A chordioid, also called chord fragment or fragmentary voicing[1] or partial voicing,[1] is

a group of musical notes which does not qualify as a chord under some preferred chord
theory or other, but still useful to name and reify for other reasons.
The main use of chordioids is to form "legitimate" chords enharmonically in 12TET by
adding one or more notes to this base.[2] It is typical of chordioids that many different
resultant chords can be created from the same base depending on the note or
combination of notes added.[2] The resultant chords on a single chordioid are somewhat
related, because they can be progressed between using motion of just one voice.
Theorists or practical music teachers writing of chordioids usually go so far as to
advise that students learn them in the practical manner of chords generally: in all
transpositions, ranges, permutations, and voicings, for reading, writing, and playing[1][2][3]
It is the case, also, that "legitimate chords" can be used as chordioids to create resultant
chords by the same process.[4] Perhaps this is from whence the non-chord chordioids
come. The Italian augmented 6th chord (It+6) is one example, from which proceed the
French augmented 6th chord (Fr+6) and German augmented 6th chord (Gr+6) by
addition of one note. Rawlins(2005) asserts that the notion derives from practice of such
composers as Eric Satie, Claude Debussy, Maurice Ravel, and Gabriel Faure, and was
first used in jazz by Bill Evans.[1]
Two chordioids may potentially be combined, as well. Typically, duplication of notes
will result in a reduced number of unique notes in the resultant.
Chordioids as a technique is related to polychords insofar as polychords are the result of
an additive process, but differs in that the basis of polychords is the addition of two
known chords. Chordioids is related also to upper structures as a technique insofar as
upper structures represent groups of notes not commonly taken to be "legitimate"
chords, but differs in that chordioids as a technique uses a priori structures held in
common rather than a free selection of color tones appropriate for a lower integral
chord. Chordioids is related to slash chords as a technique insofar as known chords may
be used as chordioids to create resultant scales, but differs in that chordioids used are
not exclusively known chords.

Contents
[hide]

1 Master Chord / Dominant 7 Chordioid

2 Non-dominant 7th Chordioids

o 2.1 Major Chordioid
o 2.2 Major-Minor Chordioid
o 2.3 Minor Chordioid

3 Incomplete 7ths and 9ths Chordioids

o 3.1 Dominant 7 Chordioid

o 3.2 M7 Chordioid
o 3.3 75 Chordioid
o 3.4 M75 Chordioid
o 3.5 75 Chordioid
o 3.6 M75 Chordioid
o 3.7 Dominant 9 Chordioid
o 3.8 M9 Chordioid
o 3.9 Dominant 9 Chordioid
o 3.10 M9 Chordioid
o 3.11 Dominant 9 Chordioid
o 3.12 M9 Chordioid

4 Incomplete 11ths Chordioids

o 4.1 Dominant 11 Chordioid
o 4.2 Major 11 Chordioid

5 Augmented Sixth Chords

6 Other Known Chords as Chordioids

7 See also

8 References

Master Chord / Dominant 7 Chordioid[edit]

Nicolas Slonimsky named "master chord"[2] that chordioid described in jazz chord theory
as 7no5, e.g.: { C D F }. The sonority of the chordioid itself is identical to that of the
It+6, a subset of the Wholetone scale and so subject to some of the symmetries and
homogeneity for which that scale is known, and anhemitonic allowing the possibility
that the resultant scale be anhemitonic or at least ancohemitonic itself.

The chord buttons of the Accordion usually play master chords, allowing the bass
buttons (or a second chord button) to supply the variable note (or notes) to complete the
sonority.
The new name and concept, "master chord", thus does not imply either jazz derivation,
completeness of the sonority as an independent chord, nor connection to other use as a
chord of dominant function. It does not speciously denote anything to be "missing", or
posit that the listener should ever hear a note not actually present. It rejects the tertian
chordal basis as pertaining at all. These, the practicality of application, and the variety
of use, are the logical basis of chordioids.
The following table shows the resultant chord for some of the possible added notes:

Added Note
E
E
G
A
B

Master Chord: C D F
Resultant Chord
D79
E95
G(11), Fr+6 to D
D7, Gr+6 to D
C95, B75

Non-dominant 7th Chordioids[edit]

Robert Rawlins based his theory of chordioids off the above as well as permutations of
other major and minor 7th chords.[1] He described his chordiods as the interval of a 2nd
below the interval of a 3rd.[1]

Major Chordioid[edit]
Based upon M7no5, e.g.: { C D F }:[1]
C D F[5]
Added Note
E
F
G
A
A
B

Resultant Chord
E13
FM711
G115
DM7
A(139)
Csus49, Bm add2

Major-Minor Chordioid[edit]
Based upon mM7no5, e.g.: { C D F }:[1]
C D E[5]
Added Note
E

Resultant Chord
E139

G13/115
DmM7
Bm95

G
A
B

Minor Chordioid[edit]
Based upon m7no5, e.g.: { C D F } ,[1] the sonority of the chordioid itself is anhemitonic
allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic
itself.
C D F[5]
Added Note

Resultant Chord
E(139)
G7sus4
Dm7
Badd2

E
G
A
B

Incomplete 7ths and 9ths Chordioids[edit]

Joseph Schillinger based his theory of chordioids off the above as well as those irregular
voicings of 7th chords in which the 5th is present but the 3rd absent, and of 9th chords
in which the 5th and 3rd are both absent.[4]

Dominant 7 Chordioid[edit]
Based upon 7no3, e.g.: { C G B } ,[4] the sonority of the chordioid itself is anhemitonic
allowing the possibility that the resultant scale be anhemitonic or at least ancohemitonic
itself.
C G B[4]
Added Note

Resultant Chord
D(13)
E6
C7
AM9
Am79

D
E
E
A
A

M7 Chordioid[edit]
Based upon M7no3, e.g.: { C G B }:[4]
C G B[4]
Added Note
D
E
A
A

Resultant Chord
D13
CM7
AM9
Am9

75 Chordioid[edit]
Based upon 75no3, e.g.: { C G B } ,[4] the sonority of the chordioid itself is identical
to that of the base triad of the Fr+6, a subset of the Wholetone scale and so subject to
some of the symmetries and homogeneity for which that scale is known, and
anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least
ancohemitonic itself.
C G B[4]
Added Note

Resultant Chord
D(13)
Cm75, Em6
C75
A9

D
E
E
A

M75 Chordioid[edit]
Based upon M75no3, e.g.: { C G B }:[4]
C G B[4]
Added Note
D
E
E
A

Resultant Chord
D13
CmM75
CM75
A(9)

75 Chordioid[edit]
Based upon 75no3, e.g.: { C G B } ,[4] the sonority of the chordioid itself is a subset
of the Wholetone scale and so subject to some of the symmetries and homogeneity for
which that scale is known, and anhemitonic allowing the possibility that the resultant
scale be anhemitonic or at least ancohemitonic itself.
C G B[4]
Added Note
D
E
A

Resultant Chord
D7alt5
C75
AmM9

M75 Chordioid[edit]
Based upon M75no3, e.g.: { C G B }:[4]
C G B[4]
Added Note
D
E

Resultant Chord
D135
CM75

AmM9

Dominant 9 Chordioid[edit]
Based upon 9no5no3, e.g.: { C D B } ,[4] the sonority of the chordioid itself is a subset
of the Wholetone scale and so subject to some of the symmetries and homogeneity for
which that scale is known, and anhemitonic allowing the possibility that the resultant
scale be anhemitonic or at least ancohemitonic itself.
C D B[4]
Added Note
E
E
F
F

Resultant Chord
Cm9
C9
Dm(13)
D(13)

M9 Chordioid[edit]
Based upon M9no5no3, e.g.: { C D B }:[4]
C D B[4]
Added Note
E
E
F
F

Resultant Chord
CmM9
CM9
Dm13
D13

Dominant 9 Chordioid[edit]
Based upon 9no5no3, e.g.: { C D B } ,[4] the sonority of the chordioid itself is
anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least
ancohemitonic itself.
C D B[4]
Added Note
E
E
F

Resultant Chord
Cm9
C(9), DmM13
DM13

M9 Chordioid[edit]
Based upon M9no5no3, e.g.: { C D B },[4] the sonority of the chordioid itself is
cohemitonic assuring that the resultant scale be cohemitonic itself.
C D B[4]
Added Note
E

Resultant Chord
CmM9

CM(9)

Dominant 9 Chordioid[edit]
Based upon 9no5no3, e.g.: { C D B } ,[4] the sonority of the chordioid itself is
anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least
ancohemitonic itself.
C D B[4]
Added Note

Resultant Chord
C(9)
Cm7

E
G

M9 Chordioid[edit]
Based upon M9no5no3, e.g.: { C D B }:[4]
C D B[4]
Added Note

Resultant Chord
CM9
CmM7

E
G

Incomplete 11ths Chordioids[edit]

Dominant 11 Chordioid[edit]
Based upon 11no5no9 (or 7sus4), e.g.: { C F B },[4] the sonority of the chordioid itself
is anhemitonic allowing the possibility that the resultant scale be anhemitonic or at least
ancohemitonic itself.
C F B[4]
Added Note

Resultant Chord
Dm13
Gm11

D
G

Major 11 Chordioid[edit]
Based upon M11no5no9 (or M7sus4), e.g.: { C F B }:[4]
C F B[4]
Added Note
D
G

Resultant Chord
Dm13
G11

Augmented Sixth Chords[edit]

Main article: Augmented sixth chord

Harmonically, augmented sixth chords (+6ths) in prime position require three things:

the interval of a major third up from the bottom note,

the interval of an augmented sixth up from the bottom note, and

strict anhemitonia: that there be no semitones present.[6][7]

Given these requirements, which are minimally fulfilled by the Italian sixth (It+6), e.g.:
{ A C F }, it is possible to derive all potential +6 chords from the It+6. The following
table illustrates:[8]
Italian +6th Chord: A C F.[9][10]
Added Note(s)
Resultant Chord
B/A
A B/A C F
A C E /D F
E /D
E/D
A C E/D F
A C E/D F
E/D
B/A & E /D
A B/A C E /D F
B/A & E/D
A B/A C E/D F
B/A & E/D
A B/A C E/D F
A C D E F
D&E
B/A, D & E
A B/A C D E F

Other Known Chords as Chordioids[edit]

Joseph Schillinger also used basic triads and the master chord as chordioids in building
bigger structures, textures, and strata. His 7th chords were based upon single notes
added below major, minor, diminished, or augmented triads;[11] some of his hybrid 4-part
harmony (including 11th and 13th chords)[4] likewise.