Information om | Engelska ordet HEXACHORD

Exempel på hur man kan använda HEXACHORD i en mening

• The chant is useful for teaching singing because of the way it uses successive notes of the scale: the first six musical phrases of each stanza begin on a successively higher notes of the hexachord, giving ut–re–mi–fa–so–la; though ut is replaced by do in modern solfège.
• The ascending scale using the fa, so, la, fa, so, la, mi, fa syllables represent a variation of the hexachord system introduced by the 11th century monk Guido of Arezzo, who originally introduced a six-note scale using the syllables ut, re, mi, fa, sol, la.
• 41, including the "Ode-to-Napoleon" hexachord, marked Nono as a committed composer of anti-fascist political orientation.
• This is often interpreted as a quartal hexachord consisting of an augmented fourth, diminished fourth, augmented fourth, and two perfect fourths.
• In music, a hexachord (also hexachordon) is a six-note series, as exhibited in a scale (hexatonic or hexad) or tone row.
• There is also an extended and somewhat erudite three-part instrumental work based on steps of the hexachord and its mutations, Fa la sol, and another untitled piece.
• Musica ficta (from Latin, "false", "feigned", or "fictitious" music) was a term used in European music theory from the late 12th century to about 1600 to describe pitches, whether notated or added at the time of performance, that lie outside the system of musica recta or musica vera ("correct" or "true" music) as defined by the hexachord system of Guido of Arezzo.
• The hexachordal system also distinguished between B (fa in the F hexachord, and known as "B molle" for 'soft B') and B♮ (mi in the G hexachord, and known as "B durum" for 'hard B').
• Alfred Brendel characterises the main themes of the sonata as all derived from the hexachord – the first six notes of the diatonic scale – and the intervals of the third and fourth that divide it.
• These works are of considerable importance in the evolution of the genre: there are frequent instances of advanced contrapuntal techniques such as inversion and augmentation, hexachord transpositions (inganno) of the subjects; some of the pieces even employ countersubjects.
• The pitches of the row used in Incises and Sur Incises are based on the Sacher hexachord, the same as those used in the rows for Répons, Messagesquisse, and Dérive 1.
• 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.
• In addition to the canonic complexities, Josquin adds variety by beginning the L'homme armé tune on a successively higher note in each section (and also in the third Agnus Dei), one for each of the six notes in the natural hexachord (thus the title, "voces musicales", or solmization syllables, ut, re, mi, fa, sol, la).
• One distinctive feature is his extension of the Guidonian hexachord (ut, re, mi, fa, sol, la) with a seventh note bi, accompanied by a justifying cosmological and numerological emphasis on the number seven.
• The pitches of the row used in Répons are those based on the Sacher hexachord and used in the rows for several other Boulez compositions: Messagesquisse, Dérive 1, Incises, and Sur Incises.
• The Sacher hexachord (6-Z11, musical cryptogram on the name of Swiss conductor Paul Sacher) is a hexachord notable for its use in a set of twelve compositions (12 Hommages à Paul Sacher) created at the invitation of Mstislav Rostropovich for Sacher's seventieth birthday in 1976.
• In music, the "Ode-to-Napoleon" hexachord (also magic hexachord and hexatonic collection or hexatonic set class) is the hexachord named after its use in the twelve-tone piece Ode to Napoleon Buonaparte Op.
• 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).

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