Interval cycle

Isointervallakkorde (also symmetrical chords, chords cyclic, infinite chords ) are chords that are constructed entirely of equal intervals. They are symmetrical in itself, that is, none of their tones stands out in front of another; therefore they do not have a clearly identifiable root. Within the major-minor tonality, there are three such types of chords.

• 2.1 Basic structure
• 2.2 Kleinterzklänge
• 2.3 Großterzklänge
• 2.4 Ganztonklänge
• 2.5 Other types

Properties

Chords, which are composed of equal intervals may be extended or changed as required without the sound draw near new sounds. Therefore they are also called infinite chords. Can be distinguished only their reversals in the score and in the musical context, ie according to their continuation or resolution.

Since all intervals are equal, no sound before the other honors - all sounds are equal. Thus, they have no clear tone and every note can be interpreted as the root. By reinterpreting the fundamental tone, it is possible to resolve these sounds different and thus to modulate to other keys.

The sounds are unstable and dissonant due to their construction. Their function is primarily dominant table, or this hinführend preparatory or her. Your sound property and the resulting resolution neediness cause associations such longing and restlessness, they often stand for anger, pain and despair.

Application

All reversals are possible and can often be found in the literature; the chords should be complete because of the recognition. High incidence results in pending or completely reversed tonality ( vagrant between the keys chords).

Types

Basic structure

The chords are made of equal intervals. By adding another of these intervals, a sound is obtained which is already present in the chord. Example: The chord ce gis consists of major thirds. By adding a further major third sound c is again achieved, it gives the ( sound ) identical chord ce - gis -c.

Also, by inversion of the chord and the chords arise with the same interval structure: both e - gis -c as well as gis - ce are superimposed layers major thirds.

Kleinterzklänge

Made up of three minor thirds. In durmolltonaler music as a diminished seventh chord from the start there - in a minor key, he is head of intrinsically on the raised seventh scale step (harmonic or melodic minor ). There it can be interpreted as a condensed Dominantseptnonakkord and is often referred to according to its dominant matic function with the symbol Dv. Each of its four tones may be leading tone to a ( new ) tonic; correct notation makes the resolution target legible, clearly ahead audible but it is not. From this harmonic ambiguity since Johann Sebastian Bach made ​​use of.

Is also a result of the diminished triad of two minor thirds viewed as a symmetrical chord (although he is not symmetric in the real sense - it contains a gap).

Großterzklänge

Excessive triad consisting of three tones in the major third - spacing. This chord type is significant only from the Viennese Classicism.

Ganztonklänge

They consist of whole-tone steps ( large second ). They are only in the harmony of the 20th century. significant. They can be interpreted as Dominantseptnonakkord with disalterierter fifth. (eg ghdfa → gh -des -dis -fa ↔ FGAH -des- dis)

Other types

In purely formal terms can be constructed even more balanced tone sequences by the pitch space is divided into equal intervals, about Halbtonakkorde (consisting only of semitones ). These are beyond the functional interpretation and eg used in Impressionism.