Farben chord

Farben chord^[1]

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In music, the 'Farben' chord is a chord, in ascending order C-G♯-B-E-A,^[2] named after its use in Five Pieces for Orchestra, Op.16, No. 3, "Farben" (German: "colors") by Arnold Schoenberg. Its unordered pitch-class content in normal form is 01348 (e.g., C-C♯-E♭-E-G♯), its Forte number is 5-Z17,^[3]^[4] in the taxonomy of Allen Forte.^[5] The identity of the Farben chord, however, depends on ordering of its pitches in a particular voicing.^[6]

According to Forte,^[7] Schoenberg developed the pentad canonically in "Farben" (also titled "Summer Morning by a Lake" or "Chord-Colors"), while Alban Berg used the chord as one of three on which Act I scene 2 of Wozzeck is based.^[4] The pentad is "almost octatonic" and has been called "a 'classic' atonal set type".^[7] The chord relates the movement to the other movements of the piece, with it appearing as the first chord of movement No.2 and in movement No.4, "The figure in the first bar [of op.16/IV] is actually a horizontal version of the chord from the preceding movement."^[8]

Sources

↑ Robert D. Morris, "Equivalence and Similarity in Pitch and Their Interaction with PCSet Theory", Journal of Music Theory Vol. 39, No. 2 (August 1995), pp.207–43; citation on p.219.
↑ Elizabeth L. Keathley, "Schoenberg's Op. 16/IV: An Examination of the Sketches", Theory and Practice Vol. 17 (1992): pp.67–84, citation on p.80.
↑ Michiel Schuijer, Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts (Eastman Studies in Music 60), Rochester: University of Rochester Press, 2008, p.109. ISBN 978-1-58046-270-9.
1 2 Allen Forte, "The Golden Thread: Octatonic Music in Webern's Early Songs, with Certain Historical Reflections", in Webern Studies, edited by Kathryn Bailey, pp.74–110. New York: Cambridge University Press, 1996, p.98n21. ISBN 0-521-47526-0.
↑ Allen Forte, The Structure of Atonal Music, New Haven and London: Yale University Press, 1973, pp.55,84,112,166&180.
↑ John Rahn, Basic Atonal Theory, New York and London: Longman, Inc., 1980, p.64.
1 2 Allen Forte, "The Golden Thread: Octatonic Music in Webern's Early Songs, with Certain Historical Reflections", in Webern Studies, edited by Kathryn Bailey, pp.74–110. New York: Cambridge University Press, 1996, p.98. ISBN 0-521-47526-0.
↑ Elizabeth L. Keathley, "Schoenberg's Op. 16/IV: An Examination of the Sketches", Theory and Practice Vol. 17 (1992): pp.67–84, citations on pp.77&80.

Chords

By form

Triad	Major Minor Augmented Diminished Suspended

Seventh	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 µ Mystic Northern lights Petrushka Psalms So What Tristan Viennese trichord

General	Mixed interval Secundal Tertian Quartal Synthetic chord

By function

Diatonic	Tonic Dominant Subdominant Supertonic Mediant Submediant Leading / Subtonic

Altered	Approach Borrowed Chromatic mediant Neapolitan Passing

Secondary	Secondary dominant Secondary leading-tone Secondary supertonic

Other	Common Contrast Primary triad Subsidiary

Techniques

Other

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