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.
- 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.
- 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.
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