In music pandiatonic chords and successions are those formed freely from all degrees of a diatonic scale without regard for their diatonic function, sometimes to the extent of no single pitch being felt as a tonic. The term was invented by Nicolas Slonimsky to describe examples such as the added sixth or the nonfunctional tonality of composers such as Aaron Copland (in his populist works; Jaffe, 1992), Igor Stravinsky (in his neoclassical works), and more recently Steve Reich and John Adams (Jaffe, 1992).

Pandiatonic Music

The following musical works include pandiatonicism.

• John Adams
  • Shaker Loops (Jaffe, 1992)
  • China Gates (Jaffe, 1992)
  • Phrygian Gates (Jaffe, 1992)
• Aaron Copland
  • Appalachian Spring (Jaffe, 1992)
• Eric Dolphy
  • Eric Dolphy
• William Duckworth
  • "Southern Harmony"
• Peter Garland
  • Sones de Flor (http://cutthemullet.tripod.com/may2002.htm)
• Henryk Górecki
  • "Symphony No. 3"
• Constant Lambert
  • Trois pieces negres, pour les touches blanches
• Arvo Pärt
  • Cantus In Memoriam Benjamin Britten
• Steve Reich
  • The Desert Music (Jaffe, 1992)

    Tehillim (Jaffe, 1992)

• Igor Stravinsky
  • Petrushka

Source

• Jaffe, Stephen. Conversation between SJ and JS on the New Tonality, Contemporary Music Review 1992, Vol. 6 (2), pp. 27-38
• Mann, William. London Times (December 27, 1963) via Companion

See also

• Diatonic and chromatic

External links

• Definition of pandiatonic from the glossary at www.arvopart.org

Source

• Jaffe, Stephen. Conversation between SJ and JS on the New Tonality, Contemporary Music Review 1992, Vol. 6 (2), pp. 27-38
• Mann, William. The Times (December 27, 1963) via Companion

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