Chordioid

File:Master chord chardiod resultant chords.png

Nicolas Slonimsky named "master chord" that chordioid described in jazz chord theory as 7no5, e.g.: {{nobreak|{ C D F{{music|sharp}} }. }} The sonority of the chordioid itself is identical to that of the It+6, a subset of the wholetone scale and so subject to some of the symmetries and homogeneity for which that scale is known, and anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.

The chord buttons of the accordion usually play master chords, allowing the bass buttons (or a second chord button) to supply the variable note (or notes) to complete the sonority.

The new name and concept, "master chord", thus does not imply either jazz derivation, completeness of the sonority as an independent chord, nor connection to other use as a chord of dominant function. It does not speciously denote anything to be "missing", or posit that the listener should ever hear a note not actually present. It rejects the tertian chordal basis as pertaining at all. These, the practicality of application, and the variety of use, are the logical basis of chordioids.

The following table shows the resultant chord for each of the possible added notes:

Robert Rawlins based his theory of chordioids off the above as well as permutations of other major and minor 7th chords. He described his chordioids as the interval of a 2nd below the interval of a 3rd.

Based upon M7no5, e.g.: { C D{{music|flat}} F }:

Based upon mM7no5, e.g.: { C D{{music|flat}} F{{music|flat}} }:

Based upon m7no5, e.g.: { C D F }, the sonority of the chordioid itself is anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.

Joseph Schillinger based his theory of chordioids off the above as well as those irregular voicings of 7th chords in which the 5th is present but the 3rd absent, and of 9th chords in which the 5th and 3rd are both absent.Schillinger, Joseph. (1941) The Schillinger System of Musical Composition, Vol. 1, p. 478. New York: Carl Fischer. {{ISBN|0306775212}}

Based upon 7no3, e.g.: { C G B{{music|flat}} }, the sonority of the chordioid itself is anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.

Based upon M7no3, e.g.: { C G B }:

Based upon Dominant seventh flat five chord, e.g.: { C G{{music|flat}} B{{music|flat}} }, the sonority of the chordioid itself is identical to that of the base triad of the Fr+6, a subset of the wholetone scale and so subject to some of the symmetries and homogeneity for which that scale is known, and anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.

Based upon M7{{music|flat}}5no3, e.g.: { C G{{music|flat}} B }, the sonority of the chordioid itself is anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.

Based upon Augmented seventh chord, e.g.: { C G{{music|sharp}} B{{music|flat}} }, the sonority of the chordioid itself is a subset of the wholetone scale and so subject to some of the symmetries and homogeneity for which that scale is known, and anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.

Based upon Augmented major seventh chord, e.g.: { C G{{music|sharp}} B }:

Based upon 9no5no3, e.g.: { C D B{{music|flat}} }, the sonority of the chordioid itself is a subset of the wholetone scale and so subject to some of the symmetries and homogeneity for which that scale is known, and anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.

Based upon M9no5no3, e.g.: { C D B }:

Based upon {{music|flat}}9no5no3, e.g.: { C D{{music|flat}} B{{music|flat}} }, the sonority of the chordioid itself is anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.

Based upon M{{music|flat}}9no5no3, e.g.: { C D{{music|flat}} B }, the sonority of the chordioid itself is cohemitonic assuring that the resultant scale be cohemitonic itself.

Based upon {{music|sharp}}9no5no3, e.g.: { C D{{music|sharp}} B{{music|flat}} }, the sonority of the chordioid itself is anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.

Based upon M{{music|sharp}}9no5no3, e.g.: { C D{{music|sharp}} B }:

{{Main|Eleventh chord}}

Based upon 11no5no9 (or 7sus4), e.g.: { C F B{{music|flat}} }, the sonority of the chordioid itself is anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic itself.

Based upon M11no5no9 (or M7sus4), e.g.: { C F B }:

{{Main|Augmented sixth chord}}

Harmonically, augmented sixth chords (+6ths) in prime position require three things:

• the interval of a major third up from the bottom note,
• the interval of an augmented sixth up from the bottom note, and
• strict anhemitonia: that there be no semitones present.Christ, William (1966). Materials and Structure of Music, v. 2, pp. 153ff. Englewood Cliffs: Prentice–Hall. LOC 66-14354.Tymoczko, Dimitri. (2011) A Geometry of Music, pp. 61ff. New York: Oxford University. {{ISBN|978-0195336672}} .

Given these requirements, which are minimally fulfilled by the Italian sixth (It+6), e.g.: { A{{music|flat}} C F{{music|sharp}} }, it is possible to derive all potential +6 chords from the It+6. The following table illustrates:Prout, Ebenezer. (1889) Harmony: Its Theory and Practice, pp. 197ff. London: Augener.(

Joseph Schillinger also used basic triads and the master chord as chordioids in building bigger structures, textures, and strata. His 7th chords were based upon single notes added below major, minor, diminished, or augmented triads;Schillinger, Joseph. (1941) The Schillinger System of Musical Composition, Vol. 1, p. 447. New York: Carl Fischer. {{ISBN|0306775212}} some of his hybrid 4-part harmony (including 11th and 13th chords) likewise.

• Factor (chord)

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