Pandiatonic

Pandiatonicism is a musical technique of using the diatonic (as opposed to the chromatic) scale without the limitations of functional tonality. Music using this technique is pandiatonic. The term "pandiatonicism" was coined by Nicolas Slonimsky in the second edition of Music since 1900 to describe chord formations of any number up to all seven degrees of the diatonic scale, "used freely in democratic equality" (Kostelanetz 2013, 465). Triads with added notes such as the sixth, seventh, or second (added tone chords) are the most common (Anon. 2001; Kennedy 2006), while the, "most elementary form," is a nonharmonic bass (Andriessen & Schönberger 2006, 57). According to Slonimsky's definition,

Pan-diatonicism sanctions the simultaneous use of any or all seven tones of the diatonic scale, with the bass determining the harmony. The chord-building remains tertian, with the seventh, ninth, or thirteenth chords being treated as consonances functionally equivalent to the fundamental triad. (The eleventh chord is shunned in tonic harmony because of its quartal connotations.) Pan-diatonicism, as consolidation of tonality, is the favorite technique of NEO-CLASSICISM [sic]. (Slonimsky 1938, xxii)

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