Information om | Engelska ordet HEXACHORDS

Exempel på hur man kan använda HEXACHORDS i en mening

• For trichords and hexachords combined see Alegant 1993, Babbitt 1955, Dubiel 1990, Mead 1994, Morris and Alegant 1988, Morris 1987, and Rouse 1985.
• Combinatorial properties are not dependent on the order of the notes within a set, but only on the content of the set, and combinatoriality may exist between three tetrachordal and between four trichordal sets, as well as between pairs of hexachords, and six dyads.
• Hexachordal complementation is the use of the potential for pairs of hexachords to each contain six different pitch classes and thereby complete an aggregate.
• It was also used by Alexander Scriabin, though from a diametrically opposed direction, created by his use of extremely slow harmonic rhythm which eventually led to his use of unordered pitch-class sets, usually hexachords (of six pitches) as harmony from which melody may also be created.
• This made transposition necessary, which led flautists to use Guidonian hexachords (used by singers and other musicians since their introduction in the 11th century) to transpose music more easily.
• The most famous of his synthetic scales, derived by combining minor and major hexachords, has nine notes and consists of three conjunct semitone-tone-semitone tetrachords.
• The Guidonian hand is closely linked with Guido's new ideas about how to learn music, including the use of hexachords, and the first known Western use of solfège.
• Sets of higher cardinalities are called tetrachords (or tetrads), pentachords (or pentads), hexachords (or hexads), heptachords (heptads or, sometimes, mixing Latin and Greek roots, "septachords"), octachords (octads), nonachords (nonads), decachords (decads), undecachords, and, finally, the dodecachord.
• Each trope contains different types of symmetries and significant structural intervallic relations on varying levels, namely within its hexachords, between the two halves of an hexachord and with relation to whole other tropes.
• Donald Martino had produced tables of hexachords, tetrachords, trichords, and pentachords for combinatoriality in his article, "The Source Set and its Aggregate Formations" (1961).
• The following schema refers to the association of these traditional segmentations and how Gerhard implements series transpositions and hexachords (encoded with P and H respectively).

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