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Farben chord
In music, the 'Farben' chord is a chord, in ascending order C-G-B-E-A,〔Elizabeth L. Keathley, "Schoenberg's Op. 16/IV: An Examination of the Sketches", ''Theory and Practice'' Vol. 17 (1992): pp.67–84, citation on p.80.〕 named after its use in ''Five Pieces for Orchestra'', Op.16, No. 3, "Farben" (German: "colors") by Arnold Schoenberg. Its unordered pitch-class content in normal form is 01348 (e.g., C-C-E-E-G), its Forte number is 5-Z17,〔Michiel Schuijer, ''Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts'' (Eastman Studies in Music 60), Rochester: University of Rochester Press, 2008, p.109. ISBN 978-1-58046-270-9.〕〔Allen Forte, "The Golden Thread: Octatonic Music in Webern's Early Songs, with Certain Historical Reflections", in ''Webern Studies'', edited by Kathryn Bailey, pp.74–110. New York: Cambridge University Press, 1996, p.98n21. ISBN 0-521-47526-0.〕 in the taxonomy of Allen Forte.〔Allen Forte, ''The Structure of Atonal Music'', New Haven and London: Yale University Press, 1973, pp.55,84,112,166&180.〕 The identity of the Farben chord, however, depends on ordering of its pitches in a particular voicing.〔John Rahn, ''Basic Atonal Theory'', New York and London: Longman, Inc., 1980, p.64.〕
According to Forte,〔Allen Forte, "The Golden Thread: Octatonic Music in Webern's Early Songs, with Certain Historical Reflections", in ''Webern Studies'', edited by Kathryn Bailey, pp.74–110. New York: Cambridge University Press, 1996, p.98. ISBN 0-521-47526-0.〕 Schoenberg developed the pentad canonically in "Farben" (also titled "Summer Morning by a Lake" or "Chord-Colors"), while Alban Berg used the chord as one of three on which Act I scene 2 of ''Wozzeck'' is based.〔 The pentad is "almost octatonic" and has been called "a 'classic' atonal set type".〔 The chord relates the movement to the other movements of the piece, with it appearing as the first chord of movement No.2 and in movement No.4, "The figure in the first bar (op.16/IV ) is actually a horizontal version of the chord from the preceding movement."〔Elizabeth L. Keathley, "Schoenberg's Op. 16/IV: An Examination of the Sketches", ''Theory and Practice'' Vol. 17 (1992): pp.67–84, citations on pp.77&80.〕
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