Solmization and the Guidonian hand in the 16th century

[@arastoomii4305]

if this is not the best channel on KZbin, i don't know what is. thank you for these great series.

[@sgerianda]

Exactly. First like then watch

[@pianopiano2761]

I'm 35 years old and I regret I haven't learned music when I was a kid. However, I am mature enough (and crazy enough) to do it now. I feel stupid most of the time, but curiosity is a good booster. I've overcome the part of my life when I felt stupid because of asking questions. Love from Italy.

[@lawrencetaylor4101]

The same story, but I started last year at 65 years old. Couragio della Svizzera.

[@shakespeareaholic]

I've been in the same boat mate, how did you go 5 years on? Love from Aus

[@박문각전공음악온율]

0:50 Gamut 3:46 귀도의 손 4:47 16세기 푸가의 기보+노래 9:22 헥사코드로 노래하기

[@Isabel-fy1er]

Ha ha ha ha ha

[@jai97guit]

How can anyone dislike?? The ammount of work put into this is amazing. Subbed

[@christopherwarwick5956]

This is like an old Open University T.V. broadcast! Brilliant!

[@philiprobinson7332]

Brilliantly done. I need to watch this a few times to really 'get' all the points. So glad that I've found it.

[@ivanravenski]

Extremely informative and very entertaining. Great upload.

[@CyberChapel]

So much to think about. Thank you for sharing your deep insights into these matters.

[@picksalot1]

This video and your one on Hexachords has provided me with an important context for understanding what I was hearing in Early Music, but did not comprehend what was going on. Fascinating! Thanks

[@concetto11]

ありがとうございます！

[@StephenBaggaley]

Revealing and explanatory of a system that long intrigued me.

[@matchboxmatt]

These videos have been incredible. I've been watching all your videos as a supplement to my Renaissance Performance Practice class, and I deeply appreciate the clarity, energy, and care you put into your videos. It's beautiful how you can take something as complex and confusing as solmization (or modes... or tuning... or anything) and make it so easy to understand. Thank you for all you do.

[@nicool1312]

damn it's incomprehensible !!! thank you for popularizing ... not everyone is familiar with these concepts

[@JH_Phillips]

This was fantastic. I found an illustration of the Guidonian hand in an old lute music book. I was fascinated by the illustration and had not understood it fully until now. Thanks so much!

[@jeremydittus]

This is great; thank you for being so clear and specific! I will definitely share this with my students.

[@RafaelAAMerlo]

Thanks Adam Neely for referencing this video and channel! Awesome work :D

[@MrJonahWhaler]

Bach's quote at the end is so beautiful. He actually described the principle of functional tonality, it's all about this fami, mifa.

[@musicdirector8046]

At the end of the day, it’s all about the so fa for me.

[@petegalvs]

Elam, you have a beautiful voice :)

[@joanaguine]

Thank you so much! I have just taught myself how to use the guidonian hand, thanks to this wonderful clear video!

[@augustomariogoulartpimenta4727]

Guys, you're amazing. Thank you!

[@carlosandres7006]

You are my hero. Thanks ad infinitum. Can you make a video in order to learn to use the hand? 😍🤗👍👏

[@lawrencetaylor4101]

I'm still watching the video so I don't know how much detail you give about the hand, but that is something that interests me. I studied to be a Chiropractor, practice of the hand in Greek. I had a shoulder injury and so had to learn a host of other techniques, and even specialized in the shoulder as well as the arm and hand. I never had music training until last year (at 65 yoa!) and am making up for lost time. I'm a horrible singer, but I've treated numerous singers, since my area is known for it's choirs. And singers use their hands to help them reach notes. But this information blew me away since the hand is the joint in the body with an incredible amount of brain connections. I also took a fascinating seminar that showed that there are 16 different postural and movement patterns that correspond exactly with the personality traits of Jung. They mentioned during their teachings that maybe it's not the brain that controls the body, but the body that controls the brain. Our bodies have evolved over generations, and maybe by singing and using the hands, we have adapted at being better singers. This should be taught in schools to children, to get back to our roots. I have a patient with a major orthopedic and neurological problem with his neck. When he does piano fingering exercises, his neck works better. He is happy to do the exercises each day.

[@aaronkrucher2306]

I love when my prof sends me your videos for better understanding a topic. PS: Greetings from Felix ~ you know which one :D

[@nyc88s]

I really love your channel!

[@Isabel-fy1er]

Sorry. I have English as second language, and this is the third time with this video. The first was two years I think. But today I had time to see what you were actually holding in your hands when you said "Playing". Thank you guys. You fixed my fryday night. 😂😂

[@surgeeo1406]

This is a most valuable video for me at this time. I'm trying to self educate with solmization on plainchant, now I can focus without worrying about useless detais.

[@MrJonahWhaler]

It is invaluable video! It is interesting that this system of hexachords seems to be much better for teaching solfege than modern systems. Of course it does not fit modern music requirements... but at the basic level when kids or adult beginner gets into it seems to be much more convinient for introduction into singing and hearing intervals.

[@yoshiisland4467]

Very useful, thanks! There's just a mistake: "lascia fare mi" doesn't means "leave me alone", but, letteraly, "leave it to me" or "let me do it myself"! 🙂

[@miguelullaberdullas]

i love this channel

[@lostapple4039]

Thank you for the video!

[@garydmcgath]

Very useful! I'm doing a writing project where a character in the 16th century is learning to notate melodies, and this will help me to get it right.

[@tiniomi]

Excellent! Thank you very much!

[@patrickcunningham618]

thoroughly enjoying this study. thank you very much, it has come at a perfect time and place in my own, slowly progressing voice and music studies.

[@meriangelicaarakawa4106]

Very interesting and enlightening. Thanks ad infinitum too!

[@gastonduroc201]

Thank you for this...

[@IWantMyTimTV]

So great!

[@musodave]

Fascinating and very informative video. Interesting that they used both letters and sol-fa syllables to identify notes. I wonder when the two systems parted company, and when the fixed do system established itself in many countries

[@adolflazary5864]

Uy uy muchas gracias por tu trabajo. Es muy útil. Salute

[@sagamusic2008]

Your channel is fantastic!

[@kungfuasgaeilge]

Great channel by the looks of it! Subscribed, hoping to gorge on more of the content later today. Thanks A.Neely for the recommendation

[@susanbreitung7584]

This is so fascinating and informative. Thanks so much for this!

[@monkeyrilla]

Thanks for the video! Extremely informative ^.^

[@ladonnalisa5926]

Mil gracias por este video. Esto me va ayudar con el contrapunto

[@monscarmeli]

While it's elementary enough to grasp the objective application of the hexachord system to the gamut of notes, still once you began singing examples and mutating hexachords, my instinctive thought was "why doesn't he just sing it according to scale degrees and scalar note names?" It would take much deliberate practice to begin to "internalize" the logic behind the hexachord system, but I can see that doing so would open up a much deeper musical sensitivity - like truly understanding Bach's famous quote, etc.

[@QuintaEssentiaBR]

We have clues other than altering pitch or dynamics to play hard and soft. I mean, using articulation and length of the notes, that is possible to do even on recorders or organ. It has almost the same effect in performance comparing to dynamics

[@micrologus]

Wonderful! Thank you very very much!!!! You are the best!

[@AlexTuble]

Where do you get that narwhal? It's adorable 😍

[@OmarzLiszt]

Thanks, this is amazing!

[@emiliomini4024]

Amazing video! you are amazing!!

[@still451]

I have attended three hours counterpoint lesson with my professor from Hamburg still dunno what he is talking about 😅 now I started to slightly understand of it...

[@alexfiredarksymphony8385]

Thanks! It's an amazing explication

[@qf1150]

Excellent!!!

[@jakemoll]

Adam Neely crowd

[@rjwusher]

Liked and subscribed.

[@lizkelley-tavernier4864]

Same here! This channel is so awesome!!

[@MsBettyRubble]

Me too!

[@ganaelschneider]

seriously? I had no idea Adam would make a video about early music sources, that's awesome. I know both of them from totally different worlds

[@ganaelschneider]

can you give the link of the video where Adam mentions this?

[@mariajosepire]

Awesome chanel!! Please make more videos!

[@gringasud]

Brillante!!!

[@youshookme1358]

Where are the four pictures of hands from? At 3:46? I've looked at all links below

[@mandalajose]

Thank you for these video. Only one thing, sharps, B duro, turns the note into a mi. Also attention thay avoided calling a note ut, because of the end of the hexacordium. For example at the end of the solmization of ancor, the G cannot be called Ut, because the mutation points are DEA.

[@VivianStreet]

I should have watched this video before I watched the musica ficta one! I hadn't realized how important the Guidonian hand was. It makes sense that in a system where you can (and do!) indicate notes just by pointing to a spot on your hand, the notes that aren't on the hand seem...less important? That is, if you can't indicate it on your hand, why would you indicate it in writing?

[@tunglamle9443]

Thank you a lot. You did a really good job. I really appreciate it. Your lecture has helpt me learing solmization easier. I am a fellow student in Viet Nam. I wish I could share all things in the video for my friends, my teacher, and my students. Vietnam's music theory is still poor. Could you share to me the picture "the Gamut", I hope I have it to print it out.

[@G.B.P.]

Beautiful video, subscribed

[@stupidhatonthefloor3]

Liked and subbed. Adam Neeley sent me!

[@nettahue]

Elam, I have a "chicken and egg" question about the Fa Super La. So obviously we're talking about the rhyme: "Una nota super la semper est canendum fa" Around 5:54 in the video you say that when we're on the syllable la and the melody ascends one semitone, and then descends again, this semitone will always be solmised "fa" and that will always be correct (or maybe because it's a semitone, so it's already a "fa" anyway). My question is: isn't it the other way around? Doesn't the rhyme instruct the singer to conceive of the additional little pitch as a fa, and therefore sing it accordingly as a semitone? In other words, isn't it so that even if we don't know if this little pitch is a tone or a semitone above la, we ficta it into a semitone and pronounce "fa" accordingly? What do you think?

[@EarlyMusicSources]

You are of course completely right; it is a semitone for a certain reason, and then accordingly also called "fa". Trying to avoid getting into the subject I ended up with an almost meaningless statement. My purpose was not so much to explain _why_ it is a semitone, but to explain the way this note is to be called in solmization. This little "rule", quoted from the sources, is just a little aide for beginner readers.

[@nettahue]

Early Music Sources thank you! This is one of my favourite videos ever, btw (you see that I keep getting back to it...)

[@MrJonahWhaler]

I wonder if there is any descritption/or any idea in the sources how they taught Guidonian hand, the methodology of it. I mean how they did it in practice... for example when they taught kids, obviously it was through singing but how they adopted it to voice range, what was the approach... If not in the sources, maybe you have some suggestion from your own experience. Thank you

[@chmendez]

In latin countries we still use Do, Re , Mi,etc as note names for C, D, E, etc.

[@hunterharris4869]

Why was the scale at that time limited to a hexachord and not, let's say, a heptachord or the full octave? Mutations are pretty cool as a concept but it's always bugged me why 6 notes instead of 8.

[@marimba628]

Because Guido d'Arezzo invtented the system (hexachord) in the 11th century for learning Gregorian chant. The solfege syllables come from first syllable of the first 6 phrases of the Latin hymn "Ut queant laxis"

[@GrimLordofOregon]

I find it interesting that the low G letter looks like the Cyrillic letter for the g sound.

[@OrbiliusMagister]

Not Cyrillic, but in fact Greek. The letter identifies the "low G" and the start of the system. In Italian the word "gamma" meaning "range" derived from it.

[@agogobell28]

In this case, it’s the Greek gamma.

[@kam7286]

Yes, it's Greek as mentioned by others. When the Cyrillic alphabet was devised, it borrowed already existing letters from Latin, Greek, and Hebrew, and also invented a few of its own for sounds that did not already have widely used symbols in these other alphabets.

[@janheuvelmans7096]

Is of komt er een bijdrage over de voces belgicae van Huibrecht Waelrant in de late zestiende eeuw in zijn lekenmuziekschool in Antwerpen? Hij 'vond de si uit', leerde ik, waardoor het ingewikkelde muteren niet langer nodig was. De techniek bleef echter bruikbaar voor een nieuwe compositietechniek: de modulatie. Klopt dit?

[@szilardjofoldi6849]

Excellent performance! Do you know the Kodály method in Hungary? Relative solmization is used in music education from kindergarten to high school. It is very useful and can help ordinary people learn to sing

[@y11971alex]

The contest for the choirmastership seems like one of those challenges to read the names of colours written in other colours

[@DanielSilva-gc4xz]

While writing other different colors with both hands at the same time.

[@d.o.7784]

I am lost 😵‍💫

[@coteemartee]

Excelente. Estas de la croqueta

[@HumbleNewMusic]

Tell me you made this beauty using Doodly and I'm getting it today!!!!

Please, make a video on how solmization and hexachords were used in the 18th century. The soft hexachord was removed from the system, but a diatonic semitone was still mi-fa in every situation. This is the solmization Bach used, for example.

[@Williamegert]

Do you have more information on this? Thanks!

@@Williamegert check out this book: Nicholas Baragwanath, The Solfeggio Tradition: A Forgotten Art of Melody in the Long Eighteenth Century, Oxford University Press (2020)

[@Williamegert]

@ Thank you. Just bought it. :D

[@glauciamelo701]

Muito bom! A explicação foi bem didático.

[@DanielSilva-gc4xz]

Solmization feels like that meme from Ratatouille where the small guy is reading the mail with his eyes wide open.

[@castl_n]

Hi! Could you tell more about how the solmization concept basically killed our ability to play harp? That would be interesting, thank you.

[@bluebird3878]

8:06 9:23 Thank you so much:)

[@mojeo522]

7:16 the 's' on his harpsichord is shaking

[@harrympharrison]

How bizarre..

[@keithforbes4544]

It's a blur/motion correction from his camera, since the pig is moving around slightly

[@dorontirosh]

Thank you

[@flugelflugel4556]

I see that you put alot of effort in this video. But i am totally lost when you got to mutations, how do you know when to do a mutation in piece that you sang?

[@NoaShemer]

אתם אדירים!!!

[@TheseAreMyHooves]

Great videos, very informative! Any chance you could do a video on mensural notation ? :)

[@patrickcunningham618]

great

[@trompetakentron]

Excelent!!!!

[@tuyetmuahe]

What books or resources are helpful to learn this Italian solfeggio?

[@hypoheinz]

Am I thinking wrong or is the "fa" at 8:35 notated one note to low?

[@edwardblair4096]

The note has a flat added by musica ficta, so it is sung to the syllable "fa" even though the unaltered note is a "mi". See his explanation at 8:19

[@preludefugue4859]

Wow … what is the software to zoom in and zoom out the image in this great video ? Thank you..

[@HoffmannVdg]

Thank you very much for this and many other lessons, especially for the both serious and light way of presentation. I have one request: Could you please give the reference to the pages within the "Practica Musica" where Finck writes about the different performances of the syllables? I think it lacks in your footnotes. Thanks again.

[@EarlyMusicSources]

You are correct! I will add it: You can read about it Anne Smith' "The Performance of 16th-Century Music" p.28. And here is the original place: Hermann Finck, Practica musica, Wittenberg, 1556; facsimile, Hildesheim-New York, 1971, Bv - Biiv

[@MrJoedonaghey]

What animation software do you use??

[@Barde_Jaune]

Okay, time to tatoo my hand the Guidonian way. ;o

[@windowsforvista]

Please do the musica ficta video!

[@darklaboratory1697]

Does this mean that all the music from that period was written in one key or that some notes(of current chromatic scale) were not used at all ?

[@pianjitsu2857]

¿Cuántos géneros de Mutanza hay en el canto llano y qué es disyunta?

[@arielshikoba1857]

I now know more of what I don't know. Lol But awesome video and details 👌

[@cartoman2503]

What about the Kodaly method using a new version of solisation ?

[@PamelaMou1]

Cartoman yes, which was taken from a system taught in Wales.

[@manuelgallegoclavero5342]

El RE viene después del SOL (G) en el exacordio durum, y después del FA en el mollis. Según esto no estaría cambiado el esquema?? ¿No corresponde el de la izquierda al SOFT + NATURAL y el de la derecha al HARD + NATURAL?

[@pablom.5698]

Re (A) viene después de sol (G) cuando el hexacordo natural está mezclado con el durum. De modo que ascendente se canta: do re mi fa sol / re mi fa y descendente fa mi \ la sol fa mi re do. Cuando el natural se mezcla con el molle es: do re mi fa / re mi fa sol ascendente y sol fa \ la sol fa mi re do. En ambos ejemplos que surtí se tomó como referencia una octava, de C a C. Siempre se toma como referencia primero el hexacordo natural, comenzando en C, y luego, dependiendo si la armadura contiene becuadro o b-molle, se mezcla con el durum (G) o el molle (F), respectivamente.

[@marimba628]

Is that an Otamatone in the intro/outro theme?

[@musicdirector8046]

More likely a Minion

[@normanyoung9603]

Does Elam mention bocedization in any of his videos?

[@MySuperAnt]

Subbed

[@Tomsfilipsons]

The first thing I do with every video is find the pig with the sunglasses. Otherwise it just suddenly jumps out at me and I have bad dreams afterwards. Know your enemy.