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Elektra chord
Component intervals from root
	diminished fourth
	minor second
	diminished seventh
	perfect fifth
	root
Forte no. / Complement
	5-32 / 7-32

*Elektra* chord: E B D♭ F A♭.

Elektra chord

Elektra chord as arpeggio then simultaneously

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The Elektra chord is a "complexly dissonant signature-chord"^[1] and motivic elaboration used by composer Richard Strauss to represent the title character of his opera Elektra that is a "bitonal synthesis of E major and C-sharp major" and may be regarded as a polychord related to conventional chords with added thirds,^[2] in this case an eleventh chord. It is enharmonically equivalent to a 7♯9 chord : D♭-F-A♭-C♭-E and a 6♭9 chord : E-G♯-B-C♯-F.

In Elektra the chord, Elektra's "harmonic signature" is treated various ways betraying "both tonal and bitonal leanings...a dominant ⁴
₂ over a nonharmonic bass." It is associated as well with its seven note complement which may be arranged as a dominant thirteenth^[1] while other characters are represented by other motives or chords, such as Klytämnestra's contrasting harmony. The Elektra chord's complement appears at important points and the two chords form a 10-note pitch collection, lacking D and A, which forms one of Elektra's "distinctive 'voices'"^[3]

Use in other works

The chord is also found in Claude Debussy's Feuilles mortes, where it may be analyzed as an appoggiatura to a minor ninth chord, and Franz Schreker's Der ferne Klang, and Alexander Scriabin's Sixth Piano Sonata.^[2]

References

^ ^a ^b Lawrence Kramer. "Fin-de-siècle Fantasies: Elektra, Degeneration and Sexual Science", Cambridge Opera Journal, Vol. 5, No. 2. (Jul., 1993), pp. 141-165.
^ ^a ^b H. H. Stuckenschmidt; Piero Weiss. "Debussy or Berg? The Mystery of a Chord Progression", The Musical Quarterly, Vol. 51, No. 3. (Jul., 1965), pp. 453-459.
^ Carolyn Abbate, 'Music and Language in Elektra', in Richard Strauss: Elektra, ed. Derrick Puffett, Cambridge Opera Guides (Cambridge, 1989), 107-27. Cited in Kramer (1993), p.156.