Octatonicism and Chromatic Harmony

Abstract

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.