Using Pandiatonic harmony for Modes.

[Emery Szasz]

Why has tonality been geared to only tertian harmony? Why hasn't
it been developed to other possible basis that is not concerning the
harmonic series? It is evident that other systems are formable to
generate music - namely 1)pitch class sets atonality and 2)serial tones.
The first one is a system that, to which I believe, is more than just
atonal; it is rather sensing the various related vectors instead of the
listening to the tones themselves. The second is a repetition of arranged
tones and its inversion, retrograde, & RI, and their segmenting. Both of
them has nothing to do with the harmonic series yet they produce music.

Musical expression of dynamics, color, and rhythm may be better
enabled through the allowance of all extension of harmony and modes. I am
certain that another system is available for modality if one views the
relationships of all possible diatonic chords applied to appropriate
modes.

The Righteous shall live by Faith,
------- Emery Szasz (afn5...@afn.org)
A Theory on Open Modality
http://www.afn.org/~afn54096/mus-theor/home.html

[Gareth McGuiness]

You should try and get hold of work of Dutch music theorist Peter Schaat
and his "tone-clock" system of pitch organisation.

This system explores the twelve existing triads within the chromatic
scale, including the diatonic triad (which is just one of the twelve
possibilities, which Schaat labels "hours").

Included are triad combinations which may be considered pandiatonic, but
the labelling system is more comprehensive than putting ad hoc labels on
music seeming to predominantly use one interval grouping.