Chromatic system |

Chromatic system – a twelve-step system, extended tonality, – a system of tonal harmony that allows, within a given tonality, a chord of any structure on each of the twelve steps of the chromatic scale.

Specific for X. with. are steps that are not included in either the diatonic or major-minor systems (see Diatonic, Major-minor) and are not harmonies of subsystems (deviations) in them; in the example are marked with black notes:

Sample application of harmony from X. with:

S. S. Prokofiev. “Betrothal in a Monastery” (“Duenna”), scene 1. (Chord X. s. n II functionally replaces DV here according to the principle of tritone substitution.)

Harmony X. s. have great brightness and brilliance of sound. There are two basic type X. c. – with the preservation of the mono-mode basis (chromatic major or chromatic minor; in the works of S. S. Prokofiev) and with the rejection of it (chromatic tonality without specifying the mode; by P. Hindemith). Systems of both types are used both with the center in the form of a consoner. consonance (see example above; also fugue in C from Hindemith’s Ludus tonalis), and with dissonance. center (the main theme of the “Great Sacred Dance” from “The Rite of Spring” by I.F. Stravinsky; the main theme of the 2nd part of the “Lyrical Suite” by Berg). Dep. manifestations of X. with. already found in the music of the 19th century. (A.P. Borodin, closing cadence of “Polovtsian Dances” from the opera “Prince Igor”: HV-I), but it is most typical of tonal music of the 20th century. (D. D. Shostakovich, N. Ya. Myaskovsky, A. I. Khachaturyan, T. N. Khrennikov, D. B. Kabalevsky, R. K. Shchedrin, A. Ya. Eshpay, R. S. Ledenev, B Bartok, A. Schoenberg, A. Webern and others).

In the music science idea X. with. was put forward by S. I. Taneev (1880, 1909) and B. L. Yavorsky (1908). The term “chromatic tonality” was used by Schoenberg (1911). Modern interpretation X. s. given by V. M. Belyaev (1930). In detail the theory of X. with. developed in the 60s. 20th century (M. Skorik, S. M. Slonimsky, ME Tarakanov, etc.).

References: Taneev S. I., Letter to P. I. Tchaikovsky dated August 6, 1880, in the book: P. I. Tchaikovsky – S. I. Taneev, Letters, (M.), 1951; his own, Movable counterpoint of strict writing, Leipzig, 1909, M., 1959; Yavorsky B., The structure of musical speech, part 1, M., 1908; Catuar G. L., Theoretical course of harmony, parts 1-2, M., 1924-1925; Belyaev V.M., “Boris Godunov” by Mussorgsky. The experience of thematic and theoretical analysis, in the book: Mussorgsky, Articles and research, vol. 1, M., 1930; Ogolevets A. S., Introduction to modern musical thinking, M.-L., 1946; Skorik MM, Prokofiev and Schoenberg, “SM”, 1962, No 1; his own, Ladovaya system S. Prokofiev, K., 1969; Slonimsky S. M., Prokofiev’s Symphonies. Research experience, M.-L., 1964; Tiftikidi N., Chromatic system, “Musicology”, vol. 3, Alma-Ata, 1967; Tarakanov M.E., Style of Prokofiev’s symphonies, M., 1968; Schoenberg A., Harmonielehre, W., 1911; Hindemith P., Unterweisung im Tonsatz, Bd 1, Mainz, 1937; Kohoutek S., Novodobé skladebné smery v hudbe, Praha, 1965 (Russian translation – Kohoutek Ts., Composition technique in music of the 1976th century, M., XNUMX).

Yu. N. Kholopov