Chromatic is the title of a CD by Swiss hip hop group Sens Unik
Source
Shir-Cliff et al (1965). Chromatic Harmony. New York, The Free Press.
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Examples of harmonic discourses of accidental chromaticism may be found in Chopin's output from the second half of the 1820's and the 1830's (especially in the rondeaux, concerti, and variations), i.e., in types of his music linked to a conventional repertoire of pianistic-virtuosic figures of the stile brillante.
In the case of the chromaticism of the "late" Chopin, one cannot speak of the "melodic," on the one hand, and of the "tonal-harmonic" on the other (traditional discourses of chromaticism); instead the discussion should focus on the melodic determinants of harmonic-tonal structures.
Among the musical-formal categories associated with essential chromaticism in Chopin's music, and, particularly, in the melodic domain, one should distinguish between: (1) the existence of narrow-range categories of a motivic-thematic nature, (2) the phenomena of the mutual permeating of evolutionary and periodic structures of form, and (3) the tendency to blur the segmentation of phrasing.
David Cope (1997) describes three forms of chromaticism: modulation, borrowed chords from secondary keys, and chromatic chords such as augmented sixth chords.
Increased chromaticism is often cited as one of the main causes or signs of the "break down" of tonality, in the form of increased importance or use of:
Susan McClary (1991) argues that chromaticism in operatic and sonata form narratives can often be understood as the "Other", racial, sexual, class or otherwise, to diatonicism's "male" self.
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