Abstract
Carl Friedrich Weitzmann's treatise on the augmented triad (1853) anticipates modern chromatic theory in several concrete respects. Weitzmann's exploration of semitonal voice-leading between augmented and consonant triads leads him to suggest a configuration of Klang-space that is complementary to my hexatonic systems (1996). Douthett's Cube Dance (1998) unites the two complementary perspectives. Further parallels are noted between Weitzmann's conception of augmented triad space (as reflected in Liszt's Faust Symphony) and Boretz's conception of diminished-seventh space (as reflected in Wagner's Tristan Prelude). The final part of the article explores Weitzmann's position vis-à-vis the evolution from a 7-gamut to a 12-gamut conception of chromatic space.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
