And I left out...

Before we confirm tetrachords as the source of the diatonic scale, it is
worthwhile to look closer at hexachords, which, unlike tetrachords, are
able to sort out which Pythagorean collection is in play - the one with
beginning with B (Bb) or the one going up to H (B natural) - thus keeping
the augmented fourths/diminished fifths under control, along with an
intonationally excellent solfege. Some English vocal ensembles (the
Hilliard Consort, and Paul Hillier*s Theatre of Voices) have had real
success in using hexachordal solfege to control the intonation and get the
ficta right, making a convincing case for this historical performance
practice. In contrast, I don*t see how the tetrachord is going to help with
either intonation or ficta; there is insufficient overlap between the
source pythagorean collection and the space of a perfect fourth.



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