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In music, the mystic chord or Prometheus chord is a six-note synthetic chord and its associated scale, or pitch collection; which loosely serves as the harmonic and melodic basis for some of the later pieces by Russian composer Alexander Scriabin. Scriabin, however, did not use the chord directly but rather derived material from its transpositions. It consists of the pitch classes: C, F, B, E, A, D. This is often interpreted as a quartal hexachord consisting of an augmented fourth, diminished fourth, augmented fourth, and two perfect fourths. However, the chord may be spelled in a variety of ways, and it is related to other pitch collections, such as being a hexatonic subset of the Overtone scale, lacking the perfect fifth. ==Nomenclature== The term "mystic chord", appears to derive from Scriabin's intense interest in Theosophy, and the chord is imagined to reflect this mysticism. It was coined by Arthur Eaglefield Hull in 1916.〔"Skryabin and the Impossible", p.314. Simon Morrison. ''Journal of the American Musicological Society'', Vol. 51, No. 2. (Summer, 1998), pp. 283-330.〕 It is also known as the "Prometheus chord", after its extensive use in his work ''Prometheus: The Poem of Fire, Op.60''. The term was invented by Leonid Sabaneyev.〔 Scriabin himself called it the "chord of the pleroma" (aккорд плеромы - akkord pleromy),〔 which "was designed to afford instant apprehension of -that is, to ''reveal''- what was in essence beyond the mind of man to conceptualize. Its preternatural stillness was a gnostic intimation of a hidden otherness."〔"Chernomor to Kashchei: Harmonic Sorcery; Or, Stravinsky's 'Angle'". Richard Taruskin. ''Journal of the American Musicological Society'', Vol. 38, No. 1. (Spring, 1985), pp. 72-142. Cited in Morrison (1998).〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「mystic chord」の詳細全文を読む スポンサード リンク
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