Hexachords, as opposed to octave scales, are at the root of renaissance music theory. But they are much more than that: they enter into musical works didactically, symbolically, secretly, and humorously. They stretch our technique and imagination and for our forebears, they sometimes called to mind specific people.

This workshop explored the use of hexachords in music of the 16th and early 17th centuries, introducing the birth of “modern” harmony (the moveable hexachord), the soggetto cavato, and other slightly esoteric concepts, in a user-friendly way. Composers ranged from Heinrich Isaac to Richard Mico.

There was a place for everyone from beginners to advanced players in this workshop, since many of the pieces have one part that is much simpler than the others, and there was a separate class offered for complete beginners based on the demand.

Coaches, besides Wendy, included Hannah Davidson, Loren Ludwig, and Sarah Mead, with Jane Hershey as contingency faculty.