61-65), when the song of praise surges to the heavens, the ascending chromaticism morphs into diatonicism
He has published articles on various aspects of tonality and tonal music, including diatonicism
, voice leading, and harmonic functionality.
It became customary to employ swifter rhythms, running figures, and diatonicism
for joy, and slower rhythms, longer note values, and chromaticism for sorrow.
The Random House Dictionary seems pretty sound, if a bit stuffy, on the subject, suggesting that after originating in New Orleans at the beginning of the twentieth century it developed "through various increasingly complex styles, generally marked by intricate, melodic freedom, and a harmonic idiom ranging from simple diatonicism
through chromaticism to, in recent developments, atonality.
Puccini, always keenly aware of keeping abreast of new musical and dramatic currents, unfolds in [pounds]a fanciulla his most dissonant score to date in a wonderful juxtaposition of diatonicism
and pentatonicism intermingled with longer expanses of the whole-tone-based harmonies that he had first explored to dramatic advantage a decade earlier in Tosca.
The music of "the Second Viennese School," which included composer Schoenberg and his pupils Webern and Alban Berg, created a seismic shift in the Western tradition of classical music, moving away from diatonicism
and toward heterodox terrain in tonality and form.
163) Similarly, the book avoids instructing readers on differences between diatonicism
and chromaticism, to name but one musical polarity among many fundamental to this composer-giant's music.
The use of a narrow harmonic language does not mean that the vocal lines contain only small intervals; to the contrary, there is frequent use of large intervals as well as conjunct lines that sometimes approach diatonicism
In any case, the possibility of repeating pitches in such a manner indicates that this music may by its nature be such a thorough departure from traditional diatonicism
that the essential quality of atonality--freedom from tonal logic--can practically be taken for granted, and that procedures such as pitch-class serialism, insofar they are used to ward off tonal tendencies, may therefore be obsolete in this context, although the motivic/harmonic principles of serialism could still be perfectiy applicable.
Furthermore, the predominant diatonicism
is slowly pervaded by slight chromatic touches, culminating during the 'A' section in two climaxes of subdominant minor harmony, on the word 'mori' (bar 41) and again in the closing ritornello (bar 59), both emphasized by the exceptional forte dynamic.