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Related to polytonal: Bitonality


Simultaneous use of two or more tonalities in a musical composition.

pol′y·to′nal (-tō′nəl) adj.
pol′y·to′nal·ly adv.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Adj.1.polytonal - using more than one key or tonality simultaneously; "exciting rhythms and polytonal harmonies"
tonal - having tonality; i.e. tones and chords organized in relation to one tone such as a keynote or tonic


[ˌpɒlɪˈtəʊnəl] adj (Mus) → politonale
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References in periodicals archive ?
Brathwaite's poetry resounds with polytonal sounds and rhythms which create particular moods or physical states, and which reinforce the various thematic strands in his poetry.
The high-pitched end of this call type may be somewhat similar to the Polytonal Whistle, but quantitative analysis shows that duration of the High-frequency Whistle is almost double and peak frequency is lower than the Polytonal Whistle (Table 2).
Capers also utilizes polytonal chords or polytonalities, the simultaneous use of two or more tonalities or keys, as the foundation for creating extended chordal harmonies between the right and left hands throughout the work.
Like Berg's polytonal music, it pursues "every possible variation"--as in Gilles Deleuze and Felix Guattari's "nomad aesthetics": "This streaming, spiraling, zigzagging, snaking, feverish line of variation liberates a power of life that human beings had rectified and organisms had confined, and which matter now expresses as the trait, flow, or impulse traversing it.
The 22 tutorials cover the Score Editor menus and getting started; display quantization and polyphonic staff styles methods to prepare parts for individual instruments; grace notes, beamed grace notes, and other issues for parts; score sets, symbols, and note alteration; lyric entry, text styles, headers, and footers; cross-staff beaming, doubling instruments, polytonal scores, and time signatures; edit and copy options; drum notation; orchestral percussion; creating parts for guitarists and specialized instruments; score preferences and project settings; layout techniques; preparing chord charts for sessions, lead sheets, and master rhythm charts; and other aspects.
Two are compositions in modern idioms dedicated to Follows: van Benthem's short, polytonal piano piece Yes, We Were Young fin a holograph reproduction dated 1959, years before the two met); and Fitch's "Agricola VIII/Obrecht Canon III: De tons biens plaine" a complex, semi-aleatoric piece For four stringed instruments composed in 2010, for which two pages of painstaking performance directions offer nary a hint on how the many short, arrhythmic cells with intervals beyond the wildest Renaissance imagination relate to the composers in the title.