In music theory and harmonic analysis, a synthetic chord is a made-up or non-traditional (synthetic) chord (collection of pitches) which cannot be analyzed in terms of traditional harmonic structures,[inconsistent] such as the triad or seventh chord.
This title is applied to a group of notes, usually a scale-like succession of pitches, with a fixed progression of tones and semitones. This scale can obviously be transposed to any pitch, and depending on its intervallic makeup, will have a fixed number of possible transpositions. Furthermore, the sintetakkord can be used either vertically or horizontally; Roslavets' music is not concerned with the order of the pitches, but rather with the whole 'field' thus created, so that the system is less oriented toward themes and more toward harmonic fields. [See: Josef Matthias Hauer]— Sitsky (1994), 
For example, if a composer uses a synthetic scale as the basis for a passage of music and constructs chords from its tones, in much the same way that a tonal composer may use a major or minor scale's notes to build harmonies, then the resulting chords may be synthetic chords and referred to as such.
Some synthetic chords may be analyzed as traditional chords,[inconsistent] including the Prometheus chord, which may be analyzed as an altered dominant chord.
See also [ edit ]
Sources [ edit ]
- Brelet, Gisele (1947). Esthetique et creation musicale, p.60. cited in Dufrenne, Mikel (1989). The Phenomenology of Aesthetic Experience, p.253. ISBN 0-8101-0591-8.
- Sitsky, Larry (1994). Music of the Repressed Russian Avant-Garde, 1900-1929, p.42. ISBN 978-0-313-26709-3.
- (2000). "Nikolai Roslavets and His Viola Sonatas", Journal of the American Viola Society, Volume 16, p.16-17. University of Michigan.
- Hakobian, Levon (1998). Music of the Soviet Age, 1917-1987, p.26-7. ISBN 978-91-972133-4-9.