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"Ode-to-Napoleon" hexachord<ref>Lewin (1959), p.300.</ref> in prime form<ref name="Toorn">Van den Toorn, Pieter C. (1996). Music, Politics, and the Academy, p.128-29. ISBN 0-520-20116-7.</ref> About this sound Play .

In music, the "Ode-to-Napoleon" hexachord (also magic hexachord<ref>Friedmann, Michael L. (1990). Ear Training for Twentieth-Century Music, p.198. ISBN 0-300-04537-9.</ref> and hexatonic collection<ref>Straus, Joseph N. (2004). Introduction to Post-Tonal Theory, p.97. ISBN 0-13-189890-6.</ref> or hexatonic set class<ref name="Society">Music Theory Society of New York State (2000). Theory and practice: newsletter-journal of the Music Theory Society of New York State, Volume 25, p.89.</ref>) is the hexachord named after its use in the twelve-tone piece Ode to Napoleon Buonaparte (1942) by Arnold Schoenberg (setting a text by Byron). Containing the pitch-classes 014589 (C, C, E, F, G, A) it is given Forte number 6-20 in Allen Forte's taxonomic system.<ref>Schuijer, Michiel (2008). Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts, p.109. ISBN 978-1-58046-270-9.</ref> The primary form of the tone row used in the Ode allows the triads of G minor, E minor, and B minor to easily appear.<ref>Palmer, John. "Ode to Napoleon Buonaparte, for narrator, piano & strings, Op. 41", AllMusic.com.</ref>{{ safesubst:#invoke:Unsubst||$N=Failed verification |date=__DATE__ |$B= {{#invoke:Category handler|main}}[not in citation given] }}

The "Ode-to-Napoleon" hexachord is the six-member set-class with the highest number of interval classes 3 and 4<ref name="Maderna">Neidhöfer, Christoph (2007). "Bruno Maderna's Serial Arrays", Society for Music Theory. Volume 13, Number 1, March 2007.</ref> yet lacks 2s and 6s.<ref name="Toorn"/> 6-20 maps onto itself under transposition three times (@0,4,8) and under inversion three times (@1,4,9) (six degrees of symmetry), allowing only four distinct forms, one form overlapping with another by way of an augmented triad or not at all, and two augmented triads exhaust the set as do six minor and major triads with roots along the augmented triad.<ref name="Toorn"/> Its only five-note subset is 5-21 (0,1,4,5,8), the complement of which is 7-21 (0,1,2,4,5,8,9), the only superset of 6-20.<ref>Friedmann (1990), p. 104.</ref> The only more redundant hexachord is 6-35.<ref name="Toorn"/> It is also Ernő Lendvai's "1:3 Model" scale and one of Milton Babbitt's six all-combinatorial hexachord "source sets".<ref name="Toorn"/>

The hexachord has been used by composers including Bruno Maderna and Luigi Nono, such as in Nono's Variazioni canoniche sulla serie dell'op. 41 di Arnold Schönberg (1950),<ref name="Maderna"/> Webern's Concerto Op. 24, Schoenberg's Suite Op. 29 (1926), Babbitt's Composition for Twelve Instruments (1948) and Composition for Four Instruments (1948) third and fourth movements.<ref name="Toorn"/>{{ safesubst:#invoke:Unsubst||$N=Dubious |date=__DATE__ |$B= {{#invoke:Category handler|main}}[dubious ] }} The hexachord has also been used by Alexander Scriabin and Béla Bartók but is not featured in the music of Igor Stravinsky.<ref name="Toorn"/>

It is used combinatorially in Schoenberg's Suite:<ref>Van den Toorn (1996), p.132.</ref>

P3: E G  F B D  B // C  A  A E  F  D
I8: G E  F  D A  C // B  D  E G  F B

Note that its complement is also 6-20.


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