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In music and music theory, a bichord or polychord consists of two or more chords, one on top of the other.^[2]^[3]^[4] In shorthand they are written with the top chord above a line and the bottom chord below,^[5] for example F above C: ${\frac {F}{C}}$ .

The use of polychords may suggest bitonality or polytonality. Harmonic parallelism may suggest bichords.

Examples may be found in Igor Stravinsky's Petrushka, p. 15, and Rite of Spring, "Dance of the Adolescents" (1921) ^[6] (see Petrushka chord). They may also be found in the song "Point of No Return" from Andrew Lloyd Webber's The Phantom of the Opera, including chords such as ETemplate:Musicm over Fm.^[7]

In the polychords in the image above, the 1st, "might well suggest," a thirteenth chord, the 2nd may suggest a, "d minor ninth chord with upper extensions," but the octave separation of the 3rd makes the suggestion of, "two independent triads with their a m9 apart," even more likely, and the 4th is a, "split-third chord."^[8]

Extended chords contain more than one triad, and so can be regarded as a type of polychord:

Separate chords within an extended chord.^[9] My name: Lindsey Gavin
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]

For example G⁷(Template:Music11Template:Music9) (G-B-D-F-ATemplate:Music-CTemplate:Music) is formed from G major (G-B-D) and DTemplate:Music major (DTemplate:Music-F-ATemplate:Music), or ${\frac {Db}{G}}$ .^[5] (CTemplate:Music=DTemplate:Music)

The Lydian augmented scale, "has a polychord sound built in,"^[10] created by superimposing the Caug and the Emaj (My name: Lindsey Gavin
My age: 28
Country: Sweden
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Postal code: 840 92
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Look into my weblog :: http://www.hostgator1centcoupon.info/) and/or FTemplate:Musicdim (My name: Lindsey Gavin
My age: 28
Country: Sweden
Home town: Vemdalen
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Address: Buanvagen 79

Look into my weblog :: http://www.hostgator1centcoupon.info/) triads that exist in the scale, this being, "a very common practice for most bop and post-bop players [such as McCoy Tyner]."^[11]

Examples of extended chords include the Elektra chord.

File:Park Avenue Beat polychord.png

Fred Steiner's 1957 Perry Mason theme, "Park Avenue Beat", ends with a DM/Cm polychord quoted by Frank Zappa in "Jezebel Boy", Broadway the Hard Way (1988) and described by Walter Everett as "juicy".^[12] My name: Lindsey Gavin
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Home town: Vemdalen
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Address: Buanvagen 79

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Sources

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Template:Chords

↑ Pen, Ronald (1992). Introduction to Music, p.242. ISBN 0-07-038068-6.
↑ Haerle, Dan (1982). The Jazz Language: A Theory Text for Jazz Composition and Improvisation, p.30. ISBN 978-0-7604-0014-2. "The term polychord literally means many (poly) chords. In actual practice, a polychord is usually a combination of only two chords which creates a more complex sound."
↑ Guy Capuzzo, Tom Dempsey (2006). Theory for the Contemporary Guitarist, p.76. ISBN 978-0-7390-3838-3. "A bichord (other-wise known as a polychord) consists of two triads played together."
↑ Edward Shanaphy, Joseph Knowlton (1990). The Do It Yourself Handbook for Keyboard Playing, p.62. ISBN 978-0-943748-00-9. "A polychord is nothing more than the playing of two chords at the same time."
↑ ^5.0 ^5.1 Policastro, Michael A. (1999). Understanding How to Build Guitar Chords and Arpeggios, p.168. ISBN 978-0-7866-4443-8.
↑ Reisberg, Horace (1975). "The Vertical Dimension in Twentieth Century Music", Aspects of Twentieth-Century Music, p.336. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.
↑ Template:Cite web
↑ ^8.0 ^8.1 Kostka & Payne (1995). Tonal Harmony, p.494. Third Edition. ISBN 0-07-035874-5.
↑ Marquis, G. Welton (1964). Twentieth Century Music Idioms. Englewood Cliffs, New Jersey: Prentice-Hall, Inc.
↑ Munro, Doug (2002). Jazz Guitar: Bebop and Beyond, p.36. ISBN 978-0-7579-8281-1.
↑ Munro (2002), p.38.
↑ Walter Everett (Autumn, 2004). "A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan", p.208-209, Music Theory Spectrum, Vol. 26, No. 2, pp. 201-235.

[1] Pen, Ronald (1992). Introduction to Music, p.242. ISBN 0-07-038068-6.

[2] Haerle, Dan (1982). The Jazz Language: A Theory Text for Jazz Composition and Improvisation, p.30. ISBN 978-0-7604-0014-2. "The term polychord literally means many (poly) chords. In actual practice, a polychord is usually a combination of only two chords which creates a more complex sound."

[3] Guy Capuzzo, Tom Dempsey (2006). Theory for the Contemporary Guitarist, p.76. ISBN 978-0-7390-3838-3. "A bichord (other-wise known as a polychord) consists of two triads played together."

[4] Edward Shanaphy, Joseph Knowlton (1990). The Do It Yourself Handbook for Keyboard Playing, p.62. ISBN 978-0-943748-00-9. "A polychord is nothing more than the playing of two chords at the same time."

[Policastro,_Michael_A._1999_p.168-5] 5.0 ^5.1 Policastro, Michael A. (1999). Understanding How to Build Guitar Chords and Arpeggios, p.168. ISBN 978-0-7866-4443-8.

[6] Reisberg, Horace (1975). "The Vertical Dimension in Twentieth Century Music", Aspects of Twentieth-Century Music, p.336. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.

[7] Template:Cite web

[K&P-8] 8.0 ^8.1 Kostka & Payne (1995). Tonal Harmony, p.494. Third Edition. ISBN 0-07-035874-5.

[9] Marquis, G. Welton (1964). Twentieth Century Music Idioms. Englewood Cliffs, New Jersey: Prentice-Hall, Inc.

[10] Munro, Doug (2002). Jazz Guitar: Bebop and Beyond, p.36. ISBN 978-0-7579-8281-1.

[11] Munro (2002), p.38.

[12] Walter Everett (Autumn, 2004). "A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan", p.208-209, Music Theory Spectrum, Vol. 26, No. 2, pp. 201-235.

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+[[Image:Polychord C major and F major.png|thumb|Bitonal polychord: F major on top of C major.<ref>Pen, Ronald (1992). ''Introduction to Music'', p.242. ISBN 0-07-038068-6.</ref> {{Audio|Polychord C major and F major.mid|Play}}]]
+In [[music]] and [[music theory]], a '''bichord''' or '''polychord''' consists of two or more [[chord (music)|chord]]s, one on top of the other.<ref>Haerle, Dan (1982). ''The Jazz Language: A Theory Text for Jazz Composition and Improvisation'', p.30. ISBN 978-0-7604-0014-2. "The term polychord literally means many (poly) chords. In actual practice, a polychord is usually a combination of only two chords which creates a more complex sound."</ref><ref>Guy Capuzzo, Tom Dempsey (2006). ''Theory for the Contemporary Guitarist'', p.76. ISBN 978-0-7390-3838-3. "A bichord (other-wise known as a polychord) consists of two triads played together."</ref><ref>Edward Shanaphy, Joseph Knowlton (1990). ''The Do It Yourself Handbook for Keyboard Playing'', p.62. ISBN 978-0-943748-00-9. "A polychord is nothing more than the playing of two chords at the same time."</ref> In shorthand they are written with the top chord above a line and the bottom chord below,<ref name="Policastro, Michael A. 1999 p.168">Policastro, Michael A. (1999). ''Understanding How to Build Guitar Chords and Arpeggios'', p.168. ISBN 978-0-7866-4443-8.</ref> for example F above C: <math>\frac{F}{C}</math>.
+The use of polychords may suggest [[polytonality|bitonality]] or polytonality. [[parallel harmony|Harmonic parallelism]] may suggest bichords.
+Examples may be found in [[Igor Stravinsky]]'s ''[[Petrushka]]'', p.&nbsp;15, and ''[[The Rite of Spring|Rite of Spring]]'', "Dance of the Adolescents" (1921) <ref>Reisberg, Horace (1975). "The Vertical Dimension in Twentieth Century Music", ''Aspects of Twentieth-Century Music'', p.336. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.</ref> (see [[Petrushka chord]]). They may also be found in the song "Point of No Return" from [[Andrew Lloyd Webber]]'s ''[[The Phantom of the Opera (1986 musical)|The Phantom of the Opera]]'', including chords such as E{{music|flat}}m over Fm.<ref>{{cite web|url=http://www.scribd.com/doc/14869318/Past-the-Point-of-No-Return|title=Past the Point of No Return|publisher=Scribd|accessdate=Jul 6, 2009}}</ref>
+[[Image:Polychords various over Dm.png|thumb|center|400px|Polychords: Em, EbM, EbM, and DM over Dm.<ref name="K&P">Kostka & Payne (1995). ''Tonal Harmony'', p.494. Third Edition. ISBN 0-07-035874-5.</ref> {{Audio|Polychords various over Dm.mid|Play}}]]
+In the polychords in the image above, the 1st, "might well suggest," a [[thirteenth chord]], the 2nd may suggest a, "d minor [[ninth chord]] with upper extensions," but the octave separation of the 3rd makes the suggestion of, "two independent triads with their a m9 apart," even more likely, and the 4th is a, "[[split-third chord]]."<ref name="K&P"/>
+[[Extended chord]]s contain more than one [[Triad (music)|triad]], and so can be regarded as a type of polychord:
+[[Image:Thirteenth-polychord.PNG|thumb|center|400px|Separate chords within an [[extended chord]].<ref>Marquis, G. Welton (1964). ''Twentieth Century Music Idioms''. Englewood Cliffs, New Jersey: Prentice-Hall, Inc.</ref> {{audio|Thirteenth-polychord.mid|Play}}]]
+[[Image:G7(sharp11b9) vs Db over G chord.png|thumb|G<sup>7</sup>({{music|#}}11{{music|b}}9) vs <math>\frac{Db}{G}</math> chord. {{audio|G7(sharp11b9) vs Db over G chord.mid|Play}}]]
+For example G<sup>7</sup>({{music|#}}11{{music|b}}9) (G-B-D-F-A{{music|b}}-C{{music|#}}) is formed from G major (G-B-D) and D{{music|b}} major (D{{music|b}}-F-A{{music|b}}), or <math>\frac{Db}{G}</math>.<ref name="Policastro, Michael A. 1999 p.168"/> (C{{music|#}}=D{{music|b}})
+The [[Lydian augmented scale]], "has a polychord sound built in,"<ref>Munro, Doug (2002). ''Jazz Guitar: Bebop and Beyond'', p.36. ISBN 978-0-7579-8281-1.</ref> created by superimposing the Caug and the Emaj ({{audio|Augmented major seventh chord on C.mid|Play}}) and/or F{{music|#}}dim ({{audio|Lydian augmented polychord on C.mid|Play}}) triads that exist in the scale, this being, "a very common practice for most [[Bebop|bop]] and [[post-bop]] players [such as [[McCoy Tyner]]]."<ref>Munro (2002), p.38.</ref>
+Examples of extended chords include the [[Elektra chord]].
+[[Image:Park Avenue Beat polychord.png|thumb|right|250px|[[Fred Steiner]]'s 1957 ''[[Perry Mason]]'' [[theme music|theme]], "[[Park Avenue Beat]]", ends with a DM/Cm polychord quoted by [[Frank Zappa]] in "[[Jezebel Boy]]", ''[[Broadway the Hard Way]]'' (1988) and described by Walter Everett as "juicy".<ref>Walter Everett (Autumn, 2004). "A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan", p.208-209, ''Music Theory Spectrum'', Vol. 26, No. 2, pp. 201-235.</ref> {{Audio|Park Avenue Beat polychord.mid|Play}}]]
+==See also==
+* [[Secundal]]
+* [[Tertian]]
+* [[Quartal and quintal harmony|quartal]]
+* [[Upper structure]]
+==Sources==
+{{reflist}}
+{{Chords}}
+[[Category:Chords]]
+[[Category:Post-tonal music theory]]

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