Chordioid
A chordioid, also called chord fragment or fragmentary voicing[1] or partial voicing,[1] is a group of musical notes which does not qualify as a chord under a given chord theory, but still useful to name and reify for other reasons.
The main use of chordioids is to form "legitimate" chords
Two chordioids may potentially be combined, as well. Typically, duplication of notes will result in a reduced number of unique notes in the resultant.
Chordioids as a technique is related to polychords insofar as polychords are the result of an additive process, but differs in that the basis of polychords is the addition of two known chords. Chordioids is related also to upper structures as a technique insofar as upper structures represent groups of notes not commonly taken to be "legitimate" chords, but differs in that chordioids as a technique uses a priori structures held in common rather than a free selection of color tones appropriate for a lower integral chord. Chordioids is related to slash chords as a technique insofar as known chords may be used as chordioids to create resultant scales, but differs in that chordioids used are not exclusively known chords.
Master chord
![](http://upload.wikimedia.org/wikipedia/commons/thumb/7/7a/Master_chord_chardiod_resultant_chords.png/450px-Master_chord_chardiod_resultant_chords.png)
The chord buttons of the accordion usually play master chords, allowing the bass buttons (or a second chord button) to supply the variable note (or notes) to complete the sonority.
The new name and concept, "master chord", thus does not imply either jazz derivation, completeness of the sonority as an independent chord, nor connection to other use as a chord of
The following table shows the resultant chord for some of the possible added notes:
Master Chord: C D F♯ | |||
---|---|---|---|
Added Note | Resultant Chord | Intervals | Audio |
E♭ | D7♭9 | 0 4 7 t 1 | |
E | E9♯5 | 0 8 t 2 | |
G♯ | G♯(♯11), Fr+6 to D♭ |
0 4 7 t 2 6, 0 4 6 t |
, | ,
A | D7, Gr+6 to D♭ |
0 4 7 t | |
B♭ | C9♭5, B♭9♯5 |
0 4 6 t 2, 0 4 8 t 2 |
Non-dominant seventh chordioids
Robert Rawlins based his theory of chordioids off the above as well as
Major
Based upon M7no5, e.g.: { C D♭ F }:[1]
C D♭ F[5] | |
---|---|
Added Note | Resultant Chord |
E♭ | E♭13 |
F♯ | F♯M7♯11 |
G | G11♭5 |
A♭ | D♭M7 |
A | A(♭13♯9) |
B♭ | Csus4♭9, B♭m add2 |
Major-minor
Based upon mM7no5, e.g.: { C D♭ F♭ }:[1]
C D♭ E[5] | |
---|---|
Added Note | Resultant Chord |
E♭ | E♭13♭9 |
G | G13/11♭5 |
A♭ | D♭mM7 |
B♭ | B♭m9♭5 |
Minor
Based upon m7no5, e.g.: { C D F },[1] the sonority of the chordioid itself is anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.
C D F[5] | |
---|---|
Added Note | Resultant Chord |
E | E(♭13♭9) |
G | G7sus4 |
A | Dm7 |
B♭ | B♭add2 |
Incomplete sevenths and ninths chordioids
Joseph Schillinger based his theory of chordioids off the above as well as those irregular voicings of 7th chords in which the 5th is present but the 3rd absent, and of 9th chords in which the 5th and 3rd are both absent.[6]
Dominant seventh
Based upon 7no3, e.g.: { C G B♭ },[4] the sonority of the chordioid itself is anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.
C G B♭[4] | |
---|---|
Added Note | Resultant Chord |
D | D(♭13) |
E♭ | E♭6 |
E | C7 |
A♭ | A♭M9 |
A | Am7♭9 |
M7
Based upon M7no3, e.g.: { C G B }:[4]
C G B[4] | |
---|---|
Added Note | Resultant Chord |
D | D13 |
E | CM7 |
A♭ | A♭M♯9 |
A | Am9 |
7♭5
Based upon 7♭5no3, e.g.: { C G♭ B♭ },[4] the sonority of the chordioid itself is identical to that of the base triad of the Fr+6, a subset of the wholetone scale and so subject to some of the symmetries and homogeneity for which that scale is known, and anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.
C G♭ B♭[4] | |
---|---|
Added Note | Resultant Chord |
D | D(♭13) |
E♭ | Cm7♭5, E♭m6 |
E | C7♭5 |
A♭ | A♭9 |
M7♭5
Based upon M7♭5no3, e.g.: { C G♭ B }:[4]
C G♭ B[4] | |
---|---|
Added Note | Resultant Chord |
D | D13 |
E♭ | CmM7♭5 |
E | CM7♭5 |
A♭ | A♭(♯9) |
7♯5
Based upon 7♯5no3, e.g.: { C G♯ B♭ },[4] the sonority of the chordioid itself is a subset of the wholetone scale and so subject to some of the symmetries and homogeneity for which that scale is known, and anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.
C G♯ B♭[4] | |
---|---|
Added Note | Resultant Chord |
D | D7alt5 |
E | C7♯5 |
A | AmM♭9 |
M7♯5
Based upon M7♯5no3, e.g.: { C G♯ B }:[4]
C G♯ B[4] | |
---|---|
Added Note | Resultant Chord |
D | D13♭5 |
E | CM7♯5 |
A | AmM9 |
Dominant 9
Based upon 9no5no3, e.g.: { C D B♭ },[4] the sonority of the chordioid itself is a subset of the wholetone scale and so subject to some of the symmetries and homogeneity for which that scale is known, and anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.
C D B♭[4] | |
---|---|
Added Note | Resultant Chord |
E♭ | Cm9 |
E | C9 |
F | Dm(♭13) |
F♯ | D(♭13) |
M9
Based upon M9no5no3, e.g.: { C D B }:[4]
C D B[4] | |
---|---|
Added Note | Resultant Chord |
E♭ | CmM9 |
E | CM9 |
F | Dm13 |
F♯ | D13 |
Dominant ♭9
Based upon ♭9no5no3, e.g.: { C D♭ B♭ },[4] the sonority of the chordioid itself is anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.
C D♭ B♭[4] | |
---|---|
Added Note | Resultant Chord |
E♭ | Cm♭9 |
E | C(♭9), D♭mM13 |
F | D♭M13 |
M♭9
Based upon M♭9no5no3, e.g.: { C D♭ B },
C D♭ B[4] | |
---|---|
Added Note | Resultant Chord |
E♭ | CmM♭9 |
E | CM(♭9) |
Dominant ♯9
Based upon ♯9no5no3, e.g.: { C D♯ B♭ },[4] the sonority of the chordioid itself is anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.
C D♯ B♭[4] | |
---|---|
Added Note | Resultant Chord |
E | C(♯9) |
G | Cm7 |
M♯9
Based upon M♯9no5no3, e.g.: { C D♯ B }:[4]
C D♯ B[4] | |
---|---|
Added Note | Resultant Chord |
E | CM♯9 |
G | CmM7 |
Incomplete 11ths chordioids
Dominant 11
Based upon 11no5no9 (or 7sus4), e.g.: { C F B♭ },[4] the sonority of the chordioid itself is anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.
C F B♭[4] | |
---|---|
Added Note | Resultant Chord |
D | Dm♭13 |
G | Gm11 |
Major 11
Based upon M11no5no9 (or M7sus4), e.g.: { C F B }:[4]
C F B[4] | |
---|---|
Added Note | Resultant Chord |
D | Dm13 |
G | G11 |
Augmented sixth chords
Harmonically, augmented sixth chords (+6ths) in prime position require three things:
- the interval of a major third up from the bottom note,
- the interval of an augmented sixth up from the bottom note, and
- strict
Given these requirements, which are minimally fulfilled by the Italian sixth (It+6), e.g.: { A♭ C F♯ }, it is possible to derive all potential +6 chords from the It+6. The following table illustrates:[9]
Italian +6th Chord: A♭ C F♯.[10][11] | |
---|---|
Added Note(s) | Resultant Chord |
B♭/A♯ | A♭ B♭/A♯ C F♯ |
E![]() |
A♭ C E![]() |
E♭/D♯ | A♭ C E♭/D♯ F♯ |
E/D![]() |
A♭ C E/D![]() |
B♭/A♯ & E![]() |
A♭ B♭/A♯ C E![]() |
B♭/A♯ & E♭/D♯ | A♭ B♭/A♯ C E♭/D♯ F♯ |
B♭/A♯ & E/D![]() |
A♭ B♭/A♯ C E/D![]() |
D & E | A♭ C D E F♯ |
B♭/A♯, D & E | A♭ B♭/A♯ C D E F♯ |
Other known chords as chordioids
See also
References
- ^ ISBN 0634086782.
- ^ ISBN 002-6118505.
- ISBN 002-6118505.
- ^ ISBN 0306775212
- ^ ISBN 0634086782.
- ISBN 0306775212
- ^ Christ, William (1966). Materials and Structure of Music, v. 2, pp. 153ff. Englewood Cliffs: Prentice–Hall. LOC 66-14354.
- ISBN 978-0195336672.
- ^ Prout, Ebenezer. (1889) Harmony: Its Theory and Practice, pp. 197ff. London: Augener.(
- ^ Chadwick, G. (1897) Harmony: A Course of Study, p. 134. Boston: B. F. Wood.
- ^ Hanson, Howard. (1960) Harmonic Materials of Modern Music, pp. 356ff. New York: Appleton-Century-Crofts. LOC 58-8138.
- ISBN 0306775212