Pandiatonic

In music, pandiatonicism refers to the technique of using the diatonic (as opposed to the chromatic) scale without the limitations of functional tonality. Pandiatonic music typically uses the notes of the diatonic scale freely in dissonant combinations without conventional resolutions and/or without standard chord progressions, sometimes to the extent that no single pitch is felt as a tonic. Pandiatonicism is also referred to as "white-note music", though in fact occasional accidentals may be present. Triads with added dissonances, such as a second or sixth (added tone chords), are typical. The term pandiatonicism was coined by the musicologist Nicolas Slonimsky to describe the nonfunctional tonality of composers such as Igor Stravinsky (in his Russian and neoclassical periods; Jaffe, 1992) and Aaron Copland (in his populist works; Jaffe, 1992). More recently, pandiatonicism has been used by composers such as Arvo Pärt, Steve Reich (Jaffe, 1992), Eric Whitacre and John Adams (composer) (Jaffe, 1992).

The Beatles used pandiatonicism in many of their songs, including "This Boy" (Mann, 1963).

Pandiatonic Music

The following musical works include pandiatonicism.

• John Adams
  • Shaker Loops (Jaffe, 1992)
  • China Gates (Jaffe, 1992)
  • Phrygian Gates (Jaffe, 1992)
• John Luther Adams
  • "In the White Silence"^{[citation needed]}
• Aaron Copland
  • Appalachian Spring (Jaffe, 1992)
• Steve Reich
  • The Desert Music (Jaffe, 1992)

    Tehillim (Jaffe, 1992)

Sources

• 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
• . May 26, 2002: 11:42 AM. Eyes That Can See in the Dark.

External links

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