I like to think of the Chord Catalogue
as a sort of natural phenomenonæsomething which has always been present
in the ordinary musical scale, and which I simply observed, rather than invented.
It is not so much a composition as simply a list.
Tom Johnson , 1985
and, one would think, extremely simple. A lesser man would have arranged those
8178 chords in some symphonically meaningful, or else quasi-random order, but
Johnson proceeded methodically up the chromatic scale from two notes at a time,
three, four, so on to 13. Before each section he would disconcertingly inform
us, "the 715 four-note chords... the 1287 five-note chords..." His
modest promise that we would "get the idea of the piece" within a
few minutes wasn't really true. Two-note chords were predictably dull, three-note
ones little better.But four notes began to sound almost like functional tonality
in this denuded context: five sounded noticeagbly lusher, and reminded one of
the era in which harmony was enriched by ninth chords and similar possibilities.
By the time we reached 10-note chords, the information overload was such that
differences were hardly perceptible, a situation reminiscent of serial music.
Far from being heavy-handed minimalism, the Chord Catalogue was a pointed
lesson in musi!c history and the relativity of perception.
Kyle Gann, Village Voice (April 14, 1987)
|2. Los 286 acordes de tres notas|
|3. Los 715 acordes de cuatro notas|
|4. Los 1287 acordes de cinco notas|
|5. Los 1716 acordes de seis notas|
|6. Los 1716 acordes de siete notas|
|7. Los 1287 acordes de ocho notas|
|8. Los 715 acordes de nueve notas|
|9. Los 286 acordes de diez notas|
|10. Los 78 acordes de once notas|
|11. Los 13 acordes de doce notas|
|12. El acorde de trece notas|
Ejemplos sonoros en formato MP3.
Another transcendental experience was Tom Johnson's
Chord Catalogue, which included all the 8178 chords possible in the octave
c - c1, from the two-note chords to the complete cluster. Johnson, who required
only one hour for this, is the only pianist who can make his way through the
dizzying multiplicity of colors present in the equal-tempered scale. Resonances
in the space, and excitations in the ears, caused sheer psychedelic perceptions,
that well surpassed the simple combinations game.
Matthias Entress, Berliner Morgenpost. Nov. 24, 1998