a practical supplement to guido of arezzo's pedagogical method

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

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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.



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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).



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.



5/21


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).



6/21

THE JOURNAL OF MUSICOLOGY

EXAMPLE 1. The Epistola melodies

A- m rector m- res no- bs da sacra- tos.

Sum me pa- ter ser- uis tu- is m- sere- re.

Sa- lus nostra ho- nor noster es- to deus

[M G [M AB B

De- us iudex iu- stus for- tis & pa- ti- ens

t_e0 0 r C , -* w c ? , e ' C

Ti- bi o- mns seruit mundus u- ne deus.

Sta- bunt iu- sti ante de- umsem per lae- ti.

Do- mi- no laudes o- mni[s] crea- tura dicat.

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 sacra- tos.

Sum me pa- ter ser- uis tu- is m- sere- re.

Sa- lus nostra ho- nor noster es- to deus

[M G [M AB B

De- us iudex iu- stus for- tis & pa- ti- ens

t_e0 0 r C , -* w c ? , e ' C

Ti- bi o- mns seruit mundus u- ne deus.

Sta- bunt iu- sti ante de- umsem per lae- ti.

Do- mi- no laudes o- mni[s] crea- tura dicat.

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



7/21


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


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



8/21


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

----



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 multi-pli cati sunt qui tribulant me.

z- ?

~~1 sN_-. N

? * b7w?v ~

-Î ̂ # ; t 94 4

Do-mi-ne quid multi-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-,-



10/21


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



11/21


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


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


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.



12/21


"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.



13/21


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.



14/21


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.



15/21


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.



16/21


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.



17/21


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

a practical supplement to guido of arezzo's pedagogical method

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