Glen Collection of printed music > Printed text > Popular music of the olden time > Volume 1

16 MUSIC OF THE MIDDLE AGES.
fourths, fifths, and octaves under the plain-song or chant, and of octaves (either
to the plain song or to this base) above it. He suggests what he terms a smoother
and more pleasing method of under-singing a plain-song, in admitting, besides the
fourth and the tone, the major and minor thirds ; rejecting the semitone and the
fifth. " No advances or attempts at variety seem to have been made in counterpoint,
from the time of Hubald, to that of Guido, a period of more than a hundred
years ; for with all its faults and crudities, the counterpoint of Hubald is at least
equal to the best combinations of Guido ;" but the monk, Engelbert, who wrote in
the latter end of the thirteenth century, tells us that all " regular descant " con-
sists of the union of fourths, fifths, and octaves, so that these uncouth and bar-
barous hai-monies, in that regular succession which has been since prohibited,
continued in the Church for four centuries.
Before the use of lines, there were no characters or signs for more than two
kinds of notes in the Church ; nor since ecclesiastical chants have been wiitten
upon four lines and four spaces, have any but the square and lozenge characters,
commonly called Gregorian notes, been used in Canto fermo : and, although the
invention of the time-table extended the limits of ingenuity and contrivance to
the utmost verge of imagination, and became all-important to secular music,
the Church made no use whatever of this discovery.
That melody received no great improvement from the monks, need excite
no wonder, as change and addition were alike forbidden; but not to have
improved harmony more than they did for many centuries after its use was
allowed, is a matter of just surprise, especially since the cultivation of music
was a necessary part of their profession.
We have occasional glimpses of secular music through then* writings ; for
instance, Guido, who gives a fair definition of harmony in the sense it is now
understood (Armenia est diversarum vocum apta coadunatio), says that he
merely writes for the Church, where the pure Diatonic genus was first used, but
he was aware of the deficiency as regards other music. " Sunt prceterea et alia
musicorum genera aliis mensuris aptata." Franco (about 1050) just mentions
Discantum in Cantilenis Rondellis— " Descant to Rounds or Roundelays," — but
no more.
When Franco writes in four parts, he sometimes gives five lines to each part,
the five lowest for the Tenor or plain song, the next five for the Medius, five for
the Triplum Discantus, and the highest for the Quadruplum. Each has a clef
allotted to it. Although many changes in the form of musical notes have been
made since his time, the lines and spaces have remained without augmentation or
diminution, four for the plain song of the Romish Church, and five for secular
music.
He devotes one chapter to characters for measuring silence, and therein gives
examples of rests for Longs, Breves, Semibreves, and final pauses. He also
suggests dots, or points of augmentation. Bars are placed in the musical examples,
as pauses for the singers to take breath at the end of a sentence, verse, or phrase
of melody. And this is the only use made of bars in Canto fei'mo.