The modality of traditional Western music is limited to one particular harmonic system that developed historically, but not inevitably. These pieces are composed in an innovative modal system that Scott developed from his studies of the past ten years. They situate original geometrical and mathematical patterns present in the ratios that govern harmonics. The first two pieces, Hexagon X: Kafi and Hexagon VIII: Phrygionian, are string quartets composed for the ten-piece cycle, Hexagons, the musical portion of Scott’s dissertation project, which draws upon 20th century ideas about symmetrical pitch sets, finds points of connection with Just Intonation, and therefore expands tonal theory both philosophically and aesthetically. The third piece, Ondine’s Flute, for solo flute, is also composed in one of Scott’s “hexagonally symmetrical” modes.
To read the text portion of Dr. Eggert’s dissertation, which fully explains the theory behind these hexagonal modes, click the link below.
Hexagon X: Kafi
Hexagon VIII: Phrygionian