In musical settings with high chromaticism, it can be difficult to identify the tonality and, thus, the scale-degree motion among voices. In this paper, I propose a new methodology to describe the motion that occurs when the voices of one chord reposition themselves into different positions in another chord (e.g., from the third of one chord to the root of another). In so doing, I generalize a chord-member space, a group structure isomorphic to ℤ₇ (similar to scale-degree space). By combining Richard Bass's (2007) common-tone nomenclature and Steven Ring's (2011) "heard" scale-degree Generalized Interval System, my methodology introduces the concept of heard chord members. I argue that my system illustrates characteristics of chromatic progressions that are not so easily detected by previously established transformational approaches. By analyzing a sample of highly chromatic nineteenth-century musical passages, I show that one can experience and appreciate the linearity of chord-member vertical placement.