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Magic chord

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Musical chord

Magic chord.^[1] (approximatepitch classes sounded, A=440^[2])

$\relative c {\clef "treble_8" \omit Staff.TimeSignature <e fis a b d e g a >1 }$

Magic chord (as played inThe Well-Tuned Piano).[3]

TheMagic Chord is achord andinstallation (1984) created byLa Monte Young, consisting of thepitches E, F, A, B♭, D, E, G, and A, in ascending order and used in works including hisThe Well-Tuned Piano andChronos Kristalla (1990).^[1] The latter was performed by theKronos Quartet and features all notes of the magic chord asharmonics onopen strings.^[1] The quartet has been described as, "offer[ing] perhaps the ultimate challenge in performing in a just environment".^[4]

Described as, "complex and throbbing", the chord does not contain itsfundamental (seeroot chords),^[5] E♭, and is a subset of theRomantic Chord,^[6] G-Dorian in eight octaves, spelled G, A, B, C, D, E, F♯, G.^[7] "When theMagic Opening Chord is obtained by playing theOpening Chord at one end of a room while theMagic Chord is played at the other (as Young set it up for me), the feeling-changes of thestereo effect as you move back and forth[-]are dazzling."^[5] Theopening chord consists of E♭, B♭, C, E♭, F, B♭ (ratios 4:6:7:8:9:12Play^ⓘ),^[8] adding C^[9] and E♭ to the magic chord when combined as themagic opening chord (Play^ⓘ).

The Well-Tuned Piano is based on apitch lattice ofperfect fifths andharmonic sevenths, tuned as follows:^[10]^[11]

Note	Note played	(E♭)		E		F		G		A		B♭		(C)		D
	Note sounded relative to E♭ (Ben Johnston notation)	(E♭)		F7++		F+		A7b+		B7b+		Bb		(D7b)		E7b+
	Ratio	(1/1)		567/512		9/8		21/16		189/128		3/2		(7/4)		63/32
	Audio (from C)	(E♭^ⓘ)		E^ⓘ		F^ⓘ		G^ⓘ		A^ⓘ		B♭^ⓘ		(C^ⓘ)		D^ⓘ
Step	Ratio		567/512		64/63		7/6		9/8		64/63		7/6		9/8

For example, G (21/16) is the harmonic seventh of the perfect fifth (7/4 * 3/2 = 21/16):

	P5
H7	49	147	441	1323	(3969)
	B	F♯	C♯	G♯
	7	21	63	189	567
	C	G	D	A	E
	1	3	9	(27)	(81)
	E♭	B♭	F

References

[edit]

^^a ^b ^cGrimshaw, Jeremy (2011).Draw A Straight Line and Follow It: The Music and Mysticism of La Monte Young, p. 176.ISBN 978-0-19-974020-8.
^Gann 1993, p. 162.
^Gann 1993, p. 143.
^Strange, Patricia andStrange, Allen (2001).The Contemporary Violin: Extended Performance Techniques, p. 160.ISBN 978-0-520-22409-4.
^^a ^bDuckworth 2009, p. 187
^Potter 2002, p. 86.
^Potter 2002, pp. 85–86.
^Duckworth 2009, p. 168.
^Potter 2002, p. 87.
^Gann, Kyle (1997)."La Monte Young'sThe Well-Tuned Piano"
^Duckworth 2009, p. 166.

Sources

Duckworth, William (2009).Sound and Light: La Monte Young andMarian Zazeela. Associated University Presse.ISBN 978-0-8387-5738-3.
Gann, Kyle (1993). "La Monte Young'sThe Well-Tuned Piano".Perspectives of New Music.31 (1):134–162.doi:10.2307/833045.JSTOR 833045.(subscription required)
Potter, Keith (2002).Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Cambridge.ISBN 9780521015011.{{cite book}}: CS1 maint: location missing publisher (link)

Chords

By form

Triad	Major Minor Augmented Diminished Suspended
Seventh	Leading-tone Major Minor Dominant Dominant seventh flat five Diminished Half-diminished Diminished major Minor-major Augmented major Augmented minor Altered seventh Nondominant Harmonic seventh
Extended	Ninth Eleventh Thirteenth Upper structure Dominant 7♯9 Polychord Tone cluster
Added / omitted	Sixth Augmented sixth Lydian Seven six
Specific	Alpha Bridge Complexe sonore Dream Elektra Farben Grandmother Magic Mystic Northern lights Petrushka Psalms So What Tristan Viennese trichord
General	Mixed interval Secundal Tertian Quartal and quintal Synthetic chord Tetrad

Byfunction

Diatonic	Tonic Supertonic Mediant Subdominant Dominant Submediant Leading tone /Subtonic
Altered	Approach Borrowed Chromatic mediant Neapolitan Passing
Secondary	Secondary dominant Secondary leading-tone Secondary supertonic
Other	Common Contrast Primary triad Subsidiary Substitute

Techniques

Other

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