Tone cluster - Knowledge

1113: 624: 1092: 587: 564: 1065: 777: 1608: 1190: 1373: 981: 1164: 871: 1738: 655: 321: 1767: 520: 1205: 898: 265: 1149:. Orchestrated for a nine-piece ensemble, it includes both black- and white-note clusters for the piano. Revised in 1913, it would not be recorded and published until the 1950s and would have to wait until 1963 to receive its first public performance. During the same period that Ornstein was introducing tone clusters to the concert stage, Ives was developing a piece with what would become the most famous set of clusters: in the second movement, "Hawthorne," of the 6990: 373: 6301: 734: 407:—is a diatonic (so-called white-note) cluster, indicated by the natural sign below the staff. The second is a pentatonic (so-called black-note) cluster, indicated by the flat sign; a sharp sign would be required if the notes showing the limit of the cluster were spelled as sharps. A chromatic cluster—black and white keys together—is shown in this method by a solid bar with no sign at all. In scoring the large, dense clusters of the solo organ work 7000: 1404: 1281:

or sometimes with the full forearm. This is not done from the standpoint of trying to devise a new piano technique, although it actually amounts to that, but rather because this is the only practicable method of playing such large chords. It should be obvious that these chords are exact and that one practices diligently in order to play them with the desired tone quality and to have them absolutely precise in nature.

198: 1705: 4645: 798: 1559:(1955) is an elaboration of the tone cluster. "Unlike most tonal and non-tonal linear dissonances, tone clusters are essentially static. The individual pitches are of secondary importance; it is the sound mass that is foremost." In one of the most famous pieces associated with the sound mass aesthetic, containing, "one of the largest clustering of individual pitches that has been written", 237:

keys—contain only two semitone intervals; the rest are full tones. In Western musical traditions, pentatonic scales—conventionally played on the black keys—are built entirely from intervals larger than a semitone. Commentators thus tend to identify diatonic and pentatonic stacks as "tone clusters" only when they consist of four or more successive notes in the scale. In standard

31: 1266:(1916) for solo piano, written when Cowell was nineteen, has been described as "probably the first piece anywhere using secundal chords independently for musical extension and variation." Though that is not quite accurate, it does appear to be the first piece to employ chromatic clusters in such a manner. A solo piano piece Cowell wrote the following year, 1173:). Later in the movement, there are a series of five-note diatonic clusters for the right hand. In his notes to the score, Ives indicates that "these group-chords...may, if the player feels like it, be hit with the clenched fist." Between 1911 and 1913, Ives also wrote ensemble pieces with tone clusters such as his Second String Quartet and the orchestral 1272:(1917), would prove to be his most popular work and the composition most responsible for establishing the tone cluster as a significant element in Western classical music. (Cowell's early piano works are often erroneously dated; in the two cases above, as 1914 and 1912, respectively.) Assumed by some to involve an essentially random—or, more kindly, 395:, Cowell introduced a new notation for tone clusters on the piano and other keyboard instruments. In this notation, only the top and bottom notes of a cluster, connected by a single line or a pair of lines, are represented. This developed into the solid-bar style seen in the image on the right. Here, the first chord—stretching two 887: 2409:), written by Ives in 1888 at the age of fourteen, incorporates tone clusters in the piano accompaniment. He correctly describes this as "a rebellious act for a beginning composer". He errs in calling it "probably the first documented use of a tone cluster in a score". Swafford (1998) observes that Ives chose to begin his 2290:, in the region that is today encompassed by Ghana, tone clusters are used in traditional trumpet music. A distinctive "tongue-rattling technique gives a greater vibrancy to...already dissonant tonal cluster.... ntentional dissonance dispels evil spirits, and the greater the clangor, the greater the sound barrage. 2413:(publ. 1922) with the work (pp. 227, 271, 325). And he too miscredits Ives with the "invention of the tone cluster" (p. 231). On the other hand, he valuably points to Ives's awareness that "tone clusters...had been there since time immemorial when large groups sang. The mistakes were part of the music" (p. 98). 553: 1081: 1258:

relatively small part of his compositional output, much of which went unheard for years. For the intellectually ambitious Cowell—who heard Ornstein perform in New York in 1916—clusters were crucial to the future of music. He set out to explore their "overall, cumulative, and often programmatic effects."

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organic manifestations of his tonal structure." Frederick Neumann describes Sonata K175 (1750s) as "full of Scarlatti's famous tone clusters". During this era, as well, several French programmatic compositions for the harpsichord or piano represent cannon fire with clusters: works by François Dandrieu (

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between notes greater than the half-tone gaps of the chromatic kind. This can readily be seen on a keyboard, where the pitch of each key is separated from the next by one semitone (visualizing the black keys as extending to the edge of the keyboard): Diatonic scales—conventionally played on the white

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Tone clusters...on the piano whole scales of tones used as chords, or at least three contiguous tones along a scale being used as a chord. And, at times, if these chords exceed the number of tones that you have fingers on your hand, it may be necessary to play these either with the flat of the hand

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a flat wooden device approximately two inches high with a grip on top and sponge rubber on the bottom, with which the player strikes the keys. Its length spans an octave on a grand piano. The sponge rubber bottom is sculpted so that its ends are slightly lower than its center, making the outer tones

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When he sensed that piece needed an introduction or an ending, a new direction or fresh material, he would call for a space chord, a collectively improvised tone cluster at high volume which "would suggest a new melody, maybe a rhythm." It was a pianistically conceived device which created another

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Ralph Kirkpatrick says that these chords "are not clusters in the sense that they are arbitrary blobs of dissonance, nor are they necessarily haphazard fillings up of diatonic intervals or simultaneous soundings of neighboring tones; they are logical expressions of Scarlatti's harmonic language and

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observed that a tone cluster is "more pleasing" and "acceptable to the ear if its outer limits form a consonant interval." Cowell explains, "the natural spacing of so-called dissonances is as seconds, as in the overtone series, rather than sevenths and ninths....Groups spaced in seconds may be made

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Clusters are especially prevalent in the realm of free jazz. Cecil Taylor has used them extensively as part of his improvisational method since the mid-1950s. Like much of his musical vocabulary, his clusters operate "on a continuum somewhere between melody and percussion." One of Taylor's primary

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says, "clusters have generally been used as a kind of anti-harmony, as a transition between sound and noise." Tone clusters thus also lend themselves to use in a percussive manner. Historically, they were sometimes discussed with a hint of disdain. One 1969 textbook defines the tone cluster as "an

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In harmony it is often better for the sake of consistency to maintain a whole succession of clusters, once they are begun; since one alone, or even two, may be heard as a mere effect, rather than as an independent and significant procedure, carried with musical logic to its inevitable conclusion.

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would soon emerge as the seminal figure in promoting the cluster harmonic technique. Ornstein abandoned the concert stage in the early 1920s and, anyway, clusters had served him as practical harmonic devices, not as part of a larger theoretical mission. In the case of Ives, clusters comprised a

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remarked on the "unprecedented... level of dissonance at the boy's outcries...The voice has the ninth, pitched above, and the left hand has the seventh, pitched below. The result is a virtual 'tone cluster'...the harmonic logic of these progressions, within the rules of composition Schubert was

1301:. While he did not coin the phrase, as is often claimed, he appears to have been the first to use it with its current meaning. During the 1920s and 1930s, Cowell toured widely through North America and Europe, playing his own experimental works, many built around tone clusters. In addition to 1053: 609: 575: 765: 608: 554: 317:(1968), a tone cluster is constructed by dividing each choir section (soprano/alto/tenor/bass) into four parts. Each of the sixteen parts enters separately, humming a note one semitone lower than the note hummed by the previous part, until all sixteen are contributing to the cluster. 1082: 860: 353:

can have a significant impact on their effect: "Clusters are quite aggressive on the organ, but soften enormously when played by strings (possibly because slight, continuous fluctuations of pitch in the latter provide some inner mobility)." In his first published work on the topic,

644: 2483:, vol. 14, no. 168 (November 1915), p. 404: "I have regretted that I did not, in revising my 'Material', lay still greater stress upon the accidental tone-clusters such as you illustrate"; "in Ex. 318, No. 5, you will find the Mozart tone-cluster which you give in your Ex. 11." 341: 643: 1757: 859: 577: 1055: 767: 610: 1418:, a friend of Cowell's, declared approvingly that the development of the tone cluster "imperilled existence" of "the musical unit, the note." While that threat was not to be realized, clusters began to appear in the works of a growing number of composers. Already, 1755: 505: 1950:

made them a central part of his improvisations; in Palmer's description, he executed "glass-shattering tone clusters that sounded like someone was ripping the pickups out of the guitar without having bothered to unplug it from its overdriven amplifier." Pianist

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1920), his earliest such effort, combines orchestral clusters with glissando. "Tone Cluster," the second movement of Cowell's Concerto for Piano and Orchestra (1928, prem. 1978), employs a wide variety of clusters for the piano and each instrumental group

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While tone clusters are conventionally associated with the piano, and the solo piano repertoire in particular, they have also assumed important roles in compositions for chamber groups and larger ensembles. Robert Reigle identifies Croatian composer

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describes the broad range of ways in which Cowell constructed (and thus performed) his clusters and used them as musical textures, "sometimes with a top note brought out melodically, sometimes accompanying a left-hand melody in parallel."

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and published in 1866. The score instructs the pianist to represent cannon fire at various points by striking "with the flat of the hand, as many notes as possible, and with as much force as possible, at the bass of the piano." In 1887,

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to sound euphonious, particularly if played in conjunction with fundamental chord notes taken from lower in the same overtone series. Blends them together and explains them to the ear." Tone clusters have also been considered noise. As

2230:. Traditional Korean court and aristocratic music employs passages of simultaneous ornamentation on multiple instruments, creating dissonant clusters; this technique is reflected in the work of twentieth-century Korean German composer 1491:(1961) makes bold, rhetorical use of chromatic clusters, scaled in seven degrees of width, from three to thirty-six semitones, as well as ascending and descending cluster arpeggios and cluster glissandi. Written two decades later, his 381: 1160:

1904–15, publ. 1920, prem. 1928, rev. 1947), mammoth piano chords require a wooden bar almost fifteen inches long to play. The gentle clusters produced by the felt- or flannel-covered bar represent the sound of far-off church bells

724: 1985:, Pullen "uniquely melodized cluster playing and made it tonal. He phrases impulsively raw clusters with his right hand and yet embeds them in clear, harmonically functional tonal chords simultaneously played with the left hand." 1977:, who bridged free and mainstream jazz, "had a technique of rolling his wrists as he improvised—the outside edges of his hands became scarred from it—to create moving tone clusters," writes critic Ben Ratliff. "Building up from 2371:

See Broyles (2004), p. 78, for premiere of these works. The piano music for Ornstein's Sonata for Violin and Piano, Op. 31 (1915; not 1913 as is often erroneously given), also employs tone clusters, though not to the extent of

2154:—employed clusters to "subtly build the tension", in contrast to what he perceived in the cluster pieces by Cowell and Ives suggested by Oates: "Some of it was like music to murder somebody to; it was like horror-movie music." 1684:(1974), which premiered in 1986. They are found in works of Schnittke's ranging from the Quintet for Piano and Strings (1972–76), where "microtonal strings fin tone clusters between the cracks of the piano keys," to the choral 990:). In 1918, critic Charles L. Buchanan described Ornstein's innovation: " gives us masses of shrill, hard dissonances, chords consisting of anywhere from eight to a dozen notes made up of half tones heaped one upon another." 1609: 908: 282: 1374: 982: 1481:(1944), often described as the most important solo piano piece of the first half of the twentieth century, employs clusters throughout. They would feature in numerous subsequent piano works, by a range of composers. 810: 1226: 1165: 382: 1361:(1930) has a chord of 53 notes, probably the largest ever written for a single instrument until 1969. Along with Ives, Cowell wrote some of the first large-ensemble pieces to make extensive use of clusters. 1879:, a 1950 performance by the Duke Ellington Orchestra features arrangements with the collective "blowing rich, dark, tone clusters that evoke Ravel." Chord clusters also feature in the scores of arranger 205:

is designed for playing a diatonic scale on the white keys and a pentatonic scale on the black keys. Chromatic scales involve both. Three immediately adjacent keys produce a basic chromatic tone cluster.

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had been exploring the possibilities of the tone cluster—which he referred to as the "group chord"—for some time. In 1906–7, Ives composed his first mature piece to extensively feature tone clusters,

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became one of the most famous figures in classical music on both sides of the Atlantic for his performances of cutting-edge work. In 1914, Ornstein debuted several of his own solo piano compositions:

1579:(1958–60)—first as "hammering points...very difficult to synthesize", according to Robin Maconie, then as glissandi. In 1961, Ligeti wrote perhaps the largest cluster chord ever—in the orchestral 1573:

clusters "see to have abstracted and intensified the features that define shrieks of terror and keening cries of sorrow." Clusters appear in two sections of the electronic music of Stockhausen's

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taught, can certainly be demonstrated. That logic, however, is not what appeals so strongly to the listener's imagination; rather it is the calculated impression (or illusion) of wild abandon."

305:, tone clusters are for the most part employed as independent sounds. While, by definition, the notes that form a cluster must sound at the same time, there is no requirement that they must all 907: 1822:. In "The Gig" (1955), described by Francis Davis as Nichols's masterpiece, "clashing notes and tone clusters depic a pickup band at odds with itself about what to play." Recorded examples of 809: 2479:, "there is some good chord-form at almost every accent, some harmonic tone-cluster towards which the parts unanimously lead." See also his correspondence, "Schoenberg's 'Harmony,'" in 1790:(1962), "Introspection" (1946) and "Off Minor" (1947), uses clusters as dramatic figures within the central improvisation and to accent the tension at its conclusion. They are heard on 339: 555: 466:

of the octave sound with greater force than the intermediary pitches. The pianist can thus rush headlong through fearfully rapid passages, precisely spanning an octave at each blow.

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For a discussion of the use of tone clusters in film scoring, see Huckvale 1990, pp. 1–35. For descriptions of their role in three individual films, Hosokawa 2004, p. 60n21; for

185:. Clusters may be performed with almost any individual instrument on which three or more notes can be played simultaneously, as well as by most groups of instruments or voices. 808: 578: 1056: 768: 639:(1685–1757), we find a more daring and idiosyncratic use of tone clusters. In the following passage from the late 1740s, Scarlatti builds the dissonances over several bars: 611: 1942:

As free jazz spread in the 1960s, so did the use of tone clusters. In comparison with what John Litweiler describes as Taylor's "endless forms and contrasts," the solos of

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1914) for solo piano has been said to contain clusters (Pollack , p. 44); perusal online of the published score, however, does not reveal any. Ornstein's solo piano piece

2105:" features a momentarily grating tone cluster with voices singing A sharp and C sharp against the accompanying keyboard playing a sustained chord on B to the word "time." 1225: 5607: 279: 862: 3056:

Correct dating of Cowell's early works is per Hicks (2002), pp. 80, 85. Correct dating of Cowell's work in general is per the standard catalogue, Lichtenwanger (1986).

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and Henry Cowell met in December 1923. Early the next year, the Hungarian composer wrote Cowell to ask whether he might adopt tone clusters without causing offense.

3414: 1758: 1680:—both of whom often worked with them in microtonal contexts—and Lou Harrison. Scelsi employed them for much of his career, including in his last large-scale work, 379: 1276:—pianistic approach, Cowell would explain that precision is required in the writing and performance of tone clusters no less than with any other musical feature: 5631:

three works by Cowell on demand, including Concerto for Piano and Orchestra—its second movement is titled "Tone Cluster," though all three movements feature them

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From the next century-and-a-half, a few more examples have been identified, mostly no more than a fleeting instance of the form, for example in the opening of

714:" (1815–21). Here, a terrified child calls out to his father when he sees an apparition of the sinister Erl King. The dissonant voicing of the dominant minor 507: 5536: 725: 1601: 1963:

has built on Taylor's innovations with the form. European free jazz pianists who have contributed to the development of the tone cluster palette include

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Ives (1947), p. 73. Ives's orthography was not consistent. When the term "group chord" is introduced earlier in the notes, it appears without a hyphen.

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Still, it was not before the second decade of the twentieth century that tone clusters assumed a recognized place in Western classical music practice.

280: 2704:"88 Keys to Freedom: Segues Through the History of American Piano Music—The Keyboard Goes Bop! and the Melody Spins Off into Eternity (1939 to 1952)" 1645:(1973) evokes both Verdi and Ives, combining the original extended-duration and mass cluster concepts: a weighted wooden board placed on an electric 893:

was the first composer to be widely known for using tone clusters—though the term itself was not yet used to describe the radical aspect of his work.

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Tone clusters have generally been thought of as dissonant musical textures, and even defined as such. As noted by Alan Belkin, however, instrumental

457:'s scores call for the use of an "octave bar", crafted to facilitate high-speed keyboard cluster performance. Designed by Harrison with his partner 1653:(1995) gives a brass band the opportunity to create tone clusters. Keyboard clusters are set against orchestral forces in piano concertos such as 2776:. Indiana University, School of Informatics (website material based in part on work supported by the National Science Foundation). Archived from 380: 5559:

W.S.M. (December 1958). "Strauss, Richard. Alpine Symphony, Op. 64. Saxon State Orchestra, Dresden conducted by Karl Böhin. D.G.G. DGM18476" ,

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Karlheinz Stockhausens Klavierstück X: Ein Beitrag zum Verständnis serieller Kompositionstechnik: Historie/Theorie/Analyse/Praxis/Dokumentation

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Cowell, Henry (1993 ). "Henry Cowell's Comments: The Composer Describes Each of the Selections in the Order in Which They Appear". Track 20 of

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would play moving clusters by rolling the backs of his hands over the keyboard. Boards of various dimension are sometimes employed, as in the

2578: 1605:(1965–69) features "a shimmering halo of tone-cluster glissandi" in the strings, evoking the "bright cloud" to which the narrative refers ( 4256: 1818:

is an even clearer antecedent to Taylor's use of clusters. During the same era, clusters appear as punctuation marks in the lead lines of

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Yunwha Rao, Nancy (2004). "Henry Cowell and His Chinese Music Heritage: Theory of Sliding Tone and His Orchestral Work of 1953–1965", in

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Herchenröder, Martin (2002). "From Darmstadt to Stockholm: Tracing the Swedish Contribution to the Development of a New Organ Style", in

3487: 1735:, introducing large chromatic tone clusters played by his left forearm. The growling effect led Morton to dub the piece his "Tiger Rag" ( 5428: 3258: 3112: 2888: 2773: 1692:(1963), Concerto for Organ with Percussion (1973), Piano Concerto (1983–85), Three Songs for male chorus (1985), Grand Duo (1988), and 1072:

In his 1913 piano prelude "General Lavine – Excentric", one of the first pieces to be influenced by black American popular styles (the

811: 488:(1673) for string ensemble, which calls for several diatonic clusters. An orchestral diatonic cluster, containing all the notes of the 99:, and D) struck simultaneously produce a tone cluster. Variants of the tone cluster include chords comprising adjacent tones separated 5652: 1593:(1961–62), graphically notated, consists of static and mobile cluster masses, and calls on many advanced cluster-playing techniques. 1509:, is filled with clusters, including an enormous one that introduces three of its sections. The piano part of the second movement of 5634: 1925:

purposes in adopting clusters was to avoid the dominance of any specific pitch. Leading free jazz composer, bandleader, and pianist

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are particularly suited to the performance of tone clusters because it is relatively easy to play multiple notes in unison on them.

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became the first notable composer in the Western tradition to write an unmistakable chromatic cluster: the storm music with which

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suite (all 1926), his first significant works after three years in which he produced little, extensively feature tone clusters.

3775: 3553: 1112: 929:" In 1911, what appears to be the first published classical composition to thoroughly integrate true tone clusters was issued: 2884:

Kimbell (1991), p. 606; "Earliest Usages: 1. Pitch" and "Duration and Rhythm: 2. Longest notated duration, including ties" in

1477: 6205: 5479: 4736: 4701: 4529: 1487: 1045:" makes powerful use of clusters to evoke the sound of "pealing bells – with so many added major seconds one would call this 2703: 1565: 696: 1893:, Evans contributes chord clusters orchestrated on flutes, alto saxophone and muted trumpets as a background to accompany 1833: 1711:

wrote the first known published composition to include a musical sequence built around specifically notated tone clusters.

1382:). From a quarter-century later, his Symphony No. 11 (1953) features a sliding chromatic cluster played by muted violins. 5707: 2388:(n.d.), which makes incontrovertible use of tone clusters in one extended passage, is often erroneously dated "1913" or " 788:'s "Une fusée" (A Rocket) Op. 55, published in 1859, and his "Les Diablotins" (The Imps), a miniature from the set of 49 3426: 6105: 2337:

are also available online via Library and Archives Canada/Bibliothèque et Archives Canada. See also Keillor (2000) and

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The earliest example of tone clusters in a Western music composition thus far identified is in the Allegro movement of

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cluster. The most renowned composer to be directly inspired by Cowell's demonstrations of his tone cluster pieces was

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See, e.g., Seachrist (2003), p. 215, n. 15: "A 'tone cluster' is a dissonant group of tones lying close together...."

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called the "tart tone cluster" that "pierces a song's surfaces and penetrates to its heart" a specialty of guitarist

1828: 1637:(1971), "Wordless vocal tone clusters seep out through the skeletal arrangements of viola, celeste, and percussion." 1517:(1983) has perhaps the single largest chord ever written for an individual instrument: all 88 notes on the keyboard. 1463:

utilized keyboard clusters in several works such as his Prelude for Grandpiano (1937). At least as far back as 1942,

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Hosokawa, Shuhei (2004). "Atomic Overtones and Primitive Undertones: Akira Ifukube's Sound Design for Godzilla". In

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for Mulligan's Concert Jazz Band employed tone clusters in a dense style bringing to mind both Ellington and Ravel.

7036: 6022: 5932: 5322: 2045:; the song is apparently the closest approximation on record of the band's early live sound. Around the same time, 1546: 1534: 1439: 1037:'s Four Pieces for clarinet and piano (1913) calls for clusters along with other avant-garde keyboard techniques. 142:

in the latter decade. Since the mid-20th century, they have prominently featured in the work of composers such as

7041: 6575: 5039: 1914: 754: 422:"—large clusters require unusual playing methods often involving the fist, the flat of the hand, or the forearm. 3746: 2013:

has made use of tone clusters since its birth, if characteristically in a less deliberate manner—most famously,

1981:, he could create eddies of noise on the keyboard...like concise Cecil Taylor outbursts." In the description of 1719:

artists in a variety of styles, since the very beginning of the form. Around the turn of the twentieth century,

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employs many of the same techniques, along with clusters that call for the pianist to sit down on the keyboard.

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Perspectives on Korean Music, Vol. 2—Creating Korean Music: Tradition, Innovation and the Discourse of Identity

3334: 1751:'s deliberately experimental "Wall Street Rag" included a section prominently featuring notated tone clusters. 1011:

has suggested that the "dissonant star clusters" in its third and fourth books were particularly compelling to

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See Seachrist (2003), p. 215, n. 15, for an example of a claim that the "term was invented by Henry Cowell".

2017:'s live-performance piano technique of the 1950s, involving fists, feet, and derrière. Since the 1960s, much 1665:

often employ clusters, as a trademark of his style. Whitacre's chord clusters are fundamentally based around

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employed them in several compositions that were not publicly performed until the late 1920s or 1930s, as did

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and the like. Their effect also tends to be different: where ornamentation is used to draw attention to the

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The early years of the twentieth century saw tone clusters elevated to central roles in pioneering works by

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In jazz, as in classical music, tone clusters have not been restricted to the keyboard. In the 1930s, the

843:, D) that also has the longest notated duration of any scored musical texture known. The choral finale of 134:, were recognized as making the first extensive explorations of the tone cluster. During the same period, 111:. On the piano, such clusters often involve the simultaneous striking of neighboring white or black keys. 6911: 6600: 6276: 5899: 5868: 5503: 5076: 1968: 1913:'s bass clarinet solos would often feature "microtonal clusters summoned by frantic overblowing." Critic 1875:, features a dramatic four-note trombone cluster at the end of the second chorus. As described by critic 974:

1913–14) were the first works to explore the tone cluster in depth ever heard by a substantial audience.

1091: 676: 563: 58:—are four successive black keys. The last two bars, played with overlapping hands, are a denser cluster. 6993: 6568: 4462: 2625: 1249:

In June 1913, a sixteen-year-old Californian with no formal musical training wrote a solo piano piece,

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2004–5 master's thesis on Cowell with detailed consideration of his use of tone clusters (though both

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Brackett, David (2002). "'Where It's At': Postmodern Theory and the Contemporary Musical Field", in

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was largely responsible for establishing the tone cluster in the lexicon of modern classical music.

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or in the concluding two bars of the "Loure" from the same composer's French Suite No. 5, BWV 816:

4524:, ed. Alison McQueen Tokita and David W. Hughes. Aldershot, UK, and Burlington, Vermont: Ashgate. 2998:

Reed (2005), p. 59; Swafford (1998), p. 262. The "Hawthorne" movement was based on the unfinished

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s harmonies and tonalities with avant-garde Western techniques. Much of his work is built on the

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has been another major free jazz proponent of the tone cluster, frequently in collaboration with

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Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and "Inventor of Jazz"

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1913"; in fact, it is undated and there is no record of its existence before 1919 (Anderson ).

1138:(1915) "starts and ends with the setting sun—a B flat minor chord cluster slowly built down." 711: 654: 430:

each performed clusters with their elbows; Stockhausen developed a method for playing cluster

6946: 6220: 6175: 6149: 6057: 5774: 5561: 5542: 5529:

Weinstein, Norman C. (1996). "Pianist/Composer Matthew Shipp Gives Jazz a Geological Swing",

3255: 3109: 2885: 2777: 1982: 1654: 1555: 1482: 870: 427: 320: 155: 5671: 1103:(1914), originally a set of piano duets, Debussy includes tone clusters in the fifth piece, 6443: 6427: 6261: 5925: 3002:

Concerto of 1910, from which it was recomposed largely in 1911–12. See Ives (1947), p. iii.

2251:, an ancient Chinese folk instrument later incorporated into more formal musical contexts. 2183: 1943: 1839: 1672:

Three composers who made frequent use of tone clusters for a wide variety of ensembles are

1619: 1560: 1542: 600: 489: 3640: 3417:

Morton Feldman: Rothko Chapel (1971) for Chorus, Viola and Percussion/Why Patterns? (1978)

2471:

had been used with a different meaning since at least 1910 by music theorist and educator

2227: 1898: 1447: 1104: 673:

La Victoire d'un combat naval, remportée par une frégate contre plusieurs corsaires réunis

8: 6846: 6012: 6007: 5572:, ed. Yayoi Uno Everett and Frederick Lau. Middletown, Conn.: Wesleyan University Press. 5300:

A History of the Oratorio, Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries

5228: 4811:

Larson, Andrew (December 2006). "Textural Density in the Choral Music of Eric Whitacre".

2434:

Sonata, and other named pieces: Second String Quartet (1911–13, prem. 1946, publ. 1954);

2260: 2238: 2175: 2151: 2115: 1918: 1867:'s "Stratosphere" included ensemble clusters among an array of progressive elements. The 1625: 946: 918: 594:

or the collisions that result from the interaction of multiple lines "locked together in

186: 5453: 4452:, ed. Paul Oliver, Max Harrison, and William Bolcom. New York and London: W. W. Norton. 2170: 1766: 999: 595: 6841: 6769: 6498: 6463: 6417: 5845: 5693: 5667: 5508: 5433: 5081: 5048: 4822: 4813: 2664:

American Piano Classics: 39 Works by Gottschalk, Griffes, Gershwin, Copland, and Others

2326: 2247: 2102: 2072: 2026: 1946:

employ tone clusters in a similarly free, but more lyrical, flowing context. Guitarist

1134: 1020: 636: 419: 4896:, ed. David Nicholls. Cambridge, New York, and Melbourne: Cambridge University Press. 4171: 2067:

employs organ clusters to add variety to its repeated tape sequences. In 1971, critic

2053:

began introducing clusters into his solos during live performances of the band's hit "

1076:) Debussy features abrasive tone clusters at the conclusion of the following passage: 718:

used here (C) is particularly effective in heightening the drama and sense of threat.

493: 289:

In tone clusters, the notes are sounded fully and in unison, distinguishing them from

6999: 6754: 6639: 6591: 6389: 6310: 6245: 5736: 5573: 5550: 5520: 5493: 5475: 5424: 5415: 5398: 5378: 5361: 5344: 5330: 5303: 5289: 5264: 5250: 5236: 5219: 5195: 5181: 5167: 5153: 5139: 5122: 5108: 5023: 5009: 4995: 4981: 4967: 4953: 4939: 4925: 4911: 4897: 4883: 4866: 4852: 4838: 4801: 4787: 4757: 4732: 4718: 4697: 4671: 4656: 4627: 4605: 4583: 4568: 4554: 4539: 4525: 4511: 4497: 4453: 4432: 4405: 4388: 4362: 4348: 4316: 4299: 4285: 4245: 4231: 4217: 4203: 4189: 4157: 4143: 3702: 3330: 3309: 2667: 2633: 2139: 2064: 1724: 1658: 1510: 1471:, from December of that year, includes chromatic, diatonic, and pentatonic clusters. 1024: 823: 790: 333: 310: 119: 4177:

Bartók, Peter, Moses Asch, Marian Distler, and Sidney Cowell (1963). Liner notes to

3925: 3783: 3557: 3448: 3191:

Steinberg (2000), p. 37; Satola (2005), pp. 85–86; Lampert and Somfai (1984), p. 60.

1802:

was employing piano tone clusters and dissonance in a manner anticipating the style

6967: 6936: 6901: 6856: 6851: 6764: 6744: 6734: 6699: 6694: 6458: 6394: 6347: 6132: 5979: 5834: 5756: 4414: 4385:

The Power of Black Music: Interpreting Its History from Africa to the United States

4261: 2846: 2472: 2217: 2143: 2068: 2022: 1952: 1864: 1852: 1677: 1529:(1925), with its sustained chromatic clusters, as "a missing link between Ives and 1472: 1435: 1431: 1407: 1121: 1029: 1012: 934: 742: 290: 269: 258: 254: 233: 226: 202: 151: 139: 108: 104: 90: 6709: 6689: 5285: 5218:, ed. Chris Woodstra, Gerald Brennan, and Allen Schrott. San Francisco: Backbeat. 4746: 1871:'s April 1947 recording of "If I Could Be With You One Hour Tonight," arranged by 1589:

is played at once (quietly). Ligeti's organ works make extensive use of clusters.

1530: 1004: 994: 412: 7026: 6876: 6774: 6724: 6409: 6281: 6225: 6185: 6159: 6100: 5984: 5974: 5918: 5751: 5393: 4637: 4489:, 2nd corrected and expanded ed. Cologne: Neuland Musikverlag HerbertHenck, 1980. 4371: 3302:. See also Robin Stowell, "Extending the Technical and Expressive Frontiers," in 3262: 3116: 2892: 2713: 2226:. Its sound pervades the characteristically sustained cluster chords played on a 2120: 2088: 2014: 1956: 1884: 1783: 1673: 1467:, who also studied under Cowell, began writing piano pieces with cluster chords; 1273: 1129: 1008: 668: 519: 423: 238: 210: 147: 87: 79: 6926: 6886: 6871: 6800: 6795: 6704: 6654: 6549: 6544: 6384: 6379: 6286: 6090: 6077: 5861: 5801: 5353: 5312: 5131: 2287: 2276: 2179: 1947: 1906: 1902: 1823: 1819: 1775: 1630: 1550: 1262: 1046: 1038: 922: 828: 707: 481: 458: 360: 222: 175: 100: 5685: 5661: 4837:

Brooklyn, New York: Brooklyn College Institute for Studies in American Music.

4216:, ed. Judith Irene Lochhead and Joseph Auner. New York and London: Routledge. 2314:"Writing for a Market—Canadian Musical Composition Before the First World War" 1857: 1787: 1581: 897: 886: 761:“gives a momentary touch of blurredness by the repeated cluster of fourths.” 528: 253:(intervals of two semitones), or, in the case of certain pentatonic clusters, 7020: 6906: 6634: 6453: 6399: 6371: 6327: 6300: 6240: 6235: 6195: 5994: 5956: 5941: 5883: 5065: 4875: 4520:

Herd, Judith Ann (2008). "Western-Influenced 'Classical' Music in Japan", in

2853:, Volume 4, p. 149. Music in the Nineteenth Century, Oxford University Press. 2123:

culminating in a 3-note cluster to the words "you put the load right on me."

2054: 2042: 2010: 1964: 1960: 1815: 1666: 1662: 1638: 1419: 1403: 993:

Clusters were also beginning to appear in more pieces by European composers.

852: 844: 784:

The next known compositions after Charpentier's to feature tone clusters are

453:; they can be weighted down to execute clusters of long duration. Several of 264: 229: 214: 171: 159: 75: 67: 6664: 5597: 5245:

Schwartz, Jeff (1996). "'Sister Ray': Some Pleasures of a Musical Text", in

4655:, edited by Philip Hayward, 42–60. Eastleigh, UK: John Libbey Publications. 4181:(Folkways 3349); revised by Sorrel Hays (1993) (Smithsonian Folkways 40801). 1929:

often used them to rearrange the musical furniture, as described by scholar

6896: 6810: 6805: 6684: 6674: 6644: 6629: 6503: 6357: 6230: 6215: 6200: 6180: 6154: 5856: 5819: 5746: 5370: 5216:

All Music Guide to Classical Music: The Definitive Guide to Classical Music

5204: 4707: 4472:

Hazell, Ed (1997). "Mountain High: Cecil Taylor Still Scales the Heights,"

4326: 3693: 2476: 2222: 2084: 2050: 1986: 1807: 1799: 1748: 1708: 1570: 1506: 1498: 1460: 1415: 1254: 1194: 1142: 941: 890: 454: 450: 355: 250: 246: 209:

Prototypical tone clusters are chords of three or more adjacent notes on a

167: 143: 135: 131: 127: 123: 71: 2204:, which mixes Eastern and Western instrumentation and styles, mirrors the 1116:

Debussy, Pour l'Egyptienne from 6 Epigraphes Antiques (solo piano version)

232:

are also, strictly speaking, tone clusters. However, these stacks involve

6881: 6866: 6518: 6513: 6488: 6483: 6342: 6210: 6190: 6144: 6085: 5969: 5964: 5164:

Charles Edward Ives and His Piano Sonata No. 2 "Concord, Mass. 1840–1860"

5072: 4729:

Asante Ivory Trumpet Music in Ghana: Culture Tradition and Sound Barrage.

4644:

by Pedro Carboné, University of Chicago, Mandel Hall, March 5 (available

4624:

Electronic and Experimental Music: Pioneers in Technology and Composition

4617:

Electronic and Experimental Music: Pioneers in Technology and Composition

4135: 2708: 2220:

in creating the instrumental texture of his 1964 dramatic church parable

2127: 2080: 2076: 2018: 1910: 1894: 1872: 1868: 1661:'s (2007), the latter suggestive of Messiaen. The choral compositions of 1503:

Apparitions, Elegiac Songs, and Vocalises for Soprano and Amplified Piano

715: 5105:

All Music Guide to Electronica: The Definitive Guide to Electronic Music

4826: 4784:

Walt Whitman and Modern Music: War, Desire, and the Trials of Nationhood

4508:

The Organ as a Mirror of Its Time: North European Reflections, 1610–2000

2271:, produces tone clusters. The characteristic musical form played on the 2208:

approach—sustained organ clusters emulate the sound and function of the

6931: 6921: 6891: 6624: 6508: 6352: 6332: 6095: 5873: 5824: 5407: 4308: 3689: 2624:

Kagel, Mauricio. "Tone-clusters, Attacks, Transitions", p.46. Cited in

2422:

Swafford (1998), pp. 251, 252, 472, for descriptions; Sinclair (1999),

2134:

of horror and science-fiction films. For a 2004 production of the play

2131: 2110: 2034: 1974: 1930: 1843: 1795: 1646: 1538: 1241: 1034: 435: 415:, using graphical notation, blocked in whole sections of the keyboard. 372: 4510:, ed. Kerala J. Snyder. New York and Oxford: Oxford University Press. 4400:(1997). "Subversive Prophet: Henry Cowell as Theorist and Critic", in 2126:

The sound of tone clusters played on the organ became a convention in

733: 6916: 6836: 6719: 6493: 6116: 5796: 5716: 4397: 3750: 3490:

Brigham Young Univ. Singers: Eric Whitacre: Complete A Cappella Works

2231: 2060: 2046: 2038: 1994: 1880: 1838:, his tribute to a former bass player, recorded in 1972 with bassist 1803: 1791: 1732: 1464: 1286: 1181:, though none of these would be publicly performed before the 1930s. 750: 535: 431: 163: 4994:, 3rd. corr. ed. Princeton, New Jersey: Princeton University Press. 4936:

Music Musique: French and American Piano Composition in the Jazz Age

4565:

The Pianist's Guide to Transcriptions, Arrangements, and Paraphrases

1887:'s "There's a boat that's leaving soon for New York" from the album 851:

features a tone cluster of great poignancy arising naturally out of

6534: 6361: 6266: 5779: 2958:

DeVoto, M. (2003, .p190) "The Debussy Sound", in Trezise, M. (ed.)

2280: 2147: 2106: 1998: 1978: 1811: 1597: 1575: 1438:, who requested Cowell's permission to employ the method. Bartók's 1073: 418:

The performance of keyboard tone clusters is widely considered an "

242: 218: 83: 6560: 4756:. Cambridge, New York, and Melbourne: Cambridge University Press. 4602:

Cognitive Science, Literature, and the Arts: A Guide for Humanists

4450:

The New Grove Gospel, Blues, and Jazz, with Spirituals and Ragtime

4294:

Cooke, Mervyn (1998). "New Horizons in the Twentieth Century", in

3227:

Harvey (1975), p. 43; Henck (1980), p. 17; Maconie (2005), p. 217.

2540:

Jones (2008), p. 91; Wilkins (2006), p. 145; Norman (2004), p. 47.

978:, in particular, was constructed almost entirely out of clusters ( 925:

was causing a stir by the near–tone clusters in such works as his

6337: 6271: 5020:

Sounding Art: Eight Literary Excursions through Electronic Music.

4717:

Montreal and Kingston, Ontario: McGill-Queen's University Press.

4494:

Klaviercluster: Geschichte, Theorie und Praxis einer Klanggestalt

4469:. Berkeley and Los Angeles: University of California Press, 1975. 3660:

Hazell (1997); Litweiler (1990), p. 202. See also Watrous (1989).

2098: 1938:

context for the music, a new mood, opening up fresh tonal areas.

1728: 298: 197: 115: 34:

Example of piano tone clusters. The clusters in the upper staff—C

5008:

Cambridge, New York, and Melbourne: Cambridge University Press.

4404:, ed. David Nicholls (1997). Amsterdam: Harwood Academic Press. 126:. In the 1910s, two classical avant-gardists, composer-pianists 4980:, trans. Roger Nichols. Cambridge: Cambridge University Press. 4345:

Rhythm Is Our Business: Jimmie Lunceford and the Harlem Express

4154:

This Is Our Music: Free Jazz, the Sixties, And American Culture

3687: 2263:

folk musicians employ an indigenous mouth organ that, like the

2164: 1959:, who played with Abrams early in his career. Since the 1990s, 1926: 1704: 1669:

and not easily interpretable by traditional harmonic analysis.

1649:

maintains a tone cluster throughout the work. Judith Bingham's

1586: 833: 492:, occurs also in the representation of chaos in the opening of 396: 350: 325: 302: 30: 5302:. Chapel Hill and London: University of North Carolina Press. 3851:

Litweiler (1990), p. 202. See also Anderson (2006), pp. 57–58.

2701: 1533:." Bartók employs both diatonic and chromatic clusters in his 2316:. Library and Archives Canada/Bibliothèque et Archives Canada 1617:). Orchestral clusters are employed throughout Stockhausen's 797: 376:

Example of Henry Cowell's notation of tone clusters for piano

5247:

The Velvet Underground Companion: Four Decades of Commentary

5192:

Chord Master: How to Choose and Play the Right Guitar Chords

5090:"Jazz Review: Trio Toys with Textures and Melts Down Idioms" 4865:. Berkeley and Los Angeles: University of California Press. 4796:

Lampert, Vera, and László Somfai (1984 ). "Béla Bartók", in

4298:, ed. David Rowland. Cambridge; Cambridge University Press. 3308:, ed. Stowell (Cambridge: Cambridge University Press, 2003; 2666:, ed. Joseph Smith (Mineola, New York: Courier Dover, 2001; 1033:(1909) employs a chromatic cluster at two climactic points. 162:. Tone clusters also play a significant role in the work of 5452:. Princeton University, Department of Music. Archived from 5150:

Jazz: A Critic's Guide to the 100 Most Important Recordings

4882:. Lanham, Maryland., Toronto, and Oxford: Scarecrow Press. 4798:

The New Grove Modern Masters: Bartók, Stravinsky, Hindemith

4536:

Sixties Rock: Garage, Psychedelic, and Other Satisfactions.

1716: 706:

A dramatic use of a "virtual" tone cluster can be found in

4938:. Bloomington and Indianapolis: Indiana University Press. 4582:. Bloomington and Indianapolis: Indiana University Press. 4567:. Bloomington and Indianapolis: Indiana University Press. 3382:

Steinitz (2003), pp. 124–126; Herchenröder (2002), p. 303.

1688:(1988). Harrison's many pieces featuring clusters include 1141:

Though much of his work was made public only years later,

5910: 5284:. New Haven and London: Yale University Press (available 2401:

Thomas B. Holmes (1985; 2002: p. 35) notes that the song

1585:, every note in the chromatic scale over a range of five 1329:(1917, rev. 1959; frequently misspelled "Antimony"), and 1297:, an Irish cultural journal, Cowell popularized the term 545: 181:

In most Western music, tone clusters tend to be heard as

5360:, 3rd ed. Oxford and New York: Oxford University Press. 5107:, ed. Vladimir Bogdanov et al. San Francisco: Backbeat. 2255:, one of the traditional chord formations played on the 2186:, active from the late 1920s to the early 2000s, merged 2168:, the imperial court music, a tone cluster performed on 881: 5547:

Creative Music Composition: The Young Composer's Voice.

5214:

Satola, Mark (2005). "Piano Sonata, Sz. 80 (1926)", in

4685:: An Investigation into the Aesthetics of Film Music". 4653:

Off the Planet: Music, Sound and Science Fiction Cinema

4284:, rev. 3d ed. Champaign: University of Illinois Press. 4230:. New Haven, Conn., and London: Yale University Press. 3808:

The Complete Verve Gerry Mulligan Concert Band Sessions

3399: 3397: 2579:"Harmony and Texture; Orchestration and Harmony/Timbre" 2097:

is replete with clusters performed on synthesizer. The

1883:. In his characteristically imaginative arrangement of 4922:

Bebop to Cool: Context, Ideology, and Musical Identity

4142:. New York and Chichester: Columbia University Press. 1826:'s piano cluster work include "Summertime" (1961) and 5629:

American Mavericks: Program 1—The Meaning of Maverick

4024: 2279:'s Pardhan people, has been described as a "rhythmic 2200:

s ten traditional cluster formations. Lou Harrison's

2071:

lauded the "tone-cluster vocal harmonies" created by

582:

Loure from Bach's French Suite No. 5, concluding bars

5282:

A Descriptive Catalogue of the Music of Charles Ives

5136:

Aaron Copland: The Life and Work of an Uncommon Man.

4966:. Urbana and Chicago: University of Illinois Press. 4952:. Urbana and Chicago: University of Illinois Press. 4892:

Magee, Jeffrey (1998). "Ragtime and Early Jazz", in

4770:. Princeton, New Jersey: Princeton University Press. 3394: 693:

La Bataille de Maringo, pièce militaire et hitorique

590:

Loure from Bach, French Suite No. 5, concluding bars

4835:

The Music of Henry Cowell: A Descriptive Catalogue.

4773:Knight, Roderic (1985). "The Harp in India Today", 4731:Farnham, Surrey, and Burlington, Vermont: Ashgate. 3325:Reisberg, Horace (1975). "The Vertical Dimension", 2475:(n.d., 111): referring to an example of three-part 257:(intervals of three semitones). Stacks of adjacent 5412:Space Is the Place: The Lives and Times of Sun Ra. 5138:Urbana and Chicago: University of Illinois Press. 4908:Traditional Japanese Music and Musical Instruments 4640:(2010). Program notes to performance of Albéniz's 4626:, second edition. New York and London: Routledge. 4619:, first edition. New York and London: Routledge. . 4402:The Whole World of Music: A Henry Cowell Symposium 4359:Jazzwomen: Conversations with Twenty-one Musicians 4156:. Philadelphia: University of Pennsylvania Press. 3923: 3577:Miller and Lieberman (2004), pp. 10, 99, 135, 155. 1782:(1913–20) features dissonant right-hand clusters. 192: 5429:"A Conductor's Concerto, Influenced and Inspired" 4950:Composing a World: Lou Harrison, Musical Wayfarer 4948:Miller, Leta E., and Frederic Lieberman (2004 ). 4880:Other Planets: The Music of Karlheinz Stockhausen 4580:The Piano in Chamber Ensemble: An Annotated Guide 4282:America's Music: From the Pilgrims to the Present 1602:La Transfiguration de Notre Seigneur Jésus-Christ 1293:Beginning in 1921, with an article serialized in 1095:Debussy, "General Lavine" – excentric, bars 11–18 1087:Debussy, "General Lavine" – excentric, bars 11–19 940:Within a few years, the radical composer-pianist 780:Beethoven arietta from Piano Sonata 32, bars 96-7 772:Beethoven arietta from Piano Sonata 32, bars 96-7 757:, Op. 111 features a passage which, according to 7018: 5645:with their chromatic and diatonic clusters, and 5517:A Night in Tunisia: Imaginings of Africa in Jazz 5249:, ed. Albin Zak III. New York: Schirmer (1997). 4522:The Ashgate Research Companion to Japanese Music 4387:. New York and Oxford: Oxford University Press. 4228:Mavericks and Other Traditions in American Music 4202:. New York and Oxford: Oxford University Press. 4186:The Jazz Book: From Ragtime to Fusion and Beyond 4069:Cooke, M. (1999, p. 183) "Distant Horizons", in 241:practice, all tone clusters are classifiable as 5715: 5233:The Great Pianists: From Mozart to the Present. 4992:Ornamentation in Baroque and Post-baroque Music 3595:See Floyd (1995), p. 72; Berlin (1994), p. 187. 3586:Lomax (2001), pp. 66–69; Spaeth (1948), p. 420. 3011:Shreffler (1991), p. 3; Hitchcock (2004), p. 2. 2311: 1794:'s "Mr. Freddy Blues" (1950), undergirding the 855:to the words "wird, der dich rief, dir geben": 332:, successive harmonics form increasingly small 5329:New York and Oxford: Oxford University Press. 5036:. Englewood Cliffs, New Jersey: Prentice-Hall. 4694:Hammer Film Scores and the Musical Avant-Garde 4431:New York and Oxford: Oxford University Press. 4429:Modern Music and After: Directions since 1945. 4315:. Prospect Heights, Illinois: Waveland Press. 3744: 3551: 3274: 1569:(1959), for fifty-two string instruments, the 1184: 1099:In his 1915 arrangement for solo piano of his 794:(sketches) for solo piano, published in 1861. 559:Bach, ̊O ewigkeit du donnerwort' BWV60 opening 78:. Prototypical tone clusters are based on the 6576: 5926: 5701: 4357:Enstice, Wayne, and Janis Stockhouse (2004). 3507: 3305:The Cambridge Companion to the String Quartet 2496:, Huckvale 2008, pp. 179–181 ; and, for 1068:Debussy "La cathédrale engloutie", bars 22–28 1060:Debussy "La cathédrale engloutie", bars 22–28 309:sounding at the same moment. For example, in 5484:Wang Zheng-Ting (2005). "How to Improve the 4578:Hinson, Maurice, and Wesley Roberts (2006). 3963:Tyler (2008), p. 76; Morrison (1998), p. 95. 3803: 3770: 3329:, p.355. Wittlich, Gary; ed. Prentice-Hall. 2771: 2576: 2481:The New Music Review and Church Music Review 5586:, trans. Steven Lindberg (col legno 07989). 5263:. Kent, Ohio: Kent State University Press. 5178:Le rêve de Lucifer de Karlheinz Stockhausen 4964:Go Cat Go!: Rockabilly Music and Its Makers 4593:Hitchcock, H. Wiley (2004). Liner notes to 4496:. Signale aus Köln 9. Münster: LIT Verlag. 4445:, trans. Elisabeth Buzzard (Accord 200402). 4380:, vol. 6, no. 1 (Autumn–Winter): p. 74 4347:. Ann Arbor: University of Michigan Press. 4071:The Cambridge Companion to Benjamin Britten 3512:Whitacre: Cloudburst and Other Choral Works 3446: 2130:for dreams. Clusters are often used in the 2041:uses tone clusters within the context of a 1398: 685:La Battaille de Gemmap, ou la prise de Mons 658:Scarlatti Keyboard Sonata K119 bars 143–168 650:Scarlatti Keyboard Sonata K119 bars 143–168 6583: 6569: 5933: 5919: 5708: 5694: 4786:. New York: Garland/Taylor & Francis. 4595:Charles Ives: Piano Sonata No. 2 'Concord' 4329:(1921). "Harmonic Development in Music" , 4017:"We can work it out" (1986, p.990, bar 7) 3542:Halbreich (1988), pp. 9, 11 (unpaginated). 3074: 3047:Bartók et al. (1963), p. 14 (unpaginated). 1993:, which mixes free jazz elements into its 874:Mahler Symphony 2 finale Fig 32, bars 4–10 866:Mahler Symphony 2 finale Fig 32, bars 4–10 245:chords—that is, they are constructed from 5664:video of performance by Margaret Leng Tan 5582:Zwenzner, Michael (2001). Liner notes to 5492:, nos. 16–17 (December), pp. 57–71. 5235:New York: Simon & Schuster/Fireside. 4779:, vol. 29, no. 1 (Winter), pp. 9–28. 4467:The Music of Stockhausen: An Introduction 4361:. Bloomington: Indiana University Press. 4200:King of Ragtime: Scott Joplin and His Era 3200:Miller and Lieberman (2004), pp. 10, 135. 2774:"Extremes of Conventional Music Notation" 1989:employs tone clusters as keyboardist for 805:, Op. 63, no. 45, featuring tone clusters 367: 5618:are misdated); by Stephanie N. Stallings 5443:"Three "Classical" Violins and a Fiddle" 5397:, second series, vol. 2, no. 3 (March). 5341:György Ligeti: Music of the Imagination. 4696:. Jefferson, North Carolina: McFarland. 4441:Halbreich, Harry (1988). Liner notes to 4254: 4166:Anderson, Martin (2002). Liner notes to 4030: 3776:"All That Jazz: The Year's Best Records" 2757: 2755: 2745: 2743: 2615:, p.111-139. New York: Something Else. . 2581:. Université de Montréal. Archived from 2119:features a dissonant vocal refrain with 2037:," recorded in September 1967, organist 2021:, which crosses the lines between rock, 1765: 1753: 1703: 1402: 1193:As a composer, performer, and theorist, 1188: 1111: 1090: 1078: 1063: 1051: 896: 885: 869: 857: 796: 775: 763: 732: 720: 653: 641: 622: 606: 585: 573: 562: 550: 518: 502: 371: 319: 301:or the relationship between harmony and 263: 196: 29: 5655:three works by the composer, including 5570:Locating East Asia in Western Art Music 5440: 5343:Boston: Northeastern University Press. 5273:Shreffler, Anne (1991). Liner notes to 4894:The Cambridge History of American Music 4741:Keillor, Elaine (2000). Liner notes to 4443:Giacinto Scelsi: Aion/Pfhat/Konx-Om-Pax 4421:, fifth edition. New York: G. Schirmer. 3556:. Callithumpian Consort. Archived from 3412: 3299: 3256:Extremes of Conventional Music Notation 3110:Extremes of Conventional Music Notation 2886:Extremes of Conventional Music Notation 2733: 2731: 2712:. American Music Center. Archived from 2293: 1253:, employing "primitive tone clusters." 567:Bach, ̊O ewigkeit du donnerwort' BWV 60 470: 272:collapsed into one octave results in a 261:pitches also constitute tone clusters. 14: 7019: 5662:John Cage—In The Name Of The Holocaust 5584:American Piano Concertos: Henry Cowell 5006:American Experimental Music 1890–1940. 4849:The Freedom Principle: Jazz After 1958 4715:Alcides Lanza: Portrait of a Composer. 4553:Urbana: University of Illinois Press. 4538:Urbana: University of Illinois Press. 4257:"Play's Music Is More than a Backdrop" 3928:. Jazz Journalists Association Library 2029:, has been based on tone clusters. On 1901:. In the early 1960s, arrangements by 6564: 5914: 5689: 5637:six works by the composer, including 5377:. New York and London: W. W. Norton. 5317:A History of Popular Music in America 5055:Palmer, Robert (September 19, 1991). 4255:Chandler, John (September 28, 2004). 3905:Enstice and Stockhouse (2004), p. 81. 3494:. a-capella.com. 2002. Archived from 2752: 2740: 2157: 1232:The opening of Cowell's seminal piece 882:In classical music of the early 1900s 837:opens includes an organ cluster (C, C 336:the fifth octave of harmonics (16–32) 5502:Watrous, Peter (September 1, 1989). 5474:. Westport, Connecticut: Greenwood. 5152:. New York: Times Books/Henry Holt. 4924:. Westport, Connecticut: Greenwood. 4689:, vol. 9, no. 1 (January): pp. 1–35. 4419:Exercises in Elementary Counterpoint 4296:The Cambridge Companion to the Piano 4060:Miller and Lieberman (2004), p. 155. 2761:Miller and Lieberman (2004), p. 135. 2728: 1810:would soon develop. The approach of 1715:Tone clusters have been employed by 1566:Threnody to the Victims of Hiroshima 697:Jacques-Marie Beauvarlet-Charpentier 6590: 4214:Postmodern Music/Postmodern Thought 3209:Salzman (1996), p. 3 (unpaginated). 3077:"Rosen's Sins of American Omission" 2851:The Oxford History of Western Music 2702:Tyranny, "Blue" Gene (2003-10-01). 2632:, p.172. University of California. 2310:For a discussion of the piece, see 2004: 818:There is also the solo piano piece 475: 70:comprising at least three adjacent 24: 5649:which features pentatonic clusters 5261:The Musical World of Halim El-Dabh 5180:. : Éditions tum-Michel de Maule. 4604:. New York and London: Routledge. 4374:(1967). "Webern's Opus 6, no. 1", 3999:Quoted in Brackett (2002), p. 217. 3747:"Pete Rugolo and Progressive Jazz" 2960:The Cambridge Companion to Debussy 2749:Hinson and Roberts (2006), p. 624. 2506:Close Encounters of the Third Kind 2446:1923–24, prem. 1931, publ. 1962); 2259:, involves a three-pitch cluster. 2146:—a member of the indie rock bands 1770:Scott Joplin, from Wall Street Rag 1762:Scott Joplin, from Wall Street Rag 1596:The eighth movement of Messiaen's 1203: 737:Extract from Schubert's "Erlkönig" 213:, that is, three or more adjacent 25: 7053: 5591: 5549:Boca Raton, Florida.: CRC Press. 5358:The Life and Music of Béla Bartók 5327:The Concerto: A Listener's Guide. 5119:The Clarinet and Clarinet Playing 4910:. New York and London: Kodansha. 4745:(Carleton Sound 1008) (available 4448:Harrison, Max (1997). "Jazz", in 4242:Kraftwerk: Man, Machine And Music 3254:"Other: 1. Vertical extremes" in 3108:"Other: 1. Vertical extremes" in 2358:The early performance history of 1829:...And His Mother Called Him Bill 931:Tintamarre (The Clangor of Bells) 6998: 6989: 6988: 6299: 5044:"Jazz: Jim Hall Trio in Village" 4115: 4106: 4094: 4085: 4076: 4063: 4054: 4045: 4036: 4011: 4002: 3993: 3984: 3975: 3966: 3957: 3948: 3939: 3917: 3908: 3899: 3890: 3881: 3872: 3863: 3854: 3845: 3836: 3827: 3797: 3764: 3738: 3724:Bill Evans Piano interpretations 2486: 1478:Vingt regards sur l'enfant Jésus 1240:Problems playing this file? See 1222: 905: 806: 377: 364:extra-harmonic clump of notes." 337: 277: 5635:Art of the States: Henry Cowell 5389:Threnody/Epitaph for Moonlight, 5375:Charles Ives: A Life with Music 5088:Pareles, Jon (April 15, 2000). 4833:Lichtenwanger, William (1986). 3745:Vosbein, Terry (January 2002). 3729: 3716: 3681: 3672: 3663: 3654: 3625: 3616: 3607: 3598: 3589: 3580: 3571: 3545: 3536: 3527: 3480: 3471: 3462: 3449:"The Regional Test Pieces 2003" 3440: 3406: 3385: 3376: 3367: 3358: 3349: 3340: 3319: 3293: 3268: 3248: 3239: 3230: 3221: 3212: 3203: 3194: 3185: 3176: 3167: 3164:Quoted in Hicks (2002), p. 108. 3158: 3149: 3140: 3131: 3122: 3102: 3093: 3068: 3059: 3050: 3041: 3032: 3023: 3014: 3005: 2992: 2983: 2974: 2965: 2952: 2943: 2934: 2925: 2916: 2913:Quoted in Chase (1992), p. 450. 2907: 2898: 2878: 2875:Quoted in Altman (2004), p. 47. 2869: 2856: 2840: 2831: 2822: 2813: 2800: 2791: 2770:"Earliest Usages: 1. Pitch" in 2764: 2695: 2686: 2677: 2652: 2643: 2461: 2416: 2395: 2365: 2344:Encyclopedia of Music in Canada 2304: 1459:In the 1930s, Cowell's student 1019:"the wonder of the piano." The 683:, 1793), Pierre Antoine César ( 193:Music theory and classification 6862:Modes of limited transposition 5840:Emancipation of the dissonance 5166:. Victoria, Canada: Trafford. 3425:. WindowsMedia. Archived from 3155:Quoted in Gann (1997), p. 174. 3038:Broyles (2004), p. 342, n. 10. 2618: 2605: 2596: 2570: 2561: 2552: 2543: 2534: 2525: 2312:Keillor, Elaine (2004-05-10). 1856:(1960), opens with a striking 1505:(1979), a setting of verse by 627:J. S. Bach, Ricercar a 6 from 13: 1: 5742:Mode of limited transposition 5515:Weinstein, Norman C. (1993). 5259:Seachrist, Denise A. (2003). 4978:Gabriel Fauré: A Musical Life 4976:Nectoux, Jean-Michel (2004). 4478:, September 11–18 (available 4383:Floyd Jr., Samuel A. (1995). 4340:(Smithsonian Folkways 40801). 4073:. Cambridge University Press. 3812:. AVguide.com. Archived from 3552:Drury, Stephen (2005-02-15). 3373:Steinitz (2003), p. 108. 3327:Aspects of 20th Century Music 3275:Reigle, Robert (April 2002). 2962:. Cambridge University Press. 2549:Cope (2001), p. 6, fig. 1.17. 2518: 2455: 2451: 2443: 2439: 2389: 2381: 2178:) is generally employed as a 1366: 1157: 1124:used them extensively in his 1007:'s subsequent piano writing. 1003:(1905–8) may have influenced 971: 963: 955: 695:, for piano trio, 1800), and 688: 446: 249:(intervals of one semitone), 221:. Three-note stacks based on 5657:In the Name of the Holocaust 5653:Art of the States: John Cage 5622: 5121:. Mineola, New York: Dover. 5077:"Jazz: Cecil Taylor Quintet" 4670:. Farnham, Surrey: Ashgate. 4600:Hogan, Patrick Colm (2003). 4184:Berendt, Joachim E. (1992). 4170:(Hyperion 67320) (excerpted 3972:Schwartz (1996), pp. 97, 94. 3633:"Jazz Legends: Dave Brubeck" 2828:Neumann (1983), pp. 353–354. 2806:David, H. T. (1945, p. 138) 2602:Cowell (1921), pp. 112, 113. 2531:See Nicholls (1991), p. 155. 1469:In the Name of the Holocaust 749:The concluding Arietta from 741:Writing about this passage, 7: 6912:Quartal and quintal harmony 6601:List of modernist composers 5900:List of atonal compositions 5869:Quartal and quintal harmony 5298:Smither, Howard E. (2000). 5280:Sinclair, James B. (1999). 5194:. San Francisco: Backbeat. 5099:Patterson, Archie (2001). " 4990:Neumann, Frederick (1983). 4766:Kirkpatrick, Ralph (1953). 4019:The Beatles Complete Scores 3924:Svirchev, Laurence (2006). 3218:Meister (2006), p. 131–132. 3065:Cowell (1993), 12:16–13:14. 2819:Kirkpatrick (1953), p. 231. 2808:J.S.Bach's Musical Offering 2772:Byrd, Donald (2010-05-12). 2428:Scherzo: Over the Pavements 1969:Alexander von Schlippenbach 1541:technique in such works as 1185:In the work of Henry Cowell 1147:Scherzo: Over the Pavements 1128:, Op. 50, written in 1913. 665:Les Caractères de la guerre 635:In the keyboard sonatas of 10: 7058: 6023:Dominant seventh flat five 5940: 5608:"New Growth from New Soil" 5600:several scores, including 5519:. Milwaukee: Hal Leonard. 5488:as a Concert Instrument?" 5339:Steinitz, Richard (2003). 5275:Ives & Copland Sonatas 5022:Farnham, Surrey: Ashgate. 5018:Norman, Katharine (2004). 4920:Meadows, Eddie S. (2003). 4906:Malm, William P. (2000 ). 4800:. New York: W. W. Norton. 4622:Holmes, Thomas B. (2002). 4615:Holmes, Thomas B. (1985). 4333:, vol. 3 (April 13, 1921). 4198:Berlin, Edward W. (1994). 4188:. Chicago; Lawrence Hill. 4128: 3146:Yunwha Rao (2004), p. 138. 3128:Yunwha Rao (2004), p. 245. 3099:Hicks (2002), pp. 106–108. 2866:. Oxford University Press. 2864:Beethoven, the Last Decade 2558:Swift (1972), pp. 511–512. 1865:Jimmie Lunceford Orchestra 1699: 1641:'s chamber ensemble piece 729:From Schubert's "Erlkönig" 6976: 6955: 6825: 6785: 6614: 6607: 6598: 6527: 6476: 6436: 6408: 6370: 6318: 6308: 6297: 6254: 6168: 6130: 6076: 5993: 5955: 5948: 5892: 5810: 5765: 5727: 5680:Leo Ornstein: Piano Music 5604:, featuring tone clusters 5319:. New York: Random House. 5313:Spaeth, Sigmund Gottfried 5032:Ostransky, Leroy (1969). 5004:Nicholls, David (1991 ). 4962:Morrison, Craig (1998 ). 4934:Meister, Barbara (2006). 4847:Litweiler, John (1990 ). 4782:Kramer, Lawrence (2000). 4743:Canadians at the Keyboard 4727:Kaminski, Joseph (2012). 4681:Huckvale, David (1990). " 4377:Perspectives of New Music 4343:Determeyer, Eddy (2006). 4338:Henry Cowell: Piano Music 4226:Broyles, Michael (2004). 4179:Henry Cowell: Piano Music 4168:Leo Ornstein: Piano Music 4051:Herd (2008), pp. 373–374. 4042:Malm (2000), pp. 116–117. 4008:Patterson (2001), p. 505. 3887:Litweiler (1990), p. 182. 3735:Determeyer (2006), p. 78. 3075:Gann, Kyle (2003-10-21). 2971:Hinson (1990), pp. 43–44. 2904:Schonberg (1987), p. 419. 2692:Griffiths (1995), p. 137. 2649:Ostransky (1969), p. 208. 2362:has not been established. 2348:The Canadian Encyclopedia 2113:" from their debut album 1991:Medeski Martin & Wood 968:Impressions of Notre Dame 960:Impressions of the Thames 691:1794), Bernard Viguerie ( 541:O Ewigkeit, du Donnerwort 217:each separated by only a 5535:, July 11–18 (available 5472:Music of the Postwar Era 5441:Trueman, Daniel (1999). 5387:Swift, Richard (1972). " 4692:Huckvale, David (2008). 4563:Hinson, Maurice (1990). 4280:Chase, Gilbert (1992 ). 4121:Kaminski (2012), p. 185. 3869:Anderson (2006), p. 111. 3833:Weinstein (1993), p. 84. 3722:Lee, W. F. (2002, p. 6) 3669:Litweiler (1990), p. 23. 3622:Harrison (1997), p. 315. 3533:Larson (2006), pp. 23–24 3029:Nicholls (1991), p. 134. 2837:Henck (2004), pp. 32–40. 2797:Henck (2004), pp. 52–54. 2458:1931, publ./prem. 1932). 2298: 2162:In traditional Japanese 1399:In later classical music 1385:In his theoretical work 677:Claude-Bénigne Balbastre 7037:Post-tonal music theory 6540:Chord names and symbols 5391:by R. Murray Schafer", 5209:John Cage...In Memoriam 5207:(1996). Liner notes to 5190:Rooksby, Rikky (2003). 5176:Rigoni, Michel (2001). 5162:Reed, Alice S. (2005). 4810: 4752:Kimbell, David (1991). 4551:Henry Cowell, Bohemian. 4549:Hicks, Michael (2002). 4534:Hicks, Michael (1999). 4492:Henck, Herbert (2004). 4485:Henck, Herbert (1980). 4313:New Directions in Music 4152:Anderson, Iain (2006). 3945:Berendt (1992), p. 287. 3613:Meadows (2003), ch. 10. 3403:Maconie (2005), p. 338. 3391:Smither (2000), p. 674. 3364:Maconie (2005), p. 217. 3346:Reisberg (1975), p.358. 3316:), pp. 149–173; p. 162. 3137:Zwenzner (2001), p. 13. 2989:Nicholls (1991), p. 57. 2931:Horowitz (2010), p. 18. 2922:Nectoux (2004), p. 171. 2737:Ratliff (2002), p. 205. 2630:The Contemporary Guitar 2494:To the Devil a Daughter 2426:, for proper dating of 2075:'s three lead singers, 1848:Come Rain or Come Shine 1835:This One's for Blanton! 1731:adaptation of a French 1101:Six Epigraphes Antiques 1043:La Cathédrale Engloutie 933:, by Canadian composer 239:Western classical music 7042:Simultaneities (music) 6963:Second Viennese School 6956:Schools of composition 6423:Secondary leading-tone 5852:Polymodal chromaticism 5830:Dissonant counterpoint 5792:Second Viennese School 5676:Suicide in an Airplane 5639:The Tides of Manaunaun 5612:The Tides of Manaunaun 5543:Wilkins, Margaret Lucy 5450:Reinventing the Violin 4713:Jones, Pamela (2008). 4666:Howard, Keith (2006). 4240:Bussy, Pascal (2004). 4082:Howard (2006), p. 152. 3508:Paulin, Scott (2006). 3245:Kramer (2000), p. 137. 3182:Stevens (1993), p. 67. 3173:Pollack (2000), p. 44. 2660:The Tides of Manaunaun 2611:Cowell, Henry (1969). 2512:, pp. 96–107; 105–106. 2386:Suicide in an Airplane 2245:, were modeled on the 2031:The Velvet Underground 1940: 1771: 1763: 1712: 1411: 1396: 1303:The Tides of Manaunaun 1283: 1269:The Tides of Manaunaun 1208: 1198: 1117: 1096: 1088: 1069: 1061: 914: 894: 875: 867: 815: 786:Charles-Valentin Alkan 781: 773: 738: 730: 701:Battaille d'Austerlitz 659: 651: 632: 620: 591: 583: 568: 560: 531: 516: 468: 392:The Tides of Manaunaun 386: 368:Notation and execution 346: 286: 206: 86:. For instance, three 59: 6947:Twelve-tone technique 5775:Twelve-tone technique 5148:Ratliff, Ben (2002). 5117:Pino, David (1998 ). 5042:(September 4, 1986). 4861:Lomax, Alan (2001 ). 4851:. New York: Da Capo. 3878:Szwed (1998), p. 214. 3804:Kaplan, Fred (2003). 3604:Magee (1998), p. 402. 3355:Hogan (2003), p. 179. 3236:Rigoni (2001), p. 53. 2980:W.S.M. (1958), p. 63. 2940:Finney (1967), p. 74. 2725:Cooke (1998), p. 205. 2683:Hicks (2002), p. 103. 2613:New Musical Resources 2577:Belkin, Alan (2003). 2275:, a strummed harp of 2239:free reed instruments 2091:'s 1972 double album 1935: 1869:Stan Kenton Orchestra 1846:' interpretation of " 1769: 1761: 1707: 1655:Einojuhani Rautavaara 1535:Fourth String Quartet 1483:Karlheinz Stockhausen 1406: 1391: 1387:New Musical Resources 1333:(1917)—these include 1285:Historian and critic 1278: 1251:Adventures in Harmony 1207: 1192: 1115: 1094: 1086: 1067: 1059: 900: 889: 873: 865: 822:, written in 1861 by 801:Extract from Alkan's 800: 779: 771: 736: 728: 681:March des Marseillois 657: 649: 626: 614: 589: 581: 566: 558: 522: 510: 463: 434:with special gloves. 428:Karlheinz Stockhausen 375: 323: 315:Epitaph for Moonlight 267: 200: 156:Karlheinz Stockhausen 82:and are separated by 33: 6428:Secondary supertonic 5668:Ornstein Piano Music 5504:"Sounds Around Town" 5427:(February 3, 2007). 5277:(Cedille 90000 005). 5229:Schonberg, Harold C. 5075:(February 7, 1988). 3990:Bussy (2004), p. 31. 3981:Hicks (1999), p. 88. 3678:Davis (2004), p. 78. 3516:. Barnes & Noble 3477:Larson (2006), p. 23 2949:Pino (1998), p. 258. 2810:. New York, Schirmer 2294:Notes and references 2283:on a tone cluster." 2184:Yoritsune Matsudaira 2063:'s self-titled 1970 1944:Muhal Richard Abrams 1788:"Bright Mississippi" 1786:, in pieces such as 1686:Psalms of Repentance 1657:'s first (1969) and 1561:Krzysztof Penderecki 1543:Ruth Crawford Seeger 1525:'s organ-and-violin 1440:First Piano Concerto 1319:Amiable Conversation 629:The Musical Offering 617:The Musical Offering 601:The Musical Offering 490:harmonic minor scale 471:Use in Western music 461:, the octave bar is 411:in the early 1960s, 187:Keyboard instruments 7032:Extended techniques 5598:Leo Ornstein Scores 5470:Tyler, Don (2008). 5414:New York: Da Capo. 4091:Wang (2005), p. 65. 3698:"Rockin' in Rhythm" 3688:Blumenfeld, Larry; 2237:Several East Asian 2116:Music from Big Pink 1727:began performing a 1363:The Birth of Motion 919:Harold C. Schonberg 824:"Blind Tom" Bethune 755:Piano Sonata No. 32 27:Dense musical chord 6499:Chord-scale system 6418:Secondary dominant 5846:Klangfarbenmelodie 5674:'s performance of 5672:Marc-André Hamelin 5509:The New York Times 5434:The New York Times 5425:Tommasini, Anthony 5323:Steinberg, Michael 5094:The New York Times 5082:The New York Times 5049:The New York Times 5034:The World of Music 4814:The Choral Journal 4768:Domenico Scarlatti 4103:164 (1962), p. 12. 3261:2010-03-08 at the 3115:2010-03-08 at the 2891:2010-03-08 at the 2335:publication record 2158:Use in other music 2103:We Can Work It Out 2073:Jefferson Airplane 2027:experimental music 1772: 1764: 1713: 1694:Rhymes with Silver 1414:In 1922, composer 1412: 1311:its five "encores" 1216:Tides of Manaunaun 1209: 1199: 1135:An Alpine Symphony 1118: 1097: 1089: 1070: 1062: 1041:'s Piano Prelude " 1021:Thomas de Hartmann 997:'s use of them in 915: 895: 876: 868: 820:Battle of Manassas 816: 782: 774: 739: 731: 660: 652: 637:Domenico Scarlatti 633: 621: 615:Ricercar a 6 from 592: 584: 569: 561: 532: 517: 496:'s 1737–38 ballet 420:extended technique 389:In his 1917 piece 387: 347: 293:figures involving 287: 207: 166:musicians such as 60: 7012: 7011: 6821: 6820: 6558: 6557: 6472: 6471: 6390:Chromatic mediant 6295: 6294: 6246:Viennese trichord 5908: 5907: 5737:Equal temperament 5643:The Harp of Life, 5480:978-0-313-34191-5 5061:: Sonny Sharrock" 4737:978-1-4094-2684-4 4702:978-0-7864-3456-5 4597:(Naxos 8.559221). 4530:978-0-7546-5699-9 4415:Goetschius, Percy 4140:Silent Film Sound 3914:Weinstein (1996). 3703:The Village Voice 3692:(June 15, 1999). 3643:on April 18, 2007 3468:Tommasini (2007). 3447:Hindmarsh, Paul. 2674:), pp. 43 et seq. 2140:Joyce Carol Oates 1850:" from the album 1759: 1725:Jelly Roll Morton 1659:Esa-Pekka Salonen 1511:Joseph Schwantner 1494:Klavierstück XIII 1347:Snows of Fujiyama 1227: 1120:Russian composer 1106:Pour l'Egyptienne 1084: 1057: 1025:Wassily Kandinsky 927:Gumsuckers March. 911: 863: 812: 769: 726: 647: 612: 579: 556: 508: 383: 343: 311:R. Murray Schafer 283: 255:augmented seconds 120:Jelly Roll Morton 16:(Redirected from 7049: 7002: 6992: 6991: 6968:Darmstadt School 6902:Post-romanticism 6612: 6611: 6585: 6578: 6571: 6562: 6561: 6316: 6315: 6303: 6111: 6110: 6068:Harmonic seventh 6038:Diminished major 5953: 5952: 5935: 5928: 5921: 5912: 5911: 5835:Dynamic tonality 5757:Whole tone scale 5710: 5703: 5696: 5687: 5686: 5682:(Hyperion 67320) 5602:Wild Men's Dance 5467: 5465: 5464: 5458: 5447: 4830: 4638:Horowitz, Joseph 4463:Harvey, Jonathan 4372:Finney, Ross Lee 4277: 4275: 4274: 4265:. Archived from 4262:Portland Tribune 4122: 4119: 4113: 4110: 4104: 4098: 4092: 4089: 4083: 4080: 4074: 4067: 4061: 4058: 4052: 4049: 4043: 4040: 4034: 4028: 4022: 4015: 4009: 4006: 4000: 3997: 3991: 3988: 3982: 3979: 3973: 3970: 3964: 3961: 3955: 3952: 3946: 3943: 3937: 3936: 3934: 3933: 3921: 3915: 3912: 3906: 3903: 3897: 3894: 3888: 3885: 3879: 3876: 3870: 3867: 3861: 3858: 3852: 3849: 3843: 3840: 3834: 3831: 3825: 3824: 3822: 3821: 3806:"Jazz Capsules: 3801: 3795: 3794: 3792: 3791: 3782:. Archived from 3768: 3762: 3761: 3759: 3758: 3742: 3736: 3733: 3727: 3720: 3714: 3713: 3711: 3710: 3685: 3679: 3676: 3670: 3667: 3661: 3658: 3652: 3651: 3649: 3648: 3639:. Archived from 3629: 3623: 3620: 3614: 3611: 3605: 3602: 3596: 3593: 3587: 3584: 3578: 3575: 3569: 3568: 3566: 3565: 3549: 3543: 3540: 3534: 3531: 3525: 3524: 3522: 3521: 3506: 3504: 3503: 3484: 3478: 3475: 3469: 3466: 3460: 3459: 3457: 3456: 3444: 3438: 3437: 3435: 3434: 3410: 3404: 3401: 3392: 3389: 3383: 3380: 3374: 3371: 3365: 3362: 3356: 3353: 3347: 3344: 3338: 3323: 3317: 3297: 3291: 3290: 3288: 3287: 3277:"Forgotten Gems" 3272: 3266: 3252: 3246: 3243: 3237: 3234: 3228: 3225: 3219: 3216: 3210: 3207: 3201: 3198: 3192: 3189: 3183: 3180: 3174: 3171: 3165: 3162: 3156: 3153: 3147: 3144: 3138: 3135: 3129: 3126: 3120: 3106: 3100: 3097: 3091: 3090: 3088: 3087: 3072: 3066: 3063: 3057: 3054: 3048: 3045: 3039: 3036: 3030: 3027: 3021: 3018: 3012: 3009: 3003: 2996: 2990: 2987: 2981: 2978: 2972: 2969: 2963: 2956: 2950: 2947: 2941: 2938: 2932: 2929: 2923: 2920: 2914: 2911: 2905: 2902: 2896: 2882: 2876: 2873: 2867: 2860: 2854: 2844: 2838: 2835: 2829: 2826: 2820: 2817: 2811: 2804: 2798: 2795: 2789: 2788: 2786: 2785: 2768: 2762: 2759: 2750: 2747: 2738: 2735: 2726: 2724: 2722: 2721: 2699: 2693: 2690: 2684: 2681: 2675: 2662:is reprinted in 2656: 2650: 2647: 2641: 2622: 2616: 2609: 2603: 2600: 2594: 2593: 2591: 2590: 2574: 2568: 2565: 2559: 2556: 2550: 2547: 2541: 2538: 2532: 2529: 2513: 2498:Close Encounters 2490: 2484: 2473:Percy Goetschius 2465: 2459: 2457: 2453: 2445: 2441: 2420: 2414: 2399: 2393: 2391: 2383: 2374:Wild Men's Dance 2369: 2363: 2357: 2355: 2354: 2340:"Anger, Humfrey" 2324: 2322: 2321: 2308: 2241:, including the 2218:Benjamin Britten 2199: 2192: 2005:In popular music 1953:Marilyn Crispell 1853:Portrait in Jazz 1760: 1746: 1745: 1744: 1742: 1678:Alfred Schnittke 1616: 1615: 1614: 1612: 1527:Sonata Religiosa 1473:Olivier Messiaen 1422:had written his 1381: 1380: 1379: 1377: 1368: 1351:Lilt of the Reel 1343:The Harp of Life 1335:The Voice of Lir 1229: 1228: 1206: 1172: 1171: 1170: 1168: 1159: 1122:Vladimir Rebikov 1085: 1058: 1030:The Yellow Sound 1013:Olivier Messiaen 989: 988: 987: 985: 976:Wild Men's Dance 973: 965: 957: 947:Wild Men's Dance 935:J. Humfrey Anger 913: 912: 864: 842: 841: 814: 813: 770: 743:Richard Taruskin 727: 690: 648: 613: 580: 557: 509: 476:Before the 1900s 448: 385: 384: 345: 344: 285: 284: 270:thirteenth chord 152:Alfred Schnittke 98: 97: 57: 56: 51: 50: 45: 44: 39: 38: 21: 7057: 7056: 7052: 7051: 7050: 7048: 7047: 7046: 7017: 7016: 7013: 7008: 6985: 6972: 6951: 6877:New Objectivity 6830: 6828: 6817: 6781: 6603: 6594: 6592:Modernist music 6589: 6559: 6554: 6523: 6468: 6432: 6404: 6366: 6304: 6291: 6282:Synthetic chord 6250: 6221:Northern lights 6186:Complexe sonore 6164: 6150:Augmented sixth 6138: 6136: 6126: 6108: 6107: 6101:Upper structure 6072: 6058:Altered seventh 6053:Augmented minor 6048:Augmented major 6033:Half-diminished 5989: 5944: 5939: 5909: 5904: 5888: 5812: 5806: 5767: 5761: 5752:Octatonic scale 5729: 5723: 5714: 5625: 5594: 5589: 5462: 5460: 5459:on May 12, 2003 5456: 5445: 5354:Stevens, Halsey 5132:Pollack, Howard 4776:Ethnomusicology 4425:Griffiths, Paul 4272: 4270: 4244:. London: SAF. 4131: 4126: 4125: 4120: 4116: 4111: 4107: 4101:Musical Courier 4099: 4095: 4090: 4086: 4081: 4077: 4068: 4064: 4059: 4055: 4050: 4046: 4041: 4037: 4029: 4025: 4016: 4012: 4007: 4003: 3998: 3994: 3989: 3985: 3980: 3976: 3971: 3967: 3962: 3958: 3954:Pareles (2000). 3953: 3949: 3944: 3940: 3931: 3929: 3922: 3918: 3913: 3909: 3904: 3900: 3895: 3891: 3886: 3882: 3877: 3873: 3868: 3864: 3860:Pareles (1988). 3859: 3855: 3850: 3846: 3841: 3837: 3832: 3828: 3819: 3817: 3802: 3798: 3789: 3787: 3769: 3765: 3756: 3754: 3743: 3739: 3734: 3730: 3721: 3717: 3708: 3706: 3686: 3682: 3677: 3673: 3668: 3664: 3659: 3655: 3646: 3644: 3631: 3630: 3626: 3621: 3617: 3612: 3608: 3603: 3599: 3594: 3590: 3585: 3581: 3576: 3572: 3563: 3561: 3550: 3546: 3541: 3537: 3532: 3528: 3519: 3517: 3501: 3499: 3486: 3485: 3481: 3476: 3472: 3467: 3463: 3454: 3452: 3451:. 4barsrest.com 3445: 3441: 3432: 3430: 3411: 3407: 3402: 3395: 3390: 3386: 3381: 3377: 3372: 3368: 3363: 3359: 3354: 3350: 3345: 3341: 3324: 3320: 3298: 3294: 3285: 3283: 3273: 3269: 3263:Wayback Machine 3253: 3249: 3244: 3240: 3235: 3231: 3226: 3222: 3217: 3213: 3208: 3204: 3199: 3195: 3190: 3186: 3181: 3177: 3172: 3168: 3163: 3159: 3154: 3150: 3145: 3141: 3136: 3132: 3127: 3123: 3117:Wayback Machine 3107: 3103: 3098: 3094: 3085: 3083: 3073: 3069: 3064: 3060: 3055: 3051: 3046: 3042: 3037: 3033: 3028: 3024: 3019: 3015: 3010: 3006: 2997: 2993: 2988: 2984: 2979: 2975: 2970: 2966: 2957: 2953: 2948: 2944: 2939: 2935: 2930: 2926: 2921: 2917: 2912: 2908: 2903: 2899: 2893:Wayback Machine 2883: 2879: 2874: 2870: 2861: 2857: 2845: 2841: 2836: 2832: 2827: 2823: 2818: 2814: 2805: 2801: 2796: 2792: 2783: 2781: 2769: 2765: 2760: 2753: 2748: 2741: 2736: 2729: 2719: 2717: 2716:on June 4, 2011 2700: 2696: 2691: 2687: 2682: 2678: 2657: 2653: 2648: 2644: 2626:Schneider, John 2623: 2619: 2610: 2606: 2601: 2597: 2588: 2586: 2575: 2571: 2566: 2562: 2557: 2553: 2548: 2544: 2539: 2535: 2530: 2526: 2521: 2516: 2491: 2487: 2466: 2462: 2421: 2417: 2400: 2396: 2370: 2366: 2352: 2350: 2338: 2319: 2317: 2309: 2305: 2301: 2296: 2197: 2190: 2180:harmonic matrix 2160: 2089:Tangerine Dream 2015:Jerry Lee Lewis 2007: 1983:Joachim Berendt 1957:Anthony Braxton 1885:George Gershwin 1784:Thelonious Monk 1754: 1740: 1737: 1736: 1702: 1674:Giacinto Scelsi 1610: 1607: 1606: 1523:Josip Slavenski 1428:Trois Esquisses 1401: 1375: 1372: 1371: 1247: 1246: 1238: 1236: 1235: 1234: 1233: 1230: 1223: 1220: 1210: 1204: 1187: 1166: 1163: 1162: 1130:Richard Strauss 1079: 1052: 1009:Joseph Horowitz 983: 980: 979: 917:"Around 1910," 906: 901:Final chord of 884: 858: 839: 838: 807: 764: 721: 669:Michel Corrette 642: 607: 574: 551: 503: 494:Jean-Féry Rebel 478: 473: 424:Thelonious Monk 406: 402: 378: 370: 338: 330:harmonic series 278: 211:chromatic scale 195: 148:Giacinto Scelsi 95: 94: 80:chromatic scale 54: 53: 48: 47: 42: 41: 36: 35: 28: 23: 22: 15: 12: 11: 5: 7055: 7045: 7044: 7039: 7034: 7029: 7010: 7009: 7007: 7006: 6996: 6982:Romantic music 6978: 6977: 6974: 6973: 6971: 6970: 6965: 6959: 6957: 6953: 6952: 6950: 6949: 6944: 6939: 6934: 6929: 6924: 6919: 6914: 6909: 6904: 6899: 6894: 6889: 6887:Pandiatonicism 6884: 6879: 6874: 6872:New Complexity 6869: 6864: 6859: 6854: 6849: 6844: 6839: 6833: 6831: 6826: 6823: 6822: 6819: 6818: 6816: 6815: 6814: 6813: 6808: 6803: 6798: 6792:United States 6789: 6787: 6783: 6782: 6780: 6779: 6778: 6777: 6772: 6767: 6759: 6758: 6757: 6749: 6748: 6747: 6739: 6738: 6737: 6729: 6728: 6727: 6722: 6714: 6713: 6712: 6707: 6702: 6697: 6692: 6687: 6679: 6678: 6677: 6669: 6668: 6667: 6659: 6658: 6657: 6649: 6648: 6647: 6642: 6637: 6632: 6627: 6618: 6616: 6609: 6605: 6604: 6599: 6596: 6595: 6588: 6587: 6580: 6573: 6565: 6556: 6555: 6553: 6552: 6547: 6545:List of chords 6542: 6537: 6531: 6529: 6525: 6524: 6522: 6521: 6516: 6511: 6506: 6501: 6496: 6491: 6486: 6480: 6478: 6474: 6473: 6470: 6469: 6467: 6466: 6461: 6456: 6451: 6446: 6440: 6438: 6434: 6433: 6431: 6430: 6425: 6420: 6414: 6412: 6406: 6405: 6403: 6402: 6397: 6392: 6387: 6382: 6376: 6374: 6368: 6367: 6365: 6364: 6355: 6350: 6345: 6340: 6335: 6330: 6324: 6322: 6313: 6306: 6305: 6298: 6296: 6293: 6292: 6290: 6289: 6284: 6279: 6274: 6269: 6264: 6262:Mixed interval 6258: 6256: 6252: 6251: 6249: 6248: 6243: 6238: 6233: 6228: 6223: 6218: 6213: 6208: 6203: 6198: 6193: 6188: 6183: 6178: 6172: 6170: 6166: 6165: 6163: 6162: 6157: 6152: 6147: 6141: 6139: 6131: 6128: 6127: 6125: 6124: 6119: 6114: 6103: 6098: 6093: 6088: 6082: 6080: 6074: 6073: 6071: 6070: 6065: 6060: 6055: 6050: 6045: 6040: 6035: 6030: 6025: 6020: 6015: 6010: 6005: 5999: 5997: 5991: 5990: 5988: 5987: 5982: 5977: 5972: 5967: 5961: 5959: 5950: 5946: 5945: 5938: 5937: 5930: 5923: 5915: 5906: 5905: 5903: 5902: 5896: 5894: 5890: 5889: 5887: 5886: 5881: 5876: 5871: 5866: 5865: 5864: 5862:Distance model 5854: 5849: 5842: 5837: 5832: 5827: 5822: 5816: 5814: 5808: 5807: 5805: 5804: 5802:Spectral music 5799: 5794: 5789: 5788: 5787: 5782: 5771: 5769: 5763: 5762: 5760: 5759: 5754: 5749: 5744: 5739: 5733: 5731: 5725: 5724: 5713: 5712: 5705: 5698: 5690: 5684: 5683: 5665: 5659: 5650: 5632: 5624: 5621: 5620: 5619: 5616:Dynamic Motion 5605: 5593: 5592:External links 5590: 5588: 5587: 5580: 5566: 5557: 5540: 5532:Boston Phoenix 5527: 5513: 5500: 5482: 5468: 5438: 5422: 5408:Szwed, John F. 5405: 5385: 5368: 5351: 5337: 5320: 5310: 5296: 5278: 5271: 5257: 5243: 5226: 5212: 5202: 5188: 5174: 5160: 5146: 5129: 5115: 5097: 5086: 5070: 5053: 5040:Palmer, Robert 5037: 5030: 5016: 5002: 4988: 4974: 4960: 4946: 4932: 4918: 4904: 4890: 4876:Maconie, Robin 4873: 4859: 4845: 4831: 4808: 4794: 4780: 4771: 4764: 4750: 4739: 4725: 4711: 4705: 4690: 4679: 4664: 4649: 4635: 4620: 4613: 4598: 4591: 4576: 4561: 4547: 4532: 4518: 4504: 4490: 4483: 4475:Boston Phoenix 4470: 4460: 4446: 4439: 4422: 4412: 4395: 4381: 4369: 4355: 4341: 4334: 4324: 4306: 4292: 4278: 4252: 4238: 4224: 4210: 4196: 4182: 4175: 4164: 4150: 4132: 4130: 4127: 4124: 4123: 4114: 4112:Knight (1985). 4105: 4093: 4084: 4075: 4062: 4053: 4044: 4035: 4023: 4010: 4001: 3992: 3983: 3974: 3965: 3956: 3947: 3938: 3916: 3907: 3898: 3896:Palmer (1991). 3889: 3880: 3871: 3862: 3853: 3844: 3842:Palmer (1986). 3835: 3826: 3796: 3774:(2004-12-22). 3763: 3737: 3728: 3726:. Hal Leonard. 3715: 3690:Szwed, John F. 3680: 3671: 3662: 3653: 3624: 3615: 3606: 3597: 3588: 3579: 3570: 3544: 3535: 3526: 3479: 3470: 3461: 3439: 3405: 3393: 3384: 3375: 3366: 3357: 3348: 3339: 3318: 3292: 3267: 3247: 3238: 3229: 3220: 3211: 3202: 3193: 3184: 3175: 3166: 3157: 3148: 3139: 3130: 3121: 3101: 3092: 3067: 3058: 3049: 3040: 3031: 3022: 3013: 3004: 2991: 2982: 2973: 2964: 2951: 2942: 2933: 2924: 2915: 2906: 2897: 2877: 2868: 2855: 2839: 2830: 2821: 2812: 2799: 2790: 2763: 2751: 2739: 2727: 2694: 2685: 2676: 2651: 2642: 2617: 2604: 2595: 2569: 2560: 2551: 2542: 2533: 2523: 2522: 2520: 2517: 2515: 2514: 2510:Off the Planet 2485: 2460: 2454:1911–13, rev. 2448:Fourth of July 2442:1912–13, rev. 2436:Decoration Day 2415: 2394: 2364: 2302: 2300: 2297: 2295: 2292: 2216:also inspired 2202:Pacifika Rondo 2159: 2156: 2109:'s 1968 song " 2006: 2003: 1948:Sonny Sharrock 1907:Gerry Mulligan 1903:Bob Brookmeyer 1890:Porgy and Bess 1858:5-tone cluster 1824:Duke Ellington 1820:Herbie Nichols 1776:Artie Matthews 1774:The fourth of 1701: 1698: 1690:Pacifika Rondo 1631:Morton Feldman 1551:Iannis Xenakis 1547:String Quartet 1513:'s song cycle 1488:Klavierstück X 1400: 1397: 1307:Dynamic Motion 1263:Dynamic Motion 1237: 1231: 1221: 1213: 1212: 1211: 1202: 1201: 1200: 1186: 1183: 1179:Fourth of July 1175:Decoration Day 1039:Claude Debussy 1027:'s stage show 966:1913–14), and 923:Percy Grainger 883: 880: 849:Symphony No. 2 829:Giuseppe Verdi 803:Les diablotins 708:Franz Schubert 482:Heinrich Biber 477: 474: 472: 469: 459:William Colvig 404: 400: 369: 366: 361:Mauricio Kagel 324:By the fourth 194: 191: 176:Kevin Kastning 105:pentatonically 26: 9: 6: 4: 3: 2: 7054: 7043: 7040: 7038: 7035: 7033: 7030: 7028: 7025: 7024: 7022: 7015: 7005: 7001: 6997: 6995: 6987: 6986: 6984: 6983: 6975: 6969: 6966: 6964: 6961: 6960: 6958: 6954: 6948: 6945: 6943: 6940: 6938: 6935: 6933: 6930: 6928: 6925: 6923: 6920: 6918: 6915: 6913: 6910: 6908: 6905: 6903: 6900: 6898: 6895: 6893: 6890: 6888: 6885: 6883: 6880: 6878: 6875: 6873: 6870: 6868: 6865: 6863: 6860: 6858: 6855: 6853: 6850: 6848: 6847:Expressionism 6845: 6843: 6840: 6838: 6835: 6834: 6832: 6824: 6812: 6809: 6807: 6804: 6802: 6799: 6797: 6794: 6793: 6791: 6790: 6788: 6784: 6776: 6773: 6771: 6768: 6766: 6763: 6762: 6760: 6756: 6753: 6752: 6750: 6746: 6743: 6742: 6740: 6736: 6733: 6732: 6730: 6726: 6723: 6721: 6718: 6717: 6715: 6711: 6708: 6706: 6703: 6701: 6698: 6696: 6693: 6691: 6688: 6686: 6683: 6682: 6680: 6676: 6673: 6672: 6670: 6666: 6663: 6662: 6660: 6656: 6653: 6652: 6650: 6646: 6643: 6641: 6638: 6636: 6633: 6631: 6628: 6626: 6623: 6622: 6620: 6619: 6617: 6613: 6610: 6606: 6602: 6597: 6593: 6586: 6581: 6579: 6574: 6572: 6567: 6566: 6563: 6551: 6548: 6546: 6543: 6541: 6538: 6536: 6533: 6532: 6530: 6526: 6520: 6517: 6515: 6512: 6510: 6507: 6505: 6502: 6500: 6497: 6495: 6492: 6490: 6487: 6485: 6482: 6481: 6479: 6475: 6465: 6462: 6460: 6457: 6455: 6454:Primary triad 6452: 6450: 6447: 6445: 6442: 6441: 6439: 6435: 6429: 6426: 6424: 6421: 6419: 6416: 6415: 6413: 6411: 6407: 6401: 6398: 6396: 6393: 6391: 6388: 6386: 6383: 6381: 6378: 6377: 6375: 6373: 6369: 6363: 6359: 6356: 6354: 6351: 6349: 6346: 6344: 6341: 6339: 6336: 6334: 6331: 6329: 6326: 6325: 6323: 6321: 6317: 6314: 6312: 6307: 6302: 6288: 6285: 6283: 6280: 6278: 6275: 6273: 6270: 6268: 6265: 6263: 6260: 6259: 6257: 6253: 6247: 6244: 6242: 6239: 6237: 6234: 6232: 6229: 6227: 6224: 6222: 6219: 6217: 6214: 6212: 6209: 6207: 6204: 6202: 6199: 6197: 6194: 6192: 6189: 6187: 6184: 6182: 6179: 6177: 6174: 6173: 6171: 6167: 6161: 6158: 6156: 6153: 6151: 6148: 6146: 6143: 6142: 6140: 6134: 6129: 6123: 6120: 6118: 6115: 6113: 6104: 6102: 6099: 6097: 6094: 6092: 6089: 6087: 6084: 6083: 6081: 6079: 6075: 6069: 6066: 6064: 6061: 6059: 6056: 6054: 6051: 6049: 6046: 6044: 6041: 6039: 6036: 6034: 6031: 6029: 6026: 6024: 6021: 6019: 6016: 6014: 6011: 6009: 6006: 6004: 6001: 6000: 5998: 5996: 5992: 5986: 5983: 5981: 5978: 5976: 5973: 5971: 5968: 5966: 5963: 5962: 5960: 5958: 5954: 5951: 5947: 5943: 5936: 5931: 5929: 5924: 5922: 5917: 5916: 5913: 5901: 5898: 5897: 5895: 5891: 5885: 5884:Unified field 5882: 5880: 5877: 5875: 5872: 5870: 5867: 5863: 5860: 5859: 5858: 5855: 5853: 5850: 5848: 5847: 5843: 5841: 5838: 5836: 5833: 5831: 5828: 5826: 5823: 5821: 5818: 5817: 5815: 5809: 5803: 5800: 5798: 5795: 5793: 5790: 5786: 5783: 5781: 5778: 5777: 5776: 5773: 5772: 5770: 5764: 5758: 5755: 5753: 5750: 5748: 5745: 5743: 5740: 5738: 5735: 5734: 5732: 5726: 5722: 5721:post-tonality 5718: 5711: 5706: 5704: 5699: 5697: 5692: 5691: 5688: 5681: 5677: 5673: 5669: 5666: 5663: 5660: 5658: 5654: 5651: 5648: 5644: 5640: 5636: 5633: 5630: 5627: 5626: 5617: 5613: 5609: 5606: 5603: 5599: 5596: 5595: 5585: 5581: 5579: 5578:0-8195-6661-6 5575: 5571: 5567: 5564: 5563: 5558: 5556: 5555:0-415-97467-4 5552: 5548: 5544: 5541: 5538: 5534: 5533: 5528: 5526: 5525:0-87910-167-9 5522: 5518: 5514: 5511: 5510: 5505: 5501: 5499: 5495: 5491: 5487: 5483: 5481: 5477: 5473: 5469: 5455: 5451: 5444: 5439: 5436: 5435: 5430: 5426: 5423: 5421: 5420:0-306-80855-2 5417: 5413: 5409: 5406: 5404: 5400: 5396: 5395: 5390: 5386: 5384: 5383:0-393-31719-6 5380: 5376: 5372: 5371:Swafford, Jan 5369: 5367: 5366:0-19-816349-5 5363: 5359: 5355: 5352: 5350: 5349:1-55553-551-8 5346: 5342: 5338: 5336: 5335:0-19-513931-3 5332: 5328: 5324: 5321: 5318: 5314: 5311: 5309: 5308:0-8078-2511-5 5305: 5301: 5297: 5295: 5294:0-300-07601-0 5291: 5287: 5283: 5279: 5276: 5272: 5270: 5269:0-87338-752-X 5266: 5262: 5258: 5256: 5255:0-02-864627-4 5252: 5248: 5244: 5242: 5241:0-671-63837-8 5238: 5234: 5230: 5227: 5225: 5224:0-87930-865-6 5221: 5217: 5213: 5210: 5206: 5205:Salzman, Eric 5203: 5201: 5200:0-87930-766-8 5197: 5193: 5189: 5187: 5186:2-87623-103-4 5183: 5179: 5175: 5173: 5172:1-4120-4474-X 5169: 5165: 5161: 5159: 5158:0-8050-7068-0 5155: 5151: 5147: 5145: 5144:0-252-06900-5 5141: 5137: 5133: 5130: 5128: 5127:0-486-40270-3 5124: 5120: 5116: 5114: 5113:0-87930-628-9 5110: 5106: 5102: 5098: 5095: 5091: 5087: 5084: 5083: 5078: 5074: 5071: 5068: 5067: 5066:Rolling Stone 5062: 5060: 5054: 5051: 5050: 5045: 5041: 5038: 5035: 5031: 5029: 5028:0-7546-0426-8 5025: 5021: 5017: 5015: 5014:0-521-42464-X 5011: 5007: 5003: 5001: 5000:0-691-02707-2 4997: 4993: 4989: 4987: 4986:0-521-61695-6 4983: 4979: 4975: 4973: 4972:0-252-06538-7 4969: 4965: 4961: 4959: 4958:0-252-07188-3 4955: 4951: 4947: 4945: 4944:0-253-34608-8 4941: 4937: 4933: 4931: 4930:0-313-30071-2 4927: 4923: 4919: 4917: 4916:4-7700-2395-2 4913: 4909: 4905: 4903: 4902:0-521-45429-8 4899: 4895: 4891: 4889: 4888:0-8108-5356-6 4885: 4881: 4877: 4874: 4872: 4871:0-520-22530-9 4868: 4864: 4860: 4858: 4857:0-306-80377-1 4854: 4850: 4846: 4844: 4843:0-914678-26-4 4840: 4836: 4832: 4828: 4824: 4820: 4816: 4815: 4809: 4807: 4806:0-393-31592-4 4803: 4799: 4795: 4793: 4792:0-8153-3154-1 4789: 4785: 4781: 4778: 4777: 4772: 4769: 4765: 4763: 4762:0-521-46643-1 4759: 4755: 4754:Italian Opera 4751: 4748: 4744: 4740: 4738: 4734: 4730: 4726: 4724: 4723:0-7735-3264-1 4720: 4716: 4712: 4709: 4708:Ives, Charles 4706: 4703: 4699: 4695: 4691: 4688: 4687:Popular Music 4684: 4683:Twins of Evil 4680: 4677: 4676:0-7546-5729-9 4673: 4669: 4665: 4662: 4661:0-86196-644-9 4658: 4654: 4650: 4647: 4643: 4639: 4636: 4633: 4632:0-415-93643-8 4629: 4625: 4621: 4618: 4614: 4611: 4610:0-415-94244-6 4607: 4603: 4599: 4596: 4592: 4589: 4588:0-253-34696-7 4585: 4581: 4577: 4574: 4573:0-253-21456-4 4570: 4566: 4562: 4560: 4559:0-252-02751-5 4556: 4552: 4548: 4545: 4544:0-252-06915-3 4541: 4537: 4533: 4531: 4527: 4523: 4519: 4517: 4516:0-19-514415-5 4513: 4509: 4505: 4503: 4502:3-8258-7560-1 4499: 4495: 4491: 4488: 4484: 4481: 4477: 4476: 4471: 4468: 4464: 4461: 4459: 4458:0-393-30357-8 4455: 4451: 4447: 4444: 4440: 4438: 4437:0-19-816511-0 4434: 4430: 4426: 4423: 4420: 4416: 4413: 4411: 4410:90-5755-003-2 4407: 4403: 4399: 4396: 4394: 4393:0-19-508235-4 4390: 4386: 4382: 4379: 4378: 4373: 4370: 4368: 4367:0-253-34436-0 4364: 4360: 4356: 4354: 4353:0-472-11553-7 4350: 4346: 4342: 4339: 4335: 4332: 4328: 4327:Cowell, Henry 4325: 4322: 4321:1-57766-108-7 4318: 4314: 4310: 4307: 4305: 4304:0-521-47986-X 4301: 4297: 4293: 4291: 4290:0-252-06275-2 4287: 4283: 4279: 4269:on 2016-04-16 4268: 4264: 4263: 4258: 4253: 4251: 4250:0-946719-70-5 4247: 4243: 4239: 4237: 4236:0-300-10045-0 4233: 4229: 4225: 4223: 4222:0-8153-3819-8 4219: 4215: 4211: 4209: 4208:0-19-510108-1 4205: 4201: 4197: 4195: 4194:1-55652-098-0 4191: 4187: 4183: 4180: 4176: 4173: 4169: 4165: 4163: 4162:0-8122-3980-6 4159: 4155: 4151: 4149: 4148:0-231-11662-4 4145: 4141: 4137: 4134: 4133: 4118: 4109: 4102: 4097: 4088: 4079: 4072: 4066: 4057: 4048: 4039: 4032: 4031:Chandler 2004 4027: 4021:. Hal Leonard 4020: 4014: 4005: 3996: 3987: 3978: 3969: 3960: 3951: 3942: 3927: 3920: 3911: 3902: 3893: 3884: 3875: 3866: 3857: 3848: 3839: 3830: 3816:on 2007-12-21 3815: 3811: 3809: 3800: 3786:on 2007-09-30 3785: 3781: 3777: 3773: 3767: 3753:on 2007-09-12 3752: 3748: 3741: 3732: 3725: 3719: 3705: 3704: 3699: 3695: 3691: 3684: 3675: 3666: 3657: 3642: 3638: 3634: 3628: 3619: 3610: 3601: 3592: 3583: 3574: 3560:on 2007-09-28 3559: 3555: 3548: 3539: 3530: 3515: 3513: 3498:on 2008-02-09 3497: 3493: 3491: 3483: 3474: 3465: 3450: 3443: 3429:on 2007-09-30 3428: 3424: 3420: 3418: 3413:Swan, Glenn. 3409: 3400: 3398: 3388: 3379: 3370: 3361: 3352: 3343: 3336: 3332: 3328: 3322: 3315: 3314:0-521-80194-X 3311: 3307: 3306: 3301: 3296: 3282: 3278: 3271: 3264: 3260: 3257: 3251: 3242: 3233: 3224: 3215: 3206: 3197: 3188: 3179: 3170: 3161: 3152: 3143: 3134: 3125: 3118: 3114: 3111: 3105: 3096: 3082: 3078: 3071: 3062: 3053: 3044: 3035: 3026: 3017: 3008: 3001: 2995: 2986: 2977: 2968: 2961: 2955: 2946: 2937: 2928: 2919: 2910: 2901: 2894: 2890: 2887: 2881: 2872: 2865: 2862:Cooper, M., 2859: 2852: 2848: 2843: 2834: 2825: 2816: 2809: 2803: 2794: 2780:on 2010-03-08 2779: 2775: 2767: 2758: 2756: 2746: 2744: 2734: 2732: 2715: 2711: 2710: 2705: 2698: 2689: 2680: 2673: 2672:0-486-41377-2 2669: 2665: 2661: 2658:The score of 2655: 2646: 2639: 2638:9780520040489 2635: 2631: 2627: 2621: 2614: 2608: 2599: 2585:on 2007-06-22 2584: 2580: 2573: 2564: 2555: 2546: 2537: 2528: 2524: 2511: 2507: 2503: 2499: 2495: 2489: 2482: 2478: 2474: 2470: 2464: 2449: 2437: 2433: 2429: 2425: 2419: 2412: 2408: 2404: 2398: 2387: 2379: 2375: 2368: 2361: 2349: 2345: 2341: 2336: 2332: 2328: 2315: 2307: 2303: 2291: 2289: 2284: 2282: 2278: 2277:central India 2274: 2270: 2266: 2262: 2258: 2254: 2253:Wubaduhesheng 2250: 2249: 2244: 2240: 2235: 2233: 2229: 2228:chamber organ 2225: 2224: 2219: 2215: 2211: 2207: 2203: 2196: 2189: 2185: 2181: 2177: 2173: 2172: 2167: 2166: 2155: 2153: 2149: 2145: 2141: 2137: 2136:Tone Clusters 2133: 2129: 2124: 2122: 2118: 2117: 2112: 2108: 2104: 2101:' 1965 song " 2100: 2096: 2095: 2090: 2086: 2082: 2078: 2074: 2070: 2066: 2062: 2058: 2056: 2055:Light My Fire 2052: 2048: 2044: 2040: 2036: 2032: 2028: 2024: 2020: 2016: 2012: 2011:rock and roll 2002: 2000: 1996: 1992: 1988: 1984: 1980: 1976: 1972: 1970: 1966: 1965:Gunter Hampel 1962: 1961:Matthew Shipp 1958: 1954: 1949: 1945: 1939: 1934: 1932: 1931:John F. Szwed 1928: 1922: 1920: 1916: 1915:Robert Palmer 1912: 1908: 1904: 1900: 1899:improvisation 1896: 1892: 1891: 1886: 1882: 1878: 1874: 1870: 1866: 1861: 1859: 1855: 1854: 1849: 1845: 1841: 1837: 1836: 1831: 1830: 1825: 1821: 1817: 1816:Horace Silver 1813: 1809: 1805: 1801: 1797: 1796:cross-rhythms 1793: 1789: 1785: 1781: 1777: 1768: 1752: 1750: 1743: 1734: 1730: 1726: 1722: 1718: 1710: 1706: 1697: 1695: 1691: 1687: 1683: 1679: 1675: 1670: 1668: 1667:voice leading 1664: 1663:Eric Whitacre 1660: 1656: 1652: 1648: 1644: 1640: 1639:Aldo Clementi 1636: 1635:Rothko Chapel 1632: 1628: 1627: 1622: 1621: 1613: 1604: 1603: 1599: 1594: 1592: 1588: 1584: 1583: 1578: 1577: 1572: 1568: 1567: 1562: 1558: 1557: 1552: 1548: 1544: 1540: 1536: 1532: 1528: 1524: 1518: 1516: 1512: 1508: 1504: 1500: 1496: 1495: 1490: 1489: 1484: 1480: 1479: 1474: 1470: 1466: 1462: 1457: 1455: 1454: 1449: 1448:"Night Music" 1445: 1441: 1437: 1433: 1429: 1425: 1421: 1420:Aaron Copland 1417: 1409: 1405: 1395: 1390: 1388: 1383: 1378: 1364: 1360: 1356: 1352: 1348: 1344: 1340: 1336: 1332: 1328: 1324: 1323:Advertisement 1320: 1316: 1312: 1308: 1304: 1300: 1296: 1291: 1288: 1282: 1277: 1275: 1271: 1270: 1265: 1264: 1259: 1256: 1252: 1245: 1243: 1219: 1217: 1196: 1191: 1182: 1180: 1176: 1169: 1155: 1153: 1148: 1144: 1139: 1137: 1136: 1131: 1127: 1126:Three Idylles 1123: 1114: 1110: 1108: 1107: 1102: 1093: 1077: 1075: 1066: 1050: 1048: 1044: 1040: 1036: 1032: 1031: 1026: 1022: 1018: 1015:, who called 1014: 1010: 1006: 1005:Gabriel Fauré 1002: 1001: 996: 995:Isaac Albéniz 991: 986: 977: 969: 961: 953: 952:Danse Sauvage 949: 948: 943: 938: 937:(1862–1913). 936: 932: 928: 924: 920: 904: 899: 892: 888: 879: 872: 856: 854: 853:voice leading 850: 846: 845:Gustav Mahler 836: 835: 830: 825: 821: 804: 799: 795: 793: 792: 787: 778: 762: 760: 759:Martin Cooper 756: 752: 747: 744: 735: 719: 717: 713: 709: 704: 702: 698: 694: 686: 682: 678: 674: 670: 666: 656: 640: 638: 630: 625: 618: 605: 603: 602: 597: 588: 572: 565: 549: 547: 543: 542: 537: 530: 526: 521: 514: 501: 499: 495: 491: 487: 486:Battalia à 10 483: 467: 462: 460: 456: 452: 444: 442: 437: 433: 429: 425: 421: 416: 414: 413:György Ligeti 410: 398: 394: 393: 374: 365: 362: 357: 352: 335: 331: 327: 322: 318: 316: 312: 308: 304: 300: 296: 295:acciaccaturas 292: 275: 271: 266: 262: 260: 256: 252: 251:major seconds 248: 247:minor seconds 244: 240: 235: 231: 228: 224: 220: 216: 212: 204: 199: 190: 188: 184: 179: 177: 173: 172:Matthew Shipp 169: 165: 161: 160:Eric Whitacre 157: 153: 149: 145: 141: 137: 133: 129: 125: 121: 117: 112: 110: 106: 102: 93:(such as C, C 92: 89: 85: 81: 77: 73: 69: 68:musical chord 65: 32: 19: 18:Cluster chord 7014: 6980: 6942:Tone cluster 6941: 6897:Polytonality 6842:Experimental 6358:Leading-tone 6135: / 6122:Tone cluster 6121: 6003:Leading-tone 5893:Compositions 5879:Tone cluster 5878: 5857:Polytonality 5844: 5820:Chromaticism 5813:and concepts 5747:Mystic chord 5679: 5675: 5656: 5646: 5642: 5638: 5615: 5611: 5601: 5583: 5569: 5560: 5546: 5530: 5516: 5507: 5489: 5485: 5471: 5461:. 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In 1909, 1714: 1709:Scott Joplin 1693: 1689: 1685: 1681: 1671: 1650: 1642: 1634: 1624: 1618: 1600: 1595: 1590: 1580: 1574: 1571:quarter-tone 1564: 1554: 1537:(1928). The 1526: 1519: 1514: 1507:Walt Whitman 1502: 1499:George Crumb 1492: 1486: 1476: 1468: 1461:Lou Harrison 1458: 1453:Out of Doors 1452: 1444:Piano Sonata 1427: 1423: 1416:Dane Rudhyar 1413: 1392: 1386: 1384: 1362: 1358: 1354: 1353:(1930), and 1350: 1346: 1342: 1338: 1334: 1330: 1326: 1322: 1318: 1314: 1306: 1302: 1299:tone cluster 1298: 1294: 1292: 1284: 1279: 1267: 1261: 1260: 1255:Henry Cowell 1250: 1248: 1239: 1215: 1195:Henry Cowell 1178: 1174: 1151: 1146: 1143:Charles Ives 1140: 1133: 1125: 1119: 1105: 1100: 1098: 1071: 1047:pan-diatonic 1028: 1016: 998: 992: 975: 967: 959: 951: 945: 942:Leo Ornstein 939: 930: 926: 916: 902: 891:Leo Ornstein 877: 832: 819: 817: 802: 789: 783: 748: 740: 705: 700: 692: 684: 680: 672: 664: 661: 634: 628: 616: 599: 598:" in Bach's 593: 570: 539: 533: 524: 512: 497: 485: 479: 464: 455:Lou Harrison 451:Charles Ives 449:1904–19) of 440: 417: 408: 390: 388: 356:Henry Cowell 348: 314: 306: 288: 276:tone cluster 208: 180: 168:Cecil Taylor 158:, and later 144:Lou Harrison 136:Charles Ives 132:Henry Cowell 128:Leo Ornstein 124:Scott Joplin 113: 109:microtonally 101:diatonically 64:tone cluster 63: 61: 6892:Polyrhythms 6867:Neotonality 6755:Szymanowski 6343:Subdominant 6206:Grandmother 6063:Nondominant 6043:Minor-major 5647:Exultation, 4331:The Freeman 4309:Cope, David 3637:Jazz Improv 3081:ArtsJournal 2709:NewMusicBox 2378:Three Moods 2176:mouth organ 2174:(a type of 2142:, composer 2128:radio drama 2121:suspensions 2081:Marty Balin 2077:Grace Slick 2065:debut album 2019:drone music 2009:Like jazz, 1911:Eric Dolphy 1895:Miles Davis 1877:Fred Kaplan 1873:Pete Rugolo 1832:(1967) and 1798:. 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