft, R. (1959)
1038:II in first inversion is called the
745:Shir-Cliff, Jay, and Rauscher (1965)
715:Shir-Cliff, Jay, and Rauscher (1965)
434:, 2nd movement, in thirds: C–E–G–B–D
1690:calls the chromaticism in Wagner's
1674:(1991) argues that chromaticism in
1440:
1230:, whether descending or ascending.
2235:Benward & Saker (2003), p. 38.
1713:-ridden hack work." (p. 101)
1514:but also in the midst of it, each
874:of yearning, tension, and mystery.
332:demonstrating chromaticism (video)
155:Knowledge (XXG)'s inclusion policy
25:
1386:The seductive melody of the aria
1373:Schubert, Morgengruss, bars 12-15
1094:IV can also be understood as the
498:of each chromatic step and other
360:, and in the theoretical work of
210:: lament bass bassline in Dm (D–C
45:This article has multiple issues.
2644:
1476:
1416:
1329:
1283:
1222:is a Latin term which refers to
769:
663:is the collection of all twelve
605:
580:
460:
454:
229:
130:
75:
34:
27:Compositional technique in music
2184:. Quoted in Brown (1986), p. 1.
1510:Not only at the beginning of a
1413:"L'amour est un oiseau rebelle"
924:associated with the prevailing
916:A chromatic chord is a musical
835:Linear chromaticism is used in
53:or discuss these issues on the
2461:Emancipation of the dissonance
1045:. For example, in C Major: F–A
738:The minor mode in major keys (
277:is in contrast or addition to
1:
2363:Mode of limited transposition
2139:Wagner's Ring and its Symbols
1839:Technically a fifteenth chord
1391:L'amour est un oiseau rebelle
721:Other types of chromaticity:
2292:Chromaticism for Jazz Guitar
2214:Piston, Walter (1987/1941).
2195:Perspectives in Music Theory
2174:Emotion and Meaning in Music
1905:. New York: The Free Press.
1006:
950:
892:
689:to those keys (V–I cadences)
2521:List of atonal compositions
2490:Quartal and quintal harmony
2248:, p. 359. Seventh Edition.
2151:Schenker, Heinrich (1954).
1825:Arnold Schoenberg's Journey
1066:iv diminished chord is the
647:chromatic triads by mixture
301:Development of chromaticism
2682:
2172:Meyer, Leonard B. (1956).
1642:
1633:Benward & Saker (2003)
1536:and the phenomenon itself
1439:in the jazz example given
1435:(This phrase is quoted by
850:
673:List of chromatic chords:
431:Sechs kleine Klavierstücke
267:with other pitches of the
256:interspersing the primary
2642:
2569:
2103:Memories and Commentaries
2017:"The 'Major' Line Cliché"
1412:
1388:
1312:Dido's grief-laden Lament
1279:
1265:"Moro lasso al mio duolo"
1264:
1216:
997:vii = B diminished triad
1949:Forte (1979), pp. 19–20.
1827:. Harvard. p. 120.
932:. Any chord that is not
670:of the chromatic scale.
2265:McClary, Suzan (1991).
2065:"The Minor Line Cliché"
2041:"The Minor Line Cliché"
1777:Journal of Music Theory
1011:download the audio file
955:download the audio file
897:download the audio file
556:Variations symphoniques
254:compositional technique
2631:Polymodal chromaticism
2611:Diatonic and chromatic
2473:Polymodal chromaticism
2451:Dissonant counterpoint
2413:Second Viennese School
2137:Donington, R. (1963).
1969:Music: An Appreciation
1967:Kamien, Roger (1990).
1636:
1624:
1611:common-practice period
1603:
1569:
1551:
1495:
1472:
1454:
1444:
1382:
1374:
1348:
1302:
885:
866:
826:
807:
788:
692:Augmented sixth chords
657:
622:augmented sixth chords
614:
589:
469:
417:
402:Jazz and Popular Music
333:
246:
238:
2579:Augmented sixth chord
2396:Twelve-tone technique
2193:Cooper, Paul (1975).
2116:The Language of Music
1958:Forte (1979), p. 352.
1889:Forte (1979), p. 497.
1823:Shawn, Allen (2003).
1813:Forte (1979), p. 498.
1592:] of the system .
1469:
1409:
1380:
1372:
1327:
1277:
1108:augmented sixth chord
1070:chord. For example: F
930:chromatically altered
759:
595:
548:
541:Types of chromaticism
527:twelve-tone technique
477:, such as the opera "
423:
415:
357:Prophetiae Sibyllarum
317:
244:
206:
2297:"Passus duriusculus"
1868:Cope, David (1997).
1381:Schubert Morgengruss
1133:chromatic modulation
1128:, resolves to the V.
1020:The interval of the
985:iii = E minor triad
698:chords as chromatic
330:Joseph Patrick Moore
2071:. 26 September 2018
1994:The Jazz Piano Site
1359:Die schöne Müllerin
1280:Gesualdo moro lasso
994:vi = A minor triad
988:IV = F major triad
982:ii = D minor triad
396:Contemporary Period
2601:Chromatic fantasia
2467:Klangfarbenmelodie
2088:Boulez, P. (1986)
1723:20th-century music
1658:passus duriusculus
1578:chordal alteration
1496:
1445:
1383:
1375:
1349:
1303:
1218:passus duriusculus
991:V = G major triad
979:I = C major triad
863:Allen Forte (1979)
789:
654:Allen Forte (1979)
615:
598:Alexander Scriabin
590:
479:Tristan und Isolde
470:
418:
346:, in the music of
334:
247:
239:
2653:
2652:
2606:Chromatic mediant
2529:
2528:
2358:Equal temperament
2301:Bach-Cantatas.com
2254:978-0-07-294262-0
1903:Chromatic Harmony
1688:Catherine Clément
1546:Heinrich Schenker
1482:
1422:
1370:
1335:
1289:
1015:
959:
911:II–V–I in C minor
901:
775:
726:Pitch axis theory
685:, used to create
631:deceptive cadence
611:
586:
549:This phrase from
466:
426:Arnold Schoenberg
315:
235:
201:
200:
193:
183:
182:
175:
124:
123:
116:
68:
16:(Redirected from
2673:
2648:
2626:Neapolitan chord
2589:Chromatic fourth
2556:
2549:
2542:
2533:
2456:Dynamic tonality
2378:Whole tone scale
2331:
2324:
2317:
2308:
2279:
2276:
2270:
2263:
2257:
2242:
2236:
2233:
2227:
2212:
2206:
2191:
2185:
2170:
2164:
2149:
2143:
2142:
2141:. London: Faber.
2134:
2128:
2125:
2119:
2112:
2106:
2099:
2093:
2092:, London. Faber.
2086:
2080:
2079:
2077:
2076:
2061:
2055:
2054:
2052:
2051:
2037:
2031:
2030:
2028:
2027:
2013:
2004:
2003:
2001:
2000:
1986:
1980:
1965:
1959:
1956:
1950:
1947:
1941:
1923:
1914:
1899:
1890:
1887:
1881:
1866:
1860:
1857:
1851:
1848:
1842:
1841:
1820:
1814:
1811:
1802:
1799:
1780:
1773:
1767:
1765:
1764:
1743:
1708:
1634:
1622:
1601:
1567:
1564:Leonard B. Meyer
1549:
1489:
1484:
1483:
1475:
1462:Donington (1963)
1460:, act 3 (1870).
1459:
1429:
1424:
1423:
1415:
1414:
1395:
1394:
1371:
1342:
1337:
1336:
1296:
1291:
1290:
1282:
1281:
1267:
1266:
1221:
1220:
1198:
1197:
1192:
1191:
1186:
1185:
1180:
1179:
1174:
1173:
1166:
1165:
1160:
1159:
1154:
1153:
1148:
1147:
1142:
1141:
1127:
1126:
1121:
1120:
1115:
1114:
1105:
1104:
1093:
1092:
1087:
1086:
1081:
1080:
1075:
1074:
1065:
1064:
1056:
1055:
1050:
1049:
1037:
1036:
969:
968:
910:
909:
883:
864:
824:
805:
782:
777:
776:
712:Expanded chords
696:Neapolitan sixth
665:equally tempered
655:
613:
612:
588:
587:
506:modulatory space
468:
467:
459:
458:
451:
450:
445:
444:
439:
438:
378:Classical Period
362:Nicola Vicentino
348:Cipriano de Rore
343:musica reservata
316:
237:
236:
227:
226:
221:
220:
215:
214:
208:Chromatic fourth
196:
189:
178:
171:
167:
164:
158:
134:
133:
126:
119:
112:
108:
105:
99:
79:
78:
71:
60:
38:
37:
30:
21:
2681:
2680:
2676:
2675:
2674:
2672:
2671:
2670:
2656:
2655:
2654:
2649:
2640:
2636:Secondary chord
2616:English cadence
2565:
2560:
2530:
2525:
2509:
2433:
2427:
2388:
2382:
2373:Octatonic scale
2350:
2344:
2335:
2288:
2283:
2282:
2277:
2273:
2264:
2260:
2243:
2239:
2234:
2230:
2213:
2209:
2192:
2188:
2171:
2167:
2150:
2146:
2136:
2135:
2131:
2126:
2122:
2113:
2109:
2100:
2096:
2087:
2083:
2074:
2072:
2069:PianoGroove.com
2063:
2062:
2058:
2049:
2047:
2039:
2038:
2034:
2025:
2023:
2015:
2014:
2007:
1998:
1996:
1988:
1987:
1983:
1966:
1962:
1957:
1953:
1948:
1944:
1924:
1917:
1900:
1893:
1888:
1884:
1867:
1863:
1858:
1854:
1849:
1845:
1835:
1822:
1821:
1817:
1812:
1805:
1800:
1783:
1774:
1770:
1762:
1761:
1760:. Original in B
1744:
1737:
1732:
1719:
1706:
1647:
1645:Music semiology
1641:
1635:
1632:
1623:
1617:
1602:
1596:
1586:non-chord tones
1568:
1562:
1550:
1544:
1504:
1499:
1487:
1477:
1437:Dizzy Gillespie
1427:
1417:
1365:
1340:
1330:
1320:Dido and Aeneas
1310:that underpins
1294:
1284:
1252:Igor Stravinsky
1208:
1195:
1194:
1189:
1188:
1183:
1182:
1177:
1176:
1171:
1170:
1163:
1162:
1157:
1156:
1151:
1150:
1145:
1144:
1139:
1138:
1124:
1123:
1118:
1117:
1112:
1111:
1102:
1101:
1090:
1089:
1084:
1083:
1078:
1077:
1072:
1071:
1062:
1061:
1053:
1052:
1047:
1046:
1034:
1033:
1027:
1026:
1025:
1022:augmented sixth
1018:
1017:
1016:
1014:
973:
972:
971:
966:
965:
962:
961:
960:
958:
914:
913:
912:
907:
906:
904:
903:
902:
900:
884:
878:
865:
862:
855:
849:
847:Chromatic chord
825:
819:
806:
800:
780:
770:
762:Dizzy Gillespie
754:
730:Parallel scales
683:subsidiary keys
661:total chromatic
656:
653:
639:mixture of mode
634:
606:
581:
565:borrowed chords
543:
461:
453:
448:
447:
442:
441:
436:
435:
424:Final chord of
384:Romantic Period
305:
303:
269:chromatic scale
230:
224:
223:
218:
217:
212:
211:
197:
186:
185:
184:
179:
168:
162:
159:
145:Please help by
144:
135:
131:
120:
109:
103:
100:
92:help improve it
89:
80:
76:
39:
35:
28:
23:
22:
18:Chromatic chord
15:
12:
11:
5:
2679:
2677:
2669:
2668:
2658:
2657:
2651:
2650:
2643:
2641:
2639:
2638:
2633:
2628:
2623:
2621:False relation
2618:
2613:
2608:
2603:
2598:
2597:
2596:
2586:
2584:Borrowed chord
2581:
2576:
2570:
2567:
2566:
2561:
2559:
2558:
2551:
2544:
2536:
2527:
2526:
2524:
2523:
2517:
2515:
2511:
2510:
2508:
2507:
2502:
2497:
2492:
2487:
2486:
2485:
2483:Distance model
2475:
2470:
2463:
2458:
2453:
2448:
2443:
2437:
2435:
2429:
2428:
2426:
2425:
2423:Spectral music
2420:
2415:
2410:
2409:
2408:
2403:
2392:
2390:
2384:
2383:
2381:
2380:
2375:
2370:
2365:
2360:
2354:
2352:
2346:
2345:
2336:
2334:
2333:
2326:
2319:
2311:
2305:
2304:
2294:
2287:
2286:External links
2284:
2281:
2280:
2271:
2258:
2237:
2228:
2207:
2186:
2165:
2144:
2129:
2120:
2107:
2094:
2081:
2056:
2032:
2005:
1990:"Line Clichés"
1981:
1960:
1951:
1942:
1915:
1891:
1882:
1861:
1852:
1843:
1833:
1815:
1803:
1781:
1768:
1734:
1733:
1731:
1728:
1727:
1726:
1718:
1715:
1643:Main article:
1640:
1637:
1630:
1615:
1594:
1560:
1542:
1533:tonicalization
1503:
1500:
1498:
1497:
1446:
1384:
1356:’s song cycle
1350:
1304:
1270:Carlo Gesualdo
1259:
1226:line, often a
1207:
1206:Chromatic line
1204:
1203:
1202:
1201:
1200:
1168:
1129:
1116:–C(–C, D, or E
1099:
1058:
1019:
1008:
1005:
1003:
1002:
1001:
1000:
999:
998:
995:
992:
989:
986:
983:
980:
963:
952:
949:
947:
946:
945:
944:
939:diatonic chord
922:diatonic scale
905:
894:
891:
889:
888:
887:
886:
876:
860:
851:Main article:
848:
845:
817:
798:
764:'s solo from "
753:
752:Chromatic note
750:
749:
748:
747:
746:
736:
731:
728:
719:
718:
717:
716:
710:
708:Altered chords
705:
702:
693:
690:
679:seventh chords
651:
542:
539:
523:
522:
515:
508:
503:
493:
488:
475:Richard Wagner
410:
409:
399:
393:
387:
381:
375:
372:Baroque Period
327:bass guitarist
302:
299:
199:
198:
181:
180:
138:
136:
129:
122:
121:
83:
81:
74:
69:
43:
42:
40:
33:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2678:
2667:
2664:
2663:
2661:
2647:
2637:
2634:
2632:
2629:
2627:
2624:
2622:
2619:
2617:
2614:
2612:
2609:
2607:
2604:
2602:
2599:
2595:
2592:
2591:
2590:
2587:
2585:
2582:
2580:
2577:
2575:
2574:Altered chord
2572:
2571:
2568:
2564:
2557:
2552:
2550:
2545:
2543:
2538:
2537:
2534:
2522:
2519:
2518:
2516:
2512:
2506:
2505:Unified field
2503:
2501:
2498:
2496:
2493:
2491:
2488:
2484:
2481:
2480:
2479:
2476:
2474:
2471:
2469:
2468:
2464:
2462:
2459:
2457:
2454:
2452:
2449:
2447:
2444:
2442:
2439:
2438:
2436:
2430:
2424:
2421:
2419:
2416:
2414:
2411:
2407:
2404:
2402:
2399:
2398:
2397:
2394:
2393:
2391:
2385:
2379:
2376:
2374:
2371:
2369:
2366:
2364:
2361:
2359:
2356:
2355:
2353:
2347:
2343:
2342:post-tonality
2339:
2332:
2327:
2325:
2320:
2318:
2313:
2312:
2309:
2302:
2298:
2295:
2293:
2290:
2289:
2285:
2275:
2272:
2268:
2262:
2259:
2255:
2251:
2247:
2241:
2238:
2232:
2229:
2225:
2224:0-393-95480-3
2221:
2217:
2211:
2208:
2204:
2203:0-396-06752-2
2200:
2196:
2190:
2187:
2183:
2182:9780226521374
2179:
2175:
2169:
2166:
2162:
2161:0-262-69044-6
2158:
2154:
2148:
2145:
2140:
2133:
2130:
2124:
2121:
2117:
2111:
2108:
2104:
2098:
2095:
2091:
2085:
2082:
2070:
2066:
2060:
2057:
2046:
2042:
2036:
2033:
2022:
2018:
2012:
2010:
2006:
1995:
1991:
1985:
1982:
1978:
1977:0-07-033568-0
1974:
1970:
1964:
1961:
1955:
1952:
1946:
1943:
1939:
1938:1-57623-875-X
1935:
1931:
1927:
1922:
1920:
1916:
1912:
1911:0-02-928630-1
1908:
1904:
1898:
1896:
1892:
1886:
1883:
1879:
1878:0-02-864737-8
1875:
1871:
1865:
1862:
1856:
1853:
1847:
1844:
1840:
1836:
1834:9780674011014
1830:
1826:
1819:
1816:
1810:
1808:
1804:
1798:
1796:
1794:
1792:
1790:
1788:
1786:
1782:
1778:
1772:
1769:
1759:
1758:0-03-020756-8
1755:
1751:
1750:Tonal Harmony
1747:
1742:
1740:
1736:
1729:
1724:
1721:
1720:
1716:
1714:
1712:
1705:
1704:
1699:
1695:
1694:
1689:
1684:
1681:
1677:
1673:
1672:Susan McClary
1669:
1667:
1663:
1659:
1654:
1652:
1646:
1638:
1629:
1620:
1619:Walter Piston
1614:
1612:
1608:
1599:
1593:
1591:
1587:
1583:
1579:
1575:
1565:
1559:
1557:
1547:
1541:
1539:
1535:
1534:
1529:
1525:
1521:
1517:
1513:
1507:
1501:
1494:
1490:
1474:
1468:
1463:
1458:
1457:
1451:
1447:
1442:
1438:
1434:
1430:
1408:
1403:
1399:
1392:
1385:
1379:
1362:
1360:
1355:
1351:
1347:
1343:
1328:Dido's lament
1326:
1321:
1317:
1313:
1309:
1305:
1301:
1297:
1276:
1272:(1566–1613):
1271:
1261:
1260:
1258:
1255:
1253:
1248:
1244:
1240:
1235:
1231:
1229:
1225:
1219:
1213:
1205:
1199:vii in minor.
1169:
1161:iv, vii, and
1137:
1136:
1134:
1130:
1109:
1100:
1097:
1069:
1059:
1044:
1041:
1032:
1031:
1030:
1023:
1012:
996:
993:
990:
987:
984:
981:
978:
977:
976:
956:
943:
941:
940:
935:
931:
927:
923:
919:
898:
881:
875:
873:
859:
854:
853:Altered chord
846:
844:
842:
838:
833:
831:
822:
816:
811:
803:
797:
795:
787:
783:
767:
763:
758:
751:
744:
743:
741:
737:
735:
734:Nonchord tone
732:
729:
727:
724:
723:
722:
714:
713:
711:
709:
706:
703:
701:
697:
694:
691:
688:
684:
680:
676:
675:
674:
671:
669:
668:pitch classes
666:
662:
650:
648:
644:
640:
635:
632:
625:
623:
619:
603:
599:
594:
578:
574:
570:
566:
562:
561:parallel keys
558:
557:
552:
547:
540:
538:
536:
532:
528:
520:
519:Tristan chord
516:
513:
509:
507:
504:
501:
500:secondary key
497:
494:
492:
491:leading tones
489:
487:
484:
483:
482:
480:
476:
457:
433:
432:
427:
422:
414:
407:
403:
400:
397:
394:
391:
388:
385:
382:
379:
376:
373:
370:
369:
368:
365:
363:
359:
358:
353:
352:Orlando Lasso
349:
345:
344:
339:
331:
328:
325:
321:
318:Contemporary
300:
298:
296:
292:
288:
284:
280:
276:
272:
270:
266:
262:
259:
255:
251:
243:
209:
205:
195:
192:
177:
174:
166:
163:November 2022
156:
152:
148:
142:
139:This article
137:
128:
127:
118:
115:
107:
104:November 2022
97:
93:
87:
84:This article
82:
73:
72:
67:
65:
58:
57:
52:
51:
46:
41:
32:
31:
19:
2666:Chromaticism
2563:Chromaticism
2562:
2514:Compositions
2500:Tone cluster
2478:Polytonality
2465:
2441:Chromaticism
2440:
2434:and concepts
2368:Mystic chord
2300:
2274:
2266:
2261:
2245:
2240:
2231:
2215:
2210:
2194:
2189:
2173:
2168:
2152:
2147:
2138:
2132:
2123:
2115:
2110:
2102:
2097:
2090:Orientations
2089:
2084:
2073:. Retrieved
2068:
2059:
2048:. Retrieved
2044:
2035:
2024:. Retrieved
2020:
1997:. Retrieved
1993:
1984:
1968:
1963:
1954:
1945:
1929:
1926:Coker, Jerry
1902:
1885:
1869:
1864:
1855:
1846:
1838:
1824:
1818:
1776:
1771:
1749:
1746:Forte, Allen
1701:
1691:
1670:
1655:
1648:
1639:Connotations
1626:
1607:Chromaticism
1606:
1605:
1582:chromaticism
1581:
1580:resulted in
1571:
1553:
1537:
1531:
1509:
1505:
1410:Carmen aria
1401:
1357:
1319:
1256:
1236:
1232:
1212:music theory
1209:
1193:iv, ii, and
1167:VII in major
1096:tonicization
1028:
974:
937:
915:
880:Roger Kamien
868:
857:
834:
827:
813:
808:
793:
791:
740:mode mixture
720:
700:subdominants
672:
658:
646:
642:
638:
636:
627:
616:
601:
554:
551:Cesar Franck
524:
512:George Perle
496:tonicization
486:mode mixture
471:
429:
401:
395:
389:
383:
377:
371:
366:
355:
341:
335:
275:Chromaticism
273:
250:Chromaticism
249:
248:
187:
169:
160:
147:spinning off
140:
110:
101:
85:
61:
54:
48:
47:Please help
44:
2594:Lament bass
1725:– Classical
1698:avant-garde
1680:sonata form
1662:lament bass
1598:Paul Cooper
1512:composition
1473:Die Walküre
1456:Die Walküre
1308:ground bass
1043:sixth chord
841:bebop scale
821:Allen Forte
802:Allen Forte
687:modulations
406:blues scale
338:Renaissance
283:diatonicism
2495:Tone Clock
2446:Cyclic set
2432:Techniques
2387:Genres and
2349:Scales and
2114:Cooke, D.
2075:2022-08-25
2050:2022-08-25
2045:Hub Guitar
2026:2022-08-25
2021:Hub Guitar
1999:2022-08-25
1730:References
1683:narratives
1651:dissonance
1556:alteration
1516:scale-step
1243:Monteverdi
1040:Neapolitan
641:or simply
618:David Cope
151:relocating
50:improve it
2418:Serialism
2338:Atonality
1932:, p. 81.
1590:atonality
1538:chromatic
1452:'s opera
1400:'s opera
1318:'s opera
1224:chromatic
934:chromatic
794:chromatic
766:Hot House
677:Dominant
535:serialism
56:talk page
2660:Category
1928:(1997).
1763:♭
1717:See also
1676:operatic
1631:—
1616:—
1595:—
1561:—
1543:—
1404:(1875):
1354:Schubert
1322:(1689):
1247:Gesualdo
1228:bassline
1196:♮
1190:♯
1184:♭
1178:♮
1172:♮
1164:♭
1158:♯
1152:♭
1146:♭
1140:♭
1125:♯
1119:♭
1113:♭
1106:VI: The
1103:♭
1091:♯
1085:♯
1079:♭
1073:♯
1063:♯
1054:♭
1048:♭
1035:♭
970:iv7–V7–I
967:♯
908:♭
877:—
872:feelings
861:—
818:—
799:—
652:—
602:Preludes
531:tone row
449:♯
443:♯
437:♯
287:modality
279:tonality
258:diatonic
225:♭
219:♮
213:♯
2389:schools
2216:Harmony
2153:Harmony
1574:tertian
1526:of the
1493:YouTube
1433:YouTube
1346:YouTube
1316:Purcell
1300:YouTube
786:YouTube
643:mixture
261:pitches
90:Please
2351:tuning
2252:
2222:
2201:
2180:
2159:
1975:
1936:
1909:
1876:
1831:
1756:
1711:cliché
1703:Salome
1693:Isolde
1666:pianto
1664:, and
1621:(1987)
1600:(1975)
1566:(1956)
1548:(1906)
1520:degree
1502:Quotes
1488:Listen
1450:Wagner
1428:Listen
1402:Carmen
1341:Listen
1295:Listen
1239:Boulez
1082:. The
1076:–A–C–E
882:(1976)
830:octave
823:(1979)
804:(1979)
796:notes.
781:Listen
569:V of V
265:chords
1707:'
1528:tonic
1524:value
1518:[
1441:above
1398:Bizet
1396:from
1314:from
1268:, by
1175:iii,
1143:III,
936:is a
918:chord
502:areas
350:, in
295:minor
291:major
289:(the
252:is a
222:)–B–B
2406:List
2340:and
2250:ISBN
2220:ISBN
2199:ISBN
2178:ISBN
2157:ISBN
1973:ISBN
1934:ISBN
1907:ISBN
1874:ISBN
1829:ISBN
1754:ISBN
1678:and
1306:The
1245:and
1187:II,
1181:vi,
1155:II,
1149:VI,
1060:The
837:jazz
659:The
529:, a
324:rock
322:and
320:jazz
293:and
285:and
263:and
2401:Row
1491:on
1485:or
1431:on
1425:or
1344:on
1338:or
1298:on
1292:or
1210:In
1122:)–F
1110:, A
964:IV-
926:key
784:on
778:or
681:of
600:'s
575:to
571:to
553:'s
428:'s
354:'s
281:or
228:–A)
216:–C(
149:or
94:to
2662::
2299:,
2067:.
2043:.
2019:.
2008:^
1992:.
1918:^
1894:^
1837:.
1806:^
1784:^
1748:,
1738:^
1668:.
1660:,
1653:.
1443:.)
1214:,
1135::
1051:–D
942:.
742:)
649:.
624:.
579:".
514:'s
452:–C
446:–A
440:–F
364:.
59:.
2555:e
2548:t
2541:v
2330:e
2323:t
2316:v
2303:.
2256:.
2226:.
2205:.
2163:.
2078:.
2053:.
2029:.
2002:.
1979:.
1940:.
1913:.
1880:.
1540:.
1393:"
1389:"
1361:.
1013:.
957:.
899:.
815:.
768:"
577:I
573:V
563:(
521:.
194:)
188:(
176:)
170:(
165:)
161:(
157:.
143:.
117:)
111:(
106:)
102:(
88:.
66:)
62:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
