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 EШаблон:Music F G A).
↑Morris, Robert (2010). The Whistling Blackbird: Essays and Talks on New Music, p.65. University Rochester Press. Шаблон:ISBN.
↑Chikinda, Michael Wayne (2008). Processes of Redemption and the Aesthetic of the Fragment in the Early Twelve-tone Works of Luigi Dallapiccola, p.66. Шаблон:ISBN.
↑Forte, Allen (1978). The Harmonic Organization of the Rite of Spring, p.34. Yale University Press. Шаблон:ISBN.
↑Babbitt, Milton (1987). Milton Babbitt: Words about Music, p.93. University of Wisconsin Press. Шаблон:ISBN.
↑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. Шаблон:ISBN.
↑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). Шаблон:ISBN.
