Solmization and the Guidonian hand in the 16th century 

Exactly. First like then watch

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

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

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

Liked and subscribed.

Same here! This channel is so awesome!!

Me too!

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

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

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

Elam Rotem Do you know any full English renditions of Le Istitutioni Harmoniche?

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

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"

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.

In this case, it’s the Greek gamma.

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.

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

Thanks for your comments. 1. As I said in the video, musica ficta is another subject that deserves perhaps another episode. I'm not sure that I agree with you that "Solmization indicates to us where to add a sharp". If we are in a G mode (with or without flat), in every cadence the "fa" below the G would get a ficta (and become "mi" in a way). Perhaps however I didn't understand your point well. 2. Reading Agricola and understand it as "talking about harmonics" is your interpretation. As I said in the episode: "using dynamics or pitch, doesn’t seem right. Other interpretations, if there are such, still need to prove themselves if they are to find general acceptance." (As far as I'm aware the concept of harmonics is a later and was not known to Agricola, but I might be wrong.) 3. I didn't understand your point about fa super la. The Solmization of the canon is according to Sebald Heyden's "De arte canendi". His point (and mine to that matter) was to show that a melody can stay within one Hexachord. Starting on Sol as you suggest is possible, but would defeat the idea behind the example he chose to present. Best! Elam

1.- I think that the problem is to add sharps where composer don't do it. We understand a cadence as an harmonic functional vertical matter. In baroque or renaissance cadence is a melodic form. There are soprano cadence, tenor cadence and basso cadence, it is not a matter of sharps, its a melodic matter. So I think that you added (as many peolple in world) a lot of sharps that are unnecesary and creates only confusion about solmization (even in the past). Read Ortiz's "trattado de glosas sobre clausulas" (division on cadences), for understand what a cadence is for an ancient musician. 2.- I accept that it's my interpretation, but you talk about yours. My comment isn't about what you said, it's about what you sang. Overtones are the base for understand the entire musical theory sistem from greeks till mozart at least, and that is the reason why Guido choose latin vowels. For instance, UT means fondamental note (keynote) froma mayor triad, RE means fondamental note from a minor triad... etc Latin vowels pronunciation contains the necessary overtones for understand the harmonic function of a single note. And that is why italian continuo uses just a few numbers too. Read Gioseffo Zarlino's L'Istituzioni Armoniche for understand more about this point. 3.-Ok, the point is that maybe Heyden's example isn't the best. The upper B note it's a normal FA not a FA SUPER LA, because B moll it's on the cleft. I'm sorry about Heyden's but it's a mistake. When you have a B moll in the cleft, means that gammaut its in F, so F=UT, G=RE,A=mi and Bmoll=FA... Heyden's solmization secuence it's ok just if we don't have a bmoll in the cleft. In that case gammaut its in G or C. You have to use gammaut in C for this example. I think that is very difficult to explain this point. Hexachords are really clear and well explained in Juan Bermudo's "Arte de Tañer Fantasia", or in Giovan Maria Lanfranco "Scintille di Musica" Best for you Nelson Contreras Escudero

Thank you. (I guess you mean "Arte de Tañer Fantasia" by Santa Maria, not Bermudo)

yes, sorry.

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)

@ Thank you. Just bought it. :D