Музыкадағы хроматизм техникасы

Compositional technique in music

Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. 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. Chromaticism is in contrast or addition to tonality or diatonicism and modality (the major and minor, or "white key", scales). Chromatic elements are considered, "elaborations of or substitutions for diatonic scale members".

Chromaticism is often associated with dissonance. In the 16th century the repeated melodic semitone became associated with weeping, see: passus duriusculus, lament bass, and pianto. Susan McClary (1991) argues that chromaticism in operatic and sonata form narratives 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, Catherine Clément calls the chromaticism in Wagner's Isolde "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 avant garde instrumental music, "In the nineteenth century symphony, Salomes chromatic daring is what distinguishes truly serious composition of the vanguard from mere cliché ridden hack work." (p. 101)