(74) Solmization and the Guidonian hand in the 16th century

Introduction to Solmization and the Guidonian Hand

• Elam Rotem presents solmization and the Guidonian hand in the context of 16th-century music education.

• Solmization was a primary method for teaching music reading from the Middle Ages into the 18th century.

• Emphasizes understanding music as musicians did in the Renaissance through solmization.

The Renaissance Tone System

• The Gamut is the structured sequence of notes from low G (Gamma sign) to high E, encompassing 20 diatonic notes.

• The Gamut can sometimes include additional notes beyond the primary range.

Main Clefs

• Three main clefs are employed: F-clef, C-clef, and G-clef.

• Instead of note names, singers used a simpler syllabic naming system: ut, re, mi, fa, sol, la (the voces musicales), constituting the Hexachord.

Types of Hexachords

• Three Hexachords:

  • Hard/Durum Hexachord: Starts on G.

  • Natural Hexachord: Starts on C.

  • Soft/Molle Hexachord: Starts on F (with a soft B, B-molle).

• Each hexachord is structurally identical, differentiated by their starting notes and the treatment of B.

• Each note has multiple names: for instance, E is referred to as "E la mi" or "Elami" depending on context.

Hexachord Usage

• For a musical piece with no flat notes, use the hard hexachord with the natural hexachord; if flat notes are present, the soft hexachord is added.

• Historical diagrams of the tone system are intricate but the Guidonian hand offers a more practical representation.

The Guidonian Hand

• Invention from the Middle Ages meant to facilitate learning melodies by correlating notes of the Gamut with fingers on the hand.

• Each joint of the hand corresponds to a note in spiraled order culminating at high E on the middle finger.

• The hand's design was widely acknowledged among singers and used in educational settings.

Learning and Application of Solmization

• The six-note hexachord can effectively read simple melodies.

• Emphasis on remaining within a single hexachord for simplicity, demonstrated using an example from Josquin, "Fuga in Subdiapente".

• The importance of understanding flat notes that necessitate shifts to the soft hexachord when encountering notes like B-flat.

• The term "fa super la" emerges from alterations in hexachord positioning.

Mutation in Hexachords

• Mutation refers to the process of switching hexachords during a piece.

• Key rules:

  • Ascending switches occur on the re of the new hexachord.

  • Descending switches occur on the la.

• It’s advisable to limit changes and only mutate at the last moment to retain melodic integrity.

Tips for Effective Solmization

1. Treat leaps as filled with steps when determining syllables.

2. Apply musica ficta; sharps denote corrections but retain initial note names, while flats are categorized as "fa".

3. Syllable assignment can vary based on musicians' interpretations.

Practical Application: Singing

• Incorporating solmization to sing parts of Cipriano de Rore's "Ancor che col partire" by applying mutation rules as indicated by the absence or presence of flats.

• The flexibility in reading and the inherent musical logic bridge solmization and actual performance.

The Role of the Guidonian Hand in Performance

• The hand serves as a communication tool for music reading.

• Used by teachers and choirmasters to guide and indicate notes while performing and improvising.

• An anecdote from May 21, 1604, illustrates the hand's practical use in a competitive context for choirmaster candidates.

The Impact of Solmization on Music

• Martin Agricola notes inherent properties of different syllables affect performance quality.

• Certain syllables carry characteristics:

  • Ut and Fa: Sweet and soft

  • Re and Sol: Neutral

  • Mi and La: Strong and manly

• Discussion of syllable dynamics raises questions about their universality across different music contexts.

Historical Perspectives on Syllable Dynamics

• Herman Finck critiques Agricola’s application of syllables as it led to imbalanced performances.

• Suggests auditory manifestations of syllables are essential even without strict dynamics.

Future of Solmization

• Discusses the gradual decline of solmization as chromaticism intensified in the 17th century, making traditional systems inadequate.

• While new systems emerged, the foundational six-syllable solmization persisted into the 18th and 19th centuries.

Conclusion

• The lecture emphasizes the importance of the solmization system in understanding Renaissance music, teaching methods, and performance practices.

• Acknowledges that while solmization's efficacy in performance is debated, it was inherently central to musical education of the time.