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__NOTOC__
{{Infobox chord
{{Infobox chord
|chord_name=Viennese trichord
|chord_name=Viennese trichord
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|forte_number=3-5
|forte_number=3-5
|complement=9-5
|complement=9-5
|tuning=8:12:17<ref>Paddison, Max and Deliège, Irène (2010). ''Contemporary Music: Theoretical and Philosophical Perspectives'', p.62. {{ISBN|9781409404163}}.</ref>
|tuning=8:12:17<ref>Paddison, Max and [[Irène Deliège|Deliège, Irène]] (2010). ''Contemporary Music: Theoretical and Philosophical Perspectives'', p. 62. {{ISBN|9781409404163}}.</ref>
|interval_vector=<1,0,0,0,1,1>
|interval_vector=<1,0,0,0,1,1>
}}
}}
{{stack|{{Multiple image|direction=vertical
|image1=Viennese trichord.png|caption1=Viennese trichord[[File:Viennese trichord.mid]]
|image2=Viennese trichord as dominant.png|caption2=Viennese trichord as dominant[[File:Viennese trichord as dominant.mid]]
|image3=Viennese trichord quartal.png|caption3=[[quartal harmony|Quartal]] Viennese trichord.<ref name="DeLone348" />[[File:Viennese trichord quartal.mid]]}}}}
⚫
In [[music theory]], a '''Viennese trichord''' (also known as '''Viennese fourth chord''' and '''tritone-fourth chord'''<ref name="DeLone348">DeLone, Richard, et al (1975). ''Aspects of 20th Century Music'', p. 348. Englewood Cliffs, New Jersey: Prentice-Hall {{ISBN|0-13-049346-5|9780130493460}}.</ref>), named for the [[Second Viennese School]], is a pitch set with [[prime form (music)|prime form]] (0,1,6). Its [[Forte number]] is [[set theory (music)|3-5]]. The sets C–D{{music|flat}}–G{{music|flat}} and C–F{{music|sharp}}–G are both examples of Viennese trichords, though they may be [[Voicing (music)|voiced]] in many ways.
[[File:Bill Evans's "What Is This Thing Called Love" Viennese trichord.png|thumb|Viennese trichord as a part of [[all-trichord hexachord|6-z17]], embellishing the first chord, from [[Bill Evans]]'s opening to "[[What Is This Thing Called Love?]]"<ref name="Traditions" />[[File:Bill Evans's "What Is This Thing Called Love" Viennese trichord.mid]]]]


⚫
According to Henry Martin, "[c]omposers such as [[Anton Webern|Webern]] ... are partial to 016 [[trichord]]s, given their 'more [[consonance and dissonance|dissonant]]' inclusion of [[interval class|ics]] 1 and 6."<ref>Martin, Henry (Winter, 2000). "Seven Steps to Heaven: A Species Approach to Twentieth-Century Analysis and Composition", p. 149, ''[[Perspectives of New Music]]'', vol. 38, no. 1, pp. 129–168.</ref>
⚫
In [[music theory]], a '''Viennese trichord''' (also '''Viennese fourth chord''' and '''tritone-fourth chord'''<ref name="DeLone">DeLone, et al (1975). ''Aspects of 20th Century Music'', p.348. {{ISBN|0-13-049346-5}}.</ref>), named for the [[Second Viennese School]], is a pitch set with [[prime form (music)|prime form]] (0,1,6). Its [[Forte number]] is [[set theory (music)|3-5]]. The sets C–D{{music|flat}}–G{{music|flat}} and C–F{{music|sharp}}–G are both examples of Viennese trichords, though they may [[Voicing (music)|voiced]] in many ways.


⚫
In [[jazz]] and [[popular music]], the chord formed by the [[inversion (music)# Inversional equivalency and symmetry|inversion]] of the set usually has a [[dominant (music)|dominant]] [[diatonic function|function]], being the [[third (chord)|third]], [[seventh (chord)|seventh]], and added fourth/eleventh of a [[dominant chord]] with elided [[root (chord)|root]]<ref name="Traditions">[[Allen Forte|Forte, Allen]] (2000). "Harmonic Relations: American Popular Harmonies (1925–1950) and Their European Kin", pp. 5–36, ''Traditions, Institutions, and American Popular Music'' (''Contemporary Music Review'', vol. 19, part 1), p. 7. Routledge. Covach, John and [[Walter Everett (musicologist)|Everett, Walter]]; eds. {{ISBN|90-5755-120-9}}.</ref> (and [[fifth (chord)|fifth]], see [[jazz chord]]). For example, the Viennese trichord of C-F#-G could be considered a D11/C: D (elided) - F# - A (elided) - C - G.
:<score lang="lilypond" vorbis="1"> {


{| class="wikitable"
\override Score.TimeSignature #'stencil = ##f
|+ 3-5
\relative c' {
|-
\clef treble \time 4/4
! Prime || Inverse
<c des ges>1 <c fis g!>
|-
} }
| ''0,1,6'' || 0,6,e
</score>
|-
| 1,2,7 || 1,7,0
|-
| 2,3,8 || 2,8,1
|-
| 3,4,9 || 3,9,2
|-
| 4,5,t || 4,t,3
|-
| 5,6,e || ''5,e,4''
|-
| ''6,7,0'' || 6,0,5
|-
| 7,8,1 || 7,1,6
|-
| 8,9,2 || 8,2,7
|-
| 9,t,3 || 9,3,8
|-
| t,e,4 || t,4,9
|-
| e,0,5 || e,5,t
⚫
|}


==References==
⚫
According to Henry Martin, "[c]omposers such as [[Anton Webern|Webern]] ... are partial to 016 [[trichord]]s, given their 'more [[consonance and dissonance|dissonant]]' inclusion of [[interval class|ics]] 1 and 6."<ref>Martin, Henry (Winter, 2000). "Seven Steps to Heaven: A Species Approach to Twentieth-Century Analysis and Composition", p.149, ''Perspectives of New Music'', Vol. 38, No. 1, pp. 129-168.</ref>

⚫
In [[jazz]] and [[popular music]], the chord usually has a [[dominant (music)|dominant]] [[diatonic function|function]], being the [[third (chord)|third]], [[seventh (chord)|seventh]], and [[added sixth]]/[[thirteenth]] of a [[dominant chord]] with elided [[root (chord)|root]]<ref name="Traditions">Forte, Allen (2000). "Harmonic Relations: American Popular Harmonies (1925-1950) and Their European Kin", pp. 5-36, ''Traditions, Institutions, and American Popular Music'' (''Contemporary Music Review'', Vol. 19, Part 1), p. 7. Routledge. Covach, John and Everett, Walter; eds. {{ISBN|90-5755-120-9}}.</ref> (and [[fifth (chord)|fifth]], see [[jazz chord]]).
:<score lang="lilypond" vorbis="1"> {

\override Score.TimeSignature #'stencil = ##f
\new Staff <<
\new Voice \relative c'' {
\clef treble \time 4/4
\voiceOne <g d'>1
}
\new Voice \relative c'' {
\clef treble \time 4/4
\voiceOne \override NoteHead.color = #red b1
}
\new Voice \relative c'' {
\clef treble \time 4/4
\voiceTwo \override NoteHead.color = #red <e f>1
}
>>
⚫
}
</score>

==Sources==
{{reflist}}
{{reflist}}


==External links==
==External links==
*Jay Tomlin. [http://www.jaytomlin.com/music/settheory/help.html "All About Set Theory"], ''Java Set Theory Machine''.
*Jay Tomlin. [http://www.jaytomlin.com/music/settheory/help.html "All About Set Theory"], ''Java Set Theory Machine''.
*[http://flexistentialist.org/blog/archives/2003/04/06/more-on-set-theory/ "More on Set Theory"], ''Flexistentialism''.
*[http://flexistentialist.org/blog/archives/2003/04/06/more-on-set-theory/ "More on Set Theory"], ''Flexistentialism''. {{Webarchive|url=https://web.archive.org/web/20110723045321/http://flexistentialist.org/blog/archives/2003/04/06/more-on-set-theory/ |date=2011-07-23 }}



{{Chords}}
{{Chords}}
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[[Category:Chords]]
[[Category:Chords]]
[[Category:Tritones]]
[[Category:Tritones]]
[[Category:Musical set theory]]

Latest revision as of 07:40, 3 July 2024

Viennese trichord
Component intervals from root
tritone
minor second
root
Tuning
8:12:17[1]
Forte no. / Complement
3-5 / 9-5
Interval vector
<1,0,0,0,1,1>
Viennese trichord
Viennese trichord as dominant
Quartal Viennese trichord.[2]

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

Viennese trichord as a part of 6-z17, embellishing the first chord, from Bill Evans's opening to "What Is This Thing Called Love?"[3]

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

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

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

References

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