One of the mysteries of the English language finally explained.
A musical scale of six notes with a semitone between the third and fourth. An overlapping series of seven such scales starting on G, C, and F formed the basis of medieval music theory.
- ‘At the end, the same six pitch-classes provide the concluding hexachord of the tranquil violin melody.’
- ‘Schoenberg never intended the 12-note technique to exclude possible tonal implications, and his use of hexachords is a close analogy to tonal practice.’
- ‘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.’
- ‘Medieval diatonicism, which did not include the principle of octave equivalence, was codified by Guido of Arezzo in the early 11th century: it acknowledged notes from G to e, arranged in seven overlapping hexachords.’
- ‘In the early years of the seventeenth century, English composers increasingly turned to the hexachord as a cantus firmus for keyboard pieces.’
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