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"Ode-to-Napoleon" hexachord

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Last Updated: 19 January 2021

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"Ode-to-Napoleon" hexachord

Forte no. / Complement
6-20 /6-20
Interval vector
<3,0,3,6,3,0>

In music, ' Ode-to-Napoleon' hexachord is a hexachord named after its use in the Twelve-tone piece Ode to Napoleon Buonaparte by Arnold Schoenberg. Containing pitch-class 014589, it is label 6-20 in Allen Forte's taxonomic System. The primary form of tone row used in Ode allows triads of G minor, E-flat minor, and B minor to easily appear. The 'Ode-to-Napoleon' hexachord is a six-member set-class with the highest number of interval classes 3 and 4 yet lack 2s and 6s. 6-20 maps onto itself under transposition three times and under inversion three times, allowing only four distinct forms, one form overlapping with another by way of augmented triad or not at all, and two augment triads exhaust set as do six minor and major triads with roots along augment triad. Its only five-note subset is 5-21, complement of which is 7-21, only superset of 6-20. The only more redundant hexchord is 6-35. It is also Erno Lendvai's 1: 3 Model scale and one of Milton Babbitt's six all-combinatorial hexachord source sets. Hexachord has been used by composers including Bruno Maderna and Luigi Nono, such as in Nono's Variazioni canoniche sulla serie dellop. 41 di Arnold Schonberg, Webern's Concerto Op. 24, Schoenberg's Suite Op. 29, Babbitt's Composition for Twelve Instruments and Composition for Four Instruments third and fourth movements. Hexachord has also been used by Alexander Scriabin and Bela Bartok but is not feature in the music of Igor Stravinsky.

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* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

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* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Equal Tones, Unequal Rows

For Example, Polymodal Blues Homage to Bela Bartok quickly gets past its allusions to Bartoks Polymodal chromaticism and plunges directly into the Blues. Classical Music Forums Talk Classical. In our Polymodal chromaticism, however, flat and sharp tones do not alter degrees at all. They are diatonic ingredients of diatonic modal scale. Bartoks. Polymodal chromaticism pedia. Bartok would label this technique Polymodal chromaticism melodies String side by side at unorthodox, half and whole step intervals, but. Bartok at Harvard: introduction to chromatic polymodality And. Along with references to tonality that Bartok calls Polymodal chromaticism and occasional reminders of composers ' driving. From Polymodal chromaticism to symmetrical Pitch construction in. Base on Bartoks intuition that Pitch space model after his notion of Polymodal chromaticism retain integral diatonic ingredients, Dasian space.


Whole tone scale

In music, whole tone scale-scale in which each note is separate from its neighbours by interval of the whole tone. In twelve-tone equal temperament, there are only two additional whole-tone scale six-note scale or shestistolpny: in whole-tone scale has no leading tone and because all tones are same distance apart, no single tone stands out, and unequal chords available in whole-tone scale result in soft-edged neutral sound lacking in contrasting colors. From 1930-ies. Whole tone harmony. Become one of the platitudes in the style of hollywood. The Composer Olivier Messiaen called whole tone scale his first mode of limited transposition. Composer and music theorist George Pearl calls whole tone scale interval cycle 2, or C2. Since there are only two possible whole-tone-data items that are whole-tone scale can be transposed only once, is either C2-C2 0 or 1. For this reason, whole-tone scale is also maximally even and can be considered generated collection. Due to this symmetry, hexachord consisting of whole-tone scale do not differ under inversion or more than one transposition. So many composers have used one of almost whole-tone hexachords, whose individual structural differences can be seen only as result of difference in location, or placement, of semitone otherwise whole-tone series. Alexander Scriabins ' mystic chord is the primary example, being all over tone scale with one note raise semitone, This change allows a greater variety of resources through transposition.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

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