Music Perception ©1986 BY THE REGENTSOF THE

Fall1986,Vol.4, No. 1,69-84 UNIVERSITYOF CALIFORNIA

The Tonal ChromaticScaleAs a Model for

FunctionalChromaticism

JAMES MARRA
PeabodyConservatoryof theJohnsHopkins University

Some recent empirical studies concerning the perception of tonal

melodies are based upon the theoretical assumption that it is adequate to
distinguish "tonal" from "atonal" tunes with reference to diatonic and
chromatic pitch collections, respectively. Such a principal of
demarcation, however, fails to account for the intuitive sense that
melodies may display relative degrees of "tonal-ness" and that
chromaticism may function to establish and reinforce tonal centers.
What appears necessary for the evaluation of results of such studies, as
well as for the formulation of further experiments, is a tonal-functional
theory of chromaticism that will allow the distinction between "tonal"
and "atonal" to be appropriately clarified.
This article presents an informal model for a functional theory of
chromaticism based upon a "tonal chromatic" scale. Drawing upon a
critique of a functional model formulated by Deutsch and Feroe, this
study develops concepts central to the notion of chromatic function.
These concepts are then employed in a critique of four proposed forms of
chromatic scales, specifying weaknesses in each. Following this, the
author proposes a "tonal chromatic" scale which overcomes difficulties
inherent in previously proposed scale forms. Analytical examples are
offered that illuminate the structural implications of the model.

his articleentitled"Studiesin Musical Cognition:Commentsfrom a

MusicTheorist,"EdwinHantzpoints to a persistentempiricalproblem
in the psychologyof musicalcognitionarisingfrom the absenceof a com-
prehensivetheory of functionalchromaticism.In general, melodies em-
ployed in experimentsdesignedto test the relativesenseof tonal centerin
variouspitchcontextsareconstructedin partuponthe underlyingassump-
tion thatfor a melodyto be "tonal"is justto be diatonicandto be "atonal"
is justto be chromatic.Hantzaptlynotesthat "thenotionsthattunescould
be diatonicbut only weakly tonal or chromaticbut also tonal have only
begun to be articulatedand refined"(Hantz, 1984, p. 251). By Hantz's
lights,recentmethodsfor the empiricalverificationof hypothesesconcern-

Requests for reprints may be sent to James Marra, Peabody Conservatory of Music of the
Johns Hopkins University, Baltimore, Maryland 21202.

69
70 James Marra

ing the cognitionof tonal music are foundedupon counterintuitiveback-

groundassumptions.
An increasedsensitivitytoward the tonal-functionalrole of chromati-
cismis apparentin Deutsch'sand Feroe's(1981) study"TheInternalRep-
resentationof PitchSequencesin TonalMusic."Theirmodelcharacterizes
the internalstructuralprocessingof chromaticcontextsas hierarchical;the
functionalstatusof chromatictones is explainedwith respectto the elabo-
rativerelationshipto higher-leveldiatonicformations.Hence,the internal
representationof the chromaticmelodypresentedin Figure1 would be de-
pictedin the formof a hierarchicaltreegraphas shown.
Structuralprocessingis no longerexaminedin termsof underdefinedno-
tions of tonalityand atonality,but is viewedwith an eye towardthosehier-
archicaland implicative(that is in accordancewith laws of figuraigood-
ness,proximity,and good continuation)featuresof tonal experience.
While the work of Deutsch and Feroerepresentsan importantshift in
theoreticalorientation,some problemsremain.At one point, for example,
the authorsassertthat "onemaythinkof the twelve-tonechromaticscaleas
the parent alphabet from which families of alphabets are deprived"
(Deutsch& Feroe, 1981, p. 509). The referenceto the chromaticscale is
problematicon at leasttwo grounds.First,whereastheirset-structuralrep-
resentationof an ordered12-toneset is straightforward, it does not capture
thosesyntacticrelationshipsthatcanorientsucha 12-toneset towarda sin-
gle tonal center.It remainsunclearhow a chromaticscaleas a syntacticab-
stractionis relationalin thesensethatmajorandminorscalesarerelational
(thatis in the senseof a scalehavingtonalimplicationsandthosephenome-
nal aspectsthatareaccountedfor by tone tendencytheory).Theorientation
of a chromaticscale with respectto any pitch appearsin this regardto be
arbitrary;theirscalerepresentsmoreaccuratelya linearlyorderedconcate-
nationof chromaticrelationshipsbasedupon a semitonalmetricand not a

Fig. 1.
 The Tonal Chromatic Scale 71

hierarchicallystructuredfunctionalentity.Althoughthe authorscorrectly
point out that notationalpracticeamongmusiciansreflectstonal relation-
shipsin general,theirmodellacksthe explanatoryforceto accountfor and
to subsumeunder a generaltheory the multiplicityof extant chromatic
scaleformspositedby musictheorists.Indeedsometheoriststhroughnota-
tion, suggest that the functionalrule of chromaticpitch-classesis deter-
minedwith respectto a prioridiatonicconstraints.Second,the notion of
the derivationof diatonicalphabets(i.e., majorand minorscales,plus tri-
ads and seventhchords)from an ordered12-tone set runscounterto their
general systemic orientation which generates lower-level structures
throughhierarchictransformations.Their"top-down"modelnecessitates
the generationof diatonic scales from tonic triads and chromaticscales
fromdiatonicones. Hence,any rulesof derivationwould proceedfromthe
levelof the tonic triadto the surfacelevelof chromaticalteration.
Sincea chromaticscale within the Deutsch-Feroe model (hereafterD-
F) appearsto representa nontonal abstraction,and since their examples
and formulationfavor the use of nestedelementaryoperators{(p,*); Cr}
and{(*,S);CR}(representingpredecessorand successorfunctions)overse-
quencessuch as {{(*, N)Cr}E}(designatinga pitch-referentialsemitonal
motionfrome to f); it seemsunnecessaryto posit a chromaticscaleas one of
the primaryinternalizedstructuresfor the processingof tonal music. As
will be pointedout later,the notion of "scale"carrieswith it fundamental
backgroundassumptionsthat are crucialto the hierarchicalstructuringof
tonal music.If an internalizedchromaticscaleis employedfor tonal proc-
essing,it will be in my view of quitea differentformthanthat suggestedby
D-F.
Set-theoreticmodelsfor chromaticismthatattemptto explainchromatic
functionwith respectto an unstructured12-tone aggregateas a sourceset
are susceptibleto internalproblemsin theirlogic of explanation.For if a
12-tone sourceset is used to explaintonal relations,then it is crucialthat
criteriafor set membershipnot includereferencesto suchrelations.Yet the
aggregateto which Deutschand Feroerefer(1) is delimitedwith respectto
the principleof octave equivalencyand (2) is in the modernsense equally
tempered.Concerning(1), it shouldbe notedthatoctaveequivalencyis not
necessarilyaxiomaticto the structuringof tonal systems(Benjamin,1975).
The axiomaticstatusof this principlein theoriesof major-minortonality
reflectsthe functionalequivalenceof pitches under octave transposition
(Hantz,1984, p. 257). Octaveequivalenceand the relatednotion of pitch
classarespecificto (althoughnot exclusively)theoriesof major-minorto-
nality and providea functionalinclusioncriterionfor membershipin the
12-tone universalset. Concerning(2), the vibrationalfrequencyrelation-
shipamongpitchesis standardizedby modernequaltemperamentin sucha
way as to, accordingto Bukofzer(1942), breakthrough"thenarrowlimits
72 James Marra

of the meantonetemperament"andmake"allkeysof the completecircleof

fifthsavailablefor musicalpractice."Thus "it is not surprisingthat it was
acceptedonly afterthe fully establishedtonalityhad madeit a musicalne-
cessity(Bukofzer,1942, p. 390). Thus,the actualfrequenciesof pitchesand
of all pitchesin a givenpitchclassaredeterminedby (andhenceeachpitch
is definedwith respect to) a predeterminedmetric (specificallywith the
semitoneequalto 2 to the 12 root, wherethe frequencyof the octaveis 2)
whichitself was antecedentlyformulatedon tonal grounds.1From(1) and
(2) then it becomes clear that the criteriafor membershipin the 12-tone
universalset arefoundedon tonal considerations.Hence,the use of the 12-
tone universalset as a source set for the derivationof tonal structuresis
basedon a circularargument:the explanatorymodelfor tonal musiccon-
tainsconceptsthemselvesbasedupon tonalprinciples.
Beforewe can proceed to specificsystemicconsiderationsconcerning
chromaticscales,we mustclarifythe notion of chromaticfunction.Sucha
notion,firstof all, intendsto captureour sensethatchromatictonesin pos-
sibly disestablishingone tonal center may serve to establish, however
strongly,a new one. Indeed,chromaticismneednot necessarilydisestablish
a tonal centerat all. The readermay supplyher own examplesin which
chromatictones "intensify"directedtonal motion towardtones of a pre-
vailingtonic triad (althoughone simpleexamplewould be the progression
fromjtii07to I6in major).In this sense,a functionaltheoryof chromaticism
would providea positiveheuristicfor tonal analysis,dealingwith those re-
lationshipsof melodyandharmonythat contributeto tonal centricity.
Sincea theory of functionalchromaticismmust accountfor chromatic
relationshipsbothwith respectto the maintonicas well as to secondarykey
areas,its formulationmust be such that relationshipsof the formertype
(hereafter"intratonical")and thoseof the lattersort (hereafter"extratoni-
cal")areclearlydemarcated.Theworkof HeinrichSchenker,as well as the
D-F model,suggeststhe centralroleof notionof pitch-structural hierarchy
in such a distinction.A satisfactoryfunctionaltheorywould be one con-
tainingrecursivehierarchicalstructuringprincipleswhich would serveto
distinguishintratonicalfrom extratonicalchromaticusage and reflectthe
parsimonycharacteristicof the cognitiveprocessingof tonal musicin gen-
eral.
Difficultiesin the explanationof the structureof referentialchromatic
scalesarenot restrictedto the D-F model.In fact, evena cursoryexamina-
tion of harmonytexts reflectsa wide variancein opinion.Figure2 lists four
proposedformsof chromaticscaleswith citationas to source.Forthe sake
of discussionthese shall be referredto respectivelyas the (i) melodic, (ii)

1. For a detailed discussion of the development of equal temperment, see Barbour

(1932).
 The Tonal Chromatic Scale 73

intervallic,(iii) synthetic,and (iv) harmonicchromaticscales (the terms

"melodicchromatic"and "harmonicchromatic"are taken from Prout,
1903, pp. 200-201). The readerwill note thatsomescalesarenotationally
identical.Nonetheless,theserepresentdifferentscaleformsin the sensethat
theyaregeneratedby differentsets of syntacticrules.The existenceof four
possibleformsof chromaticscalesis problematicon at leastthreegrounds.
First,for those seekingto describechromaticismwith respectto a musico-
cognitivemodel,the proliferationof chromaticscaleformsappearsat odds
with theprincipleof parsimonyexressedby DeutschandFeroe,amongoth-
ers.Itwould seempuzzlingthattheinternalprocessingof the sevendiatonic
tones should requirethreesimilarlygeneratedreferentialscaleswhile the
fiveremainingchromatictonesnecessitatefour(andso we shallsee)dissim-
ilarly generatedscales. Second, these scales are structurallyinconsistent
amongthemselves.For example,while melodicchromaticscales are only
requiredto ascendusing ascendingchromatictones and to descendusing

Fig. 2. (i) Melodie chromatic scale (Allen Forte, Tonal Harmony in Concept and Practice,
2nd ed., 1974). (ii) Intervallic chromatic scale (William Drabkin, "Scale," The New grove
Dictionary of Music and Musicians, p. 545). (iii) Synthetic chromatic scale (Roger Sessions,
Harmonic Practice, 1951). (iv) Harmonic chromatic scale (EbenezerProut, Harmony, 16th
ed., 1903).
74 James Marra

descendingchromatictones, the harmonicchromaticscale requiresthat

neithertonic nor dominantscale degreesbe altered.The intervallicchro-
maticscalesare alternativelystructuredin such a way as to either(1) pre-
servediatonicintervalswith respectto the tonic scale degree(i.e., minor
second,majorsecond,minorthird,andso on,) or (2) employthe leastnum-
ber of accidentals.Finally,as we shall see, none of these scalesin itself is
capableof accountingfor all functionalchromaticusage.
Considerfirstthe two forms of the melodicchromaticscale (this is the
scale form posited by D-F). Recall that the functionalview developed
hereinrequiresthat chromatictones serveto establishtonal centers.Chro-
matictonesrepresenttransformationsof deeper-leveldiatonicscaledegrees
and act as either pre- or post-prolongationsof tones of the tonic triad.
Giventhis axiom, neitherthe ascendingnor descendingmelodicchromatic
scales can serve as a model for functionalchromaticism.The ascending
formin itselfin no way treats1 or 5 as structurallyprior;it does not allow
fordescendingchromaticmotionto thesescaledegrees.Thisbeingthe case,
it is necessaryto proposea descendingformthat can accountfor suchpre-
prolongations.Yet, this scale alone cannot account for ascendingchro-
matic motion to 3 or 5. Furthermore,the bifurcationwithin the explana-
tory model resulting from the use of these two scales clouds modal
distinction.If the ascendingformis to accountfor chromaticismin minor
keys, the scale formis requiredto show the minorthirdabovethe tonic as
diatonic,which is not the case. If the descendingform is to functionsimi-
larly,4 shouldbe transformedin such a way that it producesa descending
chromatictendencytoward3. Indeedthe spellingof the majorthirdabove
the tonicsuggestsa leadingtone to 4. Thischaracteristicleadsto counterin-
tuitiveinterpretationssuchas thatwhichaccountsformotionfrom4 to 3 in
minorthrough\ 3 as involvingmodalmixture,ratherthan as a trulychro-
matic elaboration.Anotherrelatedproblemis that the ascendingand de-
scendingformsdo not distinguishbetweenmajorkeysandtheirrelativemi-
nor tonalities. Again for a chromatic scale to be functional, such a
distinctionis crucial.2Finally,sincechromaticscalesin any formrepresent
symmetricalsets, it mightappearat firstblushthat position findinginter-
vals such as those mentionedby RichmondBrowne(1981) are not opera-
tive. This, however, would seem unlikelywithin a scale purportedto be
functional.Consideringthe tritonefor a momentas a likelycandidate(be-
causeof its dissonantqualityand attendantvoice-leadingconstraints),the

2. One might argue against this position that no distinction (other than the trivial one
regarding octave orientation) exists between major and descending melodic minor scales of
relative keys, and yet one would hardly from this inveigh against their use as theoretical
entities. While this is the case, I would suggest that the problem resides in the area of nota-
tion and that what is needed is a hierarchical notation for diatonic scales, as is the case with
the tonal chromatic scale, which would better reflect tonal structure.
 The Tonal Chromatic Scale 75

melodicchromaticscaleaffordsneitherthe uniquemultiplicitycharacteris-
tic of diatonicscales (morespecificallythe tritoneis not rare)nor any con-
textualcorrelatesthatwould singleout a singletriadfor structuralpriority.
The six tritoneswould be requiredto resolveto six respectivetonics.
The intervallicchromaticscales are problematicon several accounts.
First,rule(1) (above)for generatingthe scalerequiresreferenceto tonalities
otherthan the main key. For the intervalfrom c to dt, for example,to be
diatonicit mustbe viewedwith respectto the keys of eithera-flatmajor,d-
flatmajor,f minor,or b-flatminor.The tonalityin whichthe intervalactu-
ally functionsis not determinedby the scale itself. Rule (2) is arbitrarily
quantitative.No criteriaaregivenfor selectingDrabkin'ssecondscalefrom
one spelledC-Cft-D-Et-E-F-Gt-G-Gtt-A-Bt-B-C, which might suggestdif-
ferentinternalstructuring.In any event,the formgiven by Drabkindupli-
catesthe ascendingmelodicchromaticscale,whichhas beenshown as well
to be unsuitableas a functionalscale.
Syntheticchromaticscalesof the type suggestedby RogerSessionspro-
vide an initial step in the directionof a functionalchromaticscale. "Syn-
thetic"hereinrefersto chromaticscaleswith featuresof both the nonfunc-
tionalmelodicchromaticscalesandones of greaterfunctionalsignificance.
Sessions'scales in particularhave two advantages.First,scale forms are
mode specific.Diatonic scale degreesare thereforefixed and, hence, the
modal ambiguityof melodicchromaticscalesis reduced.Second,with re-
spectto the majormode forms,Sessionssuggeststhat "4 would nearlyal-
ways be usedin preferenceto l>5"(Sessions,1951, p. 28). This observation
suggestsa sensitivitytowardthe crucialfunctionalrole of 5, which under-
lies constraintsregardingits chromaticalteration.Regardlessof these ad-
vantages, syntheticchromaticscales similar to Sessions'continue to be
plaguedby problemspertainingto the specificationof all tones of the tonic
triad as hierarchicallyprior and the absenceof suitablecontextualcon-
straintsupon the position-findingrole of the tritonein tonal music.
Prout'sharmonicchromaticscale comes nearestto a completelyfunc-
tional chromaticstructure.This scale requiresthat 1 and 5 remainunal-
tered,and each of these scale degreesmay be prolongedby ascendingand
descendingsemitonalneighbors.Nonetheless,Prout'sscaleis modallynon-
specificandas a resultfailsto capturesomechromaticrelationscharacteris-
tic to each mode individually.For example,Prout'sscale providesneither
forjtl in major,whichprolongs3; nort4 in minor,whichalso prolongs3.3

3. The absence of #2 in Prout's chromatic scale engenders problems in his treatment of

the ttii°six-five chord in major. In order to explain its resolution to I six-four, Prout en-
vokes a needless complication in the form of the "law of the sharpest note." The result of his
application of this law is that this diminished six- five chord is analyzed as (tiv°7,certainly an
anomalous analysis.
76 JamesMarra

Further,it does not distinguishbetweenthe use of the diatonicsubtonicde-

greein minorand the chromaticraisedsixth scaledegreein major.
Figure3 displaystwo chromaticscaleformswhichwill be referredto as
"tonal chromatic"scales4and which can serveas a model for functional
chromaticism.The "grammar"of thesescalesis representedin the follow-
ing nonformallist of constraints:
1. The scale will be linearlyorderedeitheras an unidirectional
ascentor descent.
2. It will be delimitedby tonic scaledegrees,one octaveapart.
3. All 12 tones of the equaltemperedsystemmustbe included.
4. A diatonic scale must be a propersubset of the tonal chro-
maticscale.
5. 1,3, and 5 maynot be chromaticallyaltered.
6. All chromaticdegreesmustbe representedas eitherascending
or descendingsemitonalneighborprolongationsof 1, 3, or 5;
except#6/t 7.
7. #6 and \>1in majorare chromaticneighbortones to 7 and 6,
respectively.
The tonal chromaticscale can claim advantagesas a functionalmodel
overothersuggestedscales.First,the requisitetop-downhierarchicalstruc-
tureis captured.The tonic triadis melodicallyandharmonicallyprolonged
with respectto (1) diatonicscale degreesand (2) more surfacechromatic
transformationsof those degrees.Second,modalityis determinedin terms
of the structureof the tonic triad and the relationshipof its elementsto
neighboringchromaticand diatonictones. It will be recalledthat the me-
lodic chromaticscale cloudedthese functionalrelationships.Third,it sug-
gests that within a tonally functionalchromaticscale rare intervals(and
herethe "rare"denotesnot intervalclassesmod 12 but functionalintervals

Fig.3. Tonalchromaticscaleforms.

4. As faras this authoris aware,similarscaleswerefirstproposedby ArnoldFranchetti

andJosephMulreadyin Thedissolutionof architectonictonality(unpublished,no dateor
placeof writingprovided).
 TheTonalChromaticScale 77

whose syntacticrole is determinedcontextually)can act as positionmark-

ers.Note for examplethat intervalsof the diminishedthirdoccurmost of-
ten betweentones that areprolongationalof elementsthe tonic triad.Fur-
ther, the seven tritones have distinct resolutionalimplications.Figure4
indicatesthat in major,five of the seventritonesareprolongationalof dy-
ads comprisingpart of the tonic triad and that each has a distinctvoice-
leadingimprint.The tritones3-#6 and 3t7 are tonally ambiguoussince
theyresolveto dyadsthat arenot elementsof the tonic triad;they prolong
insteadnontonic scale steps. The tonal ambiguityof these tritonesresults
fromthe asymmetricaldistributionof tones of the tonic triadwithinan oc-
tavespace,producinga fourthbetween5 and 8 (Î). Suchtonal obscurityis
not presentin the minormodein which all tones from5 to 8 arediatonic.
In minor,four of the six possibletritonesaretonallyunambiguous.The
tritoneformedby 3 and 6 (ascendingminor)is a diatonicintervalthat gen-
eratesvi° as a pre-prolongationof dominantfunctionharmonies.The14/7
descendingminortritoneis ambiguoussinceit functionswith respectto 6
(descendingminor),whichin turnis prolongationalof 5. In addition,since,
7 (descendingform)is prolongationalof the spanbetween8 and5 andsince
l>4acts as a descendingprolongationof 3, the tritone7/t4 is forcedto re-
solveirregularlyin violationof the constraintsof strictcounterpoint.
I would now like to turnour attentionto some examplesof the explana-
tory value of tonal chromaticscales. Considerthe openingof VariationII
fromSchumann's"Abegg"Variations.The functionalanalysisprovidedin
Figure5 is determinedwith respectto the appropriateforms of the tonal

Fig. 4.

Fig.5. RobertSchumann,"Abegg"Variations,Variation11.
78 James Marra

chromaticscalefor eachtonal regionexpressedin the passage.Note firstof

all, that the analysiscapturesthe ascendingneighbormotion E-flatto E-
naturalby interpretingthe E-flatas a D(t;this latterpitch acts as (t2 in the
key of the dominant.No additionalexplanatoryapparatussuch as irregu-
lar resolution, elision, modal mixture, or voice-leadingharmonyis re-
quired.The analysisof this firstharmonyas vii°7of ii, for example,would
be unsatisfactorysincethe regionof ii is not focalhere,andto explainsuch
an orientationwould requirethe envokingof an unnecessaryelidedresolu-
tion which itselfwould tend to obscurethe deeper-leveldominant-to-tonic
progressionthat underliesthe opening four beats. Also, such an analysis
wouldfail to capturethe passage'ssequentialstructurewhichis basedupon
a systematicuse of tfii°7as a pre-prolongingharmony.A true elisiondoes,
however,occurin measure2 whichheightensthe arrivalof the deeper-level
dominant-to-tonicprogression.The employmentof the tonal chromatic
scalealso generatesan analysisthatalso revealsSchumann's"trickcard"in
thepassage:the use of the diminished-seventh chordin differingfunctional
contexts.
Figure6 providesan interpretationof the openingof Wagner'sTristan
prelude.As is currentlycommon, the first two instancesof the "Tristan

Fig. 6. Richard Wagner, Prelude to Tristan und Isolde.

 The Tonal Chromatic Scale 79

chord"are analyzedas so-called"Frenchsixth" harmoniesand are given

the appropriateRomannumeralsymbolizationii sharp-six-four-three. The
somewhatmore analyticallyresistantversionin measure10 is interpreted
as an augmentedsubmedianttriadcontaininga chromaticallyalteredroot.
The harmonic-functionalstatus of this chord is subdominant,as deter-
minedby its role as a prefixprolongationalchordto the dominantof E. The
pertainentformof the tonal chromaticscaleis that of E major.The c1then
is viewed as a chromaticallylowered 6 (CI]), the f1 as a similarlylowered
neighbortone to e1, the gtt1is diatonic, and the d2 is a notationallymis-
spelledraisedsubmediant(C doublesharp)which functionsas a neighbor
to the higher-levelneighbordjt2(whichitselfresolvesto e2).The interpreta-
tion of the harmonyin measure10 as t|VI+ allows us to view this pitchcon-
text as a systematic,indeedhierarchical,elaborationof the motivicappog-
giatura. In the first two instances only one diatonic elaboration is
employed,generatingone more-foregroundlevel beyondthat occupiedby
theharmony.Inmeasure10, a thirdhierarchicallevelis producedby the cx2
neighbortone to djt2.
Anotherexampleis takenfromDon Quixoteby RichardStrauss.As Fig-
ure 7 indicates,the harmonicgoal of the firstthreemeasuresis the domi-
nant of D major.The stepwisechromaticmotion to 5 in the bars and the
dominantfunctionof the precedingGermansixthinveighsagainstan inter-
pretationof the bt-d-f-al?chordas a dominantof the neapolitan.Note that
thatharmonyis not determinedwith respectto the tonal chromaticscaleof
D major(f1is not interpretedas eft1)sincethe f1functionsas a surface-level
chromaticpassingtone directedtowarde1,which itself represents5 of the
key of A major.The motion from "at" to g is not analyzedas a l?5passing
to 4 butas#4 proceedingto 4, wheretheresolutionof jt4 (5) is elided.Thegtt
major-minorseventhchordin measure4 functionsnot as a dominantsev-
enthchordin Cttbutratheras a leadingtone harmonyof the dominantof D
major.The bttand djt1are chromatictones presentin the tonal chromatic
scaleof A major.

Fig. 7. Richard Strauss, Don Quixote.

80 James Marra

A final example, also from Strauss,is found in his song Ruhe, meine
Seele.As Figure8 indicates,the simultaneityin measure39 is interpretedas
an alteredand invertedleadingtone seventhchordof the minorsubdomi-
nantthat is placedabove a 1 pedalpoint. Its resolutionis deceptive,with^a
motion to vi*four three.The tonal chromaticscale, with its attendantt4,
providesa basisfor the explanationof suchanomalouschromaticmotions
as e-et, g-gt, and b-bt in a prevailingflat-keyenvironment.
The subsumptionof the lowered 6 undera major-keytonal chromatic
scaleandthe lowered4 undera minor-keyscalesuggestsa restrictionupon
the applicationof the conceptof modal mixturein chromaticcontexts. If
such a scale does representan adequateexplanatorymodel for functional
chromaticism,then modal mixture would apply only to those contexts
wherein(1) 3 is alteredand (2) where3 remainsa prolongedratherthan a
prolongingtone (in phenomenalterms,remains"stable").Modal mixture
becomesby this view a wholly diatonicaffair.
The examplespresentedabove suggestthat the tonal chromaticscale is
hierarchicallyrecursive.As is the case in the "Abegg"Variationsand Don
Quixote, elementsof the tonal chromaticscale form harmonicunits that

Fig. 8. Richard Strauss, Ruhe, meine Seele, Op. 27, no. 1.

 TheTonalChromaticScale 81

serve to prolong secondarykey areas. While the suggestedorientational

role of the tonal chromaticscale is most perspicuouswith respectto har-
moniesthat are clearlydominant,two furtherexamplesindicatethat this
featureis extendableto other less obvious contexts. ConsiderFigure9
whichis takenfromPiston's(1969, pp. 317-318) Harmony.Figure9a cor-
rectlyinterpretstheg-b-djttriadas an augmenteddominantchord.Thepro-
longedtriadis clearlythe tonic;the d# actsas It2 andresolvesaccordinglyto
3. InFigure9b however,the augmentedtriadc-e-gHis, in my view, improp-
erly analyzedas I sharp-five.First,for a triadto act as a tonic it must be
referential,or moretechnicallyprolonged,at a priorstructurallevel.Now
in this case of course,the I5*is not functioningas a referentialtonic, how-
everthe analysissuggeststhatthe classof triadthatmanybe called"tonic"
is extendableto dissonantharmonies.Yet for a pieceto be tonal (andhereI
refermorespecificallyto major-minormonotonality)it is justto be in part
harmonicallystructuredwith respectto a single,ultimately"stable"triad.
And further,for the tonic to function recursivelysuch ultimatestability
must be possible on all hierarchicallevels. Piston'sharmonicanalysisby
this view fails to capturethe restrictedand crucialpropertyof tonic triads.
Second,the recursiveinterpretationof the tonal chromaticscale suggests
thattheI5*is bestanalyzedas V 4- of IVin whichthe g# functionsasIt2 in the
areaof the subdominant.Figure9c (againPiston's)suggestsan alternative
analysisthat capturesthe deceptiveresolutionof V+6of IV.
Figure10 displaystwo possibleusagesof the loweredsubmedianttriad
in the majormode. In Figure10a, (»VI6 prolongsV6while in 10b it embel-
lishesI. As Figure 10a indicates, thoroughhierarchicalapplicationof the
a
tonal chromaticscalealongwith a severerestrictionon the applicabilityof
modalmixturesleadsto the interpretationsof the A-flatmajorchordas HI6
of V. This analysishas the advantageof capturingthe pre-prolongational
function(andindeedthe goal-directedtendency)of the e^(^6).Figure10b,
in contrast,suggeststhat in some instancesa notatedl>VI6may functionas

Fig.9.
82 James Marra

an altered, neighbor supertonic seventh chord. Such an interpretation

would explainthe lowerneighbormotione-e^-ewith referenceto a goal di-
rectedand hence "unstable"j|2.5
The tonal chromatic scale can as well be employed in interpreting
deeper-levelchromaticrelations.ConsiderFigure11 which is taken from
the last movementof Mozart'sSymphonyin E^major,K. 543. Figure11
suggeststhatthe notatedB majortriadin firstinversionin m. 52 is properly
major.It, in turn,functionsas
interpretedas a neapolitiansixth chordin B1*
a prefixsubdominantto an extendeddominantof G^major(notatedas Fit
major), which itself is pre-prolongationalto the incoming deeper-level
dominantof B1* in m. 65. A minorbut revealingdetailof this analysisis the
interpretation the d1 in m. 53, as an e^, which functionsas I?6 in G^
of
major.Modal mixturein this instanceis not invoked.
Theseexamplesof the recursiverole of the tonal chromaticscalesuggest
a revisionin the "grammar"sketchedabove.It appearsthat (6) needsto be
extendedin sucha way as to allow the tonalchromaticscaleto functionnot
only with respectto the maintonal regionbut also to secondarykey areas

Fig. 10.

Fig. 11. Mozart, Symphony in Et Major, K. 543, last movement.

5. It might be argued here that such a rigorous application of the tonal chromatic scale in
this figure yields counterintuitive results. After all, how can it be that a multiply-altered
chord, and a seventh-chord to boot, has a consonant quality? In defense, I wouldargue that
if this chord is consonant, it is so in the way that a vi6 triad is "consonant" when 6 is treated
contextually as a neighbor tone or a suspension. The altered supertonic seventh chord repre-
sents just a particularly acute instance of "contextual" dissonance.
 TheTonalChromaticScale 83

and referential consonant triads. In order to capture hierarchical recursion,

(6) is generalized to
6 '.All chromatic degrees must be represented as either ascending
or descending semitonal neighbor prolongations of the root,
third, or fifth of consonant triads based upon the prevailing
scale step of given context, except #6A7 in major.
(2) must as well be altered by replacing the word "tonic" by the word
"root."
(2') It will be delimited by triadic roots, one octave apart.
Returning to the Deutsch and Feroe paper, the reader may express con-
cern over how the tonal chromatic scale might explain passages such as that
from Beethoven's Piano Sonata, op. 22 shown in Figure 12. In it a dominant
seventh chord is arpeggiated and each tone is further prolonged by chro-
matic neighbors. Now the tonal chromatic scale can explain the C(t-D, G(t-
A, and Ejt-Fttmotions with referenceto the scale of the dominant (D major).
The B-C motion remains anomalous since the Ct|(^7) is required to prolong
B(6) and not the reverse. However this instance does not represent recalci-
trant data, but rather a confirmation of the functional role of the tonal
chromatic scale. For if Schenkeris correct in his view that the seventh chord
is generated structurally as a diminution within the context of a single triad
(as a passing tone, for example), then it should be expected that the tonal
chromatic scale would not be operative with respect to pitches that themsel-
ves are part of a primary harmonic-functional unit (in this case the domi-
nant triad). The seventh has a different polyphonic status than the main
triad and is constrained by rules of dissonance treatment and not by those
of first species counterpoint. Hence the anomalous pattern can be viewed as
a reflection of the unique polyphonic status of the c\\ in this passage.
The arguments presented herein suggest that chromaticism in tonal mu-
sic is not organized in terms of a prior, unstructured 12-tone set; but is gen-
erated with respect to higher-level tonal-diatonic constraints. If functional
chromatic scales are internal representations of chromatic structure, then it
would appear that they are likely similar to the forms presented herein.
However, it must be added that the claim that the tonal chromatic scale is

Fig. 12. Beethoven,Sonata,Op. 22.

84 James Marra

an adequaterepresentationof chromaticfunctionis not also a claimthatit

is an internalrepresentationin the sensethat majoror minorscalesmight
be. Indeedthe informal"grammar"for the tonal chromaticscale can be
viewedas a generaldescriptionof the entireset of potentialchromaticrela-
tionshipsbasedupon a muchsimplersyntacticschema.Forexamplethe D-
-F operators{(p,*); Cr} and {(*, s); Cr}could be recastas the functional
relationsH(p,*) andH(*, s), whereH is a logarithmicfunctioncorrespond-
ing to the half-steprelationshipin equaltemperment.This functionwould
operatein both tonal-functionaland other contexts,and would providea
singlerulefor generatingboth formsof the tonal chromaticscaleas well as
nonfunctionalformssuch as the melodicchromaticscale.This would sug-
gest that chromaticscalesare not partof our internalpitch-structuring
ap-
paratus,but are representationsof systematicapplicationof H within ei-
therfunctional-hierarchicalor nonfunctionalcontexts.Sucha view would
havethe advantageof increasedparsimonyover D- F.

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