Weitzmann's Regions, My Cycles, and Douthett's Dancing Cubes

Abstract

Carl Friedrich Weitzmann's treatise on the augmented triad (1853) anticipates modern chromatic theory in several concrete respects. Weitzmann's exploration of semitonal voice-leading between augmented and consonant triads leads him to suggest a configuration of Klang-space that is complementary to my hexatonic systems (1996). Douthett's Cube Dance (1998) unites the two complementary perspectives. Further parallels are noted between Weitzmann's conception of augmented triad space (as reflected in Liszt's Faust Symphony) and Boretz's conception of diminished-seventh space (as reflected in Wagner's Tristan Prelude). The final part of the article explores Weitzmann's position vis-à-vis the evolution from a 7-gamut to a 12-gamut conception of chromatic space.

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