[LUTE] Re: [OT] Tonality in the Baroque
I don't know what was the context in Fuchs book. But a lot of times when these terms appear in later sources is to identify a specific note in the scale. For instance, Dlasolre can only be the d below the first line in the G clef. Because according to the solmization thats is the only place in the Gamut where the D can be sung as la (hexachord molum) as sol (hexachord durum) and as re (hexachord naturalis). So they use this term as a pitch localization. It is common even in 19th century sources when these terms appear to designate the tuning of transpositor instruments like trumpet in Csolfaut, etc... I hope it helped. All the best, Guilherme Em 10/01/2019, 01:46 +0100, Mark Probert escreveu: RalfD wrote: ??? 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. Ha! Thank you for the explanation and the pointer. IMSLP coughed up a copy of Morley's "A Plain and Easy Introduction to Practical Music" (modern spelling :-) ) where he says: Master: But have you learned nothing at all in Music before? Student: Nothing. Therefore I pray begin at the very beginning and teach me as though I were a child. M: I will do so: and therefore behold, here is the Scale of Music which we term the Gam. ... Then must you get it perfectly without book, to say it forwards and backwards. Secondly, You must learn to know wherein every Key stands, that is in rule or in space. And thirdly, How many clefs and how many notes every Key contains. Huh. Lots of fun stuff here! Thanks again. .. m. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: [OT] Tonality in the Baroque
RalfD wrote: > > ??? 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. > Ha! Thank you for the explanation and the pointer. IMSLP coughed up a copy of Morley's "A Plain and Easy Introduction to Practical Music" (modern spelling :-) ) where he says: Master: But have you learned nothing at all in Music before? Student: Nothing. Therefore I pray begin at the very beginning and teach me as though I were a child. M: I will do so: and therefore behold, here is the Scale of Music which we term the Gam. ... Then must you get it perfectly without book, to say it forwards and backwards. Secondly, You must learn to know wherein every Key stands, that is in rule or in space. And thirdly, How many clefs and how many notes every Key contains. Huh. Lots of fun stuff here! Thanks again. .. m. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [OT] Tonality in the Baroque
Am Mittwoch, 09. Januar 2019 23:42 CET, Mark Probert schrieb:
[LUTE] Re: [OT] Tonality in the Baroque
Am Donnerstag, 10. Januar 2019 00:03 CET, howard posner schrieb: > > > On Jan 9, 2019, at 2:42 PM, Mark Probert 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 > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [OT] Tonality in the Baroque
> On Jan 9, 2019, at 2:42 PM, Mark Probert 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, although, like a lot of Fux’s book, it was very old fashioned in 1704. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
