Bridge chord

Bridge chord
Component intervals from root
major sixth
fifth
tritone
minor third
major second
root
Tuning
32:36:38:45:48:54
Forte no. / Complement
6-z29 / 6-z50

The Bridge chord is a bitonal chord named after its use in the music of composer Frank Bridge (1879–1941). It consists of a minor chord with the major chord a whole tone above (CE♭G & DF♯A),^[1]^[2] as well as a major chord with the minor chord a semitone above (CEG & D♭F♭A♭), which share the same mediant (E/F♭).^[1]^{[failed verification]}^[3]^{[failed verification]}^{[clarification needed]} Play^ⓘ) When inverted, both form eleventh chords (DF♯ACE♭G = D^11♭9 and D♭F♭A♭CEG = D♭m^M7A9A11).

According to Anthony Payne, Paul Hindmarsh and Lewis Foreman, Bridge had strong pacifist convictions, and he was deeply disturbed by the First World War. The Bridge chord appears to have been introduced in the years following the War, as Bridge experimented with more prominent use of dissonance in his musical language and a more structured method of composition. Its first use in his published work is in the Piano Sonata (1921–24).^[4] The Bridge chord is fairly dissonant, with two minor seconds, two major seconds, one augmented second, and two tritones contained in the chord.

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References

^ ^a ^b Payne, Anthony; Foreman, Lewis; and Bishop, John (1976). The Music of Frank Bridge, p. 42. Thames Publishing. ISBN 9780905210025.
^ Mark Thornton Burnett, Adrian Streete, and Ramona Wray, eds. (2011). The Edinburgh Companion to Shakespeare and the Arts, p. 174. Edinburgh University Press. ISBN 9780748635238.
^ Hold, Trevor (2005). Parry to Finzi: Twenty English Song-composers, p.180. Boydell Press. ISBN 9781843831747.
^ Payne, Anthony, Paul Hindmarsh, and Lewis Foreman. 2001. "Bridge, Frank". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.

Chords

By form

Triad	Major Minor Augmented Diminished Suspended
Seventh	Leading-tone Major Minor Dominant Dominant seventh flat five Diminished Half-diminished Diminished major Minor-major Augmented major Augmented minor Altered seventh Nondominant Harmonic seventh
Extended	Ninth Eleventh Thirteenth Upper structure Dominant 7♯9 Polychord Tone cluster
Added / omitted	Sixth Augmented sixth Lydian Seven six
Specific	Alpha Bridge Complexe sonore Dream Elektra Farben Grandmother Magic Mystic Northern lights Petrushka Psalms So What Tristan Viennese trichord
General	Mixed interval Secundal Tertian Quartal Synthetic chord Tetrad

By function

Diatonic	Tonic Supertonic Mediant Subdominant Dominant Submediant Leading-tone / Subtonic
Altered	Approach Borrowed Chromatic mediant Neapolitan Passing
Secondary	Secondary dominant Secondary leading-tone Secondary supertonic
Other	Common Contrast Primary triad Subsidiary Substitute

Techniques

Other

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This page was last edited on 24 January 2023, at 15:52

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See also

References