a practical supplement to guido of arezzo's pedagogical method
TRANSCRIPT
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
1/21
"His ita perspectis": A Practical Supplement to Guido of Arezzo's Pedagogical Method
Author(s): Mark A. LeachSource: The Journal of Musicology , Vol. 8, No. 1 (Winter, 1990), pp. 82-101Published by: University of California PressStable URL: http://www.jstor.org/stable/763524Accessed: 24-04-2016 16:30 UTC
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted
digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
JSTOR, please contact [email protected].
University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
2/21
"His ita perspectis":
A Practical Supplement
to Guido of Arezzo's
Pedagogical Method
MARK A. LEACH
"His ita perspectis":
A Practical Supplement
to Guido of Arezzo's
Pedagogical Method
MARK A. LEACH
Deinde per singulos sonos
brevissimas subposui symphonias,
quarum particulas cum diligenter in-
spexeris, uniuscuiusque vocis omnes
depositiones & elevationes per or-
dinem in principiis ipsarum particu-
larum gaudebis te invenire. Si autem
82 hoc attentare potueris, ut unius & al-
terius symphoniae quaslibet volueris
particulas moduleris, omnium neu-
marum difficiles valde atque multi-
plices varietates brevissima & facili
regula didicisti. Quae omnia cum vix
litteris utcumque significemus, facili
tantum colloquio denudamus.1
Deinde per singulos sonos
brevissimas subposui symphonias,
quarum particulas cum diligenter in-
spexeris, uniuscuiusque vocis omnes
depositiones & elevationes per or-
dinem in principiis ipsarum particu-
larum gaudebis te invenire. Si autem
82 hoc attentare potueris, ut unius & al-
terius symphoniae quaslibet volueris
particulas moduleris, omnium neu-
marum difficiles valde atque multi-
plices varietates brevissima & facili
regula didicisti. Quae omnia cum vix
litteris utcumque significemus, facili
tantum colloquio denudamus.1
Next I added very short sympho-
niae (melodies) for the individual
sounds, in which, after you have ex-
amined the phrases diligently, you
will be glad to find all the depositions
and elevations in turn of each indi-
vidual pitch, at the beginnings of the
same phrases. If, moreover, you have
been able to attempt this so that you
could sing all the phrases you wished
of any symphonia, [then] you learned
by a very brief and easy rule the quite
difficult and manifold types of all the
neumae (pitch groups). All which mat-
ters, since we can scarcely indicate
[them] in any way whatever with let-
ters, we disclose just by a simple dis-
course.
Next I added very short sympho-
niae (melodies) for the individual
sounds, in which, after you have ex-
amined the phrases diligently, you
will be glad to find all the depositions
and elevations in turn of each indi-
vidual pitch, at the beginnings of the
same phrases. If, moreover, you have
been able to attempt this so that you
could sing all the phrases you wished
of any symphonia, [then] you learned
by a very brief and easy rule the quite
difficult and manifold types of all the
neumae (pitch groups). All which mat-
ters, since we can scarcely indicate
[them] in any way whatever with let-
ters, we disclose just by a simple dis-
course.
I n this passage from his Epistle to Michael (Epis-
tola ad Michaelem), Guido of Arezzo describes part of a new method
for teaching boys, in a novel procedure that allows them to sing an
unheard melody without having recourse either to a monochord or to
hearing it from anyone else. And in fact, Guido's new system, in many
Volume VIII * Number 1 * Winter 1990
The Journal of Musicology ? 1990 by the Regents of the University of California
1 Guido of Arezzo, Epistola Guidonis Michaeli monacho de ignoto cantu directa, in
Martin Gerbert, ed., Scriptores ecclesiastici de musica sacra potissimum, 3 vols. (St. Blasien,
1784), II, p. 45.
I n this passage from his Epistle to Michael (Epis-
tola ad Michaelem), Guido of Arezzo describes part of a new method
for teaching boys, in a novel procedure that allows them to sing an
unheard melody without having recourse either to a monochord or to
hearing it from anyone else. And in fact, Guido's new system, in many
Volume VIII * Number 1 * Winter 1990
The Journal of Musicology ? 1990 by the Regents of the University of California
1 Guido of Arezzo, Epistola Guidonis Michaeli monacho de ignoto cantu directa, in
Martin Gerbert, ed., Scriptores ecclesiastici de musica sacra potissimum, 3 vols. (St. Blasien,
1784), II, p. 45.
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
3/21
HIS ITA PERSPECTISHIS ITA PERSPECTIS
ways the beginning of modern sight-singing technique, was badly
needed as a method of learning the chant. One of the major obstacles
to becoming a cantor, in the centuries preceding the eleventh, was
simply remembering and reproducing the many chants of the liturgy.
In the seventh century A.D., for instance, Isidore of Seville had al-
ready implied that the assistance of musical notation was not available
to help in recording melodies,2 and about A.D. 830 Agobard of Lyons
starkly commented:
. . . quamplurimi ab ineunte pueritia ... very many, from earliest youth
usque ad senectutis canitiem omnes up to the hoariness of old age, ex-
dies vitae suae in parando et confir- pend all the days of their lives in pre-
mando cantu expendunt.3 paring and perfecting song (i.e.,
chant).
The tremendous time and effort involved in learning the large chant
repertory simply by ear, from a master, is reflected again in the tenth-
or early eleventh-century Dialogus de musica, where it is said of singers
that
83
... plures eorum quinquaginta iam ... many of them actually devoted 83
annis in canendi usu & studio inuti- fifty years of their lives in vain to the
liter permanserunt.4 practice and study of singing.
But the Dialogus itself presents a solution to the problem of learn-
ing chants more quickly, by devising a system that does not even
require diastematic notation for its implementation. Using the Dialo-
gus' procedure, some boys are said to have learned many antiphons in
just three days to a week, without hearing them sung by a master.5
According to the Dialogus, one takes the pitch letters, as marked on a
monochord, then writes these pitch letters over the antiphon. At that
point the boys use a monochord to pick out the melody, and they are
supposed to be able to sing unheard melodies even without the mono-
chord's help after a few months.6 This was the system of pedagogy
2 Isidore of Seville, Etymologiarum, Bk. III, chap. 15, in Gerbert, Scriptores I, p. 20.
See the translation in Oliver Strunk, Source Readings in Music History from Classical
Antiquity through the Romantic Era (New York, 1950), p. 93.
3 Agobard of Lyons, Liber de correctione Antiphonarii, chap. XVIII, in Jacques P.
Migne, ed., Patrologiae latinae CIV (Paris, 1864), col. 338.
4 Gerbert, Scriptores I, p. 251. There is an English translation of the Dialogus in
Strunk, Source Readings, p. 104, where it is, however, wrongly attributed to Odo of
Cluny. On the authorship and date of the Dialogus see Michel Huglo, "L'auteur du
'Dialogue sur la Musique' attribu6e Odon," Revue de musicologie LV, no. 2 (1969),
119-71.
5 Gerbert, Scriptores I, p. 251 (Strunk, Source Readings, p. 103).
6 Gerbert, Scriptores I, pp. 252-53 (Strunk, Source Readings, p. 105).
ways the beginning of modern sight-singing technique, was badly
needed as a method of learning the chant. One of the major obstacles
to becoming a cantor, in the centuries preceding the eleventh, was
simply remembering and reproducing the many chants of the liturgy.
In the seventh century A.D., for instance, Isidore of Seville had al-
ready implied that the assistance of musical notation was not available
to help in recording melodies,2 and about A.D. 830 Agobard of Lyons
starkly commented:
. . . quamplurimi ab ineunte pueritia ... very many, from earliest youth
usque ad senectutis canitiem omnes up to the hoariness of old age, ex-
dies vitae suae in parando et confir- pend all the days of their lives in pre-
mando cantu expendunt.3 paring and perfecting song (i.e.,
chant).
The tremendous time and effort involved in learning the large chant
repertory simply by ear, from a master, is reflected again in the tenth-
or early eleventh-century Dialogus de musica, where it is said of singers
that
83
... plures eorum quinquaginta iam ... many of them actually devoted 83
annis in canendi usu & studio inuti- fifty years of their lives in vain to the
liter permanserunt.4 practice and study of singing.
But the Dialogus itself presents a solution to the problem of learn-
ing chants more quickly, by devising a system that does not even
require diastematic notation for its implementation. Using the Dialo-
gus' procedure, some boys are said to have learned many antiphons in
just three days to a week, without hearing them sung by a master.5
According to the Dialogus, one takes the pitch letters, as marked on a
monochord, then writes these pitch letters over the antiphon. At that
point the boys use a monochord to pick out the melody, and they are
supposed to be able to sing unheard melodies even without the mono-
chord's help after a few months.6 This was the system of pedagogy
2 Isidore of Seville, Etymologiarum, Bk. III, chap. 15, in Gerbert, Scriptores I, p. 20.
See the translation in Oliver Strunk, Source Readings in Music History from Classical
Antiquity through the Romantic Era (New York, 1950), p. 93.
3 Agobard of Lyons, Liber de correctione Antiphonarii, chap. XVIII, in Jacques P.
Migne, ed., Patrologiae latinae CIV (Paris, 1864), col. 338.
4 Gerbert, Scriptores I, p. 251. There is an English translation of the Dialogus in
Strunk, Source Readings, p. 104, where it is, however, wrongly attributed to Odo of
Cluny. On the authorship and date of the Dialogus see Michel Huglo, "L'auteur du
'Dialogue sur la Musique' attribu6e Odon," Revue de musicologie LV, no. 2 (1969),
119-71.
5 Gerbert, Scriptores I, p. 251 (Strunk, Source Readings, p. 103).
6 Gerbert, Scriptores I, pp. 252-53 (Strunk, Source Readings, p. 105).
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
4/21
THE JOURNAL OF MUSICOLOGYTHE JOURNAL OF MUSICOLOGY
that Guido inherited and that he seems to refer to in his Micrologus of
about A.D. 1026-28.7 But by the time of his late Prologus in antipho-
narium, Guido had invented a very clear diastematic notation using
colored C and F lines,8 and to accompany this new notation he then
devised a system (reported in his letter to Michael) for teaching boys
to sing that did not depend on extended reference to a monochord.
In fact, Guido now disapproved the use of a monochord after the
most elementary stage of instruction:
that Guido inherited and that he seems to refer to in his Micrologus of
about A.D. 1026-28.7 But by the time of his late Prologus in antipho-
narium, Guido had invented a very clear diastematic notation using
colored C and F lines,8 and to accompany this new notation he then
devised a system (reported in his letter to Michael) for teaching boys
to sing that did not depend on extended reference to a monochord.
In fact, Guido now disapproved the use of a monochord after the
most elementary stage of instruction:
Ad inveniendum igitur ignotum
cantum, beatissime Frater prima &
vulgaris regula haec est, si litteras,
quas quaelibet neuma habuerit, in
monochordo sonaveris, atque ab ipso
audiens tamquam ab homine magis-
tro discere poteris. Sed puerulis ista
est regula, & bona quidem incipien-
tibus, pessima autem perseve-
rantibus.9
Ad inveniendum igitur ignotum
cantum, beatissime Frater prima &
vulgaris regula haec est, si litteras,
quas quaelibet neuma habuerit, in
monochordo sonaveris, atque ab ipso
audiens tamquam ab homine magis-
tro discere poteris. Sed puerulis ista
est regula, & bona quidem incipien-
tibus, pessima autem perseve-
rantibus.9
Therefore, in order to find out an
unknown song, most blessed brother,
the first and common rule is this: you
sound on a monochord the letters
that are placed over every neuma, and
hearing from it just as from a living
teacher, you can learn. But that rule
is childish, and good indeed for be-
ginners, but bad for those more ad-
vanced.
Therefore, in order to find out an
unknown song, most blessed brother,
the first and common rule is this: you
sound on a monochord the letters
that are placed over every neuma, and
hearing from it just as from a living
teacher, you can learn. But that rule
is childish, and good indeed for be-
ginners, but bad for those more ad-
vanced.
84 Using his technique, Guido says, it now takes much less time to pro-
duce an accomplished singer.
84 Using his technique, Guido says, it now takes much less time to pro-
duce an accomplished singer.
Nam si illi pro suis apud Deum de-
votissime intercedunt magistris, qui
hactenus ab eis vix decennio cantandi
imperfectam scientiam consequi po-
tuerunt, quid putas pro nobis nostris-
que adiutoribus fiet, qui annali spa-
tio, aut si multum, biennio perfectum
cantorem efficimus?10
Nam si illi pro suis apud Deum de-
votissime intercedunt magistris, qui
hactenus ab eis vix decennio cantandi
imperfectam scientiam consequi po-
tuerunt, quid putas pro nobis nostris-
que adiutoribus fiet, qui annali spa-
tio, aut si multum, biennio perfectum
cantorem efficimus?10
For if those, who thus far were able
to obtain from their teachers scarcely
an imperfect knowledge in ten years
of singing, intercede before God for
them, what do you think will be done
for us and our assistants, who can
produce a finished singer in the
space of a year, or at most, in two
years?
For if those, who thus far were able
to obtain from their teachers scarcely
an imperfect knowledge in ten years
of singing, intercede before God for
them, what do you think will be done
for us and our assistants, who can
produce a finished singer in the
space of a year, or at most, in two
years?
The first key to Guido's new procedure lies in teaching beginners
the differences and properties (diversitates proprietatesque) of pitches:
7 See Joseph Smits van Waesberghe, ed., Guidonis Aretini Micrologus (Rome, 1955),
p. 92 (monochord), and p. 151 (use of letter notation). There is a translation of the
Micrologus in Hucbald, Guido, and John on Music, trans. by Warren Babb, edited, with
Introductions, by Claude V. Palisca (New York, 1978).
The date is Palisca's, from Hucbald, Guido, and John, p. 51.
8 See the Prologue in Joseph Smits van Waesberghe, ed., Guidonis "Prologus in
Antiphonarium" (Tres Tractatuli Guidonis Aretini) (Amsterdam, 1975). The chronology
of Guido's works is Palisca's in Hucbald, Guido, and John, p. 51.
Guido too, in the Prologus, comments on the inordinate time that it took to learn the
chant: see the Smits van Waesberghe edition p. 61, and translation in Strunk, Source
Readings, p. 177.
9 Gerbert, Scriptores II, p. 44.
o1 Ibid, p. 43.
The first key to Guido's new procedure lies in teaching beginners
the differences and properties (diversitates proprietatesque) of pitches:
7 See Joseph Smits van Waesberghe, ed., Guidonis Aretini Micrologus (Rome, 1955),
p. 92 (monochord), and p. 151 (use of letter notation). There is a translation of the
Micrologus in Hucbald, Guido, and John on Music, trans. by Warren Babb, edited, with
Introductions, by Claude V. Palisca (New York, 1978).
The date is Palisca's, from Hucbald, Guido, and John, p. 51.
8 See the Prologue in Joseph Smits van Waesberghe, ed., Guidonis "Prologus in
Antiphonarium" (Tres Tractatuli Guidonis Aretini) (Amsterdam, 1975). The chronology
of Guido's works is Palisca's in Hucbald, Guido, and John, p. 51.
Guido too, in the Prologus, comments on the inordinate time that it took to learn the
chant: see the Smits van Waesberghe edition p. 61, and translation in Strunk, Source
Readings, p. 177.
9 Gerbert, Scriptores II, p. 44.
o1 Ibid, p. 43.
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
5/21
HIS ITA PERSPECTISHIS ITA PERSPECTIS
for this purpose Guido himself used the now-famous hymn "Ut
queant laxis," although this hymn is not essential to the process, and
other melodies could be used instead.ll The second key, and the point
of the opening quotation, consists in teaching a pupil to sing, from
diastematic notation, the intervals that may follow any diatonic pitch
either ascending (in elevation) or descending (in deposition). One
learns this second matter by memorizing specially constructed melo-
dies that Guido says he has written, and indeed, many manuscripts
containing the Epistle include melodies directly after this passage, ex-
amples that might possibly be Guido's own (Example i).12 Certainly
one cannot teach according to Guido's method without these or sim-
ilar melodies. And whether it was from lack of these examples in a
copy of the letter to Michael (several manuscripts do not contain
them, and they might have been later insertions into the context),'3 or
whether it was from another circumstance where Guido's methods
but not these melodies were available, still other examples were writ-
ten for the same purpose. Thus it happens that different melodies
appear in the eleventh-century tractate beginning "His ita perspectis":
this is an instructional letter that describes to its recipient the eleva-
tions and depositions possible from each pitch. 4 85
"His ita perspectis" survives in three sources.l5 The first of these,
MS Conventi soppressi F III 565 of the Biblioteca Nazionale in Flo-
rence (hereafter F), is a collection of treatises formerly owned by the
Dominicans of Santa Maria Novella in Florence, and was probably
1 Ibid, p. 45. The main point of "Ut queant laxis" or other melodies used for the
same purpose is to teach the position of half-steps.
12 The melodies have been transcribed from MS F, excepting "Deus iudex," which
is missing in F and is here supplied from MS R. See below for explanation of manu-
script sigla.
13 A study of the Epistle's manuscript tradition might suggest whether lack of these
melodies represents an omission from the letter or not. In his study of Guido's theory
and pedagogy, Joseph Smits van Waesberghe leaves the question of the authenticity of
the melodies open, although he thinks that they have some claim to be Guido's (De
Musico-Paedagogica et Theoretico Guidone Aretino eiusque Vita et Moribus [Florence, 1953],
p. 91). Manuscripts containing the Epistle are catalogued in Smits van Waesberghe, ed.,
Guidonis "Prologus," but there is usually no indication if the melodies of Example 1 are
present or not.
These melodies were omitted from the Epistola editions of Michael Hermesdorff
(Epistola Guidonis Michaeli Monacho de ignoto cantu directa, d.i. Brief Guidos an den Monch
Michael iiber einen unbekannten Gesang [Trier, 1884]), Antonio Brandi (in Guido Aretino
[Florence, 1882]), and Gerbert, Scriptores II, and from Strunk's partial translation of the
Epistle in Source Readings (in which he states, p. 125, that the melodies seem to have been
lost).
14 More precisely, it seems to be part of a letter, the full contents of which are lost.
To clarify at the outset a potentially confusing point, the seven pitches are
ABCDEFG and their octaves. Pitch A is named the "first," even though Gamma-Ut is
added below it.
15 These sources are cross-indexed in Pieter Fischer, ed., The Theory of Music from
the Carolingian Era up to 1400. Volume II: Italy (RISM B 111/2) (Munich and Duisburg,
1968).
for this purpose Guido himself used the now-famous hymn "Ut
queant laxis," although this hymn is not essential to the process, and
other melodies could be used instead.ll The second key, and the point
of the opening quotation, consists in teaching a pupil to sing, from
diastematic notation, the intervals that may follow any diatonic pitch
either ascending (in elevation) or descending (in deposition). One
learns this second matter by memorizing specially constructed melo-
dies that Guido says he has written, and indeed, many manuscripts
containing the Epistle include melodies directly after this passage, ex-
amples that might possibly be Guido's own (Example i).12 Certainly
one cannot teach according to Guido's method without these or sim-
ilar melodies. And whether it was from lack of these examples in a
copy of the letter to Michael (several manuscripts do not contain
them, and they might have been later insertions into the context),'3 or
whether it was from another circumstance where Guido's methods
but not these melodies were available, still other examples were writ-
ten for the same purpose. Thus it happens that different melodies
appear in the eleventh-century tractate beginning "His ita perspectis":
this is an instructional letter that describes to its recipient the eleva-
tions and depositions possible from each pitch. 4 85
"His ita perspectis" survives in three sources.l5 The first of these,
MS Conventi soppressi F III 565 of the Biblioteca Nazionale in Flo-
rence (hereafter F), is a collection of treatises formerly owned by the
Dominicans of Santa Maria Novella in Florence, and was probably
1 Ibid, p. 45. The main point of "Ut queant laxis" or other melodies used for the
same purpose is to teach the position of half-steps.
12 The melodies have been transcribed from MS F, excepting "Deus iudex," which
is missing in F and is here supplied from MS R. See below for explanation of manu-
script sigla.
13 A study of the Epistle's manuscript tradition might suggest whether lack of these
melodies represents an omission from the letter or not. In his study of Guido's theory
and pedagogy, Joseph Smits van Waesberghe leaves the question of the authenticity of
the melodies open, although he thinks that they have some claim to be Guido's (De
Musico-Paedagogica et Theoretico Guidone Aretino eiusque Vita et Moribus [Florence, 1953],
p. 91). Manuscripts containing the Epistle are catalogued in Smits van Waesberghe, ed.,
Guidonis "Prologus," but there is usually no indication if the melodies of Example 1 are
present or not.
These melodies were omitted from the Epistola editions of Michael Hermesdorff
(Epistola Guidonis Michaeli Monacho de ignoto cantu directa, d.i. Brief Guidos an den Monch
Michael iiber einen unbekannten Gesang [Trier, 1884]), Antonio Brandi (in Guido Aretino
[Florence, 1882]), and Gerbert, Scriptores II, and from Strunk's partial translation of the
Epistle in Source Readings (in which he states, p. 125, that the melodies seem to have been
lost).
14 More precisely, it seems to be part of a letter, the full contents of which are lost.
To clarify at the outset a potentially confusing point, the seven pitches are
ABCDEFG and their octaves. Pitch A is named the "first," even though Gamma-Ut is
added below it.
15 These sources are cross-indexed in Pieter Fischer, ed., The Theory of Music from
the Carolingian Era up to 1400. Volume II: Italy (RISM B 111/2) (Munich and Duisburg,
1968).
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
6/21
THE JOURNAL OF MUSICOLOGY
EXAMPLE 1. The Epistola melodies
A- m rector m- res no- bs da sa- cra- tos.
Sum me pa- ter ser- uis tu- is m- sere- re.
Sa- lus nostra ho- nor noster es- to de- us
[M G [M AB B
De- us iu- dex iu- stus for- tis & pa- ti- ens
t_e0 0 r C , -* w c ? , e ' C
Ti- bi o- mns seruit mundus u- ne de- us.
Sta- bunt iu- sti ante de- umsem per lae- ti.
Do- mi- no laudes o- mni[s] crea- tura di- cat.
written around A.D. 1loo in a Tuscan monastery;'6 "His ita" appears
on ff. 68r-69r. The second manuscript-Rome, Biblioteca Vallicelli-
ana B 81 (R)-comprises two manuscripts, one eleventh- and one
twelfth-century, that were probably written at Norcia;l7 the present
treatise, on ff. 137v-139r, forms part of the earlier segment. Finally,
the extensive Ars musica compilation of Montecassino, Archivio della
Badia MS Q 318 (Mc) includes "His ita perspectis" on pp. 206-207;
this source was written at Montecassino in the second half of the
eleventh century, according to the usage of Santa Maria de
Albaneto.18 Judging from the extant copies, then, "His ita" seems part
i6 Michel Huglo, Les Tonaires (Paris, 1971), p. 188.
17 Ibid, p. 200.
s8 Ibid, p. 193. The heading "De eleuatione et depositione omnium sonorum,
xxvj" has been affixed in MS Mc immediately preceding our treatise.
THE JOURNAL OF MUSICOLOGY
EXAMPLE 1. The Epistola melodies
A- m rector m- res no- bs da sa- cra- tos.
Sum me pa- ter ser- uis tu- is m- sere- re.
Sa- lus nostra ho- nor noster es- to de- us
[M G [M AB B
De- us iu- dex iu- stus for- tis & pa- ti- ens
t_e0 0 r C , -* w c ? , e ' C
Ti- bi o- mns seruit mundus u- ne de- us.
Sta- bunt iu- sti ante de- umsem per lae- ti.
Do- mi- no laudes o- mni[s] crea- tura di- cat.
written around A.D. 1loo in a Tuscan monastery;'6 "His ita" appears
on ff. 68r-69r. The second manuscript-Rome, Biblioteca Vallicelli-
ana B 81 (R)-comprises two manuscripts, one eleventh- and one
twelfth-century, that were probably written at Norcia;l7 the present
treatise, on ff. 137v-139r, forms part of the earlier segment. Finally,
the extensive Ars musica compilation of Montecassino, Archivio della
Badia MS Q 318 (Mc) includes "His ita perspectis" on pp. 206-207;
this source was written at Montecassino in the second half of the
eleventh century, according to the usage of Santa Maria de
Albaneto.18 Judging from the extant copies, then, "His ita" seems part
i6 Michel Huglo, Les Tonaires (Paris, 1971), p. 188.
17 Ibid, p. 200.
s8 Ibid, p. 193. The heading "De eleuatione et depositione omnium sonorum,
xxvj" has been affixed in MS Mc immediately preceding our treatise.
8686
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
7/21
HIS ITA PERSPECTISHIS ITA PERSPECTIS
of a central and southern Italian theoretical tradition. It may not have
been composed much later than the Epistola (ca. A.D. 1030-32),'9 the
last of Guido's writings and the only one to announce special peda-
gogical melodies.
The Tuscan manuscript F furnishes the best reading, subject to a
few copyist's errors, or mistakes that occurred in transmission.20
Hence the following edition and translation of "His ita perspectis"
come from F.21 The melodies in MSS R and Mc, however, differ from
Fs in some respects, and have been reproduced in an appendix.
'9 The dates are those given in Joseph Smits van Waesberghe, Musikerziehung.
Lehre und Theorie der Musik im Mittelalter (Musikgeschichte in Bildern, ed. H. Besseler &
W. Bachmann, Bd. III, Lfg. 3) (Leipzig, 1969), p. 112.
20 MSS R and Mc-in related versions-misplace most of the musical examples,
displace one sentence ("In hac autem notabis .. ," placed before "In hac simphonia
inuenies ..." in these two sources), and omit another ("Ad hunc modem ... A.E.); the
reading of the text itself is corrupt in MS Mc, and there is music for only three of the
six melodies in this source.
21 Abbreviations have been expanded, and "-q" (or as appropriate "-e") has been
filled out to "-ae," but the orthography is otherwise that of this source.
EDITION
(Notes to the edition follow the text directly.)
of a central and southern Italian theoretical tradition. It may not have
been composed much later than the Epistola (ca. A.D. 1030-32),'9 the
last of Guido's writings and the only one to announce special peda-
gogical melodies.
The Tuscan manuscript F furnishes the best reading, subject to a
few copyist's errors, or mistakes that occurred in transmission.20
Hence the following edition and translation of "His ita perspectis"
come from F.21 The melodies in MSS R and Mc, however, differ from
Fs in some respects, and have been reproduced in an appendix.
'9 The dates are those given in Joseph Smits van Waesberghe, Musikerziehung.
Lehre und Theorie der Musik im Mittelalter (Musikgeschichte in Bildern, ed. H. Besseler &
W. Bachmann, Bd. III, Lfg. 3) (Leipzig, 1969), p. 112.
20 MSS R and Mc-in related versions-misplace most of the musical examples,
displace one sentence ("In hac autem notabis .. ," placed before "In hac simphonia
inuenies ..." in these two sources), and omit another ("Ad hunc modem ... A.E.); the
reading of the text itself is corrupt in MS Mc, and there is music for only three of the
six melodies in this source.
21 Abbreviations have been expanded, and "-q" (or as appropriate "-e") has been
filled out to "-ae," but the orthography is otherwise that of this source.
EDITION
(Notes to the edition follow the text directly.)
His ita perspectis paucissimas tibi set
ualde utiles: subdidi antiphonas. per
quas breuiter et lucide omnes eleua-
tiones et lucide omnes eleuationes et
depositiones omnium sonorum po-
teris scire. Si tantum eas summo stu-
dio discas. et perfecte memoriae tra-
das. Notandum enim quia nulla2 uox
habet ultra quattuor eleuationes uel
depositiones. quia nulla uox potest
eleuari uel deponi. nisi ad secundam
uel tertiam. aut quartam uel quin-
tam. Omnes quoque uoces has quat-
tuor eleuationes uel depositiones
habere non possunt. quam quare ita
sit alias si requiras inuenies. Habebis
itaque quattuor eleuationes uel de-
positiones in uoce prima. tertia. uel
quarta. [septima.]3 In secunda eleua-
tiones tres depositiones duas. In
quinta eleuationes tres. et deposi-
tiones quattuor.4 In sexta eleuationes
duas. depositiones tres. Ecce ad hunc
His ita perspectis paucissimas tibi set
ualde utiles: subdidi antiphonas. per
quas breuiter et lucide omnes eleua-
tiones et lucide omnes eleuationes et
depositiones omnium sonorum po-
teris scire. Si tantum eas summo stu-
dio discas. et perfecte memoriae tra-
das. Notandum enim quia nulla2 uox
habet ultra quattuor eleuationes uel
depositiones. quia nulla uox potest
eleuari uel deponi. nisi ad secundam
uel tertiam. aut quartam uel quin-
tam. Omnes quoque uoces has quat-
tuor eleuationes uel depositiones
habere non possunt. quam quare ita
sit alias si requiras inuenies. Habebis
itaque quattuor eleuationes uel de-
positiones in uoce prima. tertia. uel
quarta. [septima.]3 In secunda eleua-
tiones tres depositiones duas. In
quinta eleuationes tres. et deposi-
tiones quattuor.4 In sexta eleuationes
duas. depositiones tres. Ecce ad hunc
Therefore, since these [matters] have
been examined, I appended a very
few but extremely useful antiphons
for you, by means of which you will
be able to understand briefly and
clearly all the elevations and deposi-
tions of all the sounds, if only you
learn them [i.e., the antiphons] with
the greatest assiduity, and memorize
them perfectly. For it should be
noted that no pitch has more than
four elevations or depositions, be-
cause no pitch can be raised or low-
ered unless to the second or third, or
fourth or fifth [pitch above or below].
In addition, all pitches cannot have
these four elevations or depositions;
why it may be so you will find else-
where if you should require. And so
you will have four elevations or dep-
ositions on the first, third, fourth, or
seventh pitch. On the second [pitch
there are] three elevations, two dep-
Therefore, since these [matters] have
been examined, I appended a very
few but extremely useful antiphons
for you, by means of which you will
be able to understand briefly and
clearly all the elevations and deposi-
tions of all the sounds, if only you
learn them [i.e., the antiphons] with
the greatest assiduity, and memorize
them perfectly. For it should be
noted that no pitch has more than
four elevations or depositions, be-
cause no pitch can be raised or low-
ered unless to the second or third, or
fourth or fifth [pitch above or below].
In addition, all pitches cannot have
these four elevations or depositions;
why it may be so you will find else-
where if you should require. And so
you will have four elevations or dep-
ositions on the first, third, fourth, or
seventh pitch. On the second [pitch
there are] three elevations, two dep-
8787
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
8/21
THE JOURNAL OF MUSICOLOGYTHE JOURNAL OF MUSICOLOGY
exemplum eleuatur omnis neuma
uocis primae uel quartae. A.D.
exemplum eleuatur omnis neuma
uocis primae uel quartae. A.D.
ositions. On the fifth [pitch there are]
three elevations and four deposi-
tions. On the sixth [pitch there are]
two elevations, three depositions. Be-
hold: every neuma (i.e., every pitch
group) of the first or fourth pitch is
elevated in this example. A.D.
ositions. On the fifth [pitch there are]
three elevations and four deposi-
tions. On the sixth [pitch there are]
two elevations, three depositions. Be-
hold: every neuma (i.e., every pitch
group) of the first or fourth pitch is
elevated in this example. A.D.
4AI4AI
b 4 J d J /4\ J 4 9 J t
Be- a- tus uir qui non hati-it in con-
o~0 ; -S 3
si- li- o im pi- o- rum
r X r
r # # ̂ - ^X .. m
.1 t J - < t , 1
J JmJ J
/C ,- - . - , .'1.r ,
1/ - _-
Ca- licem sa-lu-ta- ris accipi- am
& no- men do-mi-ni in- uo- ca-bo
b 4 J d J /4\ J 4 9 J t
Be- a- tus uir qui non hati-it in con-
o~0 ; -S 3
si- li- o im pi- o- rum
r X r
r # # ̂ - ^X .. m
.1 t J - < t , 1
J JmJ J
/C ,- - . - , .'1.r ,
1/ - _-
Ca- licem sa-lu-ta- ris accipi- am
& no- men do-mi-ni in- uo- ca-bo
8888
----
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
9/21
HS ITA PERSPECTISHS ITA PERSPECTIS
Ad hunc modum deponitur omnis
neuma uocis primae. uel quintae.
A.E.
t- / 1 I -_ A
a -S
Ad hunc modum deponitur omnis
neuma uocis primae. uel quintae.
A.E.
t- / 1 I -_ A
a -S
In this manner every neuma of the
first or fifth pitch is lowered. A.E.
;r - 1 J -.,-
In this manner every neuma of the
first or fifth pitch is lowered. A.E.
;r - 1 J -.,-
e e- e- t gentes & - pu- i me f
Quare fre-mu-e-runt gen-tes & po- pu- li mditati
sun n a- n-a A
J 1 - /1
t- , .f.r ,- T^lffi
e e- e- t gentes & - pu- i me f
Quare fre-mu-e-runt gen-tes & po- pu- li mditati
sun n a- n-a A
J 1 - /1
t- , .f.r ,- T^lffi
In hac simphonia inuenies tres ele-
uationes uocis secundae5 uel quintae.
quarum quinta ad superquintam.
quartam eleuationem habere potest.
set amore secundae sororis non uti-
tur. Deponuntur enim secunda6 et
quinta7 ad similitudinem primae. Set
secunda duabus tantum depositioni-
bus utitur. et quinta raro habet
[alias]8 nisi duas similiter. B.E.
s - - -f , -j
In hac simphonia inuenies tres ele-
uationes uocis secundae5 uel quintae.
quarum quinta ad superquintam.
quartam eleuationem habere potest.
set amore secundae sororis non uti-
tur. Deponuntur enim secunda6 et
quinta7 ad similitudinem primae. Set
secunda duabus tantum depositioni-
bus utitur. et quinta raro habet
[alias]8 nisi duas similiter. B.E.
s - - -f , -j
In this simphonia you will find the
three elevations of the second or fifth
pitch, of which [elevations] the fifth
[pitch] can have the fourth elevation
to the upper fifth, but from love of
the second sister it is not used. In-
deed, the second and fifth [pitches]
are lowered like the first. But the sec-
ond is only used with two deposi-
tions, and the fifth rarely has other-
wise unless two as well. B.E.
̂J J 1f _ }I
In this simphonia you will find the
three elevations of the second or fifth
pitch, of which [elevations] the fifth
[pitch] can have the fourth elevation
to the upper fifth, but from love of
the second sister it is not used. In-
deed, the second and fifth [pitches]
are lowered like the first. But the sec-
ond is only used with two deposi-
tions, and the fifth rarely has other-
wise unless two as well. B.E.
̂J J 1f _ }I
-Î ̂ # ; t 94 4
Do-mi-ne quid mul- ti-pli cati sunt qui tribulant me.
z- ?
~~1 sN_-. N
? * b7w?v ~
-Î ̂ # ; t 94 4
Do-mi-ne quid mul- ti-pli cati sunt qui tribulant me.
z- ?
~~1 sN_-. N
? * b7w?v ~
8989
In hac armonia deprehendes9 quat-
tuor eleuationes uocis tertiae uel se-
ptimae. C[.]G[.]
In hac armonia deprehendes9 quat-
tuor eleuationes uocis tertiae uel se-
ptimae. C[.]G[.]
In this armonia you will discover the
four elevations of the third or sev-
enth pitch. C.G.
In this armonia you will discover the
four elevations of the third or sev-
enth pitch. C.G.
A
-_ 4
--i7x
.9-,-
A
-_ 4
--i7x
.9-,-
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
10/21
THE JOURNAL OF MUSICOLOGYTHE JOURNAL OF MUSICOLOGY
In hoc melo uidebis quattuor depo-
sitiones uocis tertiae. uel sextae. set
sexta. quartam depositionem non
recipit.'? C.F[.]
In hoc melo uidebis quattuor depo-
sitiones uocis tertiae. uel sextae. set
sexta. quartam depositionem non
recipit.'? C.F[.]
In this melos you will see the four
depositions of the third or sixth
pitch, but the sixth [pitch] does not
admit the fourth deposition. C.F.
In this melos you will see the four
depositions of the third or sixth
pitch, but the sixth [pitch] does not
admit the fourth deposition. C.F.
c ,
h '- ---q
c ,
h '- ---q
...I. 1.1 ' )1'...I. 1.1 ' )1'
Do-mi-ne ne in i-ra ti-a ar- gu- as me neque
i 1A
in fu-ro-re tu-o cor- ri- . pi- a; me
.. ._̂ ,-, . ,. ,-_ J
Do-mi-ne ne in i-ra ti-a ar- gu- as me neque
i 1A
in fu-ro-re tu-o cor- ri- . pi- a; me
.. ._̂ ,-, . ,. ,-_ J
In hac autem'1 notabis quattuor dep-
ositiones uocis quartae uel septimae.
D.G.
In hac autem'1 notabis quattuor dep-
ositiones uocis quartae uel septimae.
D.G.
In this [example], moreover, you will
note the four depositions of the
fourth or seventh pitch. D.G.
In this [example], moreover, you will
note the four depositions of the
fourth or seventh pitch. D.G.
90
_V . +
90
_V . +
1. 1, 1 J 1 3 '11. 1, 1 J 1 3 '1
Do- m-ne de-us mus in te spe- ra- ui li-
be- ra me 4 |
CA ̂ / ?
Do- m-ne de-us mus in te spe- ra- ui li-
be- ra me 4 |
CA ̂ / ?
Vox quinta eleuatur ad simili-
tudinem secundae. deponitur uero
ad similitudinem primae ut iam di-
ctum est. Vox sexta eleuatur ut tertia.
set duabus tantum eleuationibus uti-
tur. Deponitur quoque ut eadem ter-
tia. Vox tandem septima eleuatur ut
tertia. deponitur autem2vt quarta.
Vox quinta eleuatur ad simili-
tudinem secundae. deponitur uero
ad similitudinem primae ut iam di-
ctum est. Vox sexta eleuatur ut tertia.
set duabus tantum eleuationibus uti-
tur. Deponitur quoque ut eadem ter-
tia. Vox tandem septima eleuatur ut
tertia. deponitur autem2vt quarta.
The fifth pitch is elevated like the
second, however it is lowered like the
first, as was already said. The sixth
pitch is elevated like the third, but
makes use of just two elevations; it is
lowered, too, like the same third
[pitch]. Finally, the seventh pitch is
elevated like the third, lowered
moreover like the fourth.
The fifth pitch is elevated like the
second, however it is lowered like the
first, as was already said. The sixth
pitch is elevated like the third, but
makes use of just two elevations; it is
lowered, too, like the same third
[pitch]. Finally, the seventh pitch is
elevated like the third, lowered
moreover like the fourth.
'MS:utilis
2MS:nula
3MS omits "septima," but the word is found in R ("prima. tercia. quarta. septima.")
4MS:quarta
'MS:utilis
2MS:nula
3MS omits "septima," but the word is found in R ("prima. tercia. quarta. septima.")
4MS:quarta
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
11/21
HIS ITA PERSPECTISHIS ITA PERSPECTIS
5MS:primae (1me)
6MS:quintae (scde)
7MS:quintae (qnte)
8MS omits "alias," but it is found in both R and Mc.
9MS:deprehendens
MS:fecipit
autem abbreviated .
"autem" superscripta as" ."
COMMENTARY
In his letter to Michael, Guido's own analysis of the similarities be-
tween different pitches includes a description of the specific intervals
that occur in their elevations and depositions:
5MS:primae (1me)
6MS:quintae (scde)
7MS:quintae (qnte)
8MS omits "alias," but it is found in both R and Mc.
9MS:deprehendens
MS:fecipit
autem abbreviated .
"autem" superscripta as" ."
COMMENTARY
In his letter to Michael, Guido's own analysis of the similarities be-
tween different pitches includes a description of the specific intervals
that occur in their elevations and depositions:
Praeterea septima vox cum tertia
in elevatione concordat; utraque
enim duobus tonis & semitonio, &
item duobus tonis elevantur. Eadem
quoque septima cum quarta concor-
dat uno tono in elevatione, & in de-
positione tono & semitonio, et duobus
tonis in utroque cantatur similiter.
Prima quoque cum quinta
omnes depositivas neumas commu-
niter facit; deponitur enim duobus
tonis & semitonio. Itaque hae voces
similes faciunt neumas, prima cum
quarta; secunda cum quinta; tertia
cum sexta; septima cum prima vel
cum tertia. Nulla autem vox ultra
quatuor elevationes vel depositiones
habet, quia non potest gravari vel
acui, nisi ad secundam vel tertiam,
vel quartam vel quintam, secundum
sex species, quas supra dixi, id est,
tono, semitonio, ditono, semiditono,
diatesseron & diapente.22
Praeterea septima vox cum tertia
in elevatione concordat; utraque
enim duobus tonis & semitonio, &
item duobus tonis elevantur. Eadem
quoque septima cum quarta concor-
dat uno tono in elevatione, & in de-
positione tono & semitonio, et duobus
tonis in utroque cantatur similiter.
Prima quoque cum quinta
omnes depositivas neumas commu-
niter facit; deponitur enim duobus
tonis & semitonio. Itaque hae voces
similes faciunt neumas, prima cum
quarta; secunda cum quinta; tertia
cum sexta; septima cum prima vel
cum tertia. Nulla autem vox ultra
quatuor elevationes vel depositiones
habet, quia non potest gravari vel
acui, nisi ad secundam vel tertiam,
vel quartam vel quintam, secundum
sex species, quas supra dixi, id est,
tono, semitonio, ditono, semiditono,
diatesseron & diapente.22
Moreover, the seventh pitch
agrees with the third in elevation; for
each is elevated by two tones and a
semitone, and likewise by two [more]
tones. Also, the same seventh [pitch]
agrees with the fourth by one tone in
elevation, and in both it is sung sim-
ilarly in deposition by a tone and a
semitone and by two tones.
In addition, the first [pitch]
makes all lowered neumae in common
with the fifth; for it is lowered by two
tones and a semitone. And so these
pitches make similar neumae, the first
with the fourth; the second with the
fifth; the third with the sixth; the sev-
enth with the first or with the third.
Moreover, no pitch has more than
four elevations or depositions, be-
cause it cannot be lowered or raised,
unless to the second or third, or
fourth or fifth [pitch], according to
the six species, which I mentioned
above, that is, by a tone, semitone,
major third, minor third, fourth and
fifth.
Moreover, the seventh pitch
agrees with the third in elevation; for
each is elevated by two tones and a
semitone, and likewise by two [more]
tones. Also, the same seventh [pitch]
agrees with the fourth by one tone in
elevation, and in both it is sung sim-
ilarly in deposition by a tone and a
semitone and by two tones.
In addition, the first [pitch]
makes all lowered neumae in common
with the fifth; for it is lowered by two
tones and a semitone. And so these
pitches make similar neumae, the first
with the fourth; the second with the
fifth; the third with the sixth; the sev-
enth with the first or with the third.
Moreover, no pitch has more than
four elevations or depositions, be-
cause it cannot be lowered or raised,
unless to the second or third, or
fourth or fifth [pitch], according to
the six species, which I mentioned
above, that is, by a tone, semitone,
major third, minor third, fourth and
fifth.
9191
Here one notices a resemblance between part of Guido's text and an
opening sentence of "His ita perspectis," a similarity which might
suggest that the author is recalling Guido's words:
Here one notices a resemblance between part of Guido's text and an
opening sentence of "His ita perspectis," a similarity which might
suggest that the author is recalling Guido's words:
22 Guido of Arezzo, Epistola, in Gerbert, Scriptores II, p. 49.22 Guido of Arezzo, Epistola, in Gerbert, Scriptores II, p. 49.
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
12/21
THE JOURNAL OF MUSICOLOGYTHE JOURNAL OF MUSICOLOGY
"His ita perspectis": Notandum enim quia nulla uox
Epistola : Nulla autemvox
habet ultra quattuor eleuationes uel depositiones. quia
ultra quatuor elevationes vel depositiones habet, quia
nulla uox potest eleuari uel deponi. nisi ad secundam
non potest gravari vel acui , nisi ad secundam
uel tertiam . aut quartam uel quintam.
vel tertiam, vel quartam vel quintam...
In any event, the position of "His ita perspectis" in its sources points
to the intended conceptual setting: in all three manuscripts it has been
appended to a collection of Guido's writings. In MS F, for instance,
our treatise closely follows some additions to the Epistle to Michael.23 In
MSS R and Mc, on the other hand, "His ita" occurs immediately after
the Regulae rhythmicae, a writing of Guido's which, like the Epistle,
includes a description of the elevations and depositions as an intro-
duction to reading diastematic notation. Its manuscript position, then,
92 as well as its content, show that "His ita" was incorporated as a sup-
plement to Guidonian theory and pedagogy. The treatise supplies,
with simple explanations, systematically-arranged pedagogical melo-
dies by which a pupil may learn to sing and recognize the elevations
and depositions of each pitch, according to Guido's program. In turn,
some of Guido's writings, or perhaps even those of his disciples, can
be used to expand matters not covered in the present tractate; these
issues are noted in the phrases "His ita perspectis" and ".quam quare
ita sit alias si requiras inuenies," but unfortunately the precise refer-
ents of these phrases are not clear.
The initial first-person verb ("subdidi") and singular dative
("tibi") of the first sentence quickly disclose that this is a letter. Ap-
pearing as it does at the conclusion of Guido's collected writings, then,
might this letter too stem from Guido's hand? Yet if the idea is tempt-
ing, it cannot be substantiated, since no source ascribes it to Guido.
Moreover, if the melodies of Example 1 are Guido's, there would be
23 This short series of textual additions with charts has been directly appended to
Guido's Epistle in three sources, which are: i) Brussels, Bibliotheque Royale de Belgique,
II 4141 (Germany, 14th century), 2) Milan, Biblioteca Ambrosiana, D.5. inf. (beginning
of the 14th century), and MS F, which is much the earliest source. See Fischer, ed., The
Theory of Music II (RISM BIII/2), pp. 28 and 53, and Joseph Smits van Waesberghe, ed.,
The Theory of Music from the Carolingian Era up to 1400. Volume I (RISM B III/i) (Munich
and Duisburg, 1961), p. 64.
"His ita perspectis": Notandum enim quia nulla uox
Epistola : Nulla autemvox
habet ultra quattuor eleuationes uel depositiones. quia
ultra quatuor elevationes vel depositiones habet, quia
nulla uox potest eleuari uel deponi. nisi ad secundam
non potest gravari vel acui , nisi ad secundam
uel tertiam . aut quartam uel quintam.
vel tertiam, vel quartam vel quintam...
In any event, the position of "His ita perspectis" in its sources points
to the intended conceptual setting: in all three manuscripts it has been
appended to a collection of Guido's writings. In MS F, for instance,
our treatise closely follows some additions to the Epistle to Michael.23 In
MSS R and Mc, on the other hand, "His ita" occurs immediately after
the Regulae rhythmicae, a writing of Guido's which, like the Epistle,
includes a description of the elevations and depositions as an intro-
duction to reading diastematic notation. Its manuscript position, then,
92 as well as its content, show that "His ita" was incorporated as a sup-
plement to Guidonian theory and pedagogy. The treatise supplies,
with simple explanations, systematically-arranged pedagogical melo-
dies by which a pupil may learn to sing and recognize the elevations
and depositions of each pitch, according to Guido's program. In turn,
some of Guido's writings, or perhaps even those of his disciples, can
be used to expand matters not covered in the present tractate; these
issues are noted in the phrases "His ita perspectis" and ".quam quare
ita sit alias si requiras inuenies," but unfortunately the precise refer-
ents of these phrases are not clear.
The initial first-person verb ("subdidi") and singular dative
("tibi") of the first sentence quickly disclose that this is a letter. Ap-
pearing as it does at the conclusion of Guido's collected writings, then,
might this letter too stem from Guido's hand? Yet if the idea is tempt-
ing, it cannot be substantiated, since no source ascribes it to Guido.
Moreover, if the melodies of Example 1 are Guido's, there would be
23 This short series of textual additions with charts has been directly appended to
Guido's Epistle in three sources, which are: i) Brussels, Bibliotheque Royale de Belgique,
II 4141 (Germany, 14th century), 2) Milan, Biblioteca Ambrosiana, D.5. inf. (beginning
of the 14th century), and MS F, which is much the earliest source. See Fischer, ed., The
Theory of Music II (RISM BIII/2), pp. 28 and 53, and Joseph Smits van Waesberghe, ed.,
The Theory of Music from the Carolingian Era up to 1400. Volume I (RISM B III/i) (Munich
and Duisburg, 1961), p. 64.
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
13/21
HIS ITA PERSPECTISHIS ITA PERSPECTIS
no point in using different examples here. All we can say is that "His
ita perspectis" seems to have been composed by someone familiar with
the Epistle or its pedagogical program who did not have at hand, or
who had perhaps never seen, the "Guidonian" melodies.24
Whoever wrote the letter, the choice of texts for musical examples
is perhaps even better than in the melodies of Example i: these texts
are, in order, the beginnings of Psalms 1 through 7, which would be
familiar texts very easy to remember.25 But, curiously, there is no
example using Ps. 4 ("Cum invocarem exaudivit me"). Is this an ac-
cident of scribal transmission or not? Examining the letter's construc-
tional pattern, it can be seen that each melodic example except Ps. 3,
"Domine quid multiplicati," directly follows an introductory sentence,
such as "In hoc melo . .," or something similar. Now if the melody on
Ps. 3, illustrating B's and E's elevations, were moved up slightly to
follow its introductory statement immediately-instead of appearing
after a corresponding description of B's and E's depositions-then
there would be a slot into which Ps. 4 would fit. The absent melody
could then have illustrated B's and E's depositions, as described in the
text. On the other hand, no unattached introductory statement re-
mains to indicate that an example for these depositions is missing. 93
Neither is there actually any need to illustrate them, since both B and
E are lowered to some extent in the same manner as the first pitch A,
as the author does not fail to point out. No reason exists, then, to
suspect that this specific example existed and was deleted, either ac-
cidentally or on purpose.
The Epistola melodies suggest another approach to the problem
of the Ps. 4 omission. Since the seventh Epistola melody, demonstrat-
ing F's elevations, lacks an equivalent among "His ita" 's six examples,
perhaps this was the Ps. 4 tune eliminated. "His ita" does, however,
point out characteristics of F's elevation pattern, so there is no prac-
tical reason to state that something is wanting. If the Epistola melodies
24 While it is initially striking that the corresponding melodies illustrating the
depositions of A and of C both begin syllabically, the tunes showing E's elevation
pattern differ in this respect. Then too, "Beatus uir" from "His ita" and the Epistle's
"Alme rector"-both showing the elevations of D-contain a nearly identical phrase at
the end of each text ("impiorum" and "da sacratos"), but the types of melodic motion
one is likely to find in such examples is limited, and this may be simple coincidence.
"Verba mea" and the Epistle's "Salus nostra" (elevations of C) have in common the first
three notes, but no more. It is interesting, however, that the examples in the Epistle and
those of "His ita" demonstrate elevation and deposition patterns on the same pitches,
i.e., D's and A's elevations on D, E's and A's depositions on A, and so on.
25 Learning the Psalms was part of the education of a "puer." The age of the boys
in question may have been about 6-13 years old: see Smits van Waesberghe, Musiker-
ziehung, pp. 17-18.
no point in using different examples here. All we can say is that "His
ita perspectis" seems to have been composed by someone familiar with
the Epistle or its pedagogical program who did not have at hand, or
who had perhaps never seen, the "Guidonian" melodies.24
Whoever wrote the letter, the choice of texts for musical examples
is perhaps even better than in the melodies of Example i: these texts
are, in order, the beginnings of Psalms 1 through 7, which would be
familiar texts very easy to remember.25 But, curiously, there is no
example using Ps. 4 ("Cum invocarem exaudivit me"). Is this an ac-
cident of scribal transmission or not? Examining the letter's construc-
tional pattern, it can be seen that each melodic example except Ps. 3,
"Domine quid multiplicati," directly follows an introductory sentence,
such as "In hoc melo . .," or something similar. Now if the melody on
Ps. 3, illustrating B's and E's elevations, were moved up slightly to
follow its introductory statement immediately-instead of appearing
after a corresponding description of B's and E's depositions-then
there would be a slot into which Ps. 4 would fit. The absent melody
could then have illustrated B's and E's depositions, as described in the
text. On the other hand, no unattached introductory statement re-
mains to indicate that an example for these depositions is missing. 93
Neither is there actually any need to illustrate them, since both B and
E are lowered to some extent in the same manner as the first pitch A,
as the author does not fail to point out. No reason exists, then, to
suspect that this specific example existed and was deleted, either ac-
cidentally or on purpose.
The Epistola melodies suggest another approach to the problem
of the Ps. 4 omission. Since the seventh Epistola melody, demonstrat-
ing F's elevations, lacks an equivalent among "His ita" 's six examples,
perhaps this was the Ps. 4 tune eliminated. "His ita" does, however,
point out characteristics of F's elevation pattern, so there is no prac-
tical reason to state that something is wanting. If the Epistola melodies
24 While it is initially striking that the corresponding melodies illustrating the
depositions of A and of C both begin syllabically, the tunes showing E's elevation
pattern differ in this respect. Then too, "Beatus uir" from "His ita" and the Epistle's
"Alme rector"-both showing the elevations of D-contain a nearly identical phrase at
the end of each text ("impiorum" and "da sacratos"), but the types of melodic motion
one is likely to find in such examples is limited, and this may be simple coincidence.
"Verba mea" and the Epistle's "Salus nostra" (elevations of C) have in common the first
three notes, but no more. It is interesting, however, that the examples in the Epistle and
those of "His ita" demonstrate elevation and deposition patterns on the same pitches,
i.e., D's and A's elevations on D, E's and A's depositions on A, and so on.
25 Learning the Psalms was part of the education of a "puer." The age of the boys
in question may have been about 6-13 years old: see Smits van Waesberghe, Musiker-
ziehung, pp. 17-18.
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
14/21
THE JOURNAL OF MUSICOLOGYTHE JOURNAL OF MUSICOLOGY
are seven, just as there are seven pitches, and "His ita" contains only
six examples, this is a numerical but not an empirical fault. Never-
theless, the absence of Ps. 4 is glaring, and that pitch F's special case
is mentioned in the closing sentences does not preclude its having
originally had an example earlier: all of the remaining information in
the text following the final example is just a restatement of previous
material. Assuming then that Ps. 4 carried an example of F's eleva-
tions, it would have fitted between Ps. 3: "Domine quid," demonstrat-
ing B's and E's elevations, and Ps. 5: "Verba mea," showing the dep-
ositions of C and F. Unfortunately, inserting a melody here would
interrupt the consecutive sequence of pitches established for the ex-
amples, from 1) the first (A) and fourth pitches to 2) the first (A) and
fifth pitches to 3) the second (B) and fifth pitches to 4) the third (C) and
seventh pitches, and so on. This sequence could be maintained if F
were to be paired with C in elevation, as the last section of the treatise
in fact suggests (since through two elevations C and F are alike), but
"His ita" has already paired the identical elevation patterns of C and
G in an example on Ps. 5 ("Verba mea"). So we are left with the
distasteful situation that in terms of the examples' texts something is
94 obviously missing, that in terms of musical illustration something could
be missing, but that in terms of the treatise's logical progression and
illustration of its intended points all the information necessary is
present, and that inserting a hypothetical missing example on F into
the treatise's framework disturbs that progression. Could "His ita"
have been written around a group of pre-existing melodies, of which
the author possessed or used just six of an original seven?
In any case, "His ita perspectis" provides a coherent means for
learning the intervals that can directly follow any of the seven
pitches-thus demonstrating qualities of musical space-by the means
of memorizing sample antiphons supplied with the text: these anti-
phons demonstrate the intervals in order, from lesser to greater. We
are told ("Notandum autem .. . quartam uel quintam.") that no pitch
is directly connected to another either in ascent or descent by any
greater interval than a fifth.26 Yet all pitches cannot have this maximal
leap of the diapente, and the author gives a preliminary summary of
the elevation and deposition patterns to be learned ("Habebis itaque
... depositiones tres.").
26 Guido did not allow the sixth as a direct interval between any two pitches. For
a comparison of Guido's opinion with the views of other earlier medieval theorists on
this matter, see Hans Oesch, Guido von Arezzo (Bern, 1954), p. 85.
are seven, just as there are seven pitches, and "His ita" contains only
six examples, this is a numerical but not an empirical fault. Never-
theless, the absence of Ps. 4 is glaring, and that pitch F's special case
is mentioned in the closing sentences does not preclude its having
originally had an example earlier: all of the remaining information in
the text following the final example is just a restatement of previous
material. Assuming then that Ps. 4 carried an example of F's eleva-
tions, it would have fitted between Ps. 3: "Domine quid," demonstrat-
ing B's and E's elevations, and Ps. 5: "Verba mea," showing the dep-
ositions of C and F. Unfortunately, inserting a melody here would
interrupt the consecutive sequence of pitches established for the ex-
amples, from 1) the first (A) and fourth pitches to 2) the first (A) and
fifth pitches to 3) the second (B) and fifth pitches to 4) the third (C) and
seventh pitches, and so on. This sequence could be maintained if F
were to be paired with C in elevation, as the last section of the treatise
in fact suggests (since through two elevations C and F are alike), but
"His ita" has already paired the identical elevation patterns of C and
G in an example on Ps. 5 ("Verba mea"). So we are left with the
distasteful situation that in terms of the examples' texts something is
94 obviously missing, that in terms of musical illustration something could
be missing, but that in terms of the treatise's logical progression and
illustration of its intended points all the information necessary is
present, and that inserting a hypothetical missing example on F into
the treatise's framework disturbs that progression. Could "His ita"
have been written around a group of pre-existing melodies, of which
the author possessed or used just six of an original seven?
In any case, "His ita perspectis" provides a coherent means for
learning the intervals that can directly follow any of the seven
pitches-thus demonstrating qualities of musical space-by the means
of memorizing sample antiphons supplied with the text: these anti-
phons demonstrate the intervals in order, from lesser to greater. We
are told ("Notandum autem .. . quartam uel quintam.") that no pitch
is directly connected to another either in ascent or descent by any
greater interval than a fifth.26 Yet all pitches cannot have this maximal
leap of the diapente, and the author gives a preliminary summary of
the elevation and deposition patterns to be learned ("Habebis itaque
... depositiones tres.").
26 Guido did not allow the sixth as a direct interval between any two pitches. For
a comparison of Guido's opinion with the views of other earlier medieval theorists on
this matter, see Hans Oesch, Guido von Arezzo (Bern, 1954), p. 85.
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
15/21
HIS ITA PERSPECTISHIS ITA PERSPECTIS
The initial example (Ps. 1: "Beatus uir") exhibits the four possible
elevations of the first or fourth pitch, i.e., of A or D. Since both of
these contain the same pattern of tones and semitones in ascent
(TsTT), "Beatus uir" serves for both pitches, although written on D.
Each example in MS F is extended by a considerable melisma which
gives additional sequences of the intervals needed. "Beatus uir," for
instance, shows A's or D's elevations during the Psalm text as labeled
in Example 2 below, then proceeds in the melisma to present two
more sequences of the same in ascending order, one in descending
order, then a further group of intervallic exercises within the fifth
D-a. The melismas in F are not present in either R or Mc (see appen-
dix), and it seems likely that they were not original, but added by an
overzealous instructor: not only do the Psalm texts contain within
their bounds all that the musical examples are supposed to demon-
strate, but the melismas negate the easily-memorized quality of the
examples in their shorter non-melismatic form. As with the examples
in the Epistola, the original length of these antiphons must have been
moderate, in their capacity as elementary instruction. Nor do either
MSS R or Mc contain the antiphon "Calicem salutaris" (for the Ves-
pers of Maundy Thursday) appended to "Beatus uir." Presumably 95
"Calicem salutaris" was meant to take the student from the pedagog-
ical melody to a genuine chant on the same pitch, although none of
the remaining examples provide such additions.27
The depositions possible from the first or fifth pitch, A or E, are
unproblematic (see "Quare fremuerunt"), since both have the succes-
sion TTsT to the lower fifth, yet, as becomes apparent, E is a special
EXAMPLE 2. Elevations of D in the texted portion of "Beatus uir"
123
The initial example (Ps. 1: "Beatus uir") exhibits the four possible
elevations of the first or fourth pitch, i.e., of A or D. Since both of
these contain the same pattern of tones and semitones in ascent
(TsTT), "Beatus uir" serves for both pitches, although written on D.
Each example in MS F is extended by a considerable melisma which
gives additional sequences of the intervals needed. "Beatus uir," for
instance, shows A's or D's elevations during the Psalm text as labeled
in Example 2 below, then proceeds in the melisma to present two
more sequences of the same in ascending order, one in descending
order, then a further group of intervallic exercises within the fifth
D-a. The melismas in F are not present in either R or Mc (see appen-
dix), and it seems likely that they were not original, but added by an
overzealous instructor: not only do the Psalm texts contain within
their bounds all that the musical examples are supposed to demon-
strate, but the melismas negate the easily-memorized quality of the
examples in their shorter non-melismatic form. As with the examples
in the Epistola, the original length of these antiphons must have been
moderate, in their capacity as elementary instruction. Nor do either
MSS R or Mc contain the antiphon "Calicem salutaris" (for the Ves-
pers of Maundy Thursday) appended to "Beatus uir." Presumably 95
"Calicem salutaris" was meant to take the student from the pedagog-
ical melody to a genuine chant on the same pitch, although none of
the remaining examples provide such additions.27
The depositions possible from the first or fifth pitch, A or E, are
unproblematic (see "Quare fremuerunt"), since both have the succes-
sion TTsT to the lower fifth, yet, as becomes apparent, E is a special
EXAMPLE 2. Elevations of D in the texted portion of "Beatus uir"
123
z -. - - .̂ : - r 9 -
Be- a- tus ur qu nonh- b- t
4
_-OWI
v
incon si- li- o im p- o- rum
27 The Psalm for "Calicem salutaris" in the Antiphonale sacrosanctae Romanae Ec-
clesiae pro diurnis horis (Paris, Tournai, Rome, 1949), p. 436, is no. 1 15, "Credidi propter
quod locutus sum"; "Calicem salutaris" as a text is itself the fourth verse of Ps. 115.
z -. - - .̂ : - r 9 -
Be- a- tus ur qu nonh- b- t
4
_-OWI
v
incon si- li- o im p- o- rum
27 The Psalm for "Calicem salutaris" in the Antiphonale sacrosanctae Romanae Ec-
clesiae pro diurnis horis (Paris, Tournai, Rome, 1949), p. 436, is no. 1 15, "Credidi propter
quod locutus sum"; "Calicem salutaris" as a text is itself the fourth verse of Ps. 115.
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
16/21
THE JOURNAL OF MUSICOLOGYTHE JOURNAL OF MUSICOLOGY
case because of its modal partner B. This second pitch B, says "His ita
perspectis," may have only three elevations (to E), but does not state
the reason, namely, the tritone from B to f. Correspondingly, B has
only two depositions (to G), again as a result of the tritone, now below
at the fourth. But since B and E together form the second (i.e., deu-
terus) mode, E should behave much like B. Therefore, "His ita" says
that E is rarely used with more than two depositions-the point to
which it resembles B-and that, although E may in the abstract have
four elevations to the upper fifth, it is used with only three elevations
(to a) from love of the second sister [B] ; and indeed, the third
example ("Domine quid"), on E, illustrates just three elevations,
so that the melody can serve equally well as an exemplar for B. Nei-
ther does the Epistle's melody on E ("Tibi omnis") ascend higher than
a (see Example 1 above).28
The elevations of the third and seventh pitches, C and G, are
identical, although MS Fs melody is in need of slight emendation,
since the scribe has miscopied the fourth elevation as D-G rather than
C-G. The depositions of the third and sixth pitches, C and F, are also
equivalent, although F may not make the fourth deposition because of
96 the tritone below. Why not add b-flat to solve the problem?29 Possibly
because b-flat, according to Guido's final opinion in the Epistle, leads
to the undesirable consequence that F-sharp should be admitted to
the gamut as well:
case because of its modal partner B. This second pitch B, says "His ita
perspectis," may have only three elevations (to E), but does not state
the reason, namely, the tritone from B to f. Correspondingly, B has
only two depositions (to G), again as a result of the tritone, now below
at the fourth. But since B and E together form the second (i.e., deu-
terus) mode, E should behave much like B. Therefore, "His ita" says
that E is rarely used with more than two depositions-the point to
which it resembles B-and that, although E may in the abstract have
four elevations to the upper fifth, it is used with only three elevations
(to a) from love of the second sister [B] ; and indeed, the third
example ("Domine quid"), on E, illustrates just three elevations,
so that the melody can serve equally well as an exemplar for B. Nei-
ther does the Epistle's melody on E ("Tibi omnis") ascend higher than
a (see Example 1 above).28
The elevations of the third and seventh pitches, C and G, are
identical, although MS Fs melody is in need of slight emendation,
since the scribe has miscopied the fourth elevation as D-G rather than
C-G. The depositions of the third and sixth pitches, C and F, are also
equivalent, although F may not make the fourth deposition because of
96 the tritone below. Why not add b-flat to solve the problem?29 Possibly
because b-flat, according to Guido's final opinion in the Epistle, leads
to the undesirable consequence that F-sharp should be admitted to
the gamut as well:
Quod si quis dicat, hanc vocem ideo
esse addendam, ut gravis F. sexta
usque ad superquartam supra lineam
ad a. per diapente possit ascendere,
aut eadem sexta ad subquintam de-
scendere, illud quoque debebit reci-
pere, ut inter sextam F. & septimam
G. alia vox addatur, ut naturalis se-
cunda gravis B. elevetur ad quintam,
& eadem acuta deponatur ad quar-
tam. Quod quia a nemine est factum,
hoc quoque a nemine est
faciendum.30
Quod si quis dicat, hanc vocem ideo
esse addendam, ut gravis F. sexta
usque ad superquartam supra lineam
ad a. per diapente possit ascendere,
aut eadem sexta ad subquintam de-
scendere, illud quoque debebit reci-
pere, ut inter sextam F. & septimam
G. alia vox addatur, ut naturalis se-
cunda gravis B. elevetur ad quintam,
& eadem acuta deponatur ad quar-
tam. Quod quia a nemine est factum,
hoc quoque a nemine est
faciendum.30
Now if someone should say, there-
fore this pitch [i.e., b-flat] ought to be
added, so that F gravis, the sixth
pitch, can ascend all the way to the
upper fourth, beyond the line at a,
through the fifth, or the same sixth
[pitch] can descend to the fifth below,
he will also have to assent, that be-
tween the sixth [pitch] F and the sev-
enth G, another pitch may be placed,
so that the natural second [pitch] B
gravis may be raised to the fifth
[pitch], and the same [b ] acuta may
be lowered to the fourth. Because
that is done by no-one, this also
ought to be done by no-one.
Now if someone should say, there-
fore this pitch [i.e., b-flat] ought to be
added, so that F gravis, the sixth
pitch, can ascend all the way to the
upper fourth, beyond the line at a,
through the fifth, or the same sixth
[pitch] can descend to the fifth below,
he will also have to assent, that be-
tween the sixth [pitch] F and the sev-
enth G, another pitch may be placed,
so that the natural second [pitch] B
gravis may be raised to the fifth
[pitch], and the same [b ] acuta may
be lowered to the fourth. Because
that is done by no-one, this also
ought to be done by no-one.
28 See below for a discussion of the modal affinities.
29 This b-flat, Guido says below, might even occur in the gravis register, although
there is no low b-flat in the Micrologus.
30 Guido of Arezzo, Epistola, in Gerbert, Scriptores II, p. 49. In the earlier Micro-
logus Guido still admitted b-flat in limited contexts.
28 See below for a discussion of the modal affinities.
29 This b-flat, Guido says below, might even occur in the gravis register, although
there is no low b-flat in the Micrologus.
30 Guido of Arezzo, Epistola, in Gerbert, Scriptores II, p. 49. In the earlier Micro-
logus Guido still admitted b-flat in limited contexts.
This content downloaded from 130.237.165.40 on Sun, 24 Apr 2016 16:30:18 UTCAll use subject to http://about.jstor.org/terms
-
8/18/2019 A Practical Supplement to Guido of Arezzo's Pedagogical Method
17/21
HIS ITA PERSPECTISHIS ITA PERSPECTIS
The final example-the four depositions of the fourth or seventh
pitch, D or G-is again unproblematic, and the remainder of "His ita
perspectis" simply reiterates previous material. However, we do fi-
nally learn that pitch F is limited to two elevations since, implicitly, we
must avoid the tritone at the upper fourth just as at the lower fifth. In
summary, then, for each of the seven pitches:
A-may have either four elevations, maximally A to E, or four dep-
ositions, maximally a to D.
B-may have three elevations, maximally B to E, or two depositions,
maximally B to G.
C-may have four elevations, maximally C to G, or four depositions,
maximally c to F.
D-may have four elevations, maximally D to a, or four depositions,
maximally D to G.
E-may have four elevations, maximally E to b (i.e., b-natural), but is
used with only three-E to a-because of its affinity with the sec-
ond sound B, which can itself have only three elevations. E may
also have four depositions, E to A, but, again from its affinity with
B, is rarely used with more than two (E to C).
F-may have just two elevations, maximally F to a, or three deposi-
tions, maximally F to C.
To know these elevation and deposition patterns is not important
to the student for sight-singing alone, since it is the overall similarities
between pitches in this respect that establishes the modes and the
pitches on which the modes may begin. As Guido says in his letter,
The final example-the four depositions of the fourth or seventh
pitch, D or G-is again unproblematic, and the remainder of "His ita
perspectis" simply reiterates previous material. However, we do fi-
nally learn that pitch F is limited to two elevations since, implicitly, we
must avoid the tritone at the upper fourth just as at the lower fifth. In
summary, then, for each of the seven pitches:
A-may have either four elevations, maximally A to E, or four dep-
ositions, maximally a to D.
B-may have three elevations, maximally B to E, or two depositions,
maximally B to G.
C-may have four elevations, maximally C to G, or four depositions,
maximally c to F.
D-may have four elevations, maximally D to a, or four depositions,
maximally D to G.
E-may have four elevations, maximally E to b (i.e., b-natural), but is
used with only three-E to a-because of its affinity with the sec-
ond sound B, which can itself have only three elevations. E may
also have four depositions, E to A, but, again from its affinity with
B, is rarely used with more than two (E to C).
F-may have just two elevations, maximally F to a, or three deposi-
tions, maximally F to C.
To know these elevation and deposition patterns is not important
to the student for sight-singing alone, since it is the overall similarities
between pitches in this respect that establishes the modes and the
pitches on which the modes may begin. As Guido says in his letter,
... prima vox A. & quarta D. similes
& unius modi dicuntur, quia utraque
in depositione tonum, in elevatione
vero habent tonum & semitonium &
duos tonos. Atque haec est prima si-
militudo in vocibus, hoc est, primus
modus.
Secundus modus est in secunda
B. & in quinta E. Habent enim
utraque in depositione duos tonos, in
elevatione semitonium & duos tonos.
Tertius modus est in tertia C. & in
sexta F. ambae enim semitonio &
duobus tonis descendunt, duobus
vero tonis ascendunt. Sola vero sep-
tima G. quartum modum facit, quae
in depositione unum tonum & semi-
... prima vox A. & quarta D. similes
& unius modi dicuntur, quia utraque
in depositione tonum, in elevat