Viennese trichord

Viennese trichord
Component intervals from root
tritone
minor second
root
Tuning
8:12:17^[1]
Forte no. / Complement
3-5 / 9-5
Interval vector
<1,0,0,0,1,1>

Viennese trichord

Viennese trichord as dominant

Quartal Viennese trichord.^[2]

In music theory, a Viennese trichord (also Sus#4 chord, Viennese fourth chord, and tritone-fourth chord^[2]), named for the Second Viennese School, is a pitch set with prime form (0,1,6). Its Forte number is 3-5. The sets C–D♭–G♭ and C–F♯–G are both examples of Viennese trichords, though they may be voiced in many ways.

According to Henry Martin, "[c]omposers such as Webern ... are partial to 016 trichords, given their 'more dissonant' inclusion of ics 1 and 6."^[4]

In jazz and popular music, the chord formed by the inversion of the set usually has a dominant function, being the third, seventh, and added fourth/eleventh of a dominant chord with elided root^[3] (and fifth, see jazz chord). For example, the Viennese trichord of C-F#-G could be considered a D11/C: D (elided) - F# - A (elided) - C - G.

3-5
Prime	Inverse
0,1,6	0,6,e
1,2,7	1,7,0
2,3,8	2,8,1
3,4,9	3,9,2
4,5,t	4,t,3
5,6,e	5,e,4
6,7,0	6,0,5
7,8,1	7,1,6
8,9,2	8,2,7
9,t,3	9,3,8
t,e,4	t,4,9
e,0,5	e,5,t

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References

^ Paddison, Max and Deliège, Irène (2010). Contemporary Music: Theoretical and Philosophical Perspectives, p. 62. ISBN 9781409404163.
^ ^a ^b DeLone, Richard, et al (1975). Aspects of 20th Century Music, p. 348. Englewood Cliffs, New Jersey: Prentice-Hall ISBN 0-13-049346-5, 9780130493460.
^ ^a ^b Forte, Allen (2000). "Harmonic Relations: American Popular Harmonies (1925–1950) and Their European Kin", pp. 5–36, Traditions, Institutions, and American Popular Music (Contemporary Music Review, vol. 19, part 1), p. 7. Routledge. Covach, John and Everett, Walter; eds. ISBN 90-5755-120-9.
^ Martin, Henry (Winter, 2000). "Seven Steps to Heaven: A Species Approach to Twentieth-Century Analysis and Composition", p. 149, Perspectives of New Music, vol. 38, no. 1, pp. 129–168.

External links

Jay Tomlin. "All About Set Theory", Java Set Theory Machine.
"More on Set Theory", Flexistentialism. Archived 2011-07-23 at the Wayback Machine

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

v t e Pitch segments by cardinality (list)
Monad Dyad Trichord Viennese Tetrachord All-interval Pentachord Hexachord All-trichord Chromatic Diatonic Mystic "Ode-to-Napoleon" Petrushka Sacher Schoenberg Aggregate

This page was last edited on 3 April 2023, at 09:31

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References

External links