Please watch video above for detailed info:
Hi Guys,
Today, a look at the final chord of Arnold Schoenberg’s “Sechs Kleine Klavierstucke” 2nd movement. In thirds this reads as: C–E–G–B–D♯–F♯–A♯–Cx.
Schoenberg Chord in classic form:
This extended chord of a 15th, can also be viewed and heard as a bi-tonal construction of C Major 7th with Eb minorMajor 7th superimposed on top
Schoenberg Chord Clarified:
This can also, be thought of [especially in terms of the guitar] as an arpeggio of CMaj7 and an Arpeggio of EbmMaj7.
Due, to the nature of its sound and collection of notes, it can produce some interesting counterpoint. Especially, as the Eb to E natural resolution creates colour and drama. [view video at top of page].
Being, a Bi-Tonal chord it is useful as it gives us triad pairs.
Ascending Line:
Now, we will take this a stage further by adding more chords/triads available.
D+ to C to EbmMaj7 to CmMaj7 to Em7 to Bmaj7
CHORDS:
Let’s now, re voice the chord. Here we will make the chord of C a minMaj7 and add D Augmented [9th] on top.
In the video/audio [a quick demo I created] below, we can hear the dramatic sound of this voicing in the orchestra.
Next, we have two guitar voicing’s. Firstly we have a Bsus/C [or plain B/C] as a typical McLaughlin guitar voicing.
Secondly, we have the same voicing but with a changing bass.
Lastly, another guitar voicing that is useful for chordal picking:
From here, we will add a partial scale descending that is formed from the chord: This chord voicing has a flattened 5th and a sharpened 9th.
Lastly, we can create some interesting and colourful passages by exploiting the intervals inherent within this 15th chord.
EXAMPLE 1 Ascending:
EXAMPLE 2 Descending:
PDF DOWNLOAD:
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