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This is the talk page for discussing improvements to the Polychord article. This is not a forum for general discussion of the article's subject.
Ideally, it would look something like , but sadly, the fonts are too big and there is no proper wikiformatting for notating polychords (for example, the "♭" symbol is substituted for "b" and any attempt to write a "#" will result in a parsing error). Hearfourmewesique (talk) 09:15, 7 July 2009 (UTC)[reply]
It's still unusually dissonant and therefore usable only in very limited cases, thus inappropriate for an educational article. These voicings could only be used in an article that describes unusual exceptions, so that the reader is well aware of it by simply looking at the title. Hearfourmewesique (talk) 14:35, 7 July 2009 (UTC)[reply]
"It's unusually dissonant and usable only in very limited cases"? Are you serious? The whole point of polychords is dissonance, it's why they exist. A more dissonant polychord is no less usable than a less dissonant polychord. In fact, a polychord that isn't dissonant ceases to have polytonal function and is merely a triad with upper extensions. This article makes it sound like any thirteenth chord counts as a polychord, it doesn't, it only counts as a polychord within a polychordal context, in which other, most likely more dissonant, polychords exist. Exemption of 'unusually' dissonant polychords from this article makes it completely worthless as an educational article. 86.164.65.190 (talk) 23:34, 15 April 2011 (UTC)[reply]
Incorrect/missing accidentals in Park Avenue Beat example
The musical notation in the image at http://en.wikipedia.org/wiki/File:Park_Avenue_Beat_polychord.png is unclear. The text associated with the image describes the final chord as D major over C minor. The upper chord is A-flat, D, F-sharp and A-flat, which is not a D major chord. Perhaps it is missing two accidental naturals?
I think examples should all be shown as notes, not just technical text.
A history of the use of polychords is necessary, such as, where did they first originate? Satie? Salzedo?
How do polychords affect harmonic progression? In Salzedo's Ballade, you can see chords of three triads (13ths) progressing in parallel movement, but also up-down, where the upper triad progresses to the lower triad of the next chord and vice-versa. As far as I know, this style of composing originates in Paris and likely derives from Satie. I see Milhaud using elements of it.
Then the issue of bitonality is how do the parallel structures relate to each other? How do modal elements influence this? Again, everything should be written out in musical notes to be meaningful to readers. — Preceding unsigned comment added by Baron D. Z. (talk • contribs) 17:51, 2 December 2017 (UTC)[reply]
, but sadly, the fonts are too big and there is no proper wikiformatting for notating polychords (for example, the "♭" symbol is substituted for "b" and any attempt to write a "#" will result in a parsing error). Hearfourmewesique (talk) 09:15, 7 July 2009 (UTC)[reply]
