Pandiatonic
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In music pandiatonic chords and successions are those formed freely from all degrees of a diatonic scale without regard for their diatonic function, sometimes to the extent of no single pitch being felt as a tonic. The term was invented by Nicolas Slonimsky to describe examples such as the added sixth or the nonfunctional tonality of composers such as Aaron Copland (in his populist works; Jaffe, 1992), Igor Stravinsky (in his neoclassical works), and more recently Steve Reich and John Adams (Jaffe, 1992).
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[edit] Pandiatonic Music
The following musical works include pandiatonicism.
- John Adams
- Shaker Loops (Jaffe, 1992)
- China Gates (Jaffe, 1992)
- Phrygian Gates (Jaffe, 1992)
- Aaron Copland
- Appalachian Spring (Jaffe, 1992)
- Eric Dolphy
- Eric Dolphy
- William Duckworth
- "Southern Harmony"
- Peter Garland
- Sones de Flor (http://cutthemullet.tripod.com/may2002.htm)
- Henryk Górecki
- "Symphony No. 3"
- Constant Lambert
- Trois pieces negres, pour les touches blanches
- Arvo Pärt
- Cantus In Memoriam Benjamin Britten
- Steve Reich
- The Desert Music (Jaffe, 1992)
- Tehillim (Jaffe, 1992)
- Igor Stravinsky
- Petrushka
[edit] Source
- Jaffe, Stephen. Conversation between SJ and JS on the New Tonality, Contemporary Music Review 1992, Vol. 6 (2), pp. 27-38
- Mann, William. London Times (December 27, 1963) via Companion
[edit] See also
[edit] External links
[edit] Source
- Jaffe, Stephen. Conversation between SJ and JS on the New Tonality, Contemporary Music Review 1992, Vol. 6 (2), pp. 27-38
- Mann, William. The Times (December 27, 1963) via Companion
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