Example 27. Labeling chromatic semitones in the bass (ii) when a note of a chromatic semitone supports two leading tones in the upper voices. More

Figure 4.1. Chromatic voice-leading possibilities understood with reference to a diatonic (or equiheptatonic) template. In each column the chromatic voice leadings can be understood as manifestations of the diatonic template at the top. Beneath each column is a heuristic description More

Figure 5.7. The single-semitone layer of chromatic tetrachordal set-class space, superimposing the one-step layer of diatonic tetrachordal set-class space. Circles represent generated collections. Shapes represent clustered (triangle), tertian (quadrilateral), quartal (pentagon), and equipollent More

Example 3. Interpreting chromatic semitones in dyadic counterpoint. More

Example 4. Interpreting chromatic semitones in settings with three or more voices. More

Example 5. Classification of chromatic semitones based on interval of bass motion. More

Example 25. Reinterpretations of chromatic progressions using the proposed analytic model. More

Example 26. Labeling chromatic semitones in the bass (i) when one or both notes of the chromatic semitone are overdetermined leading tones. More

Example 28. Labeling chromatic semitones in the bass (iii) when the second note of the chromatic semitone thwarts a leading tone. More

Example 30. Normative/expressive chromatic semitones: most common idioms. More

Example 36. Triadic versus proposed categorization. CS, chromatic semitone. More

Example 41. Expressive differences between chromatic semitone types. More

Figure 2. Chromatic elaboration of a diatonic progression in Sechter's Grundsätze (1853–54, 1:194). More

Example 46. Chromatically thwarted leading tones. More

Example 49. Chromatically thwarted leading tones. More

Example 51. Chromatically thwarted leading tones. More

Example 42. Common chromatically deflected leading-tone idioms. More