Am Donnerstag, 10. Januar 2019 00:03 CET, howard posner 
<howardpos...@ca.rr.com> schrieb: 
 
> 
> > On Jan 9, 2019, at 2:42 PM, Mark Probert <probe...@gmail.com> wrote:
> > 
> > And I am, sad to say, ignorant of the actual meaning of "D la.sol.re". 
> 
> I believe it’s just a convention of combining varying names for one note: D 
> might be la, re or sol depending on which 
> hexachord you assume, so it became standard to use all three names,

The important part to understand is: notes where named using some kind of 
"coordinate" system. One "axis" is
what we today call "note name" (or "pitch class" if you are hipp :-), which was 
back then called "claves" (lit. the
name of the key). The other axis was the hexachord syllable (then called 
"voces"/"voice"). Pretty much the first thing
students learned was the name/voice of all existing notes. Knowing all the 
possible "voices"a note can be was very
important for proper "mutation" (i.e. knowing on what notes you can change from 
one hexachord into another).
So, in your example, a student singing a 'D la sol re' in the durum hexachord 
would know that he could change to the
natural hexachord by making a D->sol to D->re mutation. The nice thing about 
such a system is that those "voces" give
you a lot of extra context. Seeing an e-fa will tell you what notes can be 
found on both sides of that note. This is 
_very_ helpful for playing basso continuo, esp. from sparsely figured basses. 
For example, the 65-chord over a mi will
have a minor sixth and a diminished 5 while the 65 over a fa will have a 
perfect 5etc.
 
 > although, like a lot of Fux’s book, it was very old fashioned in 1704.

??? Whut? That system was widely used well into the 19th (!sic) century. It's 
just that a lot of researches tend to skip the
early chapters of contemporary manuals. Just have a look at some of the most 
important instruction manuals and how much (expensive!) space they dedicate top 
proper solmization teaching.

 Cheers, RalfD
 
> 
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