Ut queant laxis. Labii reatum. Sancte Johannes. Each one of these syllables represented a definite note the syllable was, so to speak, its name. This will more plainly appear by reference to the hymn as set to music. A glance at the above will show the relation of these notes to each other. In this instance the hexachord of six notes began on C. Ut was C, re was D, and so on. Other hexachords, however, began on F and on G. This involved certain difficulties, because the notes were also named by letters, as they had been from the days of Gregory, and therefore the letters and syllables did not always correspond, thus: ut re mi fa sol la ut re mi fa sol la The art of changing the syllables with the change of the hexachords was called solmization. Another change, involving the position of the semitones, which it is not necessary to explain, was called mutation. These two arts comprised the great invention of Guido. It was a startling innovation. It simplified musical instruction to a very remarkable degree. Compared with our present methods and judged by our standards it was awkward and inefficient. Guido's scale had only six notes. It lacked the one remaining to complete it; but that note, with its designating syllable, Si, was not added until the end of the sixteenth century, Ut being also discarded for Do, except in France where it is still retained. But we must not judge Guido by the standards of to-day, but by those which preceded him. As he himself declared, the methods of his age were such that one might sing a hundred years and still need careful drill in order to render a simple response. Guido accomplished what one has well called "hearing with the eyes" or "seeing with the ears.' The choir-boys under his instruction were able to sing at sight melodies with which they were previously unfamiliar. Their hearers were confused and amazed. It was a work beyond their comprehension. His brother monks seemed to have connected some occult influence with his work and they procured his expulsion from the convent. This came to the ears of the pope, who became sufficiently interested to summon Guido to Rome. Here he demonstrated his system so practically that the pope himself succeeded in "hearing with his eyes' and was able to sing musical phrases from the manuscript without a leader. This made Guido's reputation and established his permanent influence. He was invited to remain in Rome to instruct the clergy in the principles of his system, and though he was unable to do so, as the climate was unendurable to him, he returned with honor to his own convent. Thenceforth his reforms were accepted and the new era in musical development was inaugurated. COUNTERPOINT While all this was in progress another great reform in music was being developed. It passed through several stages, which need not be described. It was not therefore associated with any single name, but was probably the result of general effort. Thereby the organum of Hucbald was, to be greatly modified and a long stride taken towards modern harmony. This was discant, meaning, as the word implies, something apart from the song. It was a second voicepart sung at the same time as the principal part. In order to its performance the chant in use was sung in long notes in regular measures, that the singer of the discant might be sure to accommodate himself to it. The leading part was therefore called tenor, from the Latin teneo, to hold. It was also known as the cantus firmus-the fixed song. Thenceforth the tenor was the leading part and carried the air until the days of Palestrina. Singers then might improvise any melody they chose for the discant. The most curious, and to our notion comical, results were thus obtained; but it must be borne in mind that there was as yet no notion of what we call "chords," and therefore no attempt at harmony. The solemn words of the chant might be sung at the same time and in connection with some trivial or even indecent secular song, the words of the chant being all-important and those of the discant being lightly regarded. Some of the bolder musicians even attempted to unite two secondary songs with the canto firmo; but as the number increased the task became the more difficult. It was therefore seldom attempted. As the discant was never written down we have no positive means of judging of its success. But it would seem that it must have become, in skillful hands, more mellifluous than we may imagine. Discant, however, though very useless in itself, filled a most important part in the transition from organum to counterpoint, and so was a signal advance toward the creation of our modern hymn-tunes. And now that counterpoint is so nearly ready to appear, let us seek to understand its character and uses. In the olden times the notes were called "points,' 99 because they were pricked into the parchment. Written music was on this account called "prick-song.' A "counter-point" was therefore a counter-note; that is, a note set over against another note. But the succession of counter-notes must have their own movement or melody. They must furnish something more than a mere voice accompaniment, such as a natural bass. In some modern hymn-tunes the parts other than the "air" may form perfect chords with it, but nothing else. The harmony may be good, but the counterpoint defective. In other tunes the parts are free and rich, even the bass moving independently and melodiously. In such counterpoint is developed. Take, for example, the tunes known as Ewing or Emmelar (Merrial), and let each part be played or sung by itself alone, that its own movement may be clearly discerned. It will not only reveal the character of the counterpoint, but also the place which it holds in modern musical composition. Johann Sebastian Bach (born 1685) is the greatest master of counterpoint. The character of his music and its application to the hymn-tune is indicated in the following selection from his Passion Music, the tune being known as Passion Chorale: |