In music theory, a Viennese trichord (also Sus#4 chord, 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
^Paddison, Max and Deliège, Irène (2010). Contemporary Music: Theoretical and Philosophical Perspectives, p. 62. ISBN 9781409404163.
^ abDeLone, Richard, et al (1975). Aspects of 20th Century Music, p. 348. Englewood Cliffs, New Jersey: Prentice-Hall ISBN 0-13-049346-5, 9780130493460.
^ abForte, 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.
^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.
music theory, a Viennesetrichord (also Sus#4 chord, Viennese fourth chord, and tritone-fourth chord), named for the Second Viennese School, is a pitch...
and B are the Viennesetrichord (prime forms: [0,1,6] and [0,5,6]). In late-19th to early 20th-century Russian musicology, the term trichord (трихорд (/trixоrd/))...
Play 3-11 0 4 7 Major Tonic parallel Play 3-11 0 3 7 Minor Tristan chord Play 4-27 0 3 6 t Predominant Viennesetrichord Play 3-5A 0 1 6 or 0 6 7 Atonal...
A Viennesetrichord as a part of 6-Z17, an altered dominant tritone substitution (Db7alt) in the key of C, from Evans's opening to "What Is This Thing...
(composed by Andy Partridge, from the album Nonsuch) Secundal Polychord Viennesetrichord Traditional sub-Saharan African harmony Benward and Saker 2009, 279...
own use. Donald Martino had produced tables of hexachords, tetrachords, trichords, and pentachords for combinatoriality in his article, "The Source Set...
ordering of pitch class sets with three pitches. In contrast, the Viennesetrichord, with pitch classes 0, 1, and 6, is given Forte number 3-5, indicating...
row. "Derivation refers to a process whereby, for instance, the initial trichord of a row can be used to arrive at a new, 'derived' row by employing the...
this with the use of double (bichord) strings in the tenor and triple (trichord) strings throughout the treble. The plate (harp), or metal frame, of a...
ISBN 978-0-19-533667-2. Richard Cohn, "Neo-Riemannian Operations, Parsimonious Trichords, and their 'Tonnetz' Representations", note 4, writes that the term "parsimony"...
strings in its normal trichord and is now generally known as the "una corda". (In Cristofori's original design and in the Viennese pianos of the 18th Century...
Webern was at the core of those within the broader circle of the Second Viennese School. Their atonal music brought them fame and stirred debate. Webern...
Global Information
