Diatonic hexachord explained

Chord Name:Diatonic hexachord
First Interval:root
Second Interval:major second
Third Interval:major third
Fourth Interval:perfect fourth
Fifth Interval:perfect fifth
Sixth Interval:major sixth
Forte Number:6-32
Complement:6-32
Interval Vector:<1,4,3,2,5,0>

The diatonic, Guidonian, or major hexachord (6-32[1] [2] [3]) is a hexachord consisting of six consecutive pitches from the diatonic scale that are also a consecutive segment of the circle of fifths: F C G D A E = C D E F G A = "do-re-mi-fa-sol-la".

It is the thirty-second hexachord as ordered by Forte number, and its complement is the diatonic hexachord at the tritone. If the circle of fifths transformation is applied to the diatonic hexachord the chromatic hexachord results.[4] It is source set C.

Hugo Riemann points out that the hexachord consists of three overlapping (diatonic) tetrachords: Lydian, Phrygian, and Dorian; as well as two overlapping pentatonic scales (which are major pentatonic and mixolydian pentatonic).[5] Richard Crocker made the case that, in the words of Stefano Mengozzi, "the Guidonian hexachord was the most important diatonic unit for practical musicians from the Carolingian era to the seventeenth century".[6]

More generally diatonic hexachord may refer to any hexachordal subset of the diatonic septad (7-35): 6-Z25, 6-Z26, 6-32, or 6-33. The minor hexachord is 6-33 (0 2 3 5 7 9 = C D E F G A).

See also

Notes and References

  1. [Robert Morris (composer)|Morris, Robert]
  2. Chikinda, Michael Wayne (2008). Processes of Redemption and the Aesthetic of the Fragment in the Early Twelve-tone Works of Luigi Dallapiccola, p.66. .
  3. [Allen Forte|Forte, Allen]
  4. [Milton Babbitt|Babbitt, Milton]
  5. Riemann, Hugo (1916). Folkloristische Tonalitätsstudien, p.39. Leipzig: Breitkopf und Härtel. Cited in (2011). The Oxford Handbook of Neo-Riemannian Music Theories, p.155-56. .
  6. Crocker, R.L. (1968 and 1972). "Perchè Zarlino diede una nuova numerazione ai modi?", Rivista italiana di musicologia 3: 48-58 and "Hermann's Major Sixth", JAMS 25: 19-37. Cited in: Mengozzi, Stefano (2010). The Renaissance Reform of Medieval Music Theory: Guido of Arezzo Between Myth and History, p.19 (n.2). .