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TRICHORDAL MUSIC

“Trichordal music (or musica tricordale) makes use of the “trichordal technique”.
Trichordal technique is a new pitch-set designed to compose music based on what is called the “two-tone trichord”.
The “two-tone trichord” is a group of three pitches of the tempered scale consisting of two whole tones: for example A – G – F, without any semitones between the three pitches.
This small entity deliberately and historically aims to remind us of the Greek tetrachord, the difference being that the tetrachord uses a pitch-entity of 4 sounds instead of the 3 of trichordal technique.
After long reflection on the quality and weight of the sounds used to generate compositions, and also on the too limited octave space that contained all the past composition techniques that used the tempered scale, whether tonal or total-chromatic, Francesco Valdambrini decided to initiate the trichordal set at a time when the twelve
tones (or, as Schoenberg would say, the pantonal 12 sound) were being arranged side-by-side and superimposed without any difference in weight and dignity, creating – through “atonal music”, dodecaphonic music, structural music, etc. – a huge number of total-chromatic works that offer the ear a sense of hearing and taste deriving from
the almost constant presence of all the twelve tones. The clusters also continue to confirm the twelve-tone ghetto within the octave range.
The “trichordal idea” comes into being as a reaction against the ageing of the total-chromatic sense of hearing, which runs the risk of monotonous greyness with its constant insistence on the equality of weight and quality of the twelve tones and on the quantitative limits of their number: i.e. just twelve tones.”
(From La musica tricordale published by Arca Musica Trento)

For a complete Italian survey of this topic, please refer to this link!

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