In music, the all-trichord hexachord is a unique hexachord that contains all twelve trichords, or from which all twelve possible trichords may be derived. The prime form of this set class is {012478} and its Forte number is 6-Z17. Its complement is 6-Z43 and they share the interval vector of <3,2,2,3,3,2>.
It appears in pieces by Robert Morris and Elliott Carter. Carter uses all-interval twelve-tone sets consisting of all-trichord hexachords in his Symphonia: sum fluxae pretium spei.
See also
References
- ^ Schiff, David (1998). The Music of Elliott Carter, p. 34. ISBN 0-8014-3612-5.
- Whittall, Arnold (2008). The Cambridge Introduction to Serialism, p. 271. ISBN 978-0-521-68200-8.
- Alegant, Brian (2010). The Twelve-Tone Music of Luigi Dallapiccola, p. 307n4. ISBN 1-58046-325-8.
- Schiff (1998), p. 41.
Further reading
- Boland, Marguerite (1999). "The All-trichord Hexachord: Compositional Strategies in Elliott Carter's Con leggerezza pensosa and Gra and a Folio of Original Compositions". MA Thesis, La Trobe University (Alegant 2010, p. 307n4). OCLC 224102530.
- Boland, Marguerite (2006). "'Linking' and 'Morphing': Harmonic Flow in Elliott Carter's Con Leggerezza Pensosa". Tempo 60, no. 237 (July): 33–43. doi:10.1017/S0040298206000209.
- Boros, James (1990). "Some Properties of the All-Trichord Hexachord", In Theory Only 11/6: 19–41.
- Capuzzo, Guy (2004). "The Complement Union Property in the Music of Elliott Carter". Journal of Music Theory 48, no. 1 (Spring): 1–24. doi:10.1215/00222909-48-1-1.
- Capuzzo, Guy (2007). "Registral Constraints on All-Interval Rows in Elliott Carter's Changes". Intégral 21:79–108. JSTOR 40214036.
- Morris, Robert D. (1990). "Pitch-Class Complementation and Its Generalizations". Journal of Music Theory 34, no. 2 (Autumn): 175–245. JSTOR 843837.
- Morris, Robert (1995). "Compositional Spaces and Other Territories". Perspectives of New Music 33, nos. 1 & 2 (Winter–Summer):328–358. JSTOR 833710.
- Ravenscroft, Brenda (2003). "Setting the Pace: The Role of Speeds in Elliott Carter's A Mirror on Which to Dwell". Music Analysis 22, no. 3 (October): 253–282. doi:10.1111/j.0262-5245.2003.00186.x. JSTOR 3700435.
- Roeder, John (2009). "A Transformational Space for Elliott Carter's Recent Complement-union Music". In Mathematics and Computation in Music, edited by Timour Klouche and Thomas Noll, 303–310. Communications in Computer and Information Science 37. New York: Springer. pp. 303–310. ISBN 978-3-642-04579-0, 978-3-642-04578-3.doi:10.1007/978-3-642-04579-0_29.
- Sallmen, Mark (2007). "Listening to the Music Itself: Breaking Through the Shell of Elliott Carter's 'In Genesis'", Music Theory Online 13/3 (Alegant 2010, p. 307n4). (Accessed 31 March 2014)
| Pitch segments by cardinality (list) | |
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| Twelve-tone technique and serialism | ||
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| Fundamentals |  | |
| Permutations | ||
| Notable composers | ||
| Related articles | ||
 List of dodecaphonic and serial compositions | ||
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