hexachord


Also found in: Wikipedia.

hex·a·chord

 (hĕk′sə-kôrd′)
n.
A sequence of six tones with a semitone in the middle, the others being whole tones, that was used in medieval music.

[Medieval Latin hexachordum, from Latin hexachordos, having six strings or stops : Greek hexa-, hexa- + Greek -khordos, string, note (from khordē; see cord).]

hexachord

(ˈhɛksəˌkɔːd)
n
(Music, other) (in medieval musical theory) any of three diatonic scales based upon C, F, and G, each consisting of six notes, from which solmization was developed

hex•a•chord

(ˈhɛk səˌkɔrd)

n.
a diatonic series of six tones having a half step between the third and fourth tones and whole steps between the others.
[1685–95; < Late Greek hexáchordos having six strings]
Translations
Mentioned in ?
References in periodicals archive ?
She reveals English connections that link James to the Speculum, such as the author's familiarity with Kilwardby's writings and his use of the idiosyncratic term "properchant" for the natural hexachord.
Each hexachord also contains at least one axis that spans a tritone.
In music, a hexachord is a series of how many notes?
Here are some titles picked at random: "Who Is Josquin des Prez," "What Is a Fugue," "What Is a Hexachord.
I therefore subdivide the hexachord into three tetrachords (or succession of four notes) in order to secure purity of intonation.
Based on a hexachord, presented at the top of the score, "Jack Rabbit," from Youth's Companion by Ross Lee Finney, poses several challenges for the late-intermediate pianist, including exposed dissonances, angular phrases and unexpected rests and fermatas that depict the jackrabbit leaping and hovering on the North Dakota prairie.
E1 is the opening hexachord from measure 1 and corresponds to Al above.
Stravinsky described the women in Movements as "a hexachord of those bee-like little girls who seem to be bred to the eminent choreographer's specifications.
Serious misunderstandings mar the discussion of Ramos's tuning system (not "the centerpiece of his treatise") and his criticism of Guido's hexachord theory (she misapprehends the concept of "mutation"), Aaron's "quattro modi da gli antichi" (which have as little to do with Boethius's modi as with Aretino's: Aaron is discussing mensural modes, and the "antichi" are fifteenth-century authors), and Vicentino's revival of the Greek genera in modern music (tetrachords were not viewed as "simple, four-note modules that could be easily interchanged and replaced by modules from another genus when a given altered note was needed," thus "offering a solution to the technical problems of accidentals in music composition").
Carter often seems to take the mimetic-expressive model as an uncontested given, the more easily to focus on the elaboration of rhythmic ratios or the deployment of favorite devices such as the all-trichord hexachord or all-interval tetrachord.
His main point, though, is to examine Schoenberg's own use of this hexachord and its transformations.
The hexachord is also the contrapuntal theme par excellence, and, therefore, valuable for exercises for two or more voices.