He then made a special study of Alexander Scriabin, and became an authority on that composer (see synthetic chord).

Certain of Scriabin's late pieces are based on other synthetic chords or scales that do not rely on the mystic chord.

These sets, which Roslavets himself called "synthetic chords" (sintetakkordy), were in fact not quite as arbitrary as they looked to their first analyst.

New trends in music (like music based on synthetic chords) were proposed by enthusiastic clubs such as Association for Contemporary Music.

Though the "new system of sound organisation" regulates the whole twelve-tone chromatic scale, most of Roslavets' "synthetic chords" consist of six to nine tones.

At its center is a homespun system of harmony based on what he called "synthetic chords" and out of which he derived a tightly knit, post-tonal music.

Though Roslavets (1880-1944) derived his harmonic language from a complex system he called synthetic chords, his Five Preludes and Three Études sounded anything but theoretical.

However, synthetic chords originated not with Roslavets but with musicologist Sabaneev and his study of composer Scriabin's Prometheus published in 1910.

Scriabin's Mystic chord, when considered as the "Prometheus scale", is an example of a synthetic chord in that it is whole tone scale with one degree altered.

In a modest way, the goofy props placed Ms. Nowottny in the sphere where her songs unfold, an artificial neverland of shimmering synthetic chords and tremulous melodies.

No sooner had Scott followed Zett out of the turbolift than he was met by an impenetrable wall of sound, heavy with driving bass and raging with a drone of synthetic chords.

An example of a synthetic chord would be the repeated chord in the first act of Puccini's Turandot at the beginning of the text passage "Non indugiare, se chiami appare...".

This tritone relationship between possible resolutions is important to Scriabin's harmonic language, and it is a property shared by the French sixth (also prominent in his work) of which the synthetic chord can be seen as an extension.

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.

Nicolas Slonimsky compares the synthetic chord to a "typical terminal" chord of jazz, rag-time, and rock, the major tonic chord with an added sixth and ninth (if the root is C: C, G, E, A, D), and to Debussy's post-Wagnerian "enhanced" dominant seventh chords.

For example, if a composer uses a synthetic scale as the basis for a passage of music and constructs chords from its tones, in much the same way that a tonal composer may use a major or minor scale's notes to build harmonies, then the resulting chords may be synthetic chords and referred to as such.