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Encyclopedia > Tone cluster
Example of piano tone clusters. The clusters in the upper staff—C♯ D♯ F♯ G♯—are four successive black keys. The last two bars, played with overlapping hands, are a more dense cluster.
Example of piano tone clusters. The clusters in the upper staff—C♯ D♯ F♯ G♯—are four successive black keys. The last two bars, played with overlapping hands, are a more dense cluster.

A tone cluster is a musical chord comprising consecutive tones in a scale. Prototypical tone clusters are based on the chromatic scale, and are separated by semitones. For instance, three adjacent piano keys (like C, C♯, and D) struck simultaneously produce a tone cluster. Variants of the tone cluster include chords comprising consecutive tones separated diatonically, pentatonically, or microtonally. On the piano, such clusters often involve the simultaneous striking of successive white or black keys. Image File history File links Size of this preview: 800 × 212 pixelsFull resolution (820 × 217 pixel, file size: 63 KB, MIME type: image/jpeg) A generic example of piano tone clusters. ... Image File history File links Size of this preview: 800 × 212 pixelsFull resolution (820 × 217 pixel, file size: 63 KB, MIME type: image/jpeg) A generic example of piano tone clusters. ... Typical fingering for a second inversion C major chord on a guitar. ... In music, a scale is a collection of musical notes that provides material for part or all of a musical work. ... The chromatic scale is a scale with twelve pitches, each a semitone or half step apart. ... A semitone (also known in the USA as a half step) is a musical interval. ... The layout of a typical musical keyboard A musical keyboard is the set of adjacent depressible levers on a musical instrument which cause the instrument to produce sounds. ... Diatonic and chromatic are important terms in Western music theory. ... A pentatonic scale is a musical scale with five pitches per octave. ... 19 scale piano Microtonal music is music using microtones — intervals of less than an equally spaced semitone, or as Charles Ives put it, the notes between the cracks of the piano. ...


The early years of the twentieth century saw pioneering works by ragtime artists Jelly Roll Morton and Scott Joplin use tone clusters in central roles. In the 1910s, two classical avant-gardists, composer-pianists Leo Ornstein and Henry Cowell, were recognized as making the first extensive explorations of the tone cluster. During the same period, Charles Ives employed them in several compositions that were not publicly performed until the late 1920s or 1930s. Béla Bartók and, later, other composers including Lou Harrison and Karlheinz Stockhausen became proponents of the tone cluster. Today, tone clusters play a significant role in the work of free jazz musicians such as Cecil Taylor and Matthew Shipp. Look up ragtime in Wiktionary, the free dictionary. ... Morton in the 1920s Ferdinand Jelly Roll Morton September 20, 1890 - July 10, 1941) was an American virtuoso pianist, bandleader and composer who some call the first true composer of jazz music. ... Scott Joplin Scott Joplin (born between June 1867 and January 1868[1]; died April 1, 1917) was an American musician and composer of ragtime music. ... Leo Ornstein (c. ... Henry Cowell (March 11, 1897 - December 10, 1965) was an American composer, musical theorist, pianist, teacher, publisher, and impresario. ... This photo from around 1913 shows Ives in his day job. He was the director of a successful insurance agency. ... Béla Bartók in 1927 Béla Viktor János Bartók (March 25, 1881 – September 26, 1945) was a Hungarian composer, pianist and collector of Eastern European and Middle Eastern folk music. ... Lou Silver Harrison (May 14, 1917 - February 2, 2003) was an American composer. ... Karlheinz Stockhausen (born August 22, 1928) is a German composer, and one of the most important and controversial composers of the 20th century. ... This article or section cites very few or no references or sources. ... Cecil Percival Taylor (born March 15 or March 25, 1929 in New York City) is an American pianist and poet. ... Matthew Shipp (born December 7, 1960) is an American free jazz pianist. ...


In most Western music, tone clusters tend to be heard as dissonant. Keyboard instruments, because of the arrangement of the playing area, particularly lend themselves to the performance of tone clusters, but clusters may be performed with almost any individual instrument on which three or more notes can be played simultaneously, as well as by most groups of instruments. In music, a consonance (Latin consonare, sounding together) is a harmony, chord, or interval considered stable, as opposed to a dissonance, which is considered unstable. ... Piano, a well-known instance of keyboard instruments A keyboard instrument is any musical instrument played using a musical keyboard. ...

Contents

Music theory and classification

Prototypical tone clusters are chords of three or more adjacent notes on the chromatic scale, that is, three or more consecutive pitches each separated by only a semitone. As described by David Nicholls, Look up chord in Wiktionary, the free dictionary. ... The chromatic scale is a scale with twelve pitches, each a semitone or half step apart. ... Pitch is the perceived fundamental frequency of a sound. ... A semitone (also known in the USA as a half step) is a musical interval. ...

Tone-clusters are essentially chords built from major and minor seconds. At the simplest level, a C major triad with added second, sixth and seventh could be said to consist of two tone-clusters, as could a pentatonic, black-note or white-note, chord. More usually, though, the tone-cluster will consist of a larger number of adjacent pitches, either diatonic (white-note), pentatonic (black-note), or chromatic (white and black notes).[1] A major second is one of three commonly occuring musical intervals that span two diatonic scale degrees; the others being the minor second, which is one semitone smaller, and the augmented second, which is one semitone larger. ... A minor second is the smallest of three commonly occuring musical intervals that span two diatonic scale degrees; the others being the major second and the augmented second, which are larger by one and two semitones respectively. ... In music or music theory, a triad is a tonal or diatonic tertian trichord. ... Generally speaking, a sixth chord is any chord which contains the interval of a sixth. ... A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh above the chords root. ... A pentatonic scale is a musical scale with five pitches per octave. ... Diatonic and chromatic are important terms in Western music theory. ... Diatonic and chromatic are important terms in Western music theory. ...

While three-note stacks based on diatonic and pentatonic scales are technically tone clusters, they involve intervals between notes greater than the half-tone gaps of the chromatic kind—because of this, as may be inferred from Nicholls, commentators tend to identify diatonic and pentatonic stacks as "tone clusters" only when they consist of four or more successive notes struck simultaneously. Stacks of three or more adjacent microtonal pitches also constitute tone clusters. In Western classical music practice, all tone clusters are classifiable as secundal chords—that is, the interval between two consecutive notes in a cluster is never more than three semitones. In music, a scale is a collection of musical notes that provides material for part or all of a musical work. ... In music theory, the term interval describes the difference in pitch between two notes. ... 19 scale piano Microtonal music is music using microtones — intervals of less than an equally spaced semitone, or as Charles Ives put it, the notes between the cracks of the piano. ... This article is about Western art music from 1000 AD to the 2000s . ... In music or music theory, secundal is the quality of a chord made from seconds, and anything related to things constructed from seconds such as counterpoint. ...


In tone clusters, the notes are sounded fully and simultaneously, distinguishing them from ornamented figures involving acciaccaturas and the like. Their effect also tends to be very different: where ornamentation is used to draw attention to the harmony or the relationship between harmony and melody, tone clusters are for the most part employed as independent sounds. They also lend themselves to use in a percussive manner. While tone clusters are generally thought of as dissonant musical textures, as noted by Alan Belkin, instrumental timbre can have a significant impact on their effect: "Clusters are quite aggressive on the organ, but soften enormously when played by strings (possibly because slight, continuous fluctuations of pitch in the latter provide some inner mobility)."[2] In music, ornaments are musical flourishes that are not necessary to the overall melodic (or harmonic) line, but serve to decorate or ornament that line. ... In music, ornaments are musical flourishes that are not necessary to the overall melodic (or harmonic) line, but serve to decorate or ornament that line. ... Harmony is the use and study of pitch simultaneity, and therefore chords, actual or implied, in music. ... Look up melody in Wiktionary, the free dictionary. ... In music, timbre, or sometimes timber, (from Fr. ...


Notation and execution

Henry Cowell's notation of white- and black-note clusters for piano
Henry Cowell's notation of white- and black-note clusters for piano

With his 1917 piece The Tides of Manaunaun, Henry Cowell introduced a new notation for tone clusters on the piano or other keyboard instrument.[3] In the image on the right, the first chord is a white-note cluster—symbolized by the natural sign below the staff—stretching two octaves from D2 to D4. The second is a black-note cluster, symbolized by the flat sign (a sharp sign would be required if the notes showing the limit of the cluster were spelled as sharps). A chromatic cluster—black and white keys together—is shown in this method by including both a natural and a flat (or sharp) sign with the chord. Image File history File links No higher resolution available. ... Image File history File links No higher resolution available. ... In 1911-12 while barely in his teens, Henry Cowell wrote the short piano piece The Tides of Manaunaun. ... Henry Cowell (March 11, 1897 - December 10, 1965) was an American composer, musical theorist, pianist, teacher, publisher, and impresario. ...


The performance of keyboard tone clusters is widely considered an "extended technique"—large clusters require unusual playing methods often involving the fist, the flat of the hand, or the forearm. Thelonious Monk and Karlheinz Stockhausen each performed clusters with their elbows; Stockhausen developed a method for playing cluster glissandi with special gloves.[4] Don Pullen would play moving clusters by rolling the backs of his hands over the keyboard. Boards of various dimension are sometimes employed, as in the Concord Sonata (ca. 1904–19) of Charles Ives; they can be weighted down to execute clusters of long duration. For works such as his Piano Concerto (1985) and Grand Duo (1988), Lou Harrison's scores call for the use of an "octave bar," a wooden device especially crafted for cluster playing. Cover of Henry Cowell: Piano Music, with Henry Cowell demonstrating the longitudinal sweeping string piano technique Extended technique is a term used in music to describe unconventional, unorthodox or improper techniques of singing, or of playing musical instruments. ... Thelonious Sphere Monk (October 10, 1917 – February 17, 1982) was a jazz pianist and composer. ... Karlheinz Stockhausen (born August 22, 1928) is a German composer, and one of the most important and controversial composers of the 20th century. ... Glissando (plural: glissandi) is a musical term that refers to either a continuous sliding from one pitch to another (a true glissando), or an incidental scale played while moving from one melodic note to another (an effective glissando). ... Don Pullen (December 25, 1941 - April 22, 1995) was an American jazz pianist and organist. ... The Piano Sonata No. ... This photo from around 1913 shows Ives in his day job. He was the director of a successful insurance agency. ... Lou Silver Harrison (May 14, 1917 - February 2, 2003) was an American composer. ...


Use in Western music

Sporadic examples of tone clusters may be found in Western classical music compositions at least as far back as the late 1600s.[5] In 1887, Giuseppe Verdi became the first important composer in the Western tradition to write an unmistakable chromatic cluster: Otello opens with an organ cluster (C, C♯, D) that also has the longest notated duration of any scored musical texture known.[6] But it was not before the second decade of the twentieth century that tone clusters assumed a recognized place in Western classical music practice. “Verdi” redirects here. ... For the Rossini opera, see Otello (Rossini) or for the eurobeat artist see Gianni Coraini. ...


In early-20th-century classical compositions

"Around 1910," Harold C. Schoenberg writes, "Percy Grainger was causing a stir by the near–tone clusters in such works as his Gumsuckers March."[7] In 1911, what appears to be the first published classical composition to thoroughly integrate true tone clusters was issued: Tintamarre (The Clangor of Bells), by Canadian composer J. Humfrey Anger (1862–1913).[8] Percy Aldridge Grainger (8 July 1882 – 20 February 1961) was an Australian-born pianist, composer, and champion of the saxophone and the Concert band. ...


Within a few years, the radical composer-pianist Leo Ornstein became one of the most famous figures in classical music on both sides of the Atlantic for his performances of cutting-edge work. In 1914, Ornstein debuted several of his solo piano compositions, including Wild Men's Dance (aka Danse Sauvage; ca. 1913–14), Impressions of the Thames (ca. 1913–14), and Impressions of Notre Dame (ca. 1913–14), that were the first works to explore the tone cluster in depth ever heard by a substantial audience. Wild Men's Dance, in particular, was constructed almost entirely out of clusters.[9] In 1918, critic Charles L. Buchanan described Ornstein's innovation: "[He] gives us masses of shrill, hard dissonances, chords consisting of anywhere from eight to a dozen notes made up of half tones heaped one upon another."[10] Leo Ornstein (c. ...


In 1906–7, Charles Ives had composed his first mature piece to extensively feature tone clusters, Scherzo: Over the Pavements.[11] Orchestrated for a nine-piece ensemble, it includes both black- and white-note clusters for the piano.[12] Revised in 1913, it would not be recorded and published until the 1950s and would have to wait until 1963 to receive its first public performance. During the same period that Ornstein was introducing tone clusters to the concert stage, Ives was developing a piece with what would become the most famous set of clusters: in the second movement, Hawthorne, of the Concord Sonata (ca. 1904–19, publ. 1920, prem. 1928), mammoth piano chords, some gentle, some violent, require a wooden bar almost fifteen inches long to play.[13] Between 1911 and 1913, Ives also wrote ensemble pieces with tone clusters such as his Second String Quartet and the orchestral Decoration Day and Fourth of July, though none of these would be publicly performed before the 1930s.[14] This photo from around 1913 shows Ives in his day job. He was the director of a successful insurance agency. ... The Piano Sonata No. ...


Clusters were also beginning to appear in more pieces by European composers. Alban Berg's Four Pieces for clarinet and piano (1913) calls for tone clusters along with other avant-garde keyboard techniques.[15] Claude Debussy's 1915 arrangement for solo piano of his Six Epigraphes Antiques (1914), originally a set of piano duets, includes tone clusters in the fifth piece, Pour l'Egyptienne.[16] Bust of Alban Berg at Schiefling, Carinthia, Austria Alban Maria Johannes Berg (February 9, 1885 – December 24, 1935) was an Austrian composer. ... Claude Debussy, photo by Félix Nadar, 1908. ...


In the work of Henry Cowell

In June 1913, a sixteen-year-old Californian with no formal musical training wrote a solo piano piece, Adventures in Harmony, employing "primitive tone clusters."[17] Henry Cowell would soon emerge as the seminal figure in promoting the cluster harmonic technique. Ornstein abandoned the concert stage in the early 1920s and, anyway, clusters had served him as practical harmonic devices, not as part of a larger theoretical mission. In the case of Ives, clusters comprised a relatively small part of his compositional output, much of which went unheard for years. For the intellectually ambitious Cowell—who heard Ornstein perform in New York in 1916—clusters were crucial to the future of music. He set out to explore their "overall, cumulative, and often programmatic effects."[18] Henry Cowell (March 11, 1897 - December 10, 1965) was an American composer, musical theorist, pianist, teacher, publisher, and impresario. ...


Dynamic Motion (1916) for solo piano, written when Cowell was nineteen, has been described as "probably the first piece anywhere using secundal chords independently for musical extension and variation."[19] Though that is not quite accurate, it does appear to be the first piece to employ chromatic clusters in such a manner. A solo piano piece Cowell wrote the following year, The Tides of Manaunaun (1917), would prove to be his most popular work and the composition most responsible for establishing the tone cluster as a significant element in Western classical music. (Cowell's early piano works are often erroneously dated; in the two cases above, as 1914 and 1912, respectively.[20]) Assumed by some to involve an essentially random—or, more kindly, aleatoric—pianistic approach, Cowell would explain that precision is required in the writing and performance of tone clusters no less than with any other musical feature: In 1911-12 while barely in his teens, Henry Cowell wrote the short piano piece The Tides of Manaunaun. ... Aleatoric music (also aleatory music or chance music; from the Latin word alea, meaning dice) is music in which some element of the composition is left to chance or some primary element of a composed works realization is left to the determination of its performer(s). ...

Tone clusters...on the piano [are] whole scales of tones used as chords, or at least three contiguous tones along a scale being used as a chord. And, at times, if these chords exceed the number of tones that you have fingers on your hand, it may be necessary to play these either with the flat of the hand or sometimes with the full forearm. This is not done from the standpoint of trying to devise a new piano technique, although it actually amounts to that, but rather because this is the only practicable method of playing such large chords. It should be obvious that these chords are exact and that one practices diligently in order to play them with the desired tone quality and to have them absolutely precise in nature.[21]

Historian and critic Kyle Gann describes the broad range of ways in which Cowell constructed (and thus performed) his clusters and used them as musical textures, "sometimes with a top note brought out melodically, sometimes accompanying a left-hand melody in parallel."[22] Kyle Gann (born November 21 1955) is a composer and music critic born in Dallas, Texas. ...


During the 1920s and 1930s, Cowell toured widely through North America and Europe, playing his own experimental works, many built around tone clusters. In addition to The Tides of Manaunaun, Dynamic Motion, and its five "encores"—What's This (1917), Amiable Conversation (1917), Advertisement (1917), Antinomy (1917, rev. 1959; frequently misspelled "Antimony"), and Time Table (1917)—these include The Voice of Lir (1920), Exultation (1921), The Harp of Life (1924), Snows of Fujiyama (1924), Lilt of the Reel (1930), and Deep Color (1938). Tiger (1930) has the single largest chord ever written for an individual instrument: 53 notes.[23] Along with the work of Ives, Cowell's Concerto for Piano and Orchestra (1928) is one of the first large-ensemble pieces to make extensive use of clusters.


In his theoretical work New Musical Resources (1930), a major influence on the classical avant-garde for many decades, Cowell argued that clusters should not be employed simply for color:

In harmony it is often better for the sake of consistency to maintain a whole succession of clusters, once they are begun; since one alone, or even two, may be heard as a mere effect, rather than as an independent and significant procedure, carried with musical logic to its inevitable conclusion.[24]

In later classical music

The most renowned composer to be directly inspired by Cowell's demonstrations of his tone cluster pieces was Béla Bartók, who requested Cowell's permission to employ the method. Bartók's Piano Sonata (1926) and suite Out of Doors (1926), his first significant works after three years in which he produced little, both feature tone clusters. Already, Aaron Copland had composed his Three Moods (aka Trois Esquisses; 1920–21) for piano—its name an apparent homage to a piece of Leo Ornstein's—which includes a triple-forte cluster.[25] In the 1930s, Cowell's student Lou Harrison utilized keyboard clusters in several works such as his Prelude for Grandpiano (1937).[26] At least as far back as 1942, John Cage, who also studied under Cowell, began writing piano pieces with cluster chords; In the Name of the Holocaust, from December of that year, includes chromatic, diatonic, and pentatonic clusters.[27] Olivier Messiaen's Vingt regards sur l'enfant Jésus (1944), considered by many to be the most important solo piano piece of the first half of the twentieth century, employs clusters throughout.[28] They would feature in numerous subsequent piano works, by a wide range of composers. Karlheinz Stockhausen and George Crumb are among those who have employed them frequently. Béla Bartók in 1927 Béla Viktor János Bartók (March 25, 1881 – September 26, 1945) was a Hungarian composer, pianist and collector of Eastern European and Middle Eastern folk music. ... Aaron Copland Aaron Copland (November 14, 1900 – December 2, 1990) was an American composer of concert and film music, as well as an accomplished pianist. ... “Fortissimo” redirects here. ... Lou Silver Harrison (May 14, 1917 - February 2, 2003) was an American composer. ... For the Mortal Kombat character, see Johnny Cage. ... Olivier Messiaen It has been suggested that List of students of Olivier Messiaen be merged into this article or section. ... Vingt Regards sur lEnfant-Jésus is a suite by the French composer Olivier Messiaen for solo piano. ... Karlheinz Stockhausen (born August 22, 1928) is a German composer, and one of the most important and controversial composers of the 20th century. ... George Crumb (born October 24, 1929) is an American composer of modern and avant garde music. ...


While tone clusters are coventionally associated with the piano, and the solo piano repertoire in particular, they have also assumed important roles in compositions for chamber groups and larger ensembles. Robert Reigle identifies Croatian composer Josip Slavenski's organ-and-violin Sonata Religiosa (1925), with its sustained chromatic clusters, as "a missing link between Ives and [György] Ligeti."[29] Bartók employs both diatonic and chromatic clusters in his Fourth String Quartet (1928).[30] The sound mass technique in such works as Ruth Crawford Seeger's String Quartet (1931) and Iannis Xenakis's Metastasis (1955) is an elaboration of the tone cluster. In one of the most famous pieces associated with the sound mass aesthetic, Krzysztof Penderecki's Threnody to the Victims of Hiroshima (1959), for fifty-two string instruments, the quarter-tone clusters "see[m] to have abstracted and intensified the features that define shrieks of terror and keening cries of sorrow."[31] In 1961, Ligeti wrote perhaps the largest cluster chord ever—in the orchestral Atmosphères, every note in the chromatic scale over a range of five octaves is played at once (quietly). In R. Murray Schafer's choral Epitaph for Moonlight (1968), a tone cluster is constructed by dividing each choir section (soprano/alto/tenor/bass) into four parts. Each hums a note one semitone lower than the note hummed by the previous section, until all sixteen parts are contributing to the cluster.[32] In Morton Feldman's Rothko Chapel (1971), "Wordless vocal tone clusters seep out through the skeletal arrangements of viola, celeste, and percussion."[33] Aldo Clementi's chamber ensemble piece Ceremonial (1973) evokes both Verdi and Ives, combining the original extended-duration and mass cluster concepts: a weighted wooden board placed on an electric harmonium maintains a tone cluster throughout the work.[34] Judith Bingham's Prague (1995) gives a brass band the opportunity to create tone clusters.[35] Keyboard clusters are set against orchestral forces in piano concertos such as Einojuhani Rautavaara's first (1969) and Esa-Pekka Salonen's (2007), the latter suggestive of Messiaen.[36] Josip Å tolcer-Slavenski (May 11, 1896 - November 30, 1955) was a Croatian composer. ... “Ligeti” redirects here. ... The String Quartet No. ... In contrast to more traditional musical textures, sound mass composition minimizes the importance of individual pitches in preference for texture, timbre, and dynamics as primary shapers of gesture and impact. ... Ruth Crawford-Seeger (July 3, 1901 in East Liverpool, Ohio - November 18, 1953 in Chevy Chase, Maryland), born Ruth Crawford, was a modernist composer. ... Ruth Crawfords String Quartet (1931) is regarded as one of the finest modernist works of the genre (Hisama 2001, p. ... Iannis Xenakis Iannis Xenakis (Ιάννης Ξενάκης) (May 29, 1922 Brăila – February 4, 2001 Paris) was a Greek composer and architect who spent much of his life in Paris. ... Metastasis, also Metastaseis (dialectic transformations), is an orchestral work for 65 musicians by Iannis Xenakis. ... Krzysztof Penderecki. ... The musical composition Threnody for the Victims of Hiroshima (Tren ofiarom Hiroszimy in Polish), for 52 string instruments, was composed in 1959 by Krzysztof Penderecki (b. ... The chromatic scale is a scale with twelve pitches, each a semitone or half step apart. ... For other uses, see Octave (disambiguation). ... Raymond Murray Schafer (b. ... Morton Feldman (January 12, 1926 – September 3, 1987) was an American composer, born in New York City. ... Aldo Clementi (born 1925 in Catania) is an Italian composer. ... A Harmonium is a free-standing musical keyboard instrument similar to a Reed Organ or Pipe Organ. ... Einojuhani Rautavaara (born October 9, 1928) is a Finnish composer of classical music, probably the best known Finnish composer of his generation. ... Esa-Pekka Salonen ( ) (born June 30, 1958 in Helsinki) is a prominent Finnish orchestral conductor and composer. ...


Three composers who made frequent use of tone clusters for a wide variety of ensembles are Giacinto Scelsi, Alfred Schnittke—both of whom often worked with them in microtonal contexts—and Lou Harrison. Scelsi employed them for much of his career, including in his last large-scale work, Pfhat (1974), which premiered in 1986.[37] They are found in works of Schnittke's ranging from the Quintet for Piano and Strings (1972–76), where "microtonal strings fin[d] tone clusters between the cracks of the piano keys,"[38] to the choral Psalms of Repentance (1988). Harrison's many pieces featuring clusters include Pacifika Rondo (1963), Concerto for Organ with Percussion (1973), Piano Concerto (1983–85), Three Songs for male chorus (1985), Grand Duo (1988), and Rhymes with Silver (1996).[39] With his partner William Colvig, Harrison developed a device to facilitate high-speed keyboard cluster performance: It has been suggested that List of works by Giacinto Scelsi be merged into this article or section. ... Alfred Schnittke April 6, 1989, Moscow Alfred Garyevich Schnittke (Russian: Альфре́д Га́рриевич Шни́тке, November 24, 1934 Engels - August 3, 1998 Hamburg) was a Russian and Soviet composer. ... The partner for thirty three years of composer Lou Harrison, William Colvig (1917-2000) was an electrician and amateur musician. ...

the "octave bar," a flat wooden device approximately two inches high with a grip on top and sponge rubber on the bottom, with which the player strikes the keys. Its length spans an octave on a grand piano. The sponge rubber bottom is sculpted so that its ends are slightly lower than its center, making the outer tones of the octave sound with greater force than the intermediary pitches. The pianist can thus rush headlong through fearfully rapid passages, precisely spanning an octave at each blow.[40]

In jazz

Tone clusters have been employed by jazz artists in a variety of styles, since the very beginning of the form. Around the turn of the twentieth century, Storyville pianist Jelly Roll Morton began performing a ragtime adaptation of a French quadrille, introducing large chromatic tone clusters played by his left forearm. The growling effect led to Morton dubbing the piece his "Tiger Rag."[41] In 1909, Scott Joplin's "Wall Street Rag," "experimental in sound and intent," included a section prominently featuring notated tone clusters—apparently the first published work in the history of Western music to do so.[42] The fourth of Artie Matthews's Pastime Rags (1913–20) features dissonant right-hand clusters.[43] Thelonious Monk, in pieces such as "Introspection" (1946) and "Off Minor" (1947), uses clusters as dramatic figures within the central improvisation and to accent the tension at its conclusion.[44] They are heard on Art Tatum's "Mr. Freddy Blues" (1950), undergirding the cross-rhythms.[45] By 1953, Dave Brubeck was employing piano tone clusters and dissonance in a manner anticipating the style free jazz pioneer Cecil Taylor would soon develop.[46] The approach of hard bop pianist Horace Silver is an even clearer antecedent to Taylor's use of clusters.[47] During the same era, clusters appear as punctuation marks in the lead lines of Herbie Nichols.[48] In "The Gig" (1955), described by Francis Davis as Nichols's masterpiece, "clashing notes and tone clusters depic[t] a pickup band at odds with itself about what to play."[49] Recorded examples of Duke Ellington's piano cluster work include "Summertime" (1961) and ...And His Mother Called Him Bill (1967).[50] For other uses, see Jazz (disambiguation). ... Storyville was the prostitution district of New Orleans, Louisiana from 1897 through 1917. ... Morton in the 1920s Ferdinand Jelly Roll Morton September 20, 1890 - July 10, 1941) was an American virtuoso pianist, bandleader and composer who some call the first true composer of jazz music. ... Look up ragtime in Wiktionary, the free dictionary. ... for the equestrian form of quadrille, see Quadrille (dressage) Quadrille is a historic dance performed by four couples in a square formation, a precursor to traditional square dancing. ... Scott Joplin Scott Joplin (born between June 1867 and January 1868[1]; died April 1, 1917) was an American musician and composer of ragtime music. ... Artie Matthews (November 15, 1888 _ October 25, 1958) was a songwriter, pianist, and ragtime composer. ... Thelonious Sphere Monk (October 10, 1917 – February 17, 1982) was a jazz pianist and composer. ... Arthur Tatum Jr. ... Polyrhythm is the simultaneous sounding of two or more independent rhythms. ... David Warren Brubeck (born December 6, 1920 in Concord, California[1]), better known as Dave Brubeck, is a U.S. jazz pianist. ... This article or section cites very few or no references or sources. ... Cecil Percival Taylor (born March 15 or March 25, 1929 in New York City) is an American pianist and poet. ... Hard bop is an extension of bebop (bop) music which incorporates influences from rhythm and blues, gospel music, and blues, especially in the saxophone and piano playing. ... Horace Ward Martin Tavares Silver, born on September 2, 1928 in Norwalk, Connecticut) is a famous jazz pianist and composer born to a Cape Verdean father (of mixed Portuguese-black descent) and a mother of Irish and African descent. ... Herbie Nichols (1919–1963) was an American jazz pianist and composer. ... This article is about the American Jazz composer and performer. ... 1967 release by jazz legend Duke Ellington. ...


In jazz, as in classical music, tone clusters have not been restricted to the keyboard. In the 1930s, the Jimmie Lunceford Orchestra's "Stratosphere" included ensemble clusters among an array of progressive elements.[51] The Stan Kenton Orchestra's April 1947 recording of "If I Could Be With You One Hour Tonight," arranged by Pete Rugolo, features a dramatic four-note trombone cluster at the end of the second chorus.[52] As described by critic Fred Kaplan, a 1950 performance by the Duke Ellington Orchestra features arrangements with the collective "blowing rich, dark, tone clusters that evoke Ravel."[53] In the early 1960s, arrangements by Bob Brookmeyer and Gerry Mulligan for Mulligan's Concert Jazz Band employed tone clusters in a dense style calling to mind both Ellington and Ravel.[54] The "tart tone cluster" that "pierces a song's surfaces and penetrates to its heart" has been described as a specialty of guitarist Jim Hall's.[55] James Melvin Jimmie Lunceford (June 6, 1902–July 12, 1947) was an American jazz alto saxophonist and bandleader of the swing era. ... Stanley Newcomb Kenton (December 15, 1911 – August 25, 1979) led a highly innovative, influential, and often controversial American jazz orchestra. ... Pete Rugolo (born December 25, 1915) is an Italian-born composer and arranger. ... Robert Brookmeyer (born December 19, 1929) is an American jazz valve trombonist, pianist, and arranger. ... Gerald Joseph Gerry Mulligan (April 6, 1927 – January 20, 1996) was an American jazz musician, composer and arranger best known for his baritone saxophone playing. ... James Stanley Hall (born December 4, 1930, Buffalo, New York) is an American jazz guitarist. ...


Clusters are especially prevalent in the realm of free jazz. Cecil Taylor has used them extensively as part of his improvisational method since the mid-1950s.[56] Like much of his musical vocabulary, his clusters operate "on a continuum somewhere between melody and percussion."[57] One of Taylor's primary purposes in adopting clusters was to avoid the dominance of any specific pitch.[58] Leading free jazz composer, bandleader, and pianist Sun Ra often used them to rearrange the musical furniture, as described by scholar John F. Szwed: Sun Ra (Born Herman Poole Blount; legal name Le Sonyr Ra;[1] born May 22, 1914 in Birmingham, Alabama, died May 30, 1993 in Birmingham, Alabama) was an innovative jazz composer, bandleader, piano and synthesizer player, poet and philosopher known for his cosmic philosophy, musical compositions and performances. ...

When he sensed that [a] piece needed an introduction or an ending, a new direction or fresh material, he would call for a space chord, a collectively improvised tone cluster at high volume which "would suggest a new melody, maybe a rhythm." It was a pianistically conceived device which created another context for the music, a new mood, opening up fresh tonal areas.[59]

As free jazz spread in the 1960s, so did the use of tone clusters. In comparison with what John Litweiler describes as Taylor's "endless forms and contrasts," the solos of Muhal Richard Abrams employ tone clusters in a similarly free, but more lyrical, flowing context.[60] Guitarist Sonny Sharrock made them a central part of his improvisations, executing "glass-shattering tone clusters that sounded like someone was ripping the pickups out of the guitar without having bothered to unplug it from its overdriven amplifier."[61] Pianist Marilyn Crispell has been another major free jazz proponent of the tone cluster, frequently in collaboration with Anthony Braxton, who played with Abrams early in his career.[62] Since the 1990s, Matthew Shipp has built on Taylor's innovations with the form.[63] European free jazz pianists who have contributed to the development of the tone cluster palette include Gunter Hampel and Alexander von Schlippenbach.[64] Muhal Richard Abrams (born 1930) is a composer, arranger, and jazz pianist. ... Warren Harding Sharrock (August 27, 1940 – May 25, 1994) was an American jazz guitarist. ... Marilyn Crispell (born March 30, 1947 in Philadelphia, Pennsylvania) is a composer and jazz pianist. ... Anthony Braxton (born June 4, 1945) is an American composer, multi-reedist and pianist. ... Matthew Shipp (born December 7, 1960) is an American free jazz pianist. ... Gunter Hampel (born August 31, 1937) is a German jazz vibraphonist, clarinettist, saxophonist, flautist, pianist and composer born in Göttingen, Germany, perhaps best-known for his album The 8th of July 1969 that included fellow musicians Anthony Braxton, Willem Breuker and Jeanne Lee. ... Alexander von Schlippenbach (* 1938 in Berlin) is a German jazz pianist and composer. ...


Don Pullen, who bridged free and mainstream jazz, "had a technique of rolling his wrists as he improvised—the outside edges of his hands became scarred from it—to create moving tone clusters. Building up from arpeggios, he could create eddies of noise on the keyboard...like concise Cecil Taylor outbursts."[65] John Medeski employs tone clusters as keyboardist for Medeski, Martin, and Wood, which mixes free jazz elements into its soul jazz/jam band style.[66] Don Pullen (December 25, 1941 - April 22, 1995) was an American jazz pianist and organist. ... Various arpeggios as seen on a staff Notation of a chord in arpeggio In music, an arpeggio is a broken chord where the notes are played or sung in succession rather than simultaneously. ... John Medeski is a pianist and composer. ... Medeski Martin & Wood, or MMW, is a jazz trio originally formed in 1991, consisting of John Medeski on piano and organ, Billy Martin on drums and percussions, and Chris Wood on bass guitar. ... Soul jazz was a development of hard bop which incorporated strong blues and gospel influences in music for small groups featuring keyboards, especially the Hammond organ. ... The term jam band is commonly used to describe psychedelic rock-influenced bands whose concerts largely consist of bands reinterpreting their songs as springboards into extended improvisational pieces of music. ...


In popular music

Like jazz, rock and roll has made use of tone clusters since its birth, if characteristically in a less deliberate manner—most famously, Jerry Lee Lewis's live-performance piano technique of the 1950s, involving fists, arms, flying feet, and derrière. On The Velvet Underground's "Sister Ray," recorded in September 1967, organist John Cale uses tone clusters within the context of a drone; the song is apparently the closest approximation on record of the band's early live sound.[67] Around the same time, Doors keyboardist Ray Manzarek began introducing clusters into his solos during live performances of the band's smash hit "Light My Fire."[68] Kraftwerk's self-titled 1970 debut album employs organ clusters to add variety to its repeated tape sequences.[69] Composers and arrangers such as Duke Ellington, Thad Jones, Nelson Riddle, and Bob Brookmeyer have used clusters for variety in commercial work and they are employed often in the scoring of horror and science-fiction films.[70] Rock and roll (also spelled Rock n Roll, especially in its first decade), also called rock, is a form of popular music, usually featuring vocals (often with vocal harmony), electric guitars and a strong back beat; other instruments, such as the saxophone, are common in some styles. ... Jerry Lee Lewis (born September 29, 1935), also known by the nickname The Killer, is an American rock and roll and country music singer, songwriter, and pianist. ... This article is about the rock band. ... This article is about the song. ... John Davies Cale (born March 9, 1942) is a Welsh musician, songwriter and record producer. ... In music, a drone is a harmonic or monophonic effect or accompaniment where a note or chord is continuously sounded throughout much or all of a piece, sustained or repeated, and most often establishing a tonality upon which the rest of the piece is built. ... This page is about the rock band. ... Raymond Daniel Manzarek or Manczarek (b. ... This article is about The Doors song. ... Kraftwerk (pronounced [], German for power station) is a German musical group from Düsseldorf that has made key contributions to the development of improvisational rock and electronic music, most notably within the latter categorys sub-genres which later became known as synthpop, electro, techno, house and IDM. Early musical... Kraftwerk is the first album by Kraftwerk. ... This article is about the American Jazz composer and performer. ... Thad Jones Thaddeus Joseph Jones (March 28, 1923 - August 21, 1986) was an American jazz trumpeter. ... Nelson Smock Riddle, Jr. ... Robert Brookmeyer (born December 19, 1929) is an American jazz valve trombonist, pianist, and arranger. ... A score is a set of musical compositions written to accompany a film. ...


Use in other music

In traditional Japanese gagaku, the imperial court music, a tone cluster performed on shõ (a type of mouth organ) is generally employed as a harmonic matrix.[71] Lou Harrison's Pacifika Rondo, which mixes Eastern and Western instrumentation and styles, mirrors this approach—sustained organ clusters emulate the sound and function of the shõ.[72] Gagaku (雅楽, literally elegant enjoyment) is a type of Japanese classical music that has been performed at the Imperial court for several centuries. ... Shō (笙) is a Japanese free reed musical instrument that was introduced from China during the Nara period. ... A harmonica is a free reed musical wind instrument (also known, among other things, as a mouth organ, french harp, simply harp, or Mississippi saxophone), having multiple, variably-tuned brass or bronze reeds, each secured at one end over an airway slot of like dimension into which it can freely... In music matrices are used in the visualization of all permutations or forms of a tone row or set in music written using the twelve tone technique or serialism. ...


Notes

  1. ^ Nicholls (1991), p. 155.
  2. ^ Belkin, Alan (2003). Harmony and Texture; Orchestration and Harmony/Timbre. Université de Montréal. Retrieved on 2007-08-18.
  3. ^ The score of The Tides of Manaunaun is reprinted in American Piano Classics: 39 Works by Gottschalk, Griffes, Gershwin, Copland, and Others, ed. Joseph Smith (Mineola, N.Y.: Courier Dover, 2001; ISBN 0-486-41377-2), pp. 43 et seq.
  4. ^ Tyranny, "Blue" Gene (2003-10-01). 88 Keys to Freedom: Segues Through the History of American Piano Music—The Keyboard Goes Bop! and the Melody Spins Off into Eternity (1939 to 1952). NewMusicBox. American Music Center. Retrieved on 2007-08-20. Cooke (1998), p. 205.
  5. ^ For examples, see "Earliest Usages: 1. Pitch" in Byrd, Donald (2007-07-14). Extremes of Conventional Music Notation. Indiana University, School of Informatics. Retrieved on 2007-08-19. See also Rick Altman, Silent Film Sound (New York and Chichester: Columbia University Press, 2004; ISBN 0-231-11662-4), pp. 46–47, for the solo piano Battle of Manassas (1861), by "Black Tom" Bethune. The score instructs the pianist to represent cannon fire at various points by striking "with the flat of the hand, as many notes as possible, and with as much force as possible, at the bass of the piano" (p. 47).
  6. ^ See "Earliest Usages: 1. Pitch" and "Duration and Rhythm: 2. Longest notated duration, including ties" in Extremes of Conventional Music Notation.
  7. ^ Schoenberg (1987), p. 419.
  8. ^ For a discussion of the piece, see Keillor, Elaine (2004-05-10). Writing for a Market—Canadian Musical Composition Before the First World War. Library and Archives Canada/Bibliothèque et Archives Canada. Retrieved on 2007-08-20. The score of Tintamarre and its publication record are also available online via Library and Archives Canada/Bibliothèque et Archives Canada. See also Keillor (2000) and Anger, Humfrey. Encyclopedia of Music in Canada. The Canadian Encyclopedia. Retrieved on 2007-08-20. The early performance history of Tintamarre has not been established.
  9. ^ See Broyles (2004), p. 78, for premiere of these works. The piano music for Ornstein's Sonata for Violin and Piano, op. 31 (1915; not 1913 as is often erroneously given), also employs true tone clusters, though not to the extent of Wild Men's Dance. Three Moods (ca. 1914) for solo piano has been said to contain clusters (Pollack [2000], p. 44); perusal online of the published score, however, does not reveal any. Ornstein's solo piano piece Suicide in an Airplane (n.d.), which makes incontrovertible use of tone clusters in one extended passage, is often erroneously dated "1913" or "ca. 1913"; in fact, it is undated and there is no record of its existence before 1919 (Anderson [2002]).
  10. ^ Quoted in Chase (1992), p. 450.
  11. ^ Thomas B. Holmes notes that the song Majority (aka The Masses), written by Ives in 1888 at the age of fourteen, incorporates tone clusters in the piano accompaniment. He correctly describes this as "a rebellious act for a beginning composer." He errs in calling it "probably the first documented use of a tone cluster in a score" (Electronic and Experimental Music: Pioneers in Technology and Composition [New York and London: Routledge, 2002 (1985); ISBN 0-415-93643-8], p. 35). Swafford (1998) observes that Ives chose to begin his 114 Songs (publ. 1922) with the work (pp. 227, 271, 325). And he too miscredits Ives with the "invention of the tone cluster" (p. 231). On the other hand, he valuably points to Ives's awareness that "tone clusters...had been there since time immemorial when large groups sang. The mistakes were part of the music" (p. 98).
  12. ^ Nicholls (1991), p. 57.
  13. ^ Reed (2005), p. 59; Swafford (1998), p. 262.
  14. ^ Swafford (1998), pp. 251, 252, 472, for descriptions; Sinclair (1999), passim, for proper dating of Scherzo: Over the Pavements, Concord Sonata, and other named pieces: Second String Quartet (1911–13, prem. 1946, publ. 1954); Decoration Day (ca. 1912–13, rev. ca. 1923–24, prem. 1931, publ. 1962); Fourth of July (ca. 1911–13, rev. ca. 1931, publ./prem. 1932).
  15. ^ Pino (1998), p. 258.
  16. ^ Hinson (1990), pp. 43–44.
  17. ^ Nicholls (1991), p. 134.
  18. ^ Broyles (2004), p. 342, n. 10.
  19. ^ Bartok et al. (1963), p. 14 (unpaginated).
  20. ^ Correct dating of Cowell's early works is per Hicks (2002), pp. 80, 85. Correct dating of Cowell's work in general is per the standard catalogue, Lichtenwanger (1986).
  21. ^ Cowell (1993), 12:16–13:14.
  22. ^ Gann, Kyle (2003-10-21). Rosen's Sins of American Omission. ArtsJournal. Retrieved on 2007-08-18.
  23. ^ "Other: 1. Vertical extremes" in Extremes of Conventional Music Notation.
  24. ^ Quoted in Gann (1997), p. 174.
  25. ^ Pollack (2000), p. 44.
  26. ^ Miller and Lieberman (2004), pp. 10, 135.
  27. ^ Salzman (1996), p. 3 (unpaginated).
  28. ^ Meister (2006), p. 131–132.
  29. ^ Reigle, Robert, Glenn (April 2002). Forgotten Gems. La Folia. Retrieved on 2007-08-19.
  30. ^ Trueman, Daniel (1999). Three "Classical" Violins and a Fiddle. Reinventing the Violin. Princeton University, Department of Music. Retrieved on 2007-08-19. See also Robin Stowell, "Extending the Technical and Expressive Frontiers," in The Cambridge Companion to the String Quartet, ed. Stowell (Cambridge: Cambridge University Press, 2003; ISBN 0-521-80194-X), pp. 149–173; p. 162.
  31. ^ Hogan (2003), p. 179.
  32. ^ Swift (1972), pp. 511–512.
  33. ^ Swan, Glenn. Morton Feldman: Rothko Chapel (1971) for Chorus, Viola and Percussion/Why Patterns? (1978) (review). All Music Guide. WindowsMedia. Retrieved on 2007-08-18.
  34. ^ Hinson and Roberts (2006), p. 624.
  35. ^ Hindmarsh, Paul. The Regional Test Pieces 2003. 4barsrest.com. Retrieved on 2007-08-19.
  36. ^ Tommasini (2007).
  37. ^ Halbreich (1988), pp. 9, 11 (unpaginated).
  38. ^ Drury, Stephen (2005-02-15). Callithumpian Consort Announces March Fund Rasing Concert at West Roxbury's Theodore Parker Church. Callithumpian Consort. Retrieved on 2007-08-18.
  39. ^ Miller and Lieberman (2004), pp. 10, 99, 135, 155.
  40. ^ Miller and Lieberman (2004), p. 135.
  41. ^ Lomax (2001), pp. 66–69; Spaeth (1948), p. 420.
  42. ^ See Floyd (1995), p. 72; Berlin (1994), p. 187.
  43. ^ Magee (1998), p. 402.
  44. ^ Meadows (2003), ch. 10.
  45. ^ Harrison (1997), p. 315.
  46. ^ Jazz Legends: Dave Brubeck. Jazz Improv. Retrieved on 2007-08-18.
  47. ^ Hazell (1997); Litweiler (1990), p. 202. See also Watrous (1989).
  48. ^ Litweiler (1990), p. 23.
  49. ^ Davis (2004), p. 78.
  50. ^ Blumenfeld, Larry/Szwed, John F. (ed. Gary Giddins) (1999-06-15). Rockin' in Rhythm. Village Voice. Retrieved on 2007-08-20.
  51. ^ Determeyer (2006), p. 78.
  52. ^ Vosbein, Terry (January 2002). Pete Rugolo and Progressive Jazz. Self-published (scholarly paper by established composer and educator presented at the IAJE International Conference, Chicago). Retrieved on 2007-08-17.
  53. ^ Kaplan, Fred (2004-12-22). All That Jazz: The Year's Best Records. Slate. Retrieved on 2007-08-18.
  54. ^ Kaplan, Fred (2003). Jazz Capsules: The Complete Verve Gerry Mulligan Concert Band Sessions. AVguide.com. Retrieved on 2007-08-18.
  55. ^ Palmer (1986).
  56. ^ Litweiler (1990), p. 202. See also Anderson (2006), pp. 57–58.
  57. ^ Pareles (1988).
  58. ^ Anderson (2006), p. 111.
  59. ^ Szwed (1998), p. 214.
  60. ^ Litweiler (1990), p. 182.
  61. ^ Palmer (1991).
  62. ^ Enstice and Stockhouse (2004), p. 81.
  63. ^ Weinstein (1996).
  64. ^ Svirchev, Laurence (2006). "If You Start from Point-Zero, You Have to Imagine Something": An Interview with Alexander von Schlippenbach. Jazz Journalists Association Library. Retrieved on 2007-08-17.
  65. ^ Ratliff (2002), p. 205.
  66. ^ Pareles (2000).
  67. ^ Schwartz (1996), pp. 97, 94.
  68. ^ Hicks (1999), p. 88.
  69. ^ Bussy (2004), p. 31.
  70. ^ Corozine (2002), p. 11. For a discussion of the use of tone clusters in film scoring, see David Huckvale, "Twins of Evil: An Investigation into the Aesthetics of Film Music," Popular Music vol. 9, no. 1 (January 1990), pp. 1–35. For a description of their role in two individual films, see Shuhei Hosokawa, "Atomic Overtones and Primitive Undertones: Akira Ifukube's Sound Design for Godzilla," in Off the Planet: Music, Sound and Science Fiction Cinema, ed. Philip Hayward (Eastleigh, UK: John Libbey Publ., 2004; ISBN 0-86196-644-9), pp. 42–60; n. 21, p. 60; and, for Close Encounters, Neil Lerner, "Nostalgia, Masculinist Discourse, and Authoritarianism in John Williams' Scores for Star Wars and Close Encounters of the Third Kind," in Off the Planet, pp. 96–107; 105–106.
  71. ^ Malm (2000), pp. 116–117.
  72. ^ Miller and Lieberman (2004), p. 155.

Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 230th day of the year (231st in leap years) in the Gregorian calendar. ... Year 2003 (MMIII) was a common year starting on Wednesday of the Gregorian calendar. ... is the 274th day of the year (275th in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 232nd day of the year (233rd in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 195th day of the year (196th in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 231st day of the year (232nd in leap years) in the Gregorian calendar. ... Year 2004 (MMIV) was a leap year starting on Thursday of the Gregorian calendar. ... is the 130th day of the year (131st in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 232nd day of the year (233rd in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 232nd day of the year (233rd in leap years) in the Gregorian calendar. ... Year 2003 (MMIII) was a common year starting on Wednesday of the Gregorian calendar. ... is the 294th day of the year (295th in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 230th day of the year (231st in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 231st day of the year (232nd in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 231st day of the year (232nd in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 230th day of the year (231st in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 231st day of the year (232nd in leap years) in the Gregorian calendar. ... Year 2005 (MMV) was a common year starting on Saturday (link displays full calendar) of the Gregorian calendar. ... is the 46th day of the year in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 230th day of the year (231st in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 230th day of the year (231st in leap years) in the Gregorian calendar. ... This article is about the year. ... is the 166th day of the year (167th in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 232nd day of the year (233rd in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 229th day of the year (230th in leap years) in the Gregorian calendar. ... Year 2004 (MMIV) was a leap year starting on Thursday of the Gregorian calendar. ... is the 356th day of the year (357th in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 230th day of the year (231st in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 230th day of the year (231st in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st Century. ... is the 229th day of the year (230th in leap years) in the Gregorian calendar. ...

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External links

  • Leo Ornstein Scores several scores, including Wild Men's Dance, featuring tone clusters
  • "New Growth from New Soil" 2004–5 master's thesis on Cowell with detailed consideration of his use of tone clusters (though both The Tides of Manaunaun and Dynamic Motion are misdated); by Stephanie N. Stallings

Listening

Chords
By Type Triad Major · Minor · Augmented · Diminished · Suspended
Seventh Major · Minor · Dominant · Diminished · Half-diminished · Minor-major · Augmented major · Augmented minor
Extended Ninth · Eleventh · Thirteenth
Other Sixth · Augmented sixth · Altered · Added tone · Polychord · Quartal and quintal · Tone cluster· Power
By Function Diatonic Tonic · Dominant · Subdominant · Submediant
Altered Borrowed · Neapolitan chord · Secondary dominant · Secondary subdominant

  Results from FactBites:
 
Tone cluster - Wikipedia, the free encyclopedia (1092 words)
A tone cluster, in music and in Western tuning, is a truly simultaneous chord comprised of consecutive tones separated chromatically: for instance, the tones C, C#, D, D#, E, and F, held at the same time.
Tone clusters...on the piano [are] whole scales of tones used as chords, or at least three contiguous tones along a scale being used as a chord.
Tone clusters have also been employed by a number of jazz artists, particularly in the realm of free jazz.
Cluster - Wikipedia, the free encyclopedia (186 words)
cluster (physics), in molecular physics and solid state physics: A collaboration of (mostly equal) atoms, halfway between molecules and crystals
Cluster mission, an ESA mission to study the magnetosphere
lost cluster, refers to a cluster marked as being used even though it is not assigned to any file.
  More results at FactBites »


 

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