Talk:Petrushka chord

message: The Petrouchka Chord, in all any aspect is always an F# Major chord over a C Major chord.  While Stravinsky stuck to the voicing shown in the example on the page almost entirely throughout Petrouchka, he also varied it in a few senses.  
*In the second part, Rehearsal number 99 if you have the score, and when the piano plays the solo 32nd notes, the piano is alternating an F# Major chord and a G Major chord in the first beat, and then and then an F# major chord and a C Major chord.  In the third bar of rehearsal 99, the piano begins 10 32nd notes per beat, and alternates the follwing notes: F#-A#-D-G-G-C#-D#-C-F-B.  You can't really classify this section in chords; it is much easier to classify it as two scales, a tritone apart, sounding simultaneously.  Thus, I agree with point one to an extent.  These scales sound together simultaneously, yet they are played in different inversions in many different occasions.  So to say that the Petrouchka chord is a C Major chord on top of an F# Major chord in first inversion is false.  
*I do disagree with the writer on point two.  As far as I know there is no evidence that Stravinsky decided on these particular chord because they form nearly an entire octatonic scale, and if the writer of this article cannot provide evidence for that claim, it should be removed.  It is my opinion that Stravinsky used C Major and F# Major simply because they were a tritone apart.  However, I would not enter that either because I have no evidence that that is the reason.  
*As far as point three goes, this is heard frequently throughout the ballet, and is most frequently quoted when discussing the Petrouchka chord because it explains the function of the chords quiet nicely.  It is seen in the music between two clarinets at rehearsal 95, "Doppio valore", between the clarinets again at rehearsal 118, and between the trumpets at the very end of the ballet, two measures before rehearsal 267.  I would side with the writer of this article on point three.  
*Point four has been resolved and point five is simply a mix up of words.  
As opposed to coming onto the talk page and attempting to embarrass the writer of the article with these points, and pointing out obvious mistakes he made, why don't you just be bold and fix them?  As opposed to this stuff, you could have mentioned in the article that this chord has been used many, many times in modern music, namely as the final chord to "West Side Story", a C major chord in all of the upper voices with the basses playing an F#, implying this chord.  I am removing the original research tag since what the writer has written is an accurate description of the Petrouchak chord.  Kntrabssi 18:33, 22 March 2006 (UTC)
replies: text: Why do you come on this page and point out that I may be mistaken to have gone on this page and point out another's mistakes? The article still has problems. For instance, the chord is defined as bitonal while many theorists believe bitonality an impossibility. Hyacinth (talk) 18:38, 9 January 2008 (UTC)
replies: text: In Mikrokosmos 70 the right hand is in F# major and the left hand is in D minor. It is not hard to play, so if many theorists say it is impossible to play in two keys at the same time they are wrong. If many theorists say you can not hear two keys at the same time that does not mean bitonality is impossible. Bitonality does not mean hearing two keys at the same time, it means playing two keys at the same time. If you can not hear what all the parts in a fugue are playing at the same time, that does not mean a fugue is impossible. Fugue is the name for what you play, even if some people can not hear everything all at once. Teenly (talk) 00:02, 3 October 2008 (UTC)
thread_title:  Follow up 

message: "
Leonard Bernstein ends the popular musical West Side Story with a C major chord in the upper voices, and gives the basses an F, which could be seen to imply the Petrushka chord. This is wrong however; it is an example of the tritone that features heavily in Bernstein's score, ending with the tritone to leave the dissonance creating an eerie feeling. The same treatment can be found in the opening sequence and finale of Stephen Schwartz's musical  "Wicked."
John Williams uses it in various parts of his score for the Star Wars Trilogy, an example being the frequent use of major triads in the brass in chromatic intervals of a minor third (two minor thirds forming a tritone) such as G major and D major. "
I have removed the above text from "Other uses" as neither refers to the Petrushka chord and neither is cited. Anyone wants to put it back, be my guest. 86.160.8.241 (talk) 15:39, 24 March 2010 (UTC)
thread_title: Removed a chunk of 'other uses'

message: Where is the (0 4 7) notation from? I've used it myself and am quite surprised to see it on Wikipedia. Tomgg (talk) 08:54, 1 October 2011 (UTC)
thread_title: Abstract notation