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Farben chord<ref>Robert D. Morris, "Equivalence and Similarity in Pitch and Their Interaction with PCSet Theory", Journal of Music Theory Vol. 39, No. 2 (August 1995), pp.207–43; citation on p.219.</ref> About this sound Play .

In music, the 'Farben' chord is a chord, in ascending order C-G-B-E-A,<ref>Elizabeth L. Keathley, "Schoenberg's Op. 16/IV: An Examination of the Sketches", Theory and Practice Vol. 17 (1992): pp.67–84, citation on p.80.</ref> named after its use in Five Pieces for Orchestra, Op.16, No. 3, "Farben" (German: "colors") by Arnold Schoenberg. Its unordered pitch-class content in normal form is 01348 (e.g., C-C-E-E-G), its Forte number is 5-Z17,<ref>Michiel Schuijer, Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts (Eastman Studies in Music 60), Rochester: University of Rochester Press, 2008, p.109. ISBN 978-1-58046-270-9.</ref><ref name="Bailey">Allen Forte, "The Golden Thread: Octatonic Music in Webern's Early Songs, with Certain Historical Reflections", in Webern Studies, edited by Kathryn Bailey, pp.74–110. New York: Cambridge University Press, 1996, p.98n21. ISBN 0-521-47526-0.</ref> in the taxonomy of Allen Forte.<ref>Allen Forte, The Structure of Atonal Music, New Haven and London: Yale University Press, 1973, pp.55,84,112,166&180.</ref> The identity of the Farben chord, however, depends on ordering of its pitches in a particular voicing.<ref name="Rahn">John Rahn, Basic Atonal Theory, New York and London: Longman, Inc., 1980, p.64.</ref>{{ safesubst:#invoke:Unsubst||$N=Failed verification |date=__DATE__ |$B= {{#invoke:Category handler|main}}[not in citation given] }}

According to Forte,<ref name="Bailey98">Allen Forte, "The Golden Thread: Octatonic Music in Webern's Early Songs, with Certain Historical Reflections", in Webern Studies, edited by Kathryn Bailey, pp.74–110. New York: Cambridge University Press, 1996, p.98. ISBN 0-521-47526-0.</ref> Schoenberg developed the pentad canonically in "Farben"{{ safesubst:#invoke:Unsubst||$N=Vague |date=__DATE__ |$B= {{#invoke:Category handler|main}}[vague] }} (also titled "Summer Morning by a Lake" or "Chord-Colors"), while Alban Berg used the chord as one of three on which Act I scene 2 of Wozzeck is based.<ref name="Bailey"/> The pentad is "almost octatonic" and has been called "a 'classic' atonal set type".<ref name="Bailey98"/> The chord relates the movement to the other movements of the piece, with it appearing as the first chord of movement No.2 and in movement No.4, "The figure in the first bar [of op.16/IV] is actually a horizontal version of the chord from the preceding movement."<ref>Elizabeth L. Keathley, "Schoenberg's Op. 16/IV: An Examination of the Sketches", Theory and Practice Vol. 17 (1992): pp.67–84, citations on pp.77&80.</ref>


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Farben chord<ref>Robert D. Morris, "Equivalence and Similarity in Pitch and Their Interaction with PCSet Theory", Journal of Music Theory Vol. 39, No. 2 (August 1995), pp.207–43; citation on p.219.</ref> About this sound Play .

In music, the 'Farben' chord is a chord, in ascending order C-G-B-E-A,<ref>Elizabeth L. Keathley, "Schoenberg's Op. 16/IV: An Examination of the Sketches", Theory and Practice Vol. 17 (1992): pp.67–84, citation on p.80.</ref> named after its use in Five Pieces for Orchestra, Op.16, No. 3, "Farben" (German: "colors") by Arnold Schoenberg. Its unordered pitch-class content in normal form is 01348 (e.g., C-C-E-E-G), its Forte number is 5-Z17,<ref>Michiel Schuijer, Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts (Eastman Studies in Music 60), Rochester: University of Rochester Press, 2008, p.109. ISBN 978-1-58046-270-9.</ref><ref name="Bailey">Allen Forte, "The Golden Thread: Octatonic Music in Webern's Early Songs, with Certain Historical Reflections", in Webern Studies, edited by Kathryn Bailey, pp.74–110. New York: Cambridge University Press, 1996, p.98n21. ISBN 0-521-47526-0.</ref> in the taxonomy of Allen Forte.<ref>Allen Forte, The Structure of Atonal Music, New Haven and London: Yale University Press, 1973, pp.55,84,112,166&180.</ref> The identity of the Farben chord, however, depends on ordering of its pitches in a particular voicing.<ref name="Rahn">John Rahn, Basic Atonal Theory, New York and London: Longman, Inc., 1980, p.64.</ref>{{ safesubst:#invoke:Unsubst||$N=Failed verification |date=__DATE__ |$B= {{#invoke:Category handler|main}}[not in citation given] }}

According to Forte,<ref name="Bailey98">Allen Forte, "The Golden Thread: Octatonic Music in Webern's Early Songs, with Certain Historical Reflections", in Webern Studies, edited by Kathryn Bailey, pp.74–110. New York: Cambridge University Press, 1996, p.98. ISBN 0-521-47526-0.</ref> Schoenberg developed the pentad canonically in "Farben"{{ safesubst:#invoke:Unsubst||$N=Vague |date=__DATE__ |$B= {{#invoke:Category handler|main}}[vague] }} (also titled "Summer Morning by a Lake" or "Chord-Colors"), while Alban Berg used the chord as one of three on which Act I scene 2 of Wozzeck is based.<ref name="Bailey"/> The pentad is "almost octatonic" and has been called "a 'classic' atonal set type".<ref name="Bailey98"/> The chord relates the movement to the other movements of the piece, with it appearing as the first chord of movement No.2 and in movement No.4, "The figure in the first bar [of op.16/IV] is actually a horizontal version of the chord from the preceding movement."<ref>Elizabeth L. Keathley, "Schoenberg's Op. 16/IV: An Examination of the Sketches", Theory and Practice Vol. 17 (1992): pp.67–84, citations on pp.77&80.</ref>


Farben chord sections
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