in music, three or more single pitches heard simultaneously. Depending on the harmonic style, chords may be consonant, implying repose, or dissonant, implying subsequent resolution to and by another chord. In traditional Western harmony, chords are formed by superimpositions of intervals (interval) of a third. Thus, the basic triad results from the superimposition of two conjunct thirds encompassing the interval of a fifth; for example, e–g (a minor third) superimposed on c–e (a major third) yields the triad c–e–g. Superimposition of an additional third produces a seventh chord, for example, c–e–g–b or c–e–g–b♭ (c–b and c–b♭ are, respectively, major and minor sevenths); a further third expands the seventh chord to a ninth chord (c–e–g–b–d′). In Western art music of the late 19th century, seventh and ninth chords, serving as expressive reinforcements of basic harmonic functions, often replaced the triad altogether.

Chords of superimposed fourths, for example, c–f♯–b♭–e′–a′–d″, the “mystic chord” of the Russian composer Aleksandr Scriabin (1872–1915), first appeared in early 20th-century works. More recently, “tone clusters” of adjacent pitches (for example c–d–e–f♯) were introduced into music that eschewed the traditional harmonic approach in favour of purely melodic-rhythmic forces.

Broken chords (i.e., chords broken up melodically into their intervallic components) have long furnished basic motivic materials for instrumental compositions, especially of the homophonic variety conceived in terms of the diatonic harmonic system that governed the late 18th and early 19th centuries, when triadic themes were favoured. Early in the 20th century, on the other hand, Arnold Schoenberg enhanced his First Chamber Symphony, Opus 9 (1906), with a melodic motto of four superimposed fourths.