page_title: Chromatic fourth
section_title: Musical works using the chromatic fourth or passus duriusculus
hierarchical_section_title: Chromatic fourth / Musical works using the chromatic fourth or passus duriusculus
caption_attribution_description: English: Opening bars of BWV 614 from the Orgelbüchlein.
context_page_description: In music, a chromatic fourth, or passus duriusculus, is a melody or melodic fragment spanning a perfect fourth with all or almost all chromatic intervals filled in. The quintessential example is in D minor with the tonic and dominant notes as boundaries, :
  The chromatic fourth was first used in the madrigals of the 16th Century. The Latin term itself—"harsh" or "difficult" "step" or "passage" —originates in Christoph Bernhard's 17th century Tractatus compositionis augmentatus, where it appears to refer to repeated melodic motion by semitone creating consecutive semitones. The term may also relate to the pianto associated with weeping. In the Baroque, Johann Sebastian Bach used it in his choral as well as his instrumental music, in the Well-Tempered Clavier, for example, :
  In operas of the Baroque and Classical, the chromatic fourth was often used in the bass and for woeful arias, often being called a "lament bass". In the penultimate pages of the first movement of Beethoven's Ninth Symphony, the chromatic fourth appears in the cellos and basses.
context_section_description: Henry Purcell, "Dido's Lament"
  J. S. Bach, Mass in B minor, Crucifixus, also BWV 12, "Weinen, Klagen, Sorgen, Zagen"
  J. S. Bach, BWV 78: "Jesu, der du meine Seele"
  J. S. Bach, BWV 150: "Nach Dir, Herr, verlanget mich" (in the first choral, and a reverse, whole note upwards melody in the final Chaconne)
  J. S. Bach, Orgelbüchlein, BWV 614: "Das Alte Jahr vergangen ist" (in the three accompanying voices) play 
  J. S. Bach, Invention No. 9 in F minor, BWV 795 (second subject)
  J. S. Bach, Prelude and Fugue in C-sharp minor, BWV 849, second voice in bar 69, soprano in bar 71
  J. S. Bach, Prelude and Fugue in E minor, BWV 855, fugue subject
  J. S. Bach, Prelude and Fugue in E minor, BWV 548, the widening chromatic character of the fugue subject lends the work the subtitle "The Wedge".
  J. S. Bach, Toccata in E minor, BWV 914, fugue subject
  W. A. Mozart, K. 594: "Stück für ein Orgelwerk in einer Uhr"
  Frédéric Chopin, No. 20 from 24 Preludes, Op. 28
  Hector Berlioz, Requiem, Op. 5
  César Franck, Prelude, Chorale and Fugue
caption: In the organ chorale prelude BWV 614, there are chromatic fourths in the three accompanying voices
exif: {}