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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).]


(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


(ˈhɛk səˌkɔrd)

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]
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References in periodicals archive ?
In music, a hexachord is a series of how many notes?
His main point, though, is to examine Schoenberg's own use of this hexachord and its transformations.
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.
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.
I think one has to admit that in the works where I use the symmetrical hexachord, one probably can't any longer speak of my music as being twelve-tone music, that is, certainly not in the academic sense.
Running through all this, almost as an idee fixe, is the hexachord system itself, as a pedagogical tool, and as a fundamental theory of pitch space.
Prefatory staves contain a wealth of information, including original clefs and hexachord signatures, and the compass of each voice is given at the beginning of each piece.
It would be fascinating to know how such a sequence would have been taught using the hexa-chord, though, of course, by 1586 we are in that strange modal/tonal period where hexachord theory, at least in its pure form, was already breaking down.
12) begins with a progression to which the singers would have to imagine the hexachord sounds "fa mi" ("ut" being mentally placed on various different degrees), and that must in turn have made them think of the many times when that solmization had been used for setting "ahi," "ay me," or "ohime" in secular literature.
This reader would have preferred that pitch names be given without the common, but distracting, elision of hexachord syllables ("C sol re ut" rather than "Gsolreut," as on page 153).