On 27.6.2002 19:52, "John Howell" <[EMAIL PROTECTED]> wrote:
>> Guido d'Arezzo introduced the syllables *ut re mi fa sol la* as names >> for the tones *c-a*. Later *ut* was replaced with *do* and *si* >> (now *ti*) added to complete the octave. Now we have a kind of >> notation, which we migth say Guido d'Arezzo invented, but a very >> limited one because written down you only see height but not length >> of tones. >> >> Cortez > > You may come from a country which uses fixed do terminology. But Guido's > system of hexachords was actually the first moveable do system. The six > syllables were used equally for the c-a hexachord, the f-d hexachord (with > Bb), and the g-e hexachord (with B natural). > > The key to his system as far as teaching students to read music was the > half step in the middle of each hexachord, thereby establishing the "mi-fa" > halfstep with e-f, a-Bb, and b-c. He may have picked up the hexachord idea > from Daesian notation using... > Like I said >>Later *ut* was replaced with *do* and *si* (now *ti*) added to complete the octave.<< That was by the end of 16th century when the old system became less and less suitable because of wider use of chromatic tones and modulation. In my country we have always used the movable do, unlike France and Italy and maybe the Balkans also, which use the fixed do. The system we use is the one Sarah Glover and John Curwen developed from Guido's system in the 19th century and is called Tonic Sol-fa. I believe that is widely used in England, USA, The Nordic Countries, Germany and in, I think, other parts of Europe; at least Kodaly in Hungary comes to mind. Cortez _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
