Octatonicism and Chromatic Harmony
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In this paper, the author looks at the relationship between octatonic structures and chromatic harmony. The discussion concentrates on two major aspects of late-tonal octatonicism: the use of alternative bass tones for the diminished seventh chord and the development of these sonorities into hexachordal and pentachordal combination chords. A number of late nineteenth-century and early twentieth-century chromatic passages are analyzed. Complex harmonies in chromatic passages are explained by formulating reductive models comprised of simpler, octatonic constructs.
2003 ◽
pp. 415-430
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1966 ◽
Vol 7
(1)
◽
pp. 1-17
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1997 ◽
Vol 50
(2-3)
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pp. 421-453
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