Adams, Kyle: A New Theory of Chromaticism from the Late Sixteenth to the Early Eighteenth Century

285

Kyle Adams A New Theory of Chromaticism

The reduction appears to violate the principle of greater simplicity by introduc-

ing a cross-relation B≤ to EΩ in m. 23 that was not present before, but the reduc-

tion is intended to track the listener’s expectations and perceptions, according

to which B≤ would still be the expected diatonic tone in the three-flat system of

m. 22 and would only be supplanted by BΩ with the E-minor sonority in m. 23.

adams_16 (code) /home/jobs/journals/jmt/j8/4_adams Wed May 5 12:13 2010 Rev.2.14 100% By: bonnie Page 1 of 3 pages

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JMT 53:2 A-R Job 149-8 Adams Example 16 page 1 of 3

Example 16. Reduction of Purcell, Gloria Patri (late seventeenth century), mm. 20–21

286

JOUrNAL of MUSIC ThEOrY

Suspended diatonicism

Pretonal music always contains diatonic features, although in some instances

one is unable to arrive at a definite governing tonal system for a passage. Situ-

ations that approach suspended diatonicism are rare; this section examines a

few types and the criteria by which one can identify them.

Suspended diatonicism arising from simultaneous chromatic tones. Suspended

diatonicism can be created by the use of several tones simultaneously that

adams_16 (code) /home/jobs/journals/jmt/j8/4_adams Wed May 5 12:13 2010 Rev.2.14 100% By: bonnie Page 2 of 3 pages

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JMT 53:2 A-R Job 149-8 Adams Example 16 page 2 of 3

Example 16 (continued) Reduction of Purcell, Gloria Patri (late seventeenth century), mm. 22–24

287

Kyle Adams A New Theory of Chromaticism

cannot belong to the same system. Example 17 presents mm. 49–53 from Ber-

nardo Storace’s Passagagli [sic].

This is a very brief moment of suspended diatonicism in an other-

wise clear passage. The natural system has governed the piece thus far and

is strengthened with each repetition of the ground bass pattern A–G–F–E.

Within this system, the sonority on the second beat of m. 50 is seemingly easy

to explain: The B≤ and the G≥ are both type B alterations. But the striking dis-

sonance of the chord—it contains a diminished third, a diminished fifth, and

adams_16 (code) /home/jobs/journals/jmt/j8/4_adams Wed May 5 12:13 2010 Rev.2.14 100% By: bonnie Page 2 of 3 pages

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JMT 53:2 A-R Job 149-8 Adams Example 16 page 2 of 3

adams_16 (code) /home/jobs/journals/jmt/j8/4_adams Wed May 5 12:13 2010 Rev.2.14 100% By: bonnie Page 3 of 3 pages

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JMT 53:2 A-R Job 149-8 Adams Example 16 page 3 of 3

Example 16 (continued) Reduction of Purcell, Gloria Patri (late seventeenth century), mm. 25–26

288

JOUrNAL of MUSIC ThEOrY

an augmented octave, as well as a leap of an augmented second to the next

chord—makes it extremely difficult for the listener to distinguish chromatic

tones from diatonic tones in real time and therefore creates a situation in

which the music could continue in one of several different tonal systems.

31

For example, the passage could proceed as in Example 18, with a change to

the three-sharp system.

In this case, there would be no single moment of juxtaposition between

systems, only a passage in the natural system, followed by an ambiguous

sonority—the moment of suspended diatonicism—and a continuation in the

three-sharp system. The passage’s continuation in the same system in which it

began does not change the moment of suspended diatonicism.

adams_17 (section) /home/jobs/journals/jmt/j8/4_adams Wed Jul 7 15:01 2010 Rev.2.14 100% By: bonnie Page 1 of 1 pages

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49

JMT 53:2 A-R Job 149-8 Adams Example 17

Example 17. Reduction of Storace, Passagagli (1664), mm. 49–53

31 This sonority is analogous to the sonority that François-

Joseph Fétis (1879) used to illustrate the omnitonic order,

a sonority that did not belong clearly to any one key and

therefore could resolve to virtually any key.

289

Kyle Adams A New Theory of Chromaticism

Suspended diatonicism arising from consecutive semitones. The most frequent

case of suspended diatonicism occurs when there is a buildup of consecutive

semitones in more than one voice, which can blur the distinction between

diatonic and chromatic semitones and make the identification of a single

tonal system impossible. As with juxtaposed diatonicism, the perception of

suspended diatonicism depends largely on context. Example 19, from Cuore

che reprime alle lingua di manifestare il nome della sua cara by Barbara Strozzi, is

not an example of suspended diatonicism, although it contains consecutive

semitones in both voices.

The bass progression in mm. 175–77, which chromatically fills in a per-

fect fifth, has an audible distinction between diatonic and chromatic tones

because the preceding passages have been governed exclusively by the natu-

ral system. The D≥, C≥, and B≤ are therefore type B alterations, and, having

been perceived as type B alterations in the bass, they will also be perceived as

such in the soprano in m. 176ff. The cadence on A in the natural system in

mm. 178–79 contextualizes the chromatic tones in the bass of the following

bars as type B alterations, and, having been chromatic in the bass, they are

chromatic in the soprano.

In Example 20, on the other hand, suspended diatonicism does occur

because there have not been enough tones sounding to establish a single tonal

system. The example gives a reduction of the first ten measures of the Fantasie

ex D by Claudio de Monteforte.

Stages 1 and 2 of the reduction have been omitted for the first four

measures. This is because the nature of suspended diatonicism is a lack of an

audible distinction between diatonic and chromatic tones; it is impossible in

such circumstances to distinguish among different types of chromatic tones.

Instead, the single staff below the score carries no signature at all until m. 5,

when the analysis proceeds as usual.

In the first four bars, only the tones D and A can be perceived as dia-

tonic, and this is only because they each have twice the value of the other

tones. D begins the piece, and A is the first important metrical point of arrival.

It is safe to assume, therefore, that the listener would perceive these tones as

diatonic, or at least more stable than the others. But two diatonic tones do not

constitute a tonal system. True, the listener will most likely perceive the D as a

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JMT 53:2 A-R Job 149-8 Adams Example 18

Example 18. Alternate version of Passagagli

290

JOUrNAL of MUSIC ThEOrY

final and the A as its fifth, but that does not necessarily determine the status of

the other tones. In particular, it is still uncertain whether FΩ or F≥ is diatonic.

32

By m. 5, however, the diatonic context becomes much clearer: EΩ is another

point of arrival and thus diatonic for the same reasons as D and A, and the

four sixteenth notes at the end of the bar establish GΩ and FΩ as diatonic tones

as well. Only the tone B is left undecided, and, here, the principle of preferred

diatonicism, which would take the B≤ as diatonic since it appears first, is super-

seded by motivic considerations.

33

Since EΩ has become clearly established as

diatonic on the downbeat of m. 5, the listener becomes aware that the E≤ at the

adams_19 (code) /home/jobs/journals/jmt/j8/4_adams Wed Jul 7 15:01 2010 Rev.2.14 100% By: bonnie Page 1 of 2 pages

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175

JMT 53:2 A-R Job 149-8 Adams Example 19 page 1 of 2

Example 19. Reduction of Strozzi, Cuore che reprime alle lingua di manifestare il nome della

sua cara (1654)

32 Although the FΩ falls on a downbeat and might therefore

be more easily perceived as diatonic, the meter does not

become clear until at least m. 3, so for the listener the met-

rical status of both FΩ and F≥ remains ambiguous. Nothing

in the first two bars indicates that the piece is not in triple

meter, with the EΩ falling on the second downbeat.

33 This piece, like Example 9, illustrates the difficulty of

determining tonal systems in pieces with a D final.

291

Kyle Adams A New Theory of Chromaticism

beginning of the subject was a chromatic tone, in accordance with which the

parallel B≤ in m. 5 is also chromatic. In m. 7, where either B≤ or BΩ would satisfy

the grammatical and syntactical requirements of the group of four sixteenth

notes, the composer opts for BΩ, allowing for a consistent reading with the

four sixteenths at the end of m. 5. BΩ turns out to be the dominant form of B

throughout the piece; Monteforte uses it consistently instead of B≤ whenever

either tone would be satisfactory. Its use establishes the natural system as the

governing tonal system for the piece.

Again, the difference between Examples 19 and 20 is one of context.

Although the bass of Example 19 is almost the exact reverse of the opening

subject from Example 20, it does not represent suspended diatonicism. In

Example 20 from Monteforte, no context had been established against which

chromatic alterations would stand out as such, whereas in Example 19 from

Strozzi, several cadences have strongly established the natural system. Fur-

thermore, in mm. 179–82 of Strozzi’s work, the bass chromatically fills in an

adams_19 (code) /home/jobs/journals/jmt/j8/4_adams Wed Jul 7 15:02 2010 Rev.2.14 100% By: bonnie Page 2 of 2 pages

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181

JMT 53:2 A-R Job 149-8 Adams Example 19 page 2 of 2

Example 19 (continued) Reduction of Strozzi, Cuore che reprime alle lingua di manifestare il

nome della sua cara (1654)

292

JOUrNAL of MUSIC ThEOrY

adams_20 (code) /home/jobs/journals/jmt/j8/4_adams Wed May 5 12:13 2010 Rev.2.14 100% By: bonnie Page 1 of 1 pages

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7

JMT 53:2 A-R Job 149-8 Adams Example 20

Example 20. Reduction of Monteforte, Fantasie ex D (1689–1700), m. 1–10

293

Kyle Adams A New Theory of Chromaticism

Example 21. Reduction of Rossi, Toccata VII (1657), mm. 69–74

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72

JMT 53:2 A-R Job 149-8 Adams Example 21 page 1 of 3

294

JOUrNAL of MUSIC ThEOrY

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Score

Tonal

Systems

Score

Tonal

Systems

Score

Stage 1

Stage 2

Tonal

Systems

75

78

81

JMT 53:2 A-R Job 149-8 Adams Example 21 page 2 of 3

Example 21 (continued) Reduction of Rossi, Toccata VII (1657), mm. 75–83

Adams, Kyle: A New Theory of Chromaticism from the Late Sixteenth to the Early Eighteenth Century

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