Solmisation in the strict sense, the way the notes of a melody at the rehearsal of the syllables of the hexachord (Sechstonreihe), which attributed to Guido d'Arezzo must be supported. In a broader sense it refers to any method, vocal music with certain syllables, which are represented by the different stages of a series of notes to sing.
The Solmisationssilben called DO-RE-MI-FA-SOL-LA-(SI or TI). These syllables are from the first six half verses of John's hymn "Ut Queant laxis", the text of around 800 is:
UT Queant laxis (c)
Resonare fibris (d)
Mira gestorum (e)
FAmuli tuorum (f) Solve
poluti (g)
labii reatum (a)
Sancte Johannes.
The hexachord was at the time of Guido D'Arezzo Solmisationseinheit. A hexachord was a tetrachord won, which were above and below each another sound added. DO UT originally for the syllable was used. Each initial syllable of the hymn begins on the next higher level of a C-major scale, so that the singer was noted with the same syllable the pitch.
Solmisationssilben the melody come through the intervals and can be expressed simultaneously practicing unknown melodies to train the voice training and pronunciation. This is one reason why this method found wide use and has still found.
the singing syllable is already delivering the pre-Christian era and even in non-European cultures, this method is common. Here are some Examples:
Bali:
Ding-Dong Dang-Deng Dung Dang-Dong
India:
Sa-Ri-Ga-Ma-Pa-Dha-Ni
Arabia
Dal-RRA-Mim-Fe -Sad-Lam-Sin
The Greeks have the diatonic tetrachord (efga) designated by the following syllables:
ta-th-tw-te.
It expressed the syllables ta and th in the half-step. Guido D'Arezzo
could prove the relationship of the hexachords ca and GE. Each tone of this series has within the hexachord in relation to its position to other sounds the same property, the "proprietas. The notes e and b have to be a semitone and two whole tones. This property with the syllable could be expressed and symbolized MI. This method quickly found a wide distribution and was until the 13th Century formed. Guido D'Arezzo had considered but not yet the double step h / b. The b was taken into account by fd has been placed in the series. The singer thus employed the following three movable Sechstonreihen:
naturale Hexachordum: approx durum (with h)
Herxachordum: ge (with h)
Hexachordum molle: fd (with b)
When the volume of hexachord was exceeded, solmisierte the singer with the two hexachords on c and g, that the singer had to go to the next hexachord. This Process is called mutation. Occurred when a b, we combined the Hexachordum naturale ca molle fd with the Hexachordum.
In the textbooks, the intervals (distance between two tones) through the Solmisationssilben expressed and numerous rules adhered to mutate at what stages you had and what mutations are theoretically possible on every note. The ('on every note a need to sing a Fa ") with famed musicologist rule" una nota supra la semper est canendum fa ", says that when crossing the hexachord to only one stage to sing always be semitone. Specifically, this means that for example if the Hexachordum naturale ca, the a is exceeded, b must be sung. The melody then runs mostly down again. Another ban was the use of the tritone. and the diminished fifth. The mnemonic was to "mi contra fa diabolus in musica", "Mi Fa against the devil in music". What does this mean exactly? Between Mi-Fa So ef but is a semitone difference? The solution is simple: Mi is the third stage of the Hexachordum naturale ca, so e and Fa is the fourth stage of Hexachordum molle fd, ie b, meant. The interval eb (or vice versa) is a tritone (# 4) or a diminished fifth (b5). In the Middle Ages, this interval is combined with the devil, and therefore it had to be absolutely avoided. This Interval is actually unstable and resonant for contemporary understanding of music is very dissonant. We'll hear very different also because the intervals are "emancipated" in the course of music history and because the major-minor-Tonal music the musical vocabulary has expanded enormously. The tritone interval is eg that which makes the dominant chord such an exciting.
This system of Solmisation proved to be problematic in the 17th Century, especially when occurring in the melody of Guido D'Arezzo fixed tonality, bigger jumps and chromatic semitones were interspersed in the melodies.
The first reformers tried the first hexachord to extend to the octave. 1482 took Ramos de Pareja attempt, a major theme for the eight syllables Psalms-Li-Tur let sing-Per-Vo-Ces-Is-Tas. This proposal did not succeed.
It seems that in the 16 Century, the SI for the 7th syllable Stage by music educators H. Waelrant was introduced. Waelrant is said to have invented the syllables Bo-Ce-Lo-Di-Ga-Ma-Ni. This system was "Bocedisation", named after the first syllables of the system.
1601 J. Burmeister is for the 7th Stage, the double syllables SI for h and SE for b. This system was well received among the theorists, but have been repeatedly proposed new systems and developed or returned to the traditionalists Hexhachord. Developed in 1659 O. Gibelius a system for chromatic notes, which he changed the UT in today's DO. Gibelius' system consisted of the following syllables:
DO-RE-MI-FA-SO-LA
Additional syllables for chromatic tones:
C #: DI
D # / Eb: RI / MA
F #: FI
G # / Ab : SI / LO
B: NA
H: NI
One must be aware that in that time has not tempered the system was introduced so that the high and Tiefalterierungen was not possible to include all the notes. In the 19th
and 20 was taken up by the revival of the school song, the system of Gibelius and developed. Today, for the type High alteration of vocal # i, for example, DO # = DI, and for the flatted b uses a vowel, eg REB = RA. Since G # is high by alteration SI, you used for the H, the syllable TI.
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