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TURN-OF-THE-CENTURY
CHROMATICISM
Late 1800s / Early 1900s
Music in this time became more and more chromatic; while it still retained a tonal
center, composers were looking to use traditional chords types (tertian harmony) in
non-traditional ways.

LISTEN
Sebelius, The Swan of Tuonela

Chromaticism served to intensify the sense of resolution from one chord to another by
narrowing the distance between pitches in a given line.
Ex: using V/V to V instead of ii to V
Using IV iv I instead of IV i

Composers continued this trend into the late 19th century by drawing from the full
spectrum of chromaticism and experimenting with:

❖ Harmonic models other than the circle-of-fifths

❖ Greater emphasis on chromatic pitches with longer durations, placement on
stronger beats, greater dynamics, etc…. Blurring the sense of which harmonies
are essential vs. non-essential
❖ Moving rapidly from one key to another; making them all sound temporary
❖ Enharmonic modulations - moving to unexpected places
❖ Avoiding strong, key-affirming V-I cadences for long times
❖ Dissonances and tendency tones preparation and resolution being looser, not
necessarily resolving “correctly”, and using chords for their color and sonority
rather than their traditional function.
❖ Withholding the establishment of a clear tonal center.

Music in this time was HIGHLY chromatic - composers like Chopin, Liszt, Wagner,
Brahms, Mahler, Faure, Saint-Saens, and Richard Strauss wrote pieces that are
sometimes difficult to analyze with traditional methods and sometimes may even seem
incoherent!
Zueignung (1885) by Richard Strauss - is tonal but highly chromatic
This chromaticism is balanced by an emphasis on smooth voice leading (and/or
common tones) without concern about non-diatonicism; conjunct, linear motion
and smooth voice leading between chords.

Also, composers had a willingness to explore the entire collection of chromatic

pitches (all 12); essentially, breaking away from the traditional harmonic function
chart we all know and love.

By considering chords that can contain any chromatic pitch, new and previously
impossible harmonic and contrapuntal combinations are possible.

Here are some of the interesting chords that composers used at this time!
Altered dominants - V chords that have been altered in some way. Some ways we
might alter them:

Dominant with a substituted 6th

These are similar to added-note chords*, but instead of adding a 6th to a chord
(root, 3rd, 5th, 6th), the 5th is substituted with a 6th (root, 3rd, 6th).
For example, in the key of C, the V chord might be spelled G - B - E, with the E
substituted for D. The added note is diatonic!

These chords contain the same scale degrees as those found in a iii6 chord, but the
function is clearly dominant.

When resolving a Vsubs6, the 6th should leap down to tonic (^3 to ^1) - not stay the
same like it’s an anticipation.
*We will get to chords of addition when we talk about Impressionism!

Dominant with a Raised 5th

The 5th of a V or V7 is chromatically raised, resulting in a V+ or V+7

For example, in the key of C, the V chord might be spelled G - B - D#.

This is nice when it resolves to I (in major!) because the raised 5th acts as
a “leading tone” to the 3rd of the tonic triad. It’s usually preceded by its diatonic form,
so the raised fifth could be seen as a chromatic passing tone (re - ri - mi).

Lookout! In a V+7, the raised 5th and 7th make a diminished 3rd. Usually when we see a
d3, we think it’s an augmented sixth chord! In this case though, it won’t be spelled that
way.
For example, a G+7 would be G-B-D#-F; the d3 between the D# and the F may make
you think it’s a +6 chord with F as the root, but that would be spelled F-A-C-D#, or
F-A-B-D# if it was French.

Something else to ponder: V+ in major is enharmonic to a Vsubs6th in minor!

For example, a V+ in in C would be spelled G-B-D#, and a Vsubs6th in Cm is spelled
G-B-E♭. They will sound the same, but they will resolve differently:
-The raised 5th of V+ moves UP to ^3 (like a leading tone), while
-the 6th of a sub6th leaps DOWN to ^1
Tall chords (Extended chords) - 9ths, 11ths, and 13ths
These chords are exactly what they sound like: when you continue to stack thirds on top
of 7th chords, you get 9ths, 11ths, and 13ths! We call them “tall” chords because when
they are notated, they take up a lot of vertical space.

These chords are somewhat rare before Impressionism (late 1800s/early 1900s); if they
did appear, they were usually in the context of being a nonchord tone.

Tall chords are often on a dominant function, but any chord can have these additions.
It’s very similar to 7ths - you usually see them on the V, but you can stack a 7th on
anything. It just depends on the style of music. Jazz music, for instance, puts 7ths and
tall chords on just about anything.

They are usually in root position, and the characteristic factor (9, 11, 13) is the
highest voice so that it is clear to the listener and it doesn’t sound muddy. This is what
distinguishes them from chords of addition*.

The 13th is the furthest extension diatonically possible; all seven tonal degrees are
present at that point, and when you get to 15th, you’re back at the root. See:

Root 3rd 5th 7th 9th 11th 13th 15th

C E G B D F A C

When the root movement is by 4th (V to I, ii to V, etc), that tall voice is a tendency tone!

❖ 9ths typically resolve DOWN by step

❖ 11ths kept as a common tone
❖ 13ths can be kept as a common tone or resolve UP or DOWN by 3rd

Each extended note can be altered chromatically as needed. You might see things like
♭9 or #11.
Jazz chord symbols for tall chords
In general, they will be constructed just like seventh chords, except that you will put a 9,
11, or 13 where “7” normally would go. That number replaces the 7.

These really aren’t standardized, so you might see various ways of writing them. Use
familiar terms and symbols the way you normally do and use your best judgement.
When in doubt, simply use what is diatonic. Let’s look at some examples:

Key Jazz chord What this means Spelling

symbol

C G9 a dominant seventh chord with a diatonic GBDFA

9th

F Dm13 a minor seventh chord with a diatonic 9th, DFACEG

11th, and 13th B♭

G CΔ11 a major/delta seventh chord with a CEGBD

diatonic 9th

Alterations are indicated in chord symbols:

Key Jazz chord What this means Spelling

symbol

C G#11 a dominant seventh chord with a diatonic G B D F A C#

9th and an 11th that’s been raised a
half-step

G Am ♭9 a minor seventh chord with a 9th that’s A C E G B♭

been lowered by a half-step

F FΔ♭13 a major/delta seventh chord with a F A C E G B♭

diatonic 9th and 11th, but a 13th that’s D♭
been lowered by a half-step

And so on!
Tall chords, cont.

Dealing with a chord with more than four factors

Something you might be wondering… that’s a lot of notes for one chord. Do we have to
use ALL of the factors?
In practice, tall chords don’t typically use all chords factors unless the composer wants a
thick texture. They will usually omit something so that it’s not as busy. So what can we
omit safely?

Don’t omit the root. It’s the star of the show. You also want to, usually, keep the
third as it is what makes a chord major or minor. The exception to this is 11ths (see
below), but usually the root and the third make the cut.

The seventh is usually kept as it defines the chord as an extended chord rather than
a chord of addition (added-note chord).

Just like when we write incomplete seventh chords, we may omit the fifth, because
it’s kind of a buttress for the root anyway.

A few guidelines for the specific chords:

❖ The 9th chord may use all five (R 3 5 7 9) or omit the 5th (R 3 7 9)
❖ The 11th chord has several options:
➢ may sometimes omit the 3rd (1 5 7 9 11) or the 9th (1 3 5 7 11)
to avoid clashes, sometimes third and fifth (1 7 9 11)
❖ The 13th usually omits the 11th and sometimes also 9th (R 3 5 7 13)

Any notes that may be altered (such as a lowered fifth or ninth) should be given priority
and not omitted.

EXAMPLES:
Rodgers - Dancing on the Ceiling
Cole Porter - I Love You
Rodgers - People Will Say We’re In Love
Rodgers - Wait Till You See Her
Rodgers - I Could Write A Book (secondary)
Grieg - Wedding Day at Troldhaugen has a ii9!

Ravel, Sonatine, mvt 2, Mouvement de Menuet

Common-tone diminished 7th chords
aka Embellishing Diminished 7th chord
A common-tone diminished 7th chord (CT°7) that resolves to chord whose root is one
the notes of the CT°7 (hence the name)!

For example:

chord: G#°7 F

spelled: G# B D F FAC

Notice that they both have F in them! The resolution of a fully-diminished 7th chord
clarifies its function. It should have one note in common with the chord it resolves to.

These chords have a distinctly nonessential flavor and act like a neighbor chord or
passing chord. They function as an embellishment, meaning that it doesn’t necessarily
progress the harmony. The “Roman numeral” for this, therefore, is just “CT°7”.
Some texts even put its function in parentheses to indicate its weak harmonic function!

CT°7s can resolve to any harmony, but it’s usually found resolving to I or V, and usually
in a major key.
They are usually spelled with the common tone being the seventh of the CT°7 and the
root of the resolution chord.

A few things I’ve noticed that aren’t necessarily hard rules:

❖ They often are sandwiched between two of the same chord, like C-D#°7-C. They
could act as a passing chord, like F-D#°7-C, but it’s just not as common.
❖ They are often written with the common tone remaining in the bass, so it makes
it sound like the bass is stationary and the upper notes are moving around it…..
like a reverse pedal 64 almost.

Inversions can be indicated in the jazz chord symbol, as always, but no inversions
should be indicated in the Roman numeral. “CT°7” is all you need!
CT°7, cont.

EXAMPLES!

K.L. King - The University of North Dakota March

E♭ - F#°7/E♭ - E♭

Koji Kondo - Underwater music from Super Mario Bros.

C - D#°7/C - C

Mozart - Piano Sonata, K. 545, Mvt. II - passing!

G D G, C/G A#°7/G - G

Tchaikovsky - Waltz of the Flowers from The Nutcracker

A - B#°7/A - A

Clara Wieck Schumann - Concert Variations, op. 8, variation no. 2

C - D#°7/C - C

Sousa - Semper Fidelis

https://youtu.be/6mAP9cNkeWw - this guy was my music history teacher!
G - A#°7/G - G

Berlin - Easter Parade

in E♭: E♭^7 - C#°7 - B♭
Chord Mutation
A chord’s identity undergoes a gradual change, with the chord members changing pitch
at different times rather than simultaneously. This is seen frequently in Chopin’s music!
This often results in nonfunctional harmonies between functional harmonies:

Chopin: Mazurka, Op 68, No. 4

The chords above were chosen to get stepwise motion from chord to chord, which may
result in seemingly nonsensical functions (it’s hard to put Roman numerals to the
chords). This is called linear harmony.

For example:

❖ V+ gives a “leading tone” to the ^3

❖ CT°7 resolves by common tone and step
❖ Chord mutation involves common tones and moving notes individually

A chord for which a traditional Roman numeral label is essentially meaningless

(it doesn’t function traditionally) is called a simultaneity.
The Tristan Chord
From Wagner’s Tristan und Isolde (written 1857-1859; premiered 1865)

The “Tristan Chord” is spelled F B D# G# and consists of these intervals above the bass:

❖ an augmented fourth
❖ an augmented sixth
❖ an augmented ninth

Notice that those same notes could be spelled enharmonically to be a simple

half-diminished 7th chord (specifically FØ7), so this chord on its own doesn’t sound too
weird. In fact, this same chord structure had been used in earlier works by Chopin.

However, it was famously used by Wagner in the prelude to his 1865 opera, Tristan und
Isolde as part of the Tristan’s leitmotif, and what makes it unique here is the context in
which Wagner uses it, and its relationship with the surrounding chords. Many theorists
point to this chord as being the first major move away from traditional tonal
harmony, and see it as the groundwork for music of the 20th century.

The opera was hugely influential to other Western composers at the time; composers
like Mahler and R. Strauss were inspired by it, while other composers such as Debussy
and Ravel wrote music to contrast Wagner’s style.
Analysis of the Tristan chord

We appear to be in the key of A minor; the first three notes somewhat outline the Am
tonic triad.

The chord itself, shown in red, is essentially an FØ7, enharmonically spelled. We would
normally expect that to resolve to perhaps a G♭.

Instead, the bottom three voices sustain while the G# resolves to A. Combined with the
F, B, and D# in the lower three voices, that creates a Fr+6 on the last 8th note of
measure 2. So, this chord could be analyzed as simply a Fr+6 with a very accented
dissonance that takes a whole measure to resolve.

That Fr+6 would want to resolve to E, and indeed it does resolve to an E7, which is the
V7 of A, but it does so by way of an E7#4, which sounds a lot like an E7♭5, which
sounds a lot like an augmented 6th chord, like he used two Fr+6 in a row! One might
also consider the entire measure to be an E7 with another very accented dissonance on
beat one; it becomes the real E7 when the A# moves up to B.

So, to recap:

measure 1 measure 2 measure 3

Am → “FØ7” → F7♭5 E7#4 → E7

Am: i Tristan → Fr+6 V7#4 → V7

All this to get from [i] to [V7].

Then he follows it with the same progression, but in the key of C minor:

measure 5 measure 6 measure 7

Cm → “A♭Ø7” → G7#4 → G7
A♭7♭5

Cm: i Tristan → Fr+6 V7#4 → V7

Here is a great video that includes easy-to-understand harmonic analysis of the

prelude!!
Chromatic mediants
A chromatic mediant is any altered mediant (^3) and submediant (^6) chords.

Let’s take C major for example. In this key, Em and Am are diatonic mediants - they are
iii and vi.
Any mediant that is not Em and Am is considered a chromatic mediant:

in C: Em Am E E♭ E♭m A A♭ A♭m

in C: iii vi III ♭III ♭iii VI ♭VI ♭vi

Diat. Diat. Chrom. Chrom. Chrom. Chrom. Chrom. Chrom.

Now let’s do C minor. In this key, E♭ and A♭ are diatonic mediants - they are III and
VI.
Any mediant that is not E♭ or A♭ is considered a chromatic mediant:

in Cm: E♭ A♭ E♭m Em E A♭m Am A

in Cm: III VI iii #iii #III vi #vi #VI

Diat. Diat. Chrom. Chrom. Chrom. Chrom. Chrom. Chrom.

We have already seen a few of these, functioning as borrowed chords (♭III, ♭VI, #iii,
#vi) or even as secondary dominants. Their identity is revealed by their resolution.

When they function as a chromatic mediant, they are typically root position chords that
often proceed from and to the tonic triad. They are used to provide unusual color and
interest while prolonging the tonic harmony. For example:

❖ i iii i
❖ i vi i
❖ I III I
❖ I VI I

And so on. They have a pleasant, surprising quality about them; they are not diatonic
and take the ear by surprise!

They are rarely used in the baroque and classical periods; they’re more popular in the
Romantic period, and even more in post-Romantic and Impressionism.
Chromatic mediants, cont.

Compare chromatic mediants to identical secondary dominants:

C A Dm G C C A C

C: I V/ii ii V I C: I VI I
Here, the “major VI” is analyzed as a V/ii; Here, the “major VI” really is just that - a
it is the dominant of Dm, and that is VI. It’s a chromatic mediant, and is
made obvious by how it resolves. prolonging the tonic harmony. This is
when you can finally just put down a big
VI!