Instruct: Given a question, retrieve passages that answer the question.
Query: When was the Guidonian hand introduced?
In Medieval music, the Guidonian hand was a mnemonic device used to assist singers in learning to sight-sing. Some form of the device may have been used by Guido of Arezzo, a medieval music theorist who wrote a number of treatises, including one instructing singers in sightreading. The hand occurs in some manuscripts before Guido's time as a tool to find the semitone; it does not have the depicted form until the 12th century. Sigebertus Gemblacensis in c. 1105–10 did describe Guido using the joints of the hand to aid in teaching his hexachord. The Guidonian hand is closely linked with Guido's new ideas about how to learn music, including the use of hexachords, and the first known Western use of solfege.
The hexachordal system also distinguished between B♭ (fa in the F hexachord, and known as "B molle" for 'soft B') and B♮ (mi in the G hexachord, and known as "B durum" for 'hard B'). Over time, the soft and hard variants of 'b' were depicted as a rounded '♭' and a squared-off '♮' which gradually developed into the modern flat and natural signs (or, in Northern Europe, into the letters 'b' and 'h').[6]
To date, the majority of "foam hands" have been produced in a planar-like form. However, in early 2009, a product that more-closely replicates the dimensional form of a human hand (like Hulk Hands with an extended finger) was introduced and marketed under the trade name Radhand until 2010 when it was renamed UltimateHand, produced by a new company called BrettHand.
Terramagnino may be the same person as the author of an obscure sonnet, "Poi dal mastro Guitton latte tenete", addressed to a Guidonian of the "Tuscan school". The Guidonian scholar replied with an even more obscure poem of his own, following Terramagnino's rime, but citing the authority of Saint Jerome. This has led to some speculation that Terramagnino's Christian name was Girolamo or Gerolamo.
C (Italian, French: "Do") is the first note of the C major scale, the third note of the A minor scale (the relative minor of C major), and the fourth note (F, A, B, C) of the Guidonian hand, commonly pitched around 261.63 Hz. The actual frequency has depended on historical pitch standards, and for transposing instruments a distinction is made between written and sounding or concert pitch.
Richard Hallowell Hoppin, Medieval Music. New York, W. W. Norton & Company, 1978. ISBN0-393-09090-6. Stuart Lyons, Music in the Odes of Horace. Oxford: Aris & Phillips, 2010. ISBN978-0-85668-844-7. Randel, Don Michael. "Guidonian Hand" in The New Harvard Dictionary of Music. Cambridge, MA: Belknap of Harvard UP, 1986. Print.
Guido is credited with the invention of the Guidonian hand,[4][5] a widely used mnemonic system where note names are mapped to parts of the human hand. However, only a rudimentary form of the Guidonian hand is actually described by Guido, and the fully elaborated system of natural, hard, and soft hexachords cannot be securely attributed to him.[6]
Jul is a traditional Korean greeting and is oftentimes accompanied by a handshake. Use both hands when handshaking (right arm performing the handshake should be supported by the left arm). Koreans prefer to do business with people who they already know so if it’s possible, try to have a third party to originate the business. Do not introduce yourself and wait until the third party introduces you. In South Korea, it is a common practice to share gifts at the first meeting. It is intended to build relationships and acquire favors. Gift is part of the business culture and it is not considered bribery. When giving or receiving gifts, make sure to use both hands since using one hand is considered rude. However, do not give an expensive gift because gifts are reciprocated. Also present the gift in a modest fashion.
Each hexachord could start on G, C or F and the adjacent table, reading upwards from the bottom, shows the notes in each hexachord for each of three octaves. Reading from left to right could, within certain limits, permit notes within different octaves to be distinguished from each other. Thus, C (modern c) was "C fa ut" (or "Cefaut"), c (modern c′) was "C sol fa ut", and cc (modern c″) was "C sol fa". Since the lowest pitch was designated by the Greek letter Γ (gamma, for 'g'), the pitch was known as "Gamma ut" or "Gamut", a term which came to designate the range of notes available, and later, a complete range of anything.[5]
The idea of the Guidonian hand is that each portion of the hand represents a specific note within the hexachord system, which spans nearly three octaves from "Γ ut" (that is, "Gamma ut") (the contraction of which is "Gamut", which can refer to the entire span) to "E la" (in other words, from the G at the bottom of the modern bass clef to the E at the top of the treble clef). In teaching, an instructor would indicate a series of notes by pointing to them on their hand, and the students would sing them. This is similar to the system of hand signals sometimes used in conjunction with solfege.
On the first of the two front flyleaves is the inscription: "Clement Matchett ownes this booke 1613", with a table of contents on the verso. The second flyleaf bears a Guidonian hand figuring the Gamut. The end flyleaf bears some doggerel rhyme. The manuscript is precisely dated on the inside back cover: "Iste liber per me Clement Matchett eiusdem possessorem compositus fuit in Anno Domini 1612/mense augustaneo/1612".
This device allowed people to visualize where the half steps of the gamut were, and to visualize the interlocking positions of the hexachords (the names of which—ut re mi fa sol la—were taken from the hymn Ut queant laxis). The Guidonian hand was reproduced in numerous medieval treatises.
The name La Mà de Guido comes from the Catalan translation of the Guidonian hand.
Claude V. Palisca. "Guido of Arezzo", Grove Music Online, ed. L. Macy (accessed June 13, 2007), (subscription access). Andrew Hughes. "Solmization", Grove Music Online, ed. L. Macy (accessed March 12, 2006), (subscription access).
The "Musica practica" also contains interesting commentary on mensural notation, chromatic alterations, examples of counterpoint, musical instruments, and the division of music and its effects. Ramos de Pareja was the first theorist to label the method now known as the Guidonian hand the "manus Guidonis"; prior to him it was called the "manus musicalis". He chose the title "Musica practica" to emphasise the practical rather than the theoretical/mathematical component of music. Throughout Ramos de Pareja alludes to his own compositions, though few survive.
The hexachord as a mnemonic device was first described by Guido of Arezzo, in his Epistola de ignoto cantu and the treatise titled Micrologus.[4] It was the most basic pedagogical tool for learning new music in the European Middle Ages, and was often referenced in contemporary musical theory. In each hexachord, all adjacent pitches are a whole tone apart, except for the middle two, which are separated by a semitone. These six pitches are named ut, re, mi, fa, sol, and la, with the semitone between mi and fa. These six names are derived from the first syllable of each half-line of the 8th century hymn Ut queant laxis.
In the Elizabethan era, England and its related territories used only four of the syllables: mi, fa, sol, and la. "Mi" stood for modern si, "fa" for modern do or ut, "sol" for modern re, and "la" for modern mi. Then, fa, sol and la would be repeated to also stand for their modern counterparts, resulting in the scale being "fa, sol, la, fa, sol, la, mi, fa". The use of "fa", "sol" and "la" for two positions in the scale is a leftover from the Guidonian system of so-called "mutations" (i.e. changes of hexachord on a note, see Guidonian hand). This system was largely eliminated by the 19th century, but is still used in some shape note systems, which give each of the four syllables "fa", "sol", "la", and "mi" a different shape.
In "Movable do", or "tonic sol-fa", each syllable corresponds to a scale degree. This is analogous to the Guidonian practice of giving each degree of the hexachord a solfège name, and is mostly used in Germanic countries, Commonwealth Countries, and the United States.
Since a single hexachord did not cover every possible note in the range of the gamut (only C–A, F–D excluding B♮, or G–E excluding B♭), singers would have to "mutate" between hexachords if the range of a sixth was exceeded or if there was an alternation between B♮ and B♭.[6] In this way the "Guidonian" system of multiple hexachords was different from the modern system of solfege, wherein a single set of syllables suffices to name all possible pitches (including, often, chromatic pitches) within a mode.
In the 12th century, a development in teaching and learning music in a more efficient manner had arisen. Guido of Arezzo's alleged development of the Guidonian hand, more than a hundred years after his death, allowed for musicians to label a specific joint or fingertip with the gamut (also referred to as the hexachord in the modern era). Using specific joints of the hand and fingertips transformed the way one would learn and memorize solmization syllables. Not only did the Guidonian hand become a standard use in preparing music in the 12th century, its popularity grew more widespread well into the 17th and 18th century.[7] The knowledge and use of the Guidonian hand would allow a musician to simply transpose, identify intervals, and aid in use of notation and the creation of new music. Musicians were able to sing and memorize longer sections of music and counterpoint during performances and the amount of time spent diminished dramatically.[8]
In the 14th century, this system was expanded to hexachords that would accommodate an increased use of signed accidentals. From this time onward, the use of such notes was called musica ficta.[4]
Because it included B durum, the G hexachord was called hexachordum durum; likewise, the F hexachord was called hexachordum molle. The C hexachord, containing neither B, was called hexachordum naturale.[6]
The other ancient text, "Naradiyasiksa" dated to be from the 1st century BCE, discusses secular and religious music, compares the respective musical notes. This is earliest known text that reverentially names each musical note to be a deity, describing it in terms of "varna" (colors) and other motifs such as parts of fingers, an approach that is conceptually similar to the 12th century Guidonian hand in European music. The study that mathematically arranges rhythms and modes ("raga") has been called "prastara".
Medieval theorists defined scales in terms of the Greek tetrachords. The "gamut" was the series of pitches from which all the Medieval "scales" (or modes, strictly) notionally derive, and it may be thought of as constructed in a certain way from diatonic tetrachords. The origin of the word "gamut" is explained at the article Guidonian hand; here the word is used in one of the available senses: the all-encompassing gamut as described by Guido d'Arezzo (which includes all of the modes).
Ironically, the stocks of muskets introduced during the European colonization of the Americas were repurposed as hand-to-hand war clubs by Native Americans and First Nations when fragile accessories were damaged or scarce ammunition exhausted. Techniques for gunstock hand weapons are being revived by martial arts such as Okichitaw.