Pandiatonicism

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".

The chord-building remains tertian, with the seventh, ninth, or thirteenth chords being treated as consonances functionally equivalent to the fundamental triad.

[5]Pandiatonic music typically uses the diatonic notes freely in dissonant combinations without conventional resolutions and/or without standard chord progressions, but always with a strong sense of tonality due to the absence of chromatics.

[9] Other composers who employed the technique are Maurice Ravel, Paul Hindemith, Darius Milhaud, Aaron Copland, and Roy Harris.

[10] The term has been criticized as one of many by which, "Stravinsky's music, everywhere and at once, is made to represent or encompass every conceivable technique",[12] and that has, "become so vague a concept that it has very little meaning or use".