371:
850:) he wrote that "notes have a family of relationships, that are the bindings of tonality, in which the ranking of intervals is unambiguous," so much so, indeed, that in the art of triadic composition "...the musician is bound by this, as the painter to his primary colours, the architect to the three dimensions." He lined up the harmonic and melodic aspects of music in a row in which the octave ranks first, then the fifth and the third, and then the fourth. "The strongest and most unique harmonic interval after the octave is the fifth, the prettiest nevertheless is the third by right of the chordal effects of its
2593:
2304:
776:
2058:
926:
692:
5081:
4392:
5091:
1296:
1277:
1087:
1334:
1051:
625:
1493:
1494:
748:
1495:
260:
1401:
fingering would be impracticable, the first on
Hammond organ and the second on Modular Moog, in a similar manner to the mutation stops on pipe organs, such as the "Twelfth" at 2 2/3' pitch played against a 4' "Principal" (which plays the eighth note). In the second instance, the triad is both quartal and quintal, being 1+4+5.
652:; hence, such construction does manifest a possibility for dealing systematically with those harmonic phenomena that already exist in the works of some of us: seven, eight, nine, ten, eleven, and twelve-part chords⊠But the quartal construction makes possible, as I said, accommodation of all phenomena of harmony.
138:
1017:
1074:
writing in which two melodic instruments (commonly trumpet and saxophone) may proceed in fourths, while the piano (as a uniquely harmonic instrument) lays down chords, but sparsely, only hinting at the intended harmony. This style of writing, in contrast with that of the previous decade, preferred a
971:
Jazz is often understood as a synthesis of the
European common practice harmonic vocabulary with textural paradigms from West African folk musicâbut it would be an oversimplification to describe jazz as sharing the same fundamental theory of harmony as European music. Important influences come from
1400:
pattern, in this case consisting of three broken quartal three-note chords, the first two of which are also a perfect fourth apart, and the third a semitone higher than the first. Keith
Emerson uses programmatic quintal harmony in several places for extended rapid obbligato passages where human
1324:
Thus when the m11 and the dominant 7th sus (9sus above) chords in quartal voicings are used together they tend to "blend into one overall sound" sometimes referred to as modal voicings, and both may be applied where the m11 chord is called for during extended periods such as the entire chorus.
976:
as well as from the instrumental work of
Classical- and Romantic-era composers, and even that of the Impressionists. From the beginning, jazz musicians expressed a particular interest in rich harmonic colours, for which non-tertiary harmony was a means of exploration, as used by pianists and
1123:
From the outset of the 1960s, the employment of quartal possibilities had become so familiar that the musician now felt the fourth chord existed as a separate entity, self standing and free of any need to resolve. The pioneering of quartal writing in later jazz and rock, like the pianist
876:
113:
439:
76:
787:
608:
714:
377:
765:
943:
877:
788:
715:
376:
1415:", for instance, has several passages where the melody line is doubled at an interval of a perfect fourth, and extensive use of (E dorian) minor chord voicings featuring the seven and three, spaced by that same interval, as the prominent notes.
1371:'s perfect octaves, perfect fifths, and perfect fourths are well approximated in equal temperament tuning, and perfect fifths and octaves are highly consonant intervals. Fripp builds chords using perfect fifths, fourths, and octaves in his
766:
413:
Despite the layering of fourths, it is rare to find musicologists identifying this chord as "quartal harmony" or even as "proto-quartal harmony", since Wagner's musical language is still essentially built on thirds, and even an ordinary
1307:
632:
The composer then picks out this vertical quartal harmony in a horizontal sequence of fourths from the horns, eventually leading to a passage of triadic quartal harmony (i.e., chords of three notes, each layer a fourth apart).
385:
The bottom two notes make up an augmented fourth, while the upper two make up a perfect fourth. This layering of fourths in this context has been seen as highly significant. The chord had been found in earlier works, notably
616:
1042:
858:
418:
chord can be laid out as augmented fourth plus perfect fourth (FâBâDâG). Wagner's unusual chord is really a device to draw the listener into the musical-dramatic argument which the composer is presenting to us.
1496:
1027:
874:
1260:
of old
European music, and they became firmly situated in their compositional process. Jazz was well-suited to incorporate the medieval use of fourths to thicken lines into its improvisation. The pianists
785:
1308:
942:
374:
615:
375:
1043:
660:, the importance of quartal harmony lay in the possibility of building new sounds. After hearing Schoenberg's Chamber Symphony, Webern wrote "You must write something like that, too!"
1028:
712:
1175:âhowever, all in a traditional manner, as major 9th, 13th and minor 11th chords (an octave and fourth equals an 11th). Jazz guitarists cited as using modern quartal harmony include
763:
875:
805:
by means of fourth and fifth intervals. These steps are a restructuring of fourth chords (CâDâG becomes the fourth chord DâGâC), or other mixtures of fourths and fifths (D
1120:, and can be analyzed (without regard for added sixths, ninths, etc.) as a minor seventh with the root on the bottom, or as a major seventh with the third on the bottom.
614:
3497:
786:
713:
1411:
was another keyboard player and composer who put classical and jazz elements, including quartal harmonies, into the service of rock music. The keyboard solo of "
764:
1305:
944:
580:(1906) displays quartal harmony: the first measure and a half construct a five-part fourth chord with the notes (highlighted in red in the illustration) AâD
3766:
2173:
1040:
521:(1897) has a rising repetition in fourths, as the tireless work of out-of-control walking brooms causes the water level in the house to "rise and rise".
1312:
They are often ambiguous as, for example, the Dm11 and G9sus chords are here voiced identically and will thus be distinguished for the listener by the
885:
1025:
604:
distributed over the five stringed instruments (the viola must tune down the lowest string by a minor third, and read in the unfamiliar tenor clef).
177:
imply a contrast, either compositional or perceptual, with traditional harmonic constructions based on thirds: listeners familiar with music of the
2869:
Archibald, Bruce (1969). "Variations for Cello and
Orchestra (1966) by Walter Piston; Concerto for Clarinet and Orchestra (1967) by Walter Piston;
951:
3307:
1306:
2967:
402:, and second because with this chord Wagner actually provoked the sound or structure of musical harmony to become more predominant than its
1337:
Disliking the sound of thirds (in equal-temperament tuning), Robert Fripp builds chords with perfect intervals in his new standard tuning.
4673:
935:
1041:
617:
1026:
3724:
3642:
3128:
From Africa to
Afrocentric Innovations Some Call "Jazz": The Creation of Free, Fusion and Reconstructive Modern Styles (1950â2000)
4630:
2010:
954:'s "Edinburgh in August", the opening section is made up entirely of quartal chords, which also appear frequently in the piece.
1786:
4296:
3744:
3710:
3682:
3632:
3559:
3410:
3274:
3231:
3172:
2999:
2913:
243:. Because of this relationship, any quartal chord can be rewritten as a quintal chord by changing the order of its pitches.
1075:
moderate tempo. Thin-sounding unison bebop horn sections occur frequently, but these are balanced by bouts of very refined
517:
3798:
442:
305:(when the root of the chord appears in parts higher than the fifth of the chord). In the later 19th century, during the
263:
141:
116:
79:
4196:
914:
altered fourth chords descend chromatically in the right hand with a chromatic scale leading upward in the left hand.
3570:
Scott, Ann Besser (1994). "Medieval and
Renaissance Techniques in the Music of Charles Ives: Horatio at the Bridge?"
3539:
3531:
3437:
3366:
3347:
3135:
3106:
3089:
3072:
2945:
2896:
903:(1915â1984) are characterised by quartal and quintal harmonies, as well as by dissonant counterpoint and polychords.
4113:
4023:
3446:
1185:
3672:
2954:
648:
The construction of chords by superimposing fourths can lead to a chord that contains all the twelve notes of the
636:
Schoenberg was also one of the first to write on the theoretical consequences of this harmonic innovation. In his
611:
Vertical quartal-harmony in the string parts of the opening measures of Arnold
Schoenberg's Chamber Symphony Op. 9
4666:
1725:
391:
3597:
1273:
also came into being, in which quartal harmony had extensive use, owing to the wandering nature of its harmony.
4128:
3930:
3051:
Domek, Richard C. (1979). "Some
Aspects of Organization in Schoenberg's Book of the Hanging Gardens, opus 15".
697:
306:
3465:
3252:
Leyva, Jesse (2010). "Carlos ChĂĄvez: An Examination of His Compositional Style with a Conductor's Analysis of
861:
Quartal harmony in Hindemith's Flute Sonata, II with tonal center on B established by descent in left hand in
4952:
4539:
4138:
4123:
3832:
1822:
431:
17:
3771:
3875:
3296:
314:
185:
constructed with familiar elements: the chords that make up major and minor scales, all in turn built from
490:
show that he intended to develop the Mystic chord into a huge chord incorporating all twelve notes of the
4691:
3990:
3152:
1876:
1429:
1281:
1144:âinfluenced John Coltrane added classically trained pianists Bill Evans and McCoy Tyner to his ensemble.
438:
370:
259:
137:
112:
75:
313:, all intervallic relationships were once again reassessed. Quartal harmony was developed in the early
5084:
4659:
1020:
801:
4093:
3204:
Lambert, J. Philip (1990). "Interval Cycles as Compositional Resources in the Music of Charles Ives".
1515:
422:
At the beginning of the 20th century, quartal harmony finally became an important element of harmony.
4153:
4133:
3243:
1940:
1739:
1462:
1393:
1299:
1218:
302:
290:
3213:
Lambert, J. Phillip (1996). "Ives and Berg: 'Normative' Procedures and Post-Tonal Alternatives". In
5115:
4118:
2981:
2927:
1927:
used quartal and quintal harmony in "Dawntreader", and she used quintal harmony in the title track
1474:(Symphony No. 2), the A-minor Sonora melody beginning in b. 183 is accompanied by quartal harmonies
1246:
911:
205:
5072:
4143:
3811:
3791:
1571:
1269:
are two musicians well known for their modal experimentation. Around this time, a style known as
1256:
models as they were "discovered" by jazz. Musicians began to work extensively with the so-called
445:
266:
231:(the harmonic layering of fifths specifically) is a lesser-used term, and since the fifth is the
144:
119:
108:. For instance, a three-note quintal chord on C can be built by stacking perfect fifths, CâGâD.
82:
2182:, Chapter 26: Materials and techniques, Chord structures, Quartal and secundal harmony, 469â470.
1112:
used a chord consisting of three perfect fourth intervals and a major third on the composition "
624:
460:
passages, often passing between systems, for example widening the six-note quartal sonority (CâF
456:
Scriabin wrote this chord in his sketches alongside other quartal passages and more traditional
204:
Chords by perfect fourth are ambiguous in that, like all chords built by equidistant intervals (
5094:
5053:
4513:
4410:
4158:
4108:
3942:
3920:
3882:
3432:, Gary E. Wittlich, coordinating editor, 322â387. Englewood Cliffs, New Jersey: Prentice-Hall.
1835:
1732:
1622:
1140:. Tom Floyd claims that the "foundation of 'modern quartal harmony'" began in the era when the
577:
286:
178:
65:. For instance, a three-note quartal chord on C can be built by stacking perfect fourths, CâFâB
3666:. Translated by Leo Black. Bryn Mawr: Theodore Presser, in association with Universal Edition.
3498:
Arnold Schoenberg: VerklÀrte Nacht; Chamber Symphony; Variations; 5 Pieces; 6 Songs; Erwartung
1711:
1670:
857:
507:
5037:
4311:
4266:
4240:
4148:
3865:
3572:
3217:, edited by Geoffrey Block and J. Peter Burkholder, 105â30. New Haven: Yale University Press.
3031:
1780:
1664:
1113:
394:, but Wagner's use was significant, first because it is seen as moving away from traditional
838:
Hindemith was, however, not a proponent of an explicit quartal harmony. In his 1937 writing
4534:
4518:
4352:
4016:
3354:
3256:
as Arranged for Concert Band by Frank Erickson". DMA diss. Tempe: Arizona State University.
691:
486:
387:
232:
1396:
depends on quartal harmony throughout, including a recurrent elaboration on the classical
775:
8:
4937:
4103:
4098:
3394:
1809:
1412:
1380:
1372:
1176:
898:
197:
1683:
753:
732:
4932:
4860:
4589:
4554:
4508:
3936:
3784:
3732:
3263:
1804:
538:
423:
403:
362:
294:
236:
3761:
3484:
3241:
Lewis, Robert Hall (1985). "New Music Festival 1985: Bowling Green State University".
3191:
Kulp, Jonathan (2006). "Carlos Guastavino: A Re-Evaluation of His Harmonic Language".
2884:
747:
31:
5090:
4845:
4730:
4682:
4480:
4401:
4336:
3827:
3767:
Program notes for Arnold Schoenberg's Chamber Symphony for 15 Solo Instruments, Op. 9
3740:
3706:
3678:
3628:
3555:
3535:
3527:
3509:
3433:
3416:
3406:
3373:
3362:
3343:
3270:
3227:
3168:
3131:
3102:
3085:
3068:
3042:
3005:
2995:
2941:
2909:
2892:
2005:
1919:
1719:
1617:
1556:
1543:
1523:
1364:
982:
573:
550:
546:
250:, some of which obscure its quartal structure. For instance, the quartal chord, CâFâB
62:
2891:. Austin: Institute of Latin American Studies, University of Texas at Austin, 1994.
1470:
246:
Like tertian chords, a given quartal or quintal chord can be written with different
5058:
5027:
4992:
4947:
4942:
4855:
4835:
4825:
4790:
4785:
4549:
4485:
4438:
4223:
4070:
3925:
3847:
3361:, translated by Carolyn Abbate. Princeton, New Jersey: Princeton University Press.
1770:
1760:
1342:
894:
890:
851:
758:
727:
677:
502:
415:
50:
4800:
4780:
3719:
1456:
4967:
4865:
4815:
4500:
4372:
4316:
4276:
4250:
4191:
4075:
4065:
4009:
3842:
3611:
3587:
3428:
Reisberg, Horace (1975). "The Vertical Dimension in Twentieth-Century Music". In
3399:
3060:
2875:
2492:
1979:
1533:
1368:
1289:
1238:
1137:
907:
685:
649:
554:
534:
491:
310:
247:
209:
101:
5017:
4977:
4962:
4891:
4886:
4795:
4745:
4640:
4635:
4475:
4470:
4377:
4181:
4168:
3952:
3892:
3114:
2857:
1974:
1870:
1841:
1794:
1639:
1578:
1509:
1376:
1346:
1262:
1242:
1222:
1214:
1206:
1172:
1141:
1006:
986:
681:
530:
407:
354:
282:
54:
3776:
628:
Six-note horizontal fourth chord in Arnold Schoenberg's Chamber Symphony Op. 9
5109:
4997:
4725:
4544:
4490:
4462:
4418:
4391:
4331:
4326:
4286:
4085:
4047:
4032:
3974:
3338:
Murphy, Howard Ansley, Robert A. Melcher, and Willard F. Warch, eds. (1973).
3317:
3160:
3148:
2979:
Carr, Cassandra I. (1989). "Charles Ives's Humor as Reflected in His Songs".
1924:
1903:
1830:
1677:
1649:
1629:
1566:
1479:
1253:
1210:
1190:
1180:
1160:
1133:
1129:
1117:
1091:
1059:
723:
395:
326:
298:
216:. The indifference of this rootless harmony to tonality places the burden of
97:
4755:
3009:
1147:
Jazz guitarists cited as using chord voicings using quartal harmony include
426:
used a self-developed system of transposition using fourth-chords, like his
285:, simultaneous notes a fourth apart were heard as a consonance. During the
5032:
4987:
4901:
4896:
4775:
4765:
4735:
4720:
4594:
4448:
4321:
4306:
4291:
4271:
4245:
4212:
3969:
3947:
3910:
3837:
3659:
3026:
1960:
1884:
1862:
1817:
1590:
1404:
1397:
1360:
1352:
1313:
1257:
1234:
1230:
1198:
1148:
1100:
998:
737:
657:
562:
558:
427:
221:
213:
3420:
1252:
Quartal harmony was also explored as a possibility under new experimental
1070:
of the 1950s made new applications of quartal harmony accessible to jazz.
289:(between about 1600 and 1900), this interval came to be heard either as a
4972:
4957:
4609:
4604:
4579:
4574:
4433:
4301:
4281:
4235:
4176:
4060:
4055:
1954:
1894:
1856:
1747:
1266:
1226:
1194:
1168:
1156:
1125:
1105:
1010:
1002:
862:
217:
190:
186:
3627:, second expanded edition. Princeton, New Jersey: Summy-Birchard Music.
5022:
5012:
4982:
4715:
4599:
4443:
4423:
4186:
3964:
3915:
3620:
1705:
1439:
1202:
1152:
1109:
1016:
994:
963:
673:
542:
512:
498:
182:
155:
1292:, and specifically quartal harmony was referred to as fourth voicing.
5007:
4927:
4810:
4584:
4207:
3887:
3807:
3583:
King Midas; A Cantata for Voices and Piano on 10 Poems of Howard Moss
3265:
Rocking the Classics: English Progressive Rock and the Counterculture
3040:
Dickinson, Peter (1963). "Suite for Piano No 3 by Nikos Skalkottas".
3019:
Arnold Schoenberg's Woodwind Quintet, Op. 26: Background and Analysis
2000:
1692:
1408:
1356:
1270:
1080:
1076:
1034:
990:
676:
have written these harmonies (fourth chords), but also the Hungarian
399:
2992:
Arranging Music for the Real World: Classical and Commercial Aspects
4625:
4452:
4357:
3870:
3501:
2971:
2958:
1995:
1295:
1164:
1067:
1055:
978:
4651:
3318:
On the Discipline of Craft and Art: An Interview with Robert Fripp
2689:
1288:
In jazz, the way chords were built from a scale came to be called
4428:
4362:
2809:
1448:
1317:
1276:
1071:
457:
105:
58:
46:
1086:
607:
3329:
Murphy, Scott (2008). "A Composite Approach to Ives's 'Cage'".
2149:
2022:
1946:
1388:
1333:
684:, who both go a similar way to Debussy, Dukas and perhaps also
505:
in the stacked fourths (not all perfect) of his 1891 score for
3625:
Structure & Style: The Study and Analysis of Musical Forms
3525:. Translated by Roy E. Carter. University of California Press.
2725:
2509:
2507:
1367:
tuning, which is used by non-experimental guitars. Of course,
3165:
Tonal Harmony with an Introduction to Twentieth-Century Music
2641:
2396:
1363:. Fripp dislikes minor thirds and especially major thirds in
1132:'s "classic quartet", was influential throughout this epoch.
1050:
973:
358:
38:
3182:
Kroeger, Karl (1969). "Caspar Diethelm: Klaviersonate VII".
2968:
Le fils des Ă©toiles, Chaldean pastoral, 3 preludes for piano
2113:
529:
Composers who use the techniques of quartal harmony include
317:
as a result of this breakdown and reevaluation of tonality.
196:
Regarding chords built from perfect fourths alone, composer
3653:
Der Tristan-Akkord und die Krise der modernen Harmonielehre
2737:
2583:
2581:
2504:
2408:
3725:
Introduction aux accords de quartes chez Arnold Schoenberg
3447:"John Williams Themes, Part 2 of 6: Star Wars, Main Title"
3337:
3130:. Santa Cruz, California: Histeria Records & Pub. Co.
2599:
2566:
2360:
2217:
2215:
4001:
3342:, (2nd ed.) Englewood Cliffs, New Jersey: Prentice-Hall.
3143:
Kasilag, Lucrecia R. (2001). "Pajaro, Eliseo (Morales)".
2761:
2350:
2348:
2346:
2137:
1968:
1116:". This particular voicing is sometimes referred to as a
524:
444:
Audio playback is not supported in your browser. You can
265:
Audio playback is not supported in your browser. You can
143:
Audio playback is not supported in your browser. You can
118:
Audio playback is not supported in your browser. You can
81:
Audio playback is not supported in your browser. You can
3401:
Twentieth-century Harmony: Creative Aspects and Practice
2821:
2578:
2202:
2200:
2034:
1302:
with fourth voicings: all chords are in fourth voicings.
799:
Hindemith constructed large parts of his symphonic work
239:
of the fourth, it is usually considered indistinct from
154:
Notes in a quartal chord on A can be arranged to form a
3067:. Oakland, California: University of California Press.
2925:: Copland, Hollywood, and American Musical Modernism".
2773:
2629:
2532:
2530:
2528:
2526:
2524:
2522:
2227:
2212:
2161:
484:âEâAâDâG). Scriabin's sketches for his unfinished work
3016:
2695:
2343:
2321:
2319:
2251:
2103:
2101:
2099:
2097:
2070:
3029:(1956). "Current Chronicle: United States: New York"
2797:
2785:
2713:
2677:
2653:
2617:
2605:
2554:
2542:
2480:
2270:
2268:
2266:
2197:
3376:(1987). "Las sinfonĂas de Carlos ChĂĄvez." (part 2).
3305:
Morrison, S. (1998). "Skryabin and the Impossible".
3294:
Moe, Orin (1981â82). "The Songs of Howard Swanson".
2749:
2519:
2331:
2239:
2701:
2468:
2444:
2432:
2420:
2384:
2372:
2316:
2185:
2125:
2094:
740:used quartal chords in his song "The Cage" (1906).
672:: "Besides myself my students Dr. Anton Webern and
30:"Fourth chord" redirects here. For other uses, see
3398:
3262:
2456:
2292:
2280:
2263:
2082:
2046:
406:, a notion which was soon after to be explored by
3762:Quartal harmony with notes and listening examples
3640:Swayne, Steve (2002). "Sondheim's Piano Sonata".
2903:
2889:Villa-Lobos: The Search for Brazil's Musical Soul
2833:
2665:
2155:
2028:
1466:(Symphony No. 1), uses quartal harmony throughout
5107:
3677:. Oxford and New York: Oxford University Press.
3466:"John Williams' Superman Theme (Superman March)"
3359:Music and Discourse: Toward a Semiology of Music
3269:. Oxford and New York: Oxford University Press.
3159:
2179:
751:Quartal harmony in "Laideronnette" from Ravel's
3806:
3324:20 (January): 88â103 (accessed 8 January 2013).
3145:The New Grove Dictionary of Music and Musicians
910:may be mentioned. In the first movement of his
779:Introduction to Charles Ives's "The Cage" from
3600:". Solomonsmusic.net (accessed 18 March 2016).
2952:
2572:
1500:Parallel fourths evoking organum in Debussy's
1351:Quartal and quintal harmony have been used by
4667:
4017:
3792:
3308:Journal of the American Musicological Society
3285:Mermikides, Milton (2014). "Extreme Guitar".
3017:Corson, Langdon, and Roy Christensen (1984).
1687: : "Mouvt de Marche" of "Laideronnette"
1418:
1379:having perfect fifths between its successive
3378:Pauta: Cuadernos de teorĂa y crĂtica musical
3393:
2040:
1136:was also known for his use of fourth chord
4674:
4660:
4024:
4010:
3799:
3785:
3543:
3520:
3516:(3rd ed.). Vienna: Universal Edition.
3508:
3487:". University of Minnesota Duluth website
3340:Music for Study: A Source Book of Excerpts
3284:
3186:, second series 26, no. 2 (December): 363.
2904:Benward, Bruce, and Nadine Saker (2009).
2827:
2143:
2119:
3772:The Use of Quartal Harmony in Jazz Guitar
3670:
3580:
3495:
3463:
3444:
3113:
3082:Quartal Harmony & Voicings for Guitar
3039:
2965:
2879:, second series 25, no. 4 (June): 824â26.
2868:
2815:
2803:
2791:
2719:
2659:
2623:
2611:
2587:
847:
3737:Hard Bop, Jazz and Black Music 1955â1965
3643:Journal of the Royal Musical Association
3549:
3427:
3304:
3215:Charles Ives and the Classical Tradition
3059:
2989:
2779:
2743:
2635:
2513:
2414:
2366:
2257:
2233:
2221:
2167:
2076:
2064:
1491:
1332:
1294:
1275:
1085:
1049:
1015:
906:As a transition to the history of jazz,
856:
774:
746:
690:
623:
606:
3595:
3389:. Westport and London: Greenwood Press.
3315:
3212:
3203:
3181:
3167:(7th ed.). New York: McGraw-Hill.
3163:; Payne, Dorothy; Almén, Byron (2013).
3142:
2883:
2767:
2683:
2548:
2486:
2426:
2354:
2310:
2191:
2088:
2011:Traditional sub-Saharan African harmony
14:
5108:
3658:
3639:
3615:, second series 34, no. 4 (June): 974.
3604:
3591:, second series 28, no. 4 (June): 782.
3384:
3328:
3293:
3221:
3125:
3096:
3025:
2955:Sonatina for flute & piano, Op. 76
2755:
2731:
2560:
2498:
2462:
2450:
2245:
2206:
2131:
2107:
1644:Sonatina for flute & piano, Op. 76
525:20th- and 21st-century classical music
4655:
4005:
3780:
3739:. New York: Oxford University Press.
3650:
3619:
3569:
3482:
3372:
3260:
3251:
3240:
3079:
3050:
2855:
2839:
2707:
2671:
2647:
2536:
2390:
2378:
2337:
2325:
2274:
2052:
96:is harmonic structure preferring the
27:Types of harmonic structures in music
3226:. Petaluma, California: Sher Music.
3190:
2978:
2935:
2920:
2474:
2438:
2402:
2298:
2286:
472:âEâAâD) into a seven-note chord (CâF
4681:
3199:27, no. 2 (Autumn-Winter): 196â219.
1434:Sonata for Alto Saxophone and Piano
884:The works of the Filipino composer
24:
3693:
2501:, 179, 181, 183, 185â186, 190â191.
924:
224:with the most active melodic line.
212:), any member can function as the
25:
5127:
3755:
3581:Sjoerdsma, Richard Dale (1972). "
3387:Howard Hanson: A Bio-Bibliography
3197:Revista de MĂșsica Latinoamericana
1094:uses three intervals of a fourth.
5089:
5080:
5079:
4390:
3464:Richards, Mark (15 July 2013b).
3445:Richards, Mark (9 March 2013a).
3247:24, no. 1 (FallâWinter): 440â43.
1303:
1038:
1023:
962:Problems playing this file? See
940:
872:
844:The Craft of Musical Composition
783:
761:
710:
612:
372:
353:and is the first chord heard in
3155:. London: Macmillan Publishers.
2600:Murphy, Melcher, and Warch 1973
1726:The Book of the Hanging Gardens
742:
4953:Modes of limited transposition
3931:Emancipation of the dissonance
3380:6, no. 22 (AprilâJune): 81â91.
3084:. Pacific, Missouri: Mel Bay.
2994:. Pacific, Missouri: Mel Bay.
2966:Carpenter, Alexander (n.d.). "
2953:Cardew-Fanning, Neil (n.d.). "
2180:Kostka, Payne & Almén 2013
835:in measure 3 of the example).
13:
1:
3833:Mode of limited transposition
3483:Rubin, Justin Henry (2005). "
3430:Aspects of 20th Century Music
2016:
1736:, Op. 9) slow section, b. 1â3
1669:"Kvartit" (Fourths), Op. 42,
1328:
1280:Fourths in Herbie Hancock's "
568:
320:
130:
3297:Black Music Research Journal
2906:Music in Theory and Practice
1634:String Quartet No. 2, Adagio
1423:
441:
297:requiring resolution in the
262:
140:
115:
78:
32:Eleventh chord § Fourth
7:
5003:Quartal and quintal harmony
4692:List of modernist composers
3991:List of atonal compositions
3960:Quartal and quintal harmony
3705:. Bloomington: Frangipani.
3662:(1963). Willi Reich (ed.).
3576:78, no. 3 (Autumn): 448â78.
3521:Schoenberg, Arnold (1978).
3193:Latin American Music Review
3126:Hester, Karlton E. (2000).
2931:23, no. 4 (Winter): 426â72.
2696:Corson and Christensen 1984
1989:
1572:Symphony No. 2 ("Romantic")
10:
5132:
4114:Dominant seventh flat five
4031:
3728:, Paris, www.academia.edu.
3674:The Music of Joni Mitchell
3550:Scivales, Ricardo (2005).
3496:Sanderson, Blair (n.d.). "
3405:. New York: W. W. Norton.
3287:Guitar Techniques magazine
3208:12, no. 1 (Spring): 43â82.
3035:42, no. 2 (April): 240â44.
2985:7, no. 2 (Summer): 123â39.
2873:(1967) by Walter Piston".
2864:. Analysis and guitar tab.
1941:Emerson, Lake & Palmer
1419:Examples of quartal pieces
1394:Emerson, Lake & Palmer
1340:
802:Symphony: Mathis der Maler
276:
49:structures built from the
29:
5067:
5046:
4916:
4876:
4705:
4698:
4689:
4618:
4567:
4527:
4499:
4461:
4409:
4399:
4388:
4345:
4259:
4221:
4167:
4084:
4046:
4039:
3983:
3901:
3856:
3818:
3671:Whitesell, Lloyd (2008).
3664:The Path to the New Music
3596:Solomon, Larry J. 2003. "
3491:(accessed 26 April 2012).
3385:Perone, James E. (1993).
3244:Perspectives of New Music
3055:19, no. 2 (Fall): 111â28.
3046:104, no. 1443 (May): 357.
1850:
1128:'s work with saxophonist
695:Fourths in BĂ©la BartĂłk's
663:
518:The Sorcerer's Apprentice
329:is made up of the notes F
206:diminished seventh chords
3701:Baker, David N. (1983).
3605:Spieth, Donald (1978). "
3552:Jazz PianoâThe Left Hand
3261:Macan, Edward L (1997).
3065:Sound Structure in Music
3021:. Nashville: Gasparo Co.
2990:Corozine, Vince (2002).
1917:On her 1968 debut album
1599:Central Park in the Dark
1561:"Donde habite el olvido"
1373:new standard tuning
1098:On his watershed record
757:. The top line uses the
4631:Chord names and symbols
3609:by Walter S. Hartley".
3598:Satie, the First Modern
3331:Twentieth-Century Music
3119:Unterweisung im Tonsatz
3097:Herder, Ronald (1987).
3053:College Music Symposium
2938:Jazz Chord Progressions
2871:Ricercare for Orchestra
1934:
1912:
1658:Ricercare for Orchestra
1518:", beginning and ending
1516:La cathédrale engloutie
1502:La cathédrale engloutie
1444:Sonata for Piano, Op. 1
917:
840:Unterweisung im Tonsatz
736:(1910), while American
726:used quartal chords in
446:download the audio file
267:download the audio file
145:download the audio file
120:download the audio file
83:download the audio file
5054:Second Viennese School
5047:Schools of composition
4514:Secondary leading-tone
3943:Polymodal chromaticism
3921:Dissonant counterpoint
3883:Second Viennese School
3651:Vogel, Martin (1962).
3316:Mulhern, Tom (1986). "
3147:, (2nd ed.) edited by
2156:Benward and Saker 2009
2029:Benward and Saker 2009
1836:Star Wars - Main Title
1505:
1338:
1321:
1285:
1095:
1063:
1047:
929:
881:
865:and repeated B's and F
792:
770:
719:
654:
629:
621:
578:Chamber Symphony Op. 9
287:common practice period
274:
226:
220:verification upon the
179:common practice period
5038:Twelve-tone technique
3866:Twelve-tone technique
3573:The Musical Quarterly
3355:Nattiez, Jean-Jacques
3222:Levine, Mark (1989).
3206:Music Theory Spectrum
3032:The Musical Quarterly
2921:Bick, Sally (2005). "
1842:Superman - Main Title
1781:Karlheinz Stockhausen
1765:Suite No. 3 for Piano
1665:Einojuhani Rautavaara
1499:
1336:
1298:
1279:
1089:
1053:
1033:fourth-suspension or
1019:
936:"Edinburgh in August"
928:
860:
778:
750:
694:
646:
644:) of 1911, he wrote:
627:
610:
430:(shown below) in his
307:breakdown of tonality
293:(when appearing as a
258:
202:
4519:Secondary supertonic
3607:Bacchanalia for Band
3395:Persichetti, Vincent
1973:"Rook" (composed by
1889:"Freedom Jazz Dance"
1823:Variations for Piano
1584:Bacchanalia for Band
1549:12 American Preludes
1463:SinfonĂa de AntĂgona
1079:such as is found in
688:, are not far off."
256:, can be written as
3733:Rosenthal, David H.
3646:127, no. 2:258â304.
3224:The Jazz Piano Book
3099:1000 Keyboard Ideas
3080:Floyd, Tom (2004).
2936:Boyd, Bill (1997).
1712:Le Fils des Ă©toiles
1671:Ătudes (Rautavaara)
1413:Riders on the Storm
508:Le Fils des Ă©toiles
392:Piano Sonata No. 18
198:Vincent Persichetti
45:is the building of
4590:Chord-scale system
4509:Secondary dominant
3937:Klangfarbenmelodie
3703:Jazz Improvisation
3510:Schoenberg, Arnold
2573:Cardew-Fanning n.d
1805:Heitor Villa-Lobos
1538:Piano Sonata No. 7
1506:
1339:
1322:
1286:
1096:
1064:
1048:
930:
882:
793:
771:
720:
630:
622:
539:Alexander Scriabin
501:experimented with
432:Piano Sonata No. 6
363:Tristan und Isolde
5103:
5102:
4912:
4911:
4649:
4648:
4563:
4562:
4481:Chromatic mediant
4386:
4385:
4337:Viennese trichord
3999:
3998:
3828:Equal temperament
3746:978-0-19-508556-3
3712:978-0-89917-397-9
3684:978-0-19-530757-3
3633:978-0-87487-164-7
3561:978-1-929009-54-1
3523:Theory of Harmony
3412:978-0-393-09539-5
3276:978-0-19-509887-7
3233:978-0-9614701-5-9
3174:978-0-07-131828-0
3043:The Musical Times
3001:978-0-7866-4961-7
2914:978-0-07-310188-0
2006:Viennese trichord
1977:, from the album
1929:Song to a Seagull
1920:Song to a Seagull
1720:Arnold Schoenberg
1654:Clarinet Concerto
1618:Aram Khachaturian
1606:Psalm 24, verse 5
1595:"The Cage" (1906)
1557:Carlos Guastavino
1544:Alberto Ginastera
1524:Norman Dello Joio
1497:
1365:equal temperament
1309:
1300:iiâVâI turnaround
1058:brass part, from
1044:
1029:
1009:, and especially
983:Jelly Roll Morton
945:
878:
852:Combination tones
797:
796:
789:
767:
716:
670:Theory of Harmony
638:Theory of Harmony
618:
574:Arnold Schoenberg
551:Arnold Schoenberg
547:Leonard Bernstein
450:
398:and even towards
378:
271:
149:
124:
87:
63:diminished fourth
16:(Redirected from
5123:
5093:
5083:
5082:
5059:Darmstadt School
4993:Post-romanticism
4703:
4702:
4676:
4669:
4662:
4653:
4652:
4407:
4406:
4394:
4202:
4201:
4159:Harmonic seventh
4129:Diminished major
4044:
4043:
4026:
4019:
4012:
4003:
4002:
3926:Dynamic tonality
3848:Whole tone scale
3801:
3794:
3787:
3778:
3777:
3750:
3720:Floirat, Bernard
3716:
3688:
3667:
3655:
3647:
3636:
3616:
3601:
3592:
3577:
3565:
3542:(pbk). Based on
3526:
3517:
3505:
3492:
3479:
3477:
3476:
3470:Film Music Notes
3460:
3458:
3457:
3451:Film Music Notes
3441:
3424:
3404:
3390:
3381:
3351:
3334:
3325:
3312:
3301:
3290:
3280:
3268:
3257:
3248:
3237:
3218:
3209:
3200:
3187:
3178:
3156:
3139:
3122:
3110:
3093:
3076:
3061:Erickson, Robert
3056:
3047:
3036:
3022:
3013:
2986:
2975:
2962:
2949:
2932:
2917:
2900:
2880:
2865:
2843:
2837:
2831:
2825:
2819:
2813:
2807:
2801:
2795:
2789:
2783:
2777:
2771:
2765:
2759:
2753:
2747:
2741:
2735:
2729:
2723:
2717:
2711:
2705:
2699:
2693:
2687:
2681:
2675:
2669:
2663:
2657:
2651:
2645:
2639:
2633:
2627:
2621:
2615:
2609:
2603:
2597:
2591:
2585:
2576:
2570:
2564:
2558:
2552:
2546:
2540:
2534:
2517:
2511:
2502:
2496:
2490:
2484:
2478:
2472:
2466:
2460:
2454:
2448:
2442:
2436:
2430:
2424:
2418:
2412:
2406:
2405:, 446, 448, 451.
2400:
2394:
2388:
2382:
2376:
2370:
2364:
2358:
2352:
2341:
2335:
2329:
2323:
2314:
2308:
2302:
2296:
2290:
2284:
2278:
2272:
2261:
2255:
2249:
2243:
2237:
2231:
2225:
2219:
2210:
2204:
2195:
2189:
2183:
2177:
2171:
2165:
2159:
2153:
2147:
2141:
2135:
2129:
2123:
2117:
2111:
2105:
2092:
2086:
2080:
2074:
2068:
2062:
2056:
2050:
2044:
2041:Persichetti 1961
2038:
2032:
2026:
1771:Stephen Sondheim
1761:Nikos Skalkottas
1733:Chamber Symphony
1498:
1430:William Albright
1343:Progressive rock
1316:movement of the
1311:
1310:
1062:'s "Señor Blues"
1046:
1045:
1037:
1031:
1030:
947:
946:
927:
902:
886:Eliseo M. Pajaro
880:
879:
870:
869:
834:
833:
828:
827:
822:
821:
816:
815:
810:
809:
791:
790:
769:
768:
759:pentatonic scale
743:
722:French composer
718:
717:
680:or the Viennese
620:
619:
603:
602:
597:
596:
591:
590:
585:
584:
483:
482:
477:
476:
471:
470:
465:
464:
416:dominant seventh
380:
379:
352:
351:
346:
345:
340:
339:
334:
333:
255:
254:
210:augmented triads
163:
162:
156:thirteenth chord
106:diminished fifth
70:
69:
59:augmented fourth
21:
5131:
5130:
5126:
5125:
5124:
5122:
5121:
5120:
5116:Quartal harmony
5106:
5105:
5104:
5099:
5076:
5063:
5042:
4968:New Objectivity
4921:
4919:
4908:
4872:
4694:
4685:
4683:Modernist music
4680:
4650:
4645:
4614:
4559:
4523:
4495:
4457:
4395:
4382:
4373:Synthetic chord
4341:
4312:Northern lights
4277:Complexe sonore
4255:
4241:Augmented sixth
4229:
4227:
4217:
4199:
4198:
4192:Upper structure
4163:
4149:Altered seventh
4144:Augmented minor
4139:Augmented major
4124:Half-diminished
4080:
4035:
4030:
4000:
3995:
3979:
3903:
3897:
3858:
3852:
3843:Octatonic scale
3820:
3814:
3805:
3758:
3753:
3747:
3731:
3713:
3700:
3696:
3694:Further reading
3691:
3685:
3585:by Ned Rorem".
3562:
3544:Schoenberg 1922
3485:Quartal Harmony
3474:
3472:
3455:
3453:
3413:
3277:
3234:
3175:
3115:Hindemith, Paul
3002:
2923:Of Mice and Men
2885:BĂ©hague, Gerard
2856:Anon. (n.d.). "
2846:
2838:
2834:
2828:Mermikides 2014
2826:
2822:
2818:, 131, 202â203.
2814:
2810:
2802:
2798:
2790:
2786:
2778:
2774:
2766:
2762:
2754:
2750:
2742:
2738:
2734:, 285â287, 290.
2730:
2726:
2718:
2714:
2706:
2702:
2694:
2690:
2682:
2678:
2670:
2666:
2658:
2654:
2650:, 112â113, 117.
2646:
2642:
2634:
2630:
2622:
2618:
2610:
2606:
2598:
2594:
2586:
2579:
2571:
2567:
2559:
2555:
2547:
2543:
2535:
2520:
2512:
2505:
2497:
2493:
2485:
2481:
2473:
2469:
2461:
2457:
2449:
2445:
2437:
2433:
2425:
2421:
2413:
2409:
2401:
2397:
2389:
2385:
2377:
2373:
2365:
2361:
2353:
2344:
2336:
2332:
2324:
2317:
2309:
2305:
2297:
2293:
2285:
2281:
2273:
2264:
2256:
2252:
2244:
2240:
2232:
2228:
2220:
2213:
2205:
2198:
2190:
2186:
2178:
2174:
2166:
2162:
2154:
2150:
2144:Schoenberg 1978
2142:
2138:
2130:
2126:
2120:Schoenberg 1978
2118:
2114:
2106:
2095:
2087:
2083:
2075:
2071:
2063:
2059:
2051:
2047:
2039:
2035:
2027:
2023:
2019:
1992:
1937:
1915:
1899:"Contemplation"
1853:
1787:KlavierstĂŒck IX
1534:Caspar Diethelm
1528:Suite for Piano
1492:
1485:Of Mice and Men
1426:
1421:
1386:The 1971 album
1375: (NST), a
1369:just intonation
1349:
1331:
1304:
1239:Paul Bollenback
1092:"So What" chord
1039:
1032:
1024:
969:
968:
960:
958:
957:
956:
955:
948:
941:
938:
931:
925:
920:
908:George Gershwin
888:
873:
867:
866:
831:
830:
825:
824:
819:
818:
813:
812:
807:
806:
784:
762:
711:
666:
650:chromatic scale
613:
600:
599:
594:
593:
588:
587:
582:
581:
571:
555:Igor Stravinsky
535:Francis Poulenc
527:
492:chromatic scale
480:
479:
474:
473:
468:
467:
462:
461:
452:
451:
449:
381:
373:
349:
348:
343:
342:
337:
336:
331:
330:
323:
311:classical music
279:
273:
272:
270:
252:
251:
241:quartal harmony
229:Quintal harmony
167:
166:
165:
160:
159:
152:
151:
150:
148:
133:
126:
125:
123:
102:augmented fifth
94:Quintal harmony
89:
88:
86:
67:
66:
43:quartal harmony
35:
28:
23:
22:
15:
12:
11:
5:
5129:
5119:
5118:
5101:
5100:
5098:
5097:
5087:
5073:Romantic music
5069:
5068:
5065:
5064:
5062:
5061:
5056:
5050:
5048:
5044:
5043:
5041:
5040:
5035:
5030:
5025:
5020:
5015:
5010:
5005:
5000:
4995:
4990:
4985:
4980:
4978:Pandiatonicism
4975:
4970:
4965:
4963:New Complexity
4960:
4955:
4950:
4945:
4940:
4935:
4930:
4924:
4922:
4917:
4914:
4913:
4910:
4909:
4907:
4906:
4905:
4904:
4899:
4894:
4889:
4883:United States
4880:
4878:
4874:
4873:
4871:
4870:
4869:
4868:
4863:
4858:
4850:
4849:
4848:
4840:
4839:
4838:
4830:
4829:
4828:
4820:
4819:
4818:
4813:
4805:
4804:
4803:
4798:
4793:
4788:
4783:
4778:
4770:
4769:
4768:
4760:
4759:
4758:
4750:
4749:
4748:
4740:
4739:
4738:
4733:
4728:
4723:
4718:
4709:
4707:
4700:
4696:
4695:
4690:
4687:
4686:
4679:
4678:
4671:
4664:
4656:
4647:
4646:
4644:
4643:
4638:
4636:List of chords
4633:
4628:
4622:
4620:
4616:
4615:
4613:
4612:
4607:
4602:
4597:
4592:
4587:
4582:
4577:
4571:
4569:
4565:
4564:
4561:
4560:
4558:
4557:
4552:
4547:
4542:
4537:
4531:
4529:
4525:
4524:
4522:
4521:
4516:
4511:
4505:
4503:
4497:
4496:
4494:
4493:
4488:
4483:
4478:
4473:
4467:
4465:
4459:
4458:
4456:
4455:
4446:
4441:
4436:
4431:
4426:
4421:
4415:
4413:
4404:
4397:
4396:
4389:
4387:
4384:
4383:
4381:
4380:
4375:
4370:
4365:
4360:
4355:
4353:Mixed interval
4349:
4347:
4343:
4342:
4340:
4339:
4334:
4329:
4324:
4319:
4314:
4309:
4304:
4299:
4294:
4289:
4284:
4279:
4274:
4269:
4263:
4261:
4257:
4256:
4254:
4253:
4248:
4243:
4238:
4232:
4230:
4222:
4219:
4218:
4216:
4215:
4210:
4205:
4194:
4189:
4184:
4179:
4173:
4171:
4165:
4164:
4162:
4161:
4156:
4151:
4146:
4141:
4136:
4131:
4126:
4121:
4116:
4111:
4106:
4101:
4096:
4090:
4088:
4082:
4081:
4079:
4078:
4073:
4068:
4063:
4058:
4052:
4050:
4041:
4037:
4036:
4029:
4028:
4021:
4014:
4006:
3997:
3996:
3994:
3993:
3987:
3985:
3981:
3980:
3978:
3977:
3972:
3967:
3962:
3957:
3956:
3955:
3953:Distance model
3945:
3940:
3933:
3928:
3923:
3918:
3913:
3907:
3905:
3899:
3898:
3896:
3895:
3893:Spectral music
3890:
3885:
3880:
3879:
3878:
3873:
3862:
3860:
3854:
3853:
3851:
3850:
3845:
3840:
3835:
3830:
3824:
3822:
3816:
3815:
3804:
3803:
3796:
3789:
3781:
3775:
3774:
3769:
3764:
3757:
3756:External links
3754:
3752:
3751:
3745:
3729:
3717:
3711:
3697:
3695:
3692:
3690:
3689:
3683:
3668:
3656:
3648:
3637:
3617:
3602:
3593:
3578:
3567:
3560:
3554:. Ekay Music.
3547:
3518:
3506:
3493:
3480:
3461:
3442:
3425:
3411:
3391:
3382:
3370:
3352:
3335:
3326:
3313:
3302:
3291:
3282:
3275:
3258:
3254:SinfonĂa India
3249:
3238:
3232:
3219:
3210:
3201:
3188:
3179:
3173:
3161:Kostka, Stefan
3157:
3140:
3123:
3121:. Vol. 1.
3111:
3094:
3077:
3057:
3048:
3037:
3023:
3014:
3000:
2987:
2982:American Music
2976:
2963:
2950:
2933:
2928:American Music
2918:
2901:
2881:
2866:
2862:ChalkHills.org
2852:
2845:
2844:
2832:
2820:
2816:Whitesell 2008
2808:
2804:Richards 2013b
2796:
2792:Richards 2013a
2784:
2772:
2760:
2748:
2736:
2724:
2720:Dickinson 1963
2712:
2700:
2688:
2676:
2664:
2652:
2640:
2628:
2616:
2612:Sjoerdsma 1972
2604:
2592:
2588:Archibald 1969
2577:
2565:
2553:
2541:
2518:
2503:
2491:
2479:
2467:
2455:
2443:
2431:
2419:
2407:
2395:
2383:
2371:
2359:
2342:
2330:
2315:
2303:
2291:
2279:
2262:
2250:
2238:
2226:
2211:
2196:
2184:
2172:
2160:
2148:
2136:
2124:
2112:
2093:
2081:
2069:
2057:
2045:
2033:
2020:
2018:
2015:
2014:
2013:
2008:
2003:
1998:
1991:
1988:
1987:
1986:
1985:
1984:
1975:Andy Partridge
1966:
1965:
1964:
1952:
1951:
1950:
1936:
1933:
1914:
1911:
1910:
1909:
1908:
1907:
1900:
1892:
1891:
1890:
1882:
1881:
1880:
1871:Herbie Hancock
1868:
1867:
1866:
1852:
1849:
1848:
1847:
1846:
1845:
1839:
1828:
1827:
1826:
1815:
1814:
1813:
1802:
1801:
1800:
1795:Howard Swanson
1792:
1791:
1790:
1778:
1777:
1776:
1768:
1767:
1766:
1758:
1757:
1756:
1753:Diatonic Study
1745:
1744:
1743:
1737:
1729:
1717:
1716:
1715:
1703:
1702:
1701:
1690:
1689:
1688:
1675:
1674:
1673:
1662:
1661:
1660:
1655:
1647:
1646:
1645:
1640:Darius Milhaud
1637:
1636:
1635:
1627:
1626:
1625:
1615:
1614:
1613:
1610:
1607:
1604:
1601:
1596:
1588:
1587:
1586:
1579:Walter Hartley
1576:
1575:
1574:
1564:
1563:
1562:
1554:
1553:
1552:
1541:
1540:
1539:
1531:
1530:
1529:
1521:
1520:
1519:
1510:Claude Debussy
1490:
1489:
1488:
1487:
1477:
1476:
1475:
1471:SinfonĂa india
1467:
1454:
1453:
1452:
1445:
1437:
1436:
1435:
1425:
1422:
1420:
1417:
1377:regular tuning
1347:Symphonic rock
1330:
1327:
1263:Herbie Hancock
1243:Mark Whitfield
1223:Russell Malone
1215:Wes Montgomery
1207:Howard Roberts
1193:("Sky Dive"),
1173:Wes Montgomery
1142:Charlie Parker
1021:iiâVâI cadence
1007:Herbie Hancock
987:Duke Ellington
959:
949:
939:
934:
933:
932:
923:
922:
921:
919:
916:
848:Hindemith 1937
795:
794:
772:
682:Franz Schreker
665:
662:
570:
567:
531:Claude Debussy
526:
523:
454:
453:
443:
440:
410:and others.
383:
382:
322:
319:
278:
275:
264:
261:
181:are guided by
153:
142:
139:
136:
135:
134:
132:
129:
128:
127:
117:
114:
91:
90:
80:
77:
55:perfect fourth
26:
9:
6:
4:
3:
2:
5128:
5117:
5114:
5113:
5111:
5096:
5092:
5088:
5086:
5078:
5077:
5075:
5074:
5066:
5060:
5057:
5055:
5052:
5051:
5049:
5045:
5039:
5036:
5034:
5031:
5029:
5026:
5024:
5021:
5019:
5016:
5014:
5011:
5009:
5006:
5004:
5001:
4999:
4996:
4994:
4991:
4989:
4986:
4984:
4981:
4979:
4976:
4974:
4971:
4969:
4966:
4964:
4961:
4959:
4956:
4954:
4951:
4949:
4946:
4944:
4941:
4939:
4938:Expressionism
4936:
4934:
4931:
4929:
4926:
4925:
4923:
4915:
4903:
4900:
4898:
4895:
4893:
4890:
4888:
4885:
4884:
4882:
4881:
4879:
4875:
4867:
4864:
4862:
4859:
4857:
4854:
4853:
4851:
4847:
4844:
4843:
4841:
4837:
4834:
4833:
4831:
4827:
4824:
4823:
4821:
4817:
4814:
4812:
4809:
4808:
4806:
4802:
4799:
4797:
4794:
4792:
4789:
4787:
4784:
4782:
4779:
4777:
4774:
4773:
4771:
4767:
4764:
4763:
4761:
4757:
4754:
4753:
4751:
4747:
4744:
4743:
4741:
4737:
4734:
4732:
4729:
4727:
4724:
4722:
4719:
4717:
4714:
4713:
4711:
4710:
4708:
4704:
4701:
4697:
4693:
4688:
4684:
4677:
4672:
4670:
4665:
4663:
4658:
4657:
4654:
4642:
4639:
4637:
4634:
4632:
4629:
4627:
4624:
4623:
4621:
4617:
4611:
4608:
4606:
4603:
4601:
4598:
4596:
4593:
4591:
4588:
4586:
4583:
4581:
4578:
4576:
4573:
4572:
4570:
4566:
4556:
4553:
4551:
4548:
4546:
4545:Primary triad
4543:
4541:
4538:
4536:
4533:
4532:
4530:
4526:
4520:
4517:
4515:
4512:
4510:
4507:
4506:
4504:
4502:
4498:
4492:
4489:
4487:
4484:
4482:
4479:
4477:
4474:
4472:
4469:
4468:
4466:
4464:
4460:
4454:
4450:
4447:
4445:
4442:
4440:
4437:
4435:
4432:
4430:
4427:
4425:
4422:
4420:
4417:
4416:
4414:
4412:
4408:
4405:
4403:
4398:
4393:
4379:
4376:
4374:
4371:
4369:
4366:
4364:
4361:
4359:
4356:
4354:
4351:
4350:
4348:
4344:
4338:
4335:
4333:
4330:
4328:
4325:
4323:
4320:
4318:
4315:
4313:
4310:
4308:
4305:
4303:
4300:
4298:
4295:
4293:
4290:
4288:
4285:
4283:
4280:
4278:
4275:
4273:
4270:
4268:
4265:
4264:
4262:
4258:
4252:
4249:
4247:
4244:
4242:
4239:
4237:
4234:
4233:
4231:
4225:
4220:
4214:
4211:
4209:
4206:
4204:
4195:
4193:
4190:
4188:
4185:
4183:
4180:
4178:
4175:
4174:
4172:
4170:
4166:
4160:
4157:
4155:
4152:
4150:
4147:
4145:
4142:
4140:
4137:
4135:
4132:
4130:
4127:
4125:
4122:
4120:
4117:
4115:
4112:
4110:
4107:
4105:
4102:
4100:
4097:
4095:
4092:
4091:
4089:
4087:
4083:
4077:
4074:
4072:
4069:
4067:
4064:
4062:
4059:
4057:
4054:
4053:
4051:
4049:
4045:
4042:
4038:
4034:
4027:
4022:
4020:
4015:
4013:
4008:
4007:
4004:
3992:
3989:
3988:
3986:
3982:
3976:
3975:Unified field
3973:
3971:
3968:
3966:
3963:
3961:
3958:
3954:
3951:
3950:
3949:
3946:
3944:
3941:
3939:
3938:
3934:
3932:
3929:
3927:
3924:
3922:
3919:
3917:
3914:
3912:
3909:
3908:
3906:
3900:
3894:
3891:
3889:
3886:
3884:
3881:
3877:
3874:
3872:
3869:
3868:
3867:
3864:
3863:
3861:
3855:
3849:
3846:
3844:
3841:
3839:
3836:
3834:
3831:
3829:
3826:
3825:
3823:
3817:
3813:
3812:post-tonality
3809:
3802:
3797:
3795:
3790:
3788:
3783:
3782:
3779:
3773:
3770:
3768:
3765:
3763:
3760:
3759:
3748:
3742:
3738:
3734:
3730:
3727:
3726:
3721:
3718:
3714:
3708:
3704:
3699:
3698:
3686:
3680:
3676:
3675:
3669:
3665:
3661:
3660:Webern, Anton
3657:
3654:
3649:
3645:
3644:
3638:
3634:
3630:
3626:
3622:
3618:
3614:
3613:
3608:
3603:
3599:
3594:
3590:
3589:
3584:
3579:
3575:
3574:
3568:
3563:
3557:
3553:
3548:
3545:
3541:
3540:0-520-04944-6
3537:
3533:
3532:0-520-04945-4
3529:
3524:
3519:
3515:
3514:Harmonielehre
3511:
3507:
3503:
3499:
3494:
3490:
3486:
3481:
3471:
3467:
3462:
3452:
3448:
3443:
3439:
3438:0-13-049346-5
3435:
3431:
3426:
3422:
3418:
3414:
3408:
3403:
3402:
3396:
3392:
3388:
3383:
3379:
3375:
3374:OrbĂłn, JuliĂĄn
3371:
3368:
3367:0-691-02714-5
3364:
3360:
3356:
3353:
3349:
3348:0-13-607515-0
3345:
3341:
3336:
3332:
3327:
3323:
3322:Guitar Player
3319:
3314:
3310:
3309:
3303:
3299:
3298:
3292:
3288:
3283:
3278:
3272:
3267:
3266:
3259:
3255:
3250:
3246:
3245:
3239:
3235:
3229:
3225:
3220:
3216:
3211:
3207:
3202:
3198:
3194:
3189:
3185:
3180:
3176:
3170:
3166:
3162:
3158:
3154:
3150:
3149:Stanley Sadie
3146:
3141:
3137:
3136:1-58684-054-1
3133:
3129:
3124:
3120:
3116:
3112:
3108:
3107:0-943748-48-8
3104:
3100:
3095:
3091:
3090:0-7866-6811-3
3087:
3083:
3078:
3074:
3073:0-520-02376-5
3070:
3066:
3062:
3058:
3054:
3049:
3045:
3044:
3038:
3034:
3033:
3028:
3027:Cowell, Henry
3024:
3020:
3015:
3011:
3007:
3003:
2997:
2993:
2988:
2984:
2983:
2977:
2973:
2969:
2964:
2960:
2956:
2951:
2947:
2946:0-7935-7038-7
2943:
2939:
2934:
2930:
2929:
2924:
2919:
2915:
2911:
2907:
2902:
2898:
2897:0-292-70823-8
2894:
2890:
2886:
2882:
2878:
2877:
2872:
2867:
2863:
2859:
2854:
2853:
2851:
2850:
2841:
2836:
2829:
2824:
2817:
2812:
2805:
2800:
2793:
2788:
2781:
2780:Reisberg 1975
2776:
2769:
2764:
2757:
2752:
2745:
2744:Reisberg 1975
2740:
2733:
2728:
2721:
2716:
2709:
2704:
2697:
2692:
2685:
2680:
2673:
2668:
2661:
2660:Sanderson n.d
2656:
2649:
2644:
2637:
2636:Reisberg 1975
2632:
2625:
2624:Carpenter n.d
2620:
2613:
2608:
2601:
2596:
2589:
2584:
2582:
2574:
2569:
2562:
2557:
2550:
2545:
2538:
2533:
2531:
2529:
2527:
2525:
2523:
2515:
2514:Reisberg 1975
2510:
2508:
2500:
2495:
2488:
2483:
2476:
2471:
2464:
2459:
2452:
2447:
2440:
2435:
2428:
2423:
2416:
2415:Reisberg 1975
2411:
2404:
2399:
2392:
2387:
2380:
2375:
2368:
2367:Reisberg 1975
2363:
2356:
2351:
2349:
2347:
2339:
2334:
2327:
2322:
2320:
2312:
2307:
2300:
2295:
2288:
2283:
2276:
2271:
2269:
2267:
2259:
2258:Corozine 2002
2254:
2247:
2242:
2235:
2234:Scivales 2005
2230:
2223:
2222:Scivales 2005
2218:
2216:
2208:
2203:
2201:
2193:
2188:
2181:
2176:
2169:
2168:Reisberg 1975
2164:
2157:
2152:
2145:
2140:
2133:
2128:
2121:
2116:
2109:
2104:
2102:
2100:
2098:
2090:
2085:
2078:
2077:Morrison 1998
2073:
2066:
2065:Erickson 1975
2061:
2054:
2049:
2042:
2037:
2030:
2025:
2021:
2012:
2009:
2007:
2004:
2002:
1999:
1997:
1994:
1993:
1982:
1981:
1976:
1972:
1971:
1970:
1967:
1962:
1958:
1957:
1956:
1953:
1949:
1948:
1944:
1943:
1942:
1939:
1938:
1932:
1930:
1926:
1925:Joni Mitchell
1922:
1921:
1905:
1904:Passion Dance
1901:
1898:
1897:
1896:
1893:
1888:
1887:
1886:
1883:
1878:
1877:Maiden Voyage
1874:
1873:
1872:
1869:
1865:
1864:
1860:
1859:
1858:
1855:
1854:
1843:
1840:
1837:
1834:
1833:
1832:
1831:John Williams
1829:
1824:
1821:
1820:
1819:
1816:
1811:
1808:
1807:
1806:
1803:
1799:"Saw a Grave"
1798:
1797:
1796:
1793:
1789:
1788:
1784:
1783:
1782:
1779:
1774:
1773:
1772:
1769:
1764:
1763:
1762:
1759:
1754:
1751:
1750:
1749:
1746:
1741:
1738:
1735:
1734:
1730:
1728:
1727:
1723:
1722:
1721:
1718:
1714:
1713:
1709:
1708:
1707:
1704:
1699:
1696:
1695:
1694:
1691:
1686:
1685:
1684:Ma mĂšre l'oye
1681:
1680:
1679:
1678:Maurice Ravel
1676:
1672:
1668:
1667:
1666:
1663:
1659:
1656:
1653:
1652:
1651:
1650:Walter Piston
1648:
1643:
1642:
1641:
1638:
1633:
1632:
1631:
1630:Benjamin Lees
1628:
1624:
1621:
1620:
1619:
1616:
1611:
1608:
1605:
1602:
1600:
1597:
1594:
1593:
1592:
1589:
1585:
1582:
1581:
1580:
1577:
1573:
1570:
1569:
1568:
1567:Howard Hanson
1565:
1560:
1559:
1558:
1555:
1550:
1547:
1546:
1545:
1542:
1537:
1536:
1535:
1532:
1527:
1526:
1525:
1522:
1517:
1513:
1512:
1511:
1508:
1507:
1503:
1486:
1483:
1482:
1481:
1480:Aaron Copland
1478:
1473:
1472:
1468:
1465:
1464:
1460:
1459:
1458:
1457:Carlos ChĂĄvez
1455:
1451:
1450:
1446:
1443:
1442:
1441:
1438:
1433:
1432:
1431:
1428:
1427:
1416:
1414:
1410:
1406:
1402:
1399:
1395:
1391:
1390:
1384:
1382:
1378:
1374:
1370:
1366:
1362:
1358:
1354:
1348:
1344:
1335:
1326:
1319:
1315:
1301:
1297:
1293:
1291:
1283:
1282:Maiden Voyage
1278:
1274:
1272:
1268:
1264:
1259:
1255:
1250:
1248:
1244:
1240:
1236:
1232:
1228:
1224:
1220:
1219:Henry Johnson
1216:
1212:
1211:Kenny Burrell
1208:
1204:
1201:("Windows"),
1200:
1196:
1192:
1191:George Benson
1188:
1187:
1182:
1181:Sonny Rollins
1178:
1174:
1170:
1166:
1162:
1161:Barney Kessel
1158:
1154:
1150:
1145:
1143:
1139:
1135:
1134:Oliver Nelson
1131:
1130:John Coltrane
1127:
1121:
1119:
1118:So What chord
1115:
1111:
1108:with pianist
1107:
1103:
1102:
1093:
1088:
1084:
1082:
1078:
1073:
1069:
1061:
1060:Horace Silver
1057:
1052:
1036:
1022:
1018:
1014:
1012:
1008:
1004:
1000:
996:
992:
988:
984:
980:
975:
967:
965:
953:
937:
915:
913:
912:Concerto in F
909:
904:
900:
896:
892:
887:
864:
859:
855:
853:
849:
845:
841:
836:
804:
803:
782:
777:
773:
760:
756:
755:
754:Ma mĂšre l'Oye
749:
745:
744:
741:
739:
735:
734:
733:Ma mĂšre l'Oye
729:
725:
724:Maurice Ravel
708:
704:
700:
699:
698:Mikrokosmos V
693:
689:
687:
683:
679:
675:
671:
661:
659:
653:
651:
645:
643:
642:Harmonielehre
639:
634:
626:
609:
605:
579:
575:
566:
564:
560:
556:
552:
548:
544:
540:
536:
532:
522:
520:
519:
514:
510:
509:
504:
500:
495:
493:
489:
488:
459:
447:
437:
436:
435:
433:
429:
425:
420:
417:
411:
409:
405:
401:
397:
396:tonal harmony
393:
389:
369:
368:
367:
365:
364:
360:
356:
328:
327:Tristan chord
318:
316:
312:
308:
304:
300:
299:voice leading
296:
292:
288:
284:
268:
257:
249:
244:
242:
238:
234:
230:
225:
223:
219:
215:
211:
207:
201:
200:writes that:
199:
194:
192:
188:
184:
180:
176:
172:
157:
146:
121:
111:
110:
109:
107:
103:
99:
98:perfect fifth
95:
84:
74:
73:
72:
64:
60:
56:
52:
48:
44:
40:
33:
19:
18:Quartal chord
5071:
5033:Tone cluster
5002:
4988:Polytonality
4933:Experimental
4449:Leading-tone
4367:
4226: /
4213:Tone cluster
4094:Leading-tone
3984:Compositions
3970:Tone cluster
3959:
3948:Polytonality
3935:
3911:Chromaticism
3904:and concepts
3838:Mystic chord
3736:
3723:
3702:
3673:
3663:
3652:
3641:
3624:
3610:
3606:
3586:
3582:
3571:
3551:
3522:
3513:
3488:
3473:. Retrieved
3469:
3454:. Retrieved
3450:
3429:
3400:
3386:
3377:
3358:
3339:
3330:
3321:
3306:
3295:
3289:, issue 230.
3286:
3264:
3253:
3242:
3223:
3214:
3205:
3196:
3192:
3183:
3164:
3153:John Tyrrell
3144:
3127:
3118:
3098:
3081:
3064:
3052:
3041:
3030:
3018:
2991:
2980:
2937:
2926:
2922:
2905:
2888:
2874:
2870:
2861:
2848:
2847:
2835:
2823:
2811:
2799:
2787:
2775:
2768:BĂ©hague 1994
2763:
2751:
2739:
2727:
2715:
2703:
2691:
2684:Lambert 1990
2679:
2667:
2655:
2643:
2631:
2619:
2607:
2595:
2568:
2556:
2549:Lambert 1990
2544:
2494:
2487:Lambert 1990
2482:
2470:
2458:
2446:
2434:
2427:Kroeger 1969
2422:
2410:
2398:
2386:
2374:
2362:
2355:Lambert 1996
2333:
2311:Mulhern 1986
2306:
2294:
2282:
2253:
2241:
2229:
2192:Kasilag 2001
2187:
2175:
2163:
2151:
2139:
2127:
2115:
2089:Solomon 2003
2084:
2072:
2060:
2048:
2036:
2024:
1978:
1961:Zoot Allures
1945:
1928:
1918:
1916:
1885:Eddie Harris
1863:Kind of Blue
1861:
1818:Anton Webern
1785:
1775:Piano Sonata
1752:
1740:Wind Quintet
1731:
1724:
1710:
1697:
1682:
1657:
1598:
1591:Charles Ives
1583:
1551:, Prelude #7
1548:
1501:
1484:
1469:
1461:
1447:
1405:Ray Manzarek
1403:
1398:Alberti bass
1387:
1385:
1381:open strings
1361:King Crimson
1353:Robert Fripp
1350:
1323:
1287:
1258:church modes
1251:
1247:Rodney Jones
1235:Bill Frisell
1231:Howard Alden
1199:Jack Wilkins
1184:
1179:(especially
1149:Johnny Smith
1146:
1122:
1101:Kind of Blue
1099:
1097:
1065:
999:Milt Buckner
970:
961:
952:Adam Cuerden
905:
883:
843:
839:
837:
800:
798:
780:
752:
738:Charles Ives
731:
721:
706:
702:
696:
669:
667:
658:Anton Webern
655:
647:
641:
637:
635:
631:
572:
563:Anton Webern
559:Joe Hisaishi
528:
516:
506:
496:
485:
455:
428:Mystic chord
421:
412:
384:
361:
324:
315:20th century
280:
245:
240:
228:
227:
203:
195:
191:minor thirds
174:
170:
168:
93:
92:
42:
36:
4983:Polyrhythms
4958:Neotonality
4846:Szymanowski
4434:Subdominant
4297:Grandmother
4154:Nondominant
4134:Minor-major
3621:Stein, Leon
2908:, Vol. II.
2756:Moe 1981â82
2732:Swayne 2002
2602:, p. .
2561:Cowell 1956
2499:Murphy 2008
2463:Spieth 1978
2451:Perone 1993
2313:, p. .
2246:Levine 1989
2207:Hester 2000
2132:Webern 1963
2108:Herder 1987
2067:, p. .
1955:Frank Zappa
1895:McCoy Tyner
1857:Miles Davis
1748:Cyril Scott
1267:Chick Corea
1227:Jimmy Bruno
1195:Pat Martino
1169:Jimmy Raney
1157:Chuck Wayne
1126:McCoy Tyner
1106:Miles Davis
1011:McCoy Tyner
1003:Chick Corea
889: [
730:(1906) and
701:, No. 131,
678:BĂ©la BartĂłk
497:In France,
283:Middle Ages
5028:Surrealism
5023:Stochastic
5013:Sound mass
4948:Microtonal
4920:techniques
4918:Genres and
4866:Stravinsky
4826:Skalkottas
4731:Schoenberg
4568:Techniques
4555:Substitute
4550:Subsidiary
4486:Neapolitan
4444:Submediant
4424:Supertonic
4197:Dominant 7
4187:Thirteenth
4119:Diminished
4071:Diminished
3965:Tone Clock
3916:Cyclic set
3902:Techniques
3857:Genres and
3819:Scales and
3475:2020-10-28
3456:2020-10-28
3311:51, no. 2.
2746:, 349â350.
2708:Stein 1979
2672:Rubin 2005
2648:Domek 1979
2537:Scott 1994
2516:, 344â345.
2417:, 343â344.
2391:Leyva 2010
2379:OrbĂłn 1987
2338:Lewis 1985
2326:Macan 1997
2275:Floyd 2004
2122:, 406â407.
2053:Vogel 1962
2017:References
1706:Erik Satie
1698:King Midas
1603:"Harpalus"
1440:Alban Berg
1341:See also:
1329:Rock music
1203:Joe Diorio
1186:The Bridge
1153:Tal Farlow
1110:Bill Evans
995:Bill Evans
964:media help
674:Alban Berg
569:Schoenberg
543:Alban Berg
513:Paul Dukas
499:Erik Satie
321:Precursors
303:consonance
301:) or as a
295:suspension
291:dissonance
237:complement
183:tonalities
169:The terms
131:Properties
5008:Serialism
4928:Atonality
4856:Prokofiev
4699:Composers
4585:Chordioid
4501:Secondary
4317:Petrushka
4251:Seven six
4208:Polychord
4076:Suspended
4066:Augmented
3888:Serialism
3808:Atonality
3534:(cloth);
3489:d.umn.edu
3333:5:179â93.
2840:Anon. n.d
2770:, 70, 72.
2475:Carr 1989
2439:Kulp 2006
2403:Bick 2005
2369:, 344â46.
2299:Boyd 1997
2287:Boyd 1997
2001:Polychord
1700:, cantata
1693:Ned Rorem
1612:"Walking"
1424:Classical
1409:The Doors
1357:guitarist
1271:free jazz
1081:cool jazz
1077:polyphony
1035:sus chord
991:Art Tatum
979:arrangers
781:114 Songs
487:Mysterium
400:atonality
388:Beethoven
233:inversion
51:intervals
5110:Category
5085:Category
5018:Spectral
4943:Futurism
4877:Americas
4861:Scriabin
4832:Hungary
4807:Germany
4791:Messiaen
4786:Koechlin
4762:Finland
4752:Czechia
4746:Pousseur
4742:Belgium
4712:Austria
4626:Arpeggio
4540:Contrast
4476:Borrowed
4471:Approach
4453:Subtonic
4439:Dominant
4411:Diatonic
4402:function
4358:Secundal
4260:Specific
4200:♯
4182:Eleventh
4169:Extended
4109:Dominant
3735:(1993).
3722:(2015).
3623:(1979).
3512:(1922).
3502:AllMusic
3397:(1961).
3357:(1990).
3300:2:57â71.
3117:(1937).
3063:(1975).
3010:50470629
2972:AllMusic
2959:AllMusic
2887:. 1994.
1996:Secundal
1990:See also
1825:, Op. 27
1742:, Op. 26
1609:Psalm 90
1177:Jim Hall
1165:Joe Pass
1138:voicings
1068:hard bop
1056:hard bop
1054:Typical
868:♯
832:♯
826:♯
820:♯
814:♯
808:♯
728:Sonatine
601:♭
595:♭
589:♭
583:♯
481:♭
475:♯
469:♭
463:♯
424:Scriabin
404:function
350:♯
344:♯
338:♮
332:♮
253:♭
248:voicings
161:♭
104:and the
68:♭
61:and the
47:harmonic
5070: â
4998:Process
4887:Antheil
4852:Russia
4842:Poland
4822:Greece
4816:Strauss
4796:Milhaud
4781:Jolivet
4772:France
4766:Bergman
4491:Passing
4463:Altered
4429:Mediant
4368:Quartal
4363:Tertian
4346:General
4332:Tristan
4327:So What
4287:Elektra
4228:omitted
4086:Seventh
4040:By form
3859:schools
2849:Sources
1980:Nonsuch
1623:Toccata
1504:opening
1449:Wozzeck
1318:bassist
1290:voicing
1114:So What
1072:Quintet
707:Quartes
703:Fourths
686:Puccini
668:In his
503:planing
458:tertian
408:Debussy
281:In the
277:History
175:quintal
171:quartal
53:of the
5095:Portal
4897:Cowell
4892:Carter
4836:BartĂłk
4801:VarĂšse
4736:Webern
4726:Mahler
4721:Krenek
4706:Europe
4641:Factor
4595:Guitar
4535:Common
4378:Tetrad
4322:Psalms
4307:Mystic
4292:Farben
4272:Bridge
4246:Lydian
4033:Chords
3821:tuning
3743:
3709:
3681:
3631:
3558:
3538:
3530:
3436:
3421:398434
3419:
3409:
3365:
3346:
3273:
3230:
3171:
3134:
3105:
3088:
3071:
3008:
2998:
2944:
2912:
2895:
2782:, 348.
2638:, 347.
2590:, 825.
2563:, 243.
2539:, 458.
2477:, 135.
2441:, 207.
2357:, 118.
2340:, 443.
2236:, 205.
2224:, 203.
2209:, 199.
2170:, 345.
2146:, 407.
2079:, 316.
2031:, 279.
1947:Tarkus
1844:(1978)
1838:(1977)
1812:(1923)
1755:(1914)
1389:Tarkus
1265:, and
1245:, and
863:Dorian
664:Others
355:Wagner
100:, the
57:, the
4973:Noise
4811:Reger
4776:Henry
4619:Other
4610:Slash
4605:Power
4580:Block
4575:Barre
4528:Other
4419:Tonic
4302:Magic
4282:Dream
4267:Alpha
4236:Sixth
4224:Added
4177:Ninth
4104:Minor
4099:Major
4061:Minor
4056:Major
4048:Triad
3612:Notes
3588:Notes
3184:Notes
2876:Notes
2830:, 31.
2758:, 70.
2710:, 18.
2686:, 68.
2551:, 67.
2489:, 44.
2393:, 56.
2381:, 83.
2328:, 55.
2301:, 95.
2289:, 94.
2260:, 12.
2248:, 97.
2158:, 37.
2134:, 48.
2110:, 78.
2055:, 12.
2043:, 94.
1810:Nonet
1254:scale
981:like
974:opera
901:]
359:opera
347:and G
222:voice
187:major
39:music
4902:Ives
4756:HĂĄba
4716:Berg
4600:Open
3876:List
3810:and
3741:ISBN
3707:ISBN
3679:ISBN
3629:ISBN
3556:ISBN
3536:ISBN
3528:ISBN
3434:ISBN
3417:OCLC
3407:ISBN
3363:ISBN
3344:ISBN
3271:ISBN
3228:ISBN
3169:ISBN
3151:and
3132:ISBN
3103:ISBN
3086:ISBN
3069:ISBN
3006:OCLC
2996:ISBN
2942:ISBN
2910:ISBN
2893:ISBN
2858:Rook
2453:, 8.
2277:, 4.
1935:Rock
1913:Folk
1851:Jazz
1345:and
1314:root
1090:The
1066:The
918:Jazz
656:For
586:âFâB
561:and
366:.
325:The
214:root
189:and
173:and
158:on B
4400:By
3871:Row
3500:",
3320:".
2970:",
2957:",
2860:",
1969:XTC
1407:of
1392:by
1359:of
1189:),
1183:'s
950:In
854:."
576:'s
515:'s
434:.
390:'s
357:'s
341:, D
335:, B
309:in
235:or
218:key
208:or
71:.
37:In
5112::
4451:/
3468:.
3449:.
3415:.
3195:/
3101:.
3004:.
2940:.
2580:^
2521:^
2506:^
2345:^
2318:^
2265:^
2214:^
2199:^
2096:^
1931:.
1923:,
1383:.
1355:,
1249:.
1241:,
1237:,
1233:,
1229:,
1225:,
1221:,
1217:,
1213:,
1209:,
1205:,
1197:,
1171:,
1167:,
1163:,
1159:,
1155:,
1151:,
1104:,
1083:.
1013:.
1005:,
1001:,
997:,
993:,
989:,
985:,
899:tl
897:;
895:nl
893:;
891:it
871:'s
829:âC
823:âG
817:âD
811:âA
598:âA
592:âE
565:.
557:,
553:,
549:,
545:,
541:,
537:,
533:,
511:.
494:.
478:âB
466:âB
193:.
41:,
4675:e
4668:t
4661:v
4203:9
4025:e
4018:t
4011:v
3800:e
3793:t
3786:v
3749:.
3715:.
3687:.
3635:.
3566:.
3564:.
3546:.
3504:.
3478:.
3459:.
3440:.
3423:.
3369:.
3350:.
3281:.
3279:.
3236:.
3177:.
3138:.
3109:.
3092:.
3075:.
3012:.
2974:.
2961:.
2948:.
2916:.
2899:.
2842:.
2806:.
2794:.
2722:.
2698:.
2674:.
2662:.
2626:.
2614:.
2575:.
2465:.
2429:.
2194:.
2091:.
1983:)
1963:"
1959:"
1906:"
1902:"
1879:"
1875:"
1514:"
1320:.
1284:"
966:.
846:,
842:(
709:)
705:(
640:(
448:.
269:.
164:.
147:.
122:.
85:.
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.