Tetrad (music): Difference between revisions
Content deleted Content added
m Turned "seventh chord" & "Hanson" into links. |
WeirdMatter (talk | contribs) Stop using deprecating inline referencing; add mention of "musicologist" for Allen Forte so it's clearer who he is. |
||
| (46 intermediate revisions by 20 users not shown) | |||
| Line 1: | Line 1: | ||
[[File:Dominant seventh chord on C.png|thumb|right|[[Dominant seventh chord]] on C: C<sup>7</sup> {{audio|Dominant seventh chord on C.mid|Play}}.]] |
|||
In music theory, a ''tetrad'' is a set of four notes. When these four notes form a [[tertian]] chord they are more particularly and more commonly referred to as a ''[[seventh chord]]'', after the diatonic interval from the root of the chord to its fourth note (in root position close voicing). Four-note chords are often formed of intervals other than thirds in twentieth-century music, however, where they are more generally referred to as ''tetrads'' (see, for example, [[Howard Hanson]]'s ''Harmonic Materials of Modern Music: Resources of the Tempered Scale'' and Carleton Gamer's, "Some Combinational Resources of Equal-Tempered Systems"). A four-note segment of a scale or twelve-tone row is more particularly known as a ''tetrachord'', although Allen Forte in his ''The Structure of Atonal Music'' uses the term ''tetrachord'' synonymously with ''tetrad''. |
|||
==See also== |
|||
*[[Tetrachord]] |
|||
*[[Hexachord]] |
|||
A '''tetrad''' is a set of four [[note (music)|notes]] in [[music theory]]. When these four notes form a [[tertian]] chord they are more specifically called a ''[[seventh chord]]'', after the [[diatonic and chromatic|diatonic]] [[interval (music)|interval]] from the [[root (chord)|root]] of the [[chord (music)|chord]] to its fourth note (in root position close voicing). Four-note chords are often formed of intervals other than thirds in 20th- and 21st-century music, however, where they are more generally referred to as ''tetrads''.<ref>See, for example, {{harvnb|Hanson|1960|loc=pp. 18, 22, 28, 32, et passim}}; {{harvnb|Gamer|1967|loc=pp. 37 & 52}}; and {{harvnb|Forte|1985|loc=pp. 48–51, 53}}</ref> Musicologist Allen Forte in his ''The Structure of Atonal Music'' never uses the term "tetrad", but occasionally employs the word ''[[tetrachord]]'' to mean any collection of four [[pitch class]]es.{{sfn|Forte|1973|loc=pp. 1, 18, 68, 70, 73, 87, 88, 21, 119, 123–125, 138, 143, 171, 174, and 223}} In 20th-century music theory, such [[Set (music)|sets]] of four pitch classes are usually called "tetrachords".{{sfn|Anon.|2001}}{{sfn|Roeder|2001}} |
|||
== Citations == |
|||
{| style="margin:0 auto;" align=right width=50% class="toccolours" cellspacing=0 |
|||
{{reflist}} |
|||
|align=center style="background:#ccccff; padding: 0 0 0 50px;"|Pitch sets by cardinality|| width="30px" align=right style="background:#ccccff" |<small><small class="editlink noprint plainlinksneverexpand">[{{SERVER}}{{localurl:Template:Pitch Class Collection|action=edit}} edit ]</small></small> |
|||
== References == |
|||
|- |
|||
* {{wikicite|ref={{harvid|Anon.|2001}}|reference=Anonymous (2001). "Tetrachord". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.}} |
|||
|align=center colspan=2 | [[Monad (music) | Monad]] | [[Dyad (music) | Dyad]] | [[Triad (music) | Triad]] | [[Tetrad (music) | Tetrad]] |
|||
* {{wikicite|ref={{harvid|Forte|1973}}|reference=[[Allen Forte|Forte, Allen]] (1973). ''The Structure of Atonal Music''. New Haven and London: Yale University Press. {{ISBN|0-300-01610-7}} (cloth) {{ISBN|0-300-02120-8}} (pbk).}} |
|||
|} |
|||
* {{wikicite|ref={{harvid|Forte|1985}}|reference=Forte, Allen (1985). "Pitch-Class Set Analysis Today". ''Music Analysis'' 4, nos. 1 & 2 (March–July: Special Issue: King's College London Music Analysis Conference 1984): 29–58.}} |
|||
* {{wikicite|ref={{harvid|Gamer|1967}}|reference=[[Carlton Gamer|Gamer, Carlton]] (1967). "Some Combinational Resources of Equal-Tempered Systems". ''Journal of Music Theory'' 11, no. 1:32–59.}} |
|||
* {{wikicite|ref={{harvid|Hanson|1960}}|reference=[[Howard Hanson|Hanson, Howard]] (1960). ''Harmonic Materials of Modern Music: Resources of the Tempered Scale''. New York: Appleton-Century-Crofts.}} |
|||
* {{wikicite|ref={{harvid|Roeder|2001}}|reference=Roeder, John (2001). "Set (ii)". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.}} |
|||
{{Chords}} |
|||
{{DEFAULTSORT:Tetrad (Music)}} |
|||
[[Category:Musical terminology]] |
|||
[[Category:Simultaneities (music)]] |
|||
[[Category:Chords]] |
|||
Latest revision as of 13:16, 16 December 2024
A tetrad is a set of four notes in music theory. When these four notes form a tertian chord they are more specifically called a seventh chord, after the diatonic interval from the root of the chord to its fourth note (in root position close voicing). Four-note chords are often formed of intervals other than thirds in 20th- and 21st-century music, however, where they are more generally referred to as tetrads.[1] Musicologist Allen Forte in his The Structure of Atonal Music never uses the term "tetrad", but occasionally employs the word tetrachord to mean any collection of four pitch classes.[2] In 20th-century music theory, such sets of four pitch classes are usually called "tetrachords".[3][4]
Citations
[edit]- ^ See, for example, Hanson 1960, pp. 18, 22, 28, 32, et passim; Gamer 1967, pp. 37 & 52; and Forte 1985, pp. 48–51, 53
- ^ Forte 1973, pp. 1, 18, 68, 70, 73, 87, 88, 21, 119, 123–125, 138, 143, 171, 174, and 223.
- ^ Anon. 2001.
- ^ Roeder 2001.
References
[edit]- Anonymous (2001). "Tetrachord". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
- Forte, Allen (1973). The Structure of Atonal Music. New Haven and London: Yale University Press. ISBN 0-300-01610-7 (cloth) ISBN 0-300-02120-8 (pbk).
- Forte, Allen (1985). "Pitch-Class Set Analysis Today". Music Analysis 4, nos. 1 & 2 (March–July: Special Issue: King's College London Music Analysis Conference 1984): 29–58.
- Gamer, Carlton (1967). "Some Combinational Resources of Equal-Tempered Systems". Journal of Music Theory 11, no. 1:32–59.
- Hanson, Howard (1960). Harmonic Materials of Modern Music: Resources of the Tempered Scale. New York: Appleton-Century-Crofts.
- Roeder, John (2001). "Set (ii)". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
