Viennese trichord

The Viennese trichord.

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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>

Quartal Viennese trichord.^[2]

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Viennese trichord as dominant

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A Viennese trichord as a part of 6-Z17, an altered dominant tritone substitution (Db7alt) in the key of C, from Bill Evans's opening to "What Is This Thing Called Love?"^[3]

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In music theory, a Viennese trichord (also Viennese fourth chord and tritone-fourth chord^[2]), named for the Second Viennese School, is prime form <0,1,6>. It has Forte #3-5. As opposed to Hindemith and 037 ( Play ), "Composers 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 usually has a dominant function, being the third, seventh, and added sixth/thirteenth of a dominant chord with elided root^[3] (and fifth, see jazz chord).

Sources

↑ Paddison, Max and Deliège, Irène (2010). Contemporary Music: Theoretical and Philosophical Perspectives, p.62. ISBN 9781409404163.
1 2 DeLone, et al (1975). Aspects of 20th Century Music, p.348. ISBN 0-13-049346-5.
1 2 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.
↑ Henry Martin (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.

Chords

By form

Triad	Major Minor Augmented Diminished Suspended

Seventh	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 µ Mystic Northern lights Petrushka Psalms So What Tristan Viennese trichord

General	Mixed interval Secundal Tertian Quartal Synthetic chord

By function

Diatonic	Tonic Dominant Subdominant Supertonic Mediant Submediant Leading / Subtonic

Altered	Approach Borrowed Chromatic mediant Neapolitan Passing

Secondary	Secondary dominant Secondary leading-tone Secondary supertonic

Other	Common Contrast Primary triad Subsidiary

Techniques

Other

Pitch segments by cardinality

Monad Dyad Trichord Viennese Tetrachord All-interval Pentachord Hexachord All-trichord Chromatic Diatonic Mystic "Ode-to-Napoleon" Petrushka Sacher Schoenberg Aggregate

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