Chromatic Harmony
The majority of music of the Common Practice Period employs the diatonic devices discussed in the Diatonic Harmony section of this book.
The harmonic devices covered in this section on chromatic harmony embellish, substitute, enhance, and prolong their diatonic counterparts. These chromatic chords are less frequent, but serve an important function in providing variety, color, and tension.
The Chromatic Solfège System
The chromatic solfège system uses the same syllables as the diatonic system.
When a note is raised chromatically, the syllable takes on an “i” and is pronounced “ee.”
When a note is lowered, the syllable takes on an “e” and is pronounced “aay.” The one exception is the lowered re, which already has an “e” and so it becomes ra, pronounced “rah.”
Se is usually replaced by fi, since se does not have any traditional harmonic usage, whereas fi ascending or descending implies a secondary dominant of the dominant (such as V7/V).
Practice
Sing the chromatic scale ascending and descending, starting on any given note using syllables, absolute names, and nonsense syllables.
How Chromaticism is used in Tonal Music
1. Non-functional use
Chromatically altered pitches may indicate the presence of chromatic nonharmonic tones such as passing tones, neighboring tones, and appoggiaturas.
2. Functional use
Chromatically altered pitches appear as members of chromatic chords such as secondary dominants, augmented triads, borrowed chords, Neapolitan chords, and the augmented sixth chord family. They also can indicate that a modulation has occurred.