Chromatique

When I first contemplated a name for my website I was heavily committed to researching chromaticism as encountered in music. In the musical sense, chromaticism refers to the melodic and harmonic application of the twelve semi-tones of the equally tempered scale (yep – all the black and white note on a piano) as used in most Western music. Theoretically, this is a simplification of what really happens, as traditional harmonic and melodic theory is firmly rooted in more archaic (and acoustically correct) methods of dividing the octave in which, for example a G# and Ab are different tones. On modern pianos the two notes share the same key, and are thus the same tone. It is the dichotomy of the two systems used at the same time – practice versus theoretical -- that provides the interest. This is a very loose and concise description of the concept and I shall contain my overwhelming lust for the subject by ending it here. However, it seemed natural to use a name the root of which contain the word ‘chroma’ or ‘chromatic.’

At the time (the years around1990-1992) I was also a member of Albert Brennink’s Chroma Foundation (Canada). Albert had invented a notation system that eradicated essentially all of the redundancy of traditional music notation, thereby neatly giving a precise and concise visual representation of music as it is heard. As a supporter of Albert, I wrote a series of treatises (constructs) whereby the archaic theoretical methods could be translated into a simpler twelve-tone theory (as opposed to theoretically more than 48 theoretical tones.) I also delivered a number of papers on behalf of the Chroma Foundation. Shortly, the word ‘chroma’ and I had bonded somewhat on a professional level.

Further investigation brought to light the use of the word ‘chroma’ in the science of light and colour. In this context, chroma refers to the pureness of the various colour of the rainbow, thus the purest manifestation of a colour is one which is unsullied or undiluted by white or black. Implicit in chroma is the range of colour contained in pure white - when perceived as light, or black when seen as a surface colour. The visual context of the word ‘chroma’ and its aural context, provided a nice blend of the concept of a spectrum in pure colour and tonal divisions in a musical octave - each giving rise to a range of harmonics that represent different energetic vibrations in the respective media of colour or sound.

Because of the dual connotation of ‘chroma’ in both the worlds of colour and sound, it is not strange that their are a good many businesses and other organizations in both the world of acoustics/music and colour that sport the 'word ‘chroma’ as part of their business names. Choosing another but unique name based on ‘chroma’ seemed to be somewhat daunting at first and my memory somehow lets me down on how the name Chromatique was arrived at, except that its melodiousness French lilt had something to do with it.

When Elke and I started a music publishing business, the name was rather suitable and symbolic. In later years, I came to regard the name Chromatique as a symbol of diversity arising from unity and again converging to unity in the studying and research of brainwaves.

Currently the name Chromatique, refers only to my blog where I discuss and comment – from my perspective - on the many facets of live and living; the shades and tones of the colours of existence.

I have been able to find one anagram of ‘chroma’; ‘morcha’ means a gathering of like minded people who collectively work towards a singular goal. Somehow, I find that interesting as it concerns disparate elements focusing on a single focal point, whereas ‘chroma’ means just the opposite: dispersion from a single focal point to separate constituent elements. Of course, that’s just me and nothing should be read behind this bit of phenomenological serendipity.

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