Guido Dshotzo Biography

What deserved such honor, respect and a long memory, the representative of the oldest Catholic monastic order of St. Benedict? Cyril and Methodius, as you know, in the 9th century invented the alphabet, and the monk Guido created a musical alphabet after a century and a half. Zinaida Serebryakova. Girls at the piano. Guido from Scratzo is the inventor of the notate recording system.

Manuscript from the monastery near Augsburg. About a year. The anthem of St. John, recorded on the musical camp without indicating the duration of sounds. She allowed the singer to monitor the text and the previously learned melody. Choral notes with a square head. Roman Mass. Pechatnik U. Notes with a rhomboid head. Record of the 15th century. The monk taught singers to perform church music.

It was not easy and long.

The monk Guido came up with badges to designate sounds so that the melody could be recorded and “read” from the sheet. They were called the "note" from the Latin word nota - a sign. By conducting, Guido showed his left hand with the tips and joints of each finger that the singers should perform. Why was Gvidonova Hand left? By analogy with the musicians-string: violinists and cellists work on the grif with their fingers of the left hand, and hold the bow in the right.

Now it was enough to record the notes of the whole mass, and the singers could sing and learn the desired melody. Of course, before Guido, different nations had their own ways to recording music. In ancient Greece, for example, letters served as notes, in Japan - numbers, in Russian records - hooks, and in Gregorian music, so -voiced choirs of the Roman liturgy are called these icons from the Greek.

Neums resembled dots, commas and various dashes, and the musicians often confused because of the diversity and similarity of symbols. These badges could remind the singing melody already known to him. All designations conveyed only the direction an increase or decrease in sound, its exact height was not taken into account. The notes of the monk Guido - the shaded squares - were placed on the musical camp, which first consisted of four parallel lines.

Now five lines and notes are depicted in circles, but the principle introduced by Guido has remained unchanged: higher notes are on a higher ruler. Each of the seven notes of Octava Gvido gave the name: Ut, Re, Mi, Fa, Sol, La, Si - by the first syllables of the anthem of St. John, so that it was easier to remember the sequence of notes. Each line of the anthem sang a tone above the previous one.

The names of the notes ended in a vowel sound, so it was convenient to sing. But here is the first syllable - UT - closed, so the name of the first note of the octave in the 16th century was replaced by DO most likely from the Latin word Dominus - Lord. In the next note, the octaves- Si- were named according to the first letters of the two words of the last line of the anthem- Sancte Ioannes St.

John. That's where the notes of the octaves came from: before, re, mi, fa, salt, la, si. The Pope John XIX was delighted with her, and everything would be fine if not one “but”: these records were unsuitable for indicating the duration of the sound, so it was not possible to record the rhythm - the most important element of music. Meanwhile, church music became more complicated.

Soon after the appearance of a linear notation - the records of notes on the line of the musical camp - it was complemented by standard musical keys: violin and bass, connecting ruler with a certain control sound height. He introduced designations for notes of four different durations, each of which was half or three times shorter than the previous one. They were called “Maxim”, “Long”, “Brevis” and “Semibrevis” and were designated by black rhombuses and rectangles of various shapes.

In the XIV century, the French composer and theoretician Philip de Vitri added four even shorter durations: “Minim”, “Seminima”, “Fuzu” and “Semifuza”. They were designated by rhombuses with vertical dashes and horizontal flags. A century later, notes acquired a more familiar look: if earlier all the badges were black, now only short durations remained black, and the long notes were not painted over.

However, the heads of notes were still square or rhombic. Around the same time, separate designations for pauses appeared, remotely resembling co-time. In the 15th century, the musical notation was used to recording not only spiritual, but also secular music, which later associated the development of musical notation. However, this was not enough. The music was constantly complicated and changed, there was a need to fix on paper various cunning receptions of the sound recovery, characteristic of certain instruments, to denote the features of the sound of notes, volume, expression ...

As Ferenz Liszt said, the main thing in music cannot be recorded notes. And on the musical camp, and around him there were more and more characters and inscriptions. This process continues for this time. His invention in many respects determined the face of modern musical theory.