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Each sonority is indicated by a set of numbers.
They represent the distances in semi-tones between the notes of the chord.
The largest number, aways placed in parentheses at the end,
is not really required because the sum of the numbers is always 12.
For the more complex cases, precise examples have been suggested
naming the notes in ascending order (B-C-D-F).
After each possibility, we have added possibilities in chord symbols (if there are any)
and where to find the most basic case of each.
There are 2 lists,
- the first by sonority type, in order of increasing complexity
(and discordance, clusters at the end),
- the second by numerical order.
In each list, tetrads are first, followed by triads,
Like the Definitions page, we will be constantly refining and completing this page.
1. By Sonority Type 4-Note Sonorities Chordal Diatonic Tetrads
3-3-2 (4) = 7 - the DOMINANT in Diatonic Major
= m-6-5 - the BUCKLE chord in Diatonic Minor
= +6 - the Blues chord in Diatonic Major
2-3-3 (4) = m6 - the DOMINANT in Diatonic Minor
= m7-5 - the BUCKLE chord in Diatonic Major
3-2-3 (4) = 6 - the COUNTER in Diatonic Major
= m7 - the ANTEs in Diatonic Major
1-4-3 (4) = 3-4-1 (4) = +7 - the descending TONIC in Diatonic Major
= m-6 - the ascending TONIC in Diatonic Minor
Non-Chordal Diatonic Tetrads
For this section, see Non-chordal Tones
1-2-3 (6) = B-C-D-F, s6 on Dm7
3-2-1 (6) = B-D-E-F, p7 on G6
2-2-3 (5) = C-D-E-G, s-6 on Em7
2-3-2 (5) = C-D-F-G, s4 on G7
3-2-2 (5) = A-C-D-E, p+7 on F6
1-2-4 (5) = E-F-G-B, s6 on G7
1-4-2 (5) = E-F-A-B, s2 on Dm6
2-1-4 (5) = A-B-C-E, s6 on C+7
2-4-1 (5) = F-G-B-C, s4 on C+7
4-1-2 (5) = G-B-C-D, p2 on C+7
4-2-1 (5) = F-A-B-C, p7 on Dm6
Chordal Chromatic Tetrads
3-3-3 (3) = m-5-7, see Diminished Sevenths
2-4-2 (4) = 7-5, see Chromaticism/Diminution
Non-Chordal Chromatic
2-2-4 = 4-2-2 (4) = Eb-F-G-B, s-6 on G7, see Temporary Non-chordal Tones
1-3-4 = 4-1-3 (4) = B-C-Eb-G, s+7 on Cm6, see Temporary Non-chordal Tones
3-1-4 = 4-3-1 (4) = A-C-C#-F, p+7 on Dm7, see Inferior Non-chordal Tones
2-3-1 (6) = C-D-F-F#, p+7s4 on G7, see Inferior Non-chordal Tones
1-3-2 (6) = Bb-B-D-E, s-6p2 on Dm6, the inversion of the preceding example
2-1-3 (6) = A-B-C-D# , s6p+2 on C+7, see Inferior Non-chordal Tones
3-1-2 (6) = Db-E-F-G, p7s-4on Am-6, the inversion of the preceding example
1-3-3 (7) = G-Ab-B-D, s-2s1 on G7
3-3-1 (7) = C-Eb-F#-G, p+4p5 on Cm6
For the preceding 2 examples, see a real Ravel sound
1-3-1 (7) = Bb-B-D-D#, 5+5ss-3 on G7 with 2 diminished octaves
1-4-1 (6) = C-C#-F-F#, 7p+7s4p+4 on G7 with 2 diminished octaves
1-5-1 (5) = A-A#-Eb-E, s2p+2s-6p6 on G7with 2 diminished octaves
For the preceding 3 examples, see Diminished Octaves
3-1-3 (7) = Eb-Gb-G-Bb, s7 on Cm(6) with Orbit 4 and Orbit 0, without Orbit 1
3-1-1 (7) = Eb-Gb-G-G#, s-1s-6 on G(7) with Orbit 4 and Orbit 0, without Orbit 2
1-1-3 (7) = Gb-G-G#-B, p+5p+7 on Cm(6), the inversion of the preceding example
Diatonic Clusters
For this section, see the Clusters page
1-2-2 (7) = E-F-G-A, s6p2 on G7
2-1-2 (7) = A-B-C-D, s6p2 on C+7
2-2-1 (7) = C-D-E-F, s-6p-2 on Em7
2-2-2 (6) = F-G-A-B, s-6p2 on Am7
Chromatic Clusters
This whole section uses Orbit 4 with Orbit 0 and Orbit 3
Orbit 1 is usually left out.
1-1-2 (8) = F-Gb-G-A, s4 on Cm6 without Orbit 1
2-1-1 (8) = F-G-G#-A, p2 on G7 without Orbit 1, the inversion of the preceding example
1-2-1 (8) = E-F-G-G#, s6 on G7 without Orbit 1
1-1-1 (9) = F-Gb-G-G#, s4p+5 on Cm6 without Orbit 1
1-1-4 (6) = F-Gb-G-B, s4s+7 on Cm6 without Orbit 1
4-1-1 (6) = Eb-G-G#-A, p2p-6 on G7 without Orbit 1, the inversion of the preceding example
1-1-5 = 5-1-1 (5) = F-Gb-G-C, s4 on Cm6 without Orbit 3
3-Note Sonorities Chordal Diatonic Triads
3-3 (6) = diminished, m-5
3-4 (5) = minor, m
4-3 (5) = major
Chordal ChromaticTriads
4-4 (4) = Augmented +5, see the Augmented Triad
Non-Chordal Diatonic Triads
This section uses a temporary Non-chordal Tone.
1-5 (6) = B-C-F, s+4 on F,
5-1 (6) = B-E-F, s4 on Bm-5
2-5 = 5-2 (5) = C-D-G, s4 on C
Chordal Diatonic Incomplete Tetrads
This section uses a substitution, no Orbit 1.
2-3 (7) = D-E-G, incomplete Em7, no Orbit 1
3-2 (7) = A-C-D, incomplete F6, inversion of the preceding example
1-4 (7) = B-C-E, incomplete C+7
4-1 (7) = C-E-F, incomplete Am-6, inversion of the preceding example
2-4 (6) = F-G-B, incomplete G7
4-2 (6) = F-A-B,incomplete Dm6, inversion of the preceding example
Non-Chordal Diatonic Incomplete Tetrads
This section uses a combination of substitution of Orbit 1, and a temporary Non-chordal Tone.
1-2 (9) = B-C-D, s+4 on F6
2-1 (9) = D-E-F, p-2 on Em7, inversion of the preceding example
2-2 (8) = C-D-E, p2 on D(m)7
Non-Chordal Chromatic Incomplete Tetrads
This section uses a combination of substitution of Orbit 0, a temporary Non-chordal Tone, and Dominantization.
1-3 (8) = B-C-Eb, s+7 on Cm6
3-1 (8) = B-D-Eb, p-6 on G7, inversion of the preceding example
Chromatic Clusters
A combination of substitution of Orbit 0, Augmentation, and Diminution.
1-1 (10) = Db-D-D#, 5-5#5 on G7 (or Dm6)
2. By Numerical Order 4-Note Sonorities
1-1-1 (9) Chromatic Clusters
1-1-2 (8) Chromatic Clusters
1-1-3 (7) Non-Chordal Chromatic
1-1-4 (6) Chromatic Clusters
1-1-5 (5) Chromatic Clusters
1-2-1 (8) Chromatic Clusters
1-2-2 (7) Diatonic Cluster
1-2-3 (6) Non-Chordal Diatonic
1-2-4 (5) Non-Chordal Diatonic
1-3-1 (7) Non-Chordal Chromatic
1-3-2 (6) Non-Chordal Chromatic
1-3-3 (5) Non-Chordal Chromatic
1-3-4 (4) Non-Chordal Chromatic
1-4-1 (6) Non-Chordal Chromatic
1-4-2 (5) Non-Chordal Diatonic
1-4-3 (4) Chordal Diatonic
1-5-1 (5) Non-Chordal Chromatic
2-1-1 (8) Chromatic Clusters
2-1-2 (7) Diatonic Cluster
2-1-3 (6) Non-Chordal Chromatic
2-1-4 (5) Non-Chordal Diatonic
2-2-1 (7) Diatonic Cluster
2-2-2 (6) Diatonic Cluster
2-2-3 (5) Non-Chordal Diatonic
2-2-4 (4) Non-Chordal Chromatic
2-3-1 (6) Non-Chordal Chromatic
2-3-2 (5) Non-Chordal Diatonic
2-3-3 (4) Chordal Diatonic
2-4-1 (5) Non-Chordal Diatonic
2-4-2 (4) Chordal/Non-Chordal Chromatic
3-1-1 (7) Non-Chordal Chromatic
3-1-2 (6) Non-Chordal Chromatic
3-1-3 (5) Non-Chordal Chromatic
3-1-4 (4) Non-Chordal Chromatic
3-2-1 (6) Non-Chordal Diatonic
3-2-2 (5) Non-Chordal Diatonic
3-2-3 (4) Chordal Diatonic
3-3-1 (5) Non-Chordal Chromatic
3-3-2 (4) Chordal Diatonic
3-3-3 (3) Chordal/Non-Chordal Chromatic
3-4-1 (4) Chordal Diatonic
4-1-1 (6) Chromatic Clusters
4-1-2 (5) Non-Chordal Diatonic
4-1-3 (4)
4-2-1 (5) Non-Chordal Diatonic
4-3-1 (4)
3-Note Sonorities
1-1 (10) Chromatic Clusters
1-2 (9) Non-Chordal Diatonic Incomplete Tetrads
1-3 (8) Non-Chordal Chromatic Incomplete Tetrads
1-4 (7) Chordal Diatonic Incomplete Tetrads
1-5 (6) Non-Chordal Diatonic Triads
2-1 (9) Non-Chordal Diatonic Incomplete Tetrads
2-2 (8) Non-Chordal Diatonic Incomplete Tetrads
2-3 (7) Chordal Diatonic Incomplete Tetrads
2-4 (6) Chordal Diatonic Incomplete Tetrads
2-5 (5) Non-Chordal Diatonic Triads
3-1 (8) Non-Chordal Chromatic Incomplete Tetrads
3-2 (7) Chordal Diatonic Incomplete Tetrads
3-3 (6) Chordal Diatonic Triads
3-4 (5) Chordal Diatonic Triads
4-1 (7) Chordal Diatonic Incomplete Tetrads
4-2 (6) Chordal Diatonic Incomplete Tetrads
4-3 (5) Chordal Diatonic Triads
4-4 (4) Chordal ChromaticTriads
5-1 (6) Non-Chordal Diatonic Triads
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