>At 5:27 PM +0200 7/26/04, Giovanni Andreani wrote:
>>you all probably already know that
>>Italian musicians don't use alphabetical names for absolute pitches; we
>>once did, up on a time, but  alphabetical names unfortunately got
>>substituted by the sol-fa nomenclature, which was a marvellous system (as
>>first used by Guido d'Arezzo) for the identification of the single note's
>>tonal properties.
>
>Actually, Guido's system was movable do rather than fixed do.  That's 
>what his hexachordal system is all about.  Do (or "ut" in Guido's 
>time) could be on C, F, or G.

> Johan Howell


That is exactly what I meant when writing: "...which was a marvellous
system (as first used by Guido d'Arezzo) for the identification of the
single note's tonal properties".
Even though (talking about Guido d'Arezzo) we are not exactly talking
about tonal music as we intend it today, the movable do system or sol-fa
system or, again, the relative solmisation how it's called over here,
tends to focalize our perceptive attentions on the properties of each
single grade of tonal and modal systems (and other systems to, possibly);
thus, "do" (sounds doh) would translate the meaning, the feeling of the
finalis, and, in a tonal system, it's related to the tonic feeling. It
all automatically send back that if the finalis property is perceived on
the G pitch, then G is UT (or, later in Italy, Do); if perceived on F,
then Do = F; if, in tonal music, if the dominant feeling is perceived on
Bb, then Eb = Do, et cetera. In this way, as I was writing, it
automatically sends back that Guido's system was (and still is) movable
do. No one ever stated the contrary.

The problem over here, in Italy, is that (since Napoleons domination on
Italy) actually, the sol-fa names are used to determine the absolute
pitches and, actually (since Napoleon), there's no use of letter names
for pitches  and there's no application of relative or movable do system
in Italian music schools


Giovanni Andreani



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