Chromatic Relations in late-Renaissance English Repertoire

Further Theoretical Considerations

Abstract

This article continues the theoretical study of chromatic relations in late-Renaissance English polyphony. It refines definitions based on Eleanor Chan’s (2024) semiotic-historical survey and Eduardo Solá Chagas Lima’s (2025) analytical framework. It expands classifications of “true” relations (TR) and false relations (FR), situating them within a broader taxonomy of chromatic relations. Through detailed analyses of chromatic relations in works by William Byrd, the article identifies local and global components that shape chromaticism. Local components include the interaction of notated and performative musica ficta, the intentional use of TR/FR, and immediate/delayed concurrence in synchronous false relations (SFR). Global components, in turn, include the participation of chordal/non-chordal tones and framed/superimposed chromatic relations. The present study also advances harmonic progressions modelled with Tonnetz-based principles, which reveal the interplay between melodic chromatic motion and triadic exchanges in modal counterpoint. By extending and adapting Renaissance rhetorical traditions and Neo-Riemannian analytical tools, the article demonstrates that chromatic relations are not merely ornamental dissonances but integral expressive devices with structural and rhetorical functions. While grounded in English repertoire, the findings suggest broader applications to other repertoires and traditions, underscoring the need for historically sensitive yet flexible theoretical approaches to Renaissance chromaticism.