chromaticism

/kroh mat"euh siz'euhm, kreuh-/, n. Music.

1. the use of chromatic tones.

2. a style in which chromatic tones predominate.

[1875-80; CHROMATIC + -ISM]

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In music, the use of all 12 tones, especially for heightened expressivity.

A standard key or mode principally employs 7 tones, leaving 5 tones for discretionary use. Use of all 12 tones in a given piece increased in the 18th and 19th centuries. Strictly controlled chromaticism, as in the ornamentation of Frédéric Chopin, did not threaten the perception of tonality. However, from the mid-19th century on, complaints were heard with ever greater frequency that it was difficult to perceive what a given piece's tonal centre was, the chromaticism in the works of Richard Wagner being the most notorious. The virtual breakdown in tonality in the works of advanced composers led to the free atonality of Arnold Schoenberg and his followers in the early 20th century.

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▪ music

      (from Greek chroma, “colour”) in music, the use of notes foreign to the mode or diatonic scale upon which a composition is based.

      Chromatic tones in Western art music are the notes in a composition that are outside the seven-note diatonic (i.e., major and minor) scales and modes. On the piano keyboard, the black keys represent the 5 chromatic tones that do not belong to the diatonic scale of C major; black and white keys together add up to the chromatic scale of 12 tones per octave.

      In European medieval and Renaissance music, chromaticism was associated with the practice of musica ficta, which facilitated, and in some instances required, half-tone steps outside the church modes (church mode). In the 16th and early 17th centuries, notably in the secular Italian and English madrigal, chromaticism was used to heighten expressiveness; the Italian composer Carlo Gesualdo (Gesualdo, Don Carlo, principe di Venosa) and some of his contemporaries pushed this tendency to extremes that distorted the perception of modal scale structure.

      Melodic use of the chromatic scale became widespread in Baroque instrumental music. At the same time, chromatic tones were systematically incorporated into the diatonic system of harmony and were indicated in the musical text as accidental signs, that is, sharp (♯), flat (♭), or natural (♮) signs for notes that are outside the key. There are five common uses of chromatic tones in tonal harmony.

● inflection of the normal degrees of the scale in the minor mode, such as the use of G♯ in the key of A minor

● nonharmonic tones (that is, melodic notes that differ from the tones of the supporting harmony)

● secondary dominants (dominant) (that is, chords having a dominant relationship to degrees other than the tonic, or primary note of the scale, often expressed “V of V” or “V of II,” for example)

● modulation to a new key or keys when the key signature does not change

● certain kinds of harmony—such as the diminished seventh chord (built with three minor thirds)—that include chromatic tones in their essential structure

      All of these kinds of chromaticism have been employed in rich variety as expressive and structural means. Chromatic modulation between distantly related keys, an occasional feature in the music of Johann Sebastian Bach (Bach, Johann Sebastian), Joseph Haydn (Haydn, Joseph), and Wolfgang Amadeus Mozart (Mozart, Wolfgang Amadeus), was increasingly used by early Romantic composers, including Franz Schubert (Schubert, Franz) and Frédéric Chopin (Chopin, Frédéric), and became an outstanding aspect of the style of the dramatic composer Richard Wagner (Wagner, Richard). In his opera Tristan und Isolde (1857–59) Wagner developed a continuously chromatic harmonic vocabulary in which the music frequently progressed toward new keys yet repeatedly postponed key-strengthening cadences (cadence).

      Composers of instrumental music after Wagner, including César Franck (Franck, César), Anton Bruckner (Bruckner, Anton), Richard Strauss (Strauss, Richard), and Max Reger (Reger, Max), developed these chromatic tendencies to the point of a nearly complete destabilization of tonality. The tonal system was entirely rejected in the atonal (atonality) music of Arnold Schoenberg (Schoenberg, Arnold), Alban Berg (Berg, Alban), Anton Webern (Webern, Anton), and Aleksandr Scriabin (Scriabin, Aleksandr) at the beginning of the 20th century. In atonality, composers eliminated harmony based on diatonic scales, instead relying on harmony in which any of the 12 pitches could be included.

Mark DeVoto

 

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