[Illustration]
[W: Si li dis sans de laies | Belle diex vous doint bon jour]
or, in modern style,
[G: g' a' b' c'' (d'' c'') (b' a' g') |
a' b' (c'' b') (b' a' g') (a' b') g']
In this example we find the first indication of the measuring
off of phrases into bars. As we see, it consisted of a little
stroke, which served to show the beginning of a new line,
and was not restricted to regularity of any kind except that
necessitated by the verse.
The use of the _semibrevis_ is shown in the following chanson
of Raoul de Coucy (1192):
[Illustration]
[W: Quant li rossignol jolis | chante
Seur la flor d'este | que n'est la rose et le lis]
[G: d'' (c'' a') b-' (a' (g' f')) g' (a' b-' a' f') f' | f' g'
a' (b-' a') (c'' d'' c'' b-') (a' g') a' |
d'' (c'' a') b-' a' (g' f') g' (a' (b-' a') f') f']
The French troubadours and the German minnesingers of the
thirteenth century used these forms of notes only, and even
then restricted themselves to two kinds, either the _longa_
and _brevis_, or _brevis_ and _semibrevis_.
The necessity for rests very soon manifested itself, and the
following signs were invented to correspond to the _longa_,
_brevis_, and _semibrevis_ [illustration]. Also the number of
note symbols was increased by the _maxima_ or double _longa_
[illustration], and the _minima_ [illustration], which
represented half the value of the _semibrevis_.
Now that music began taking a more definite rhythmic form
than before, a more regular dividing off of the phrases
became necessary. This was accomplished by the use of a
dot, and another form, the perpendicular line, which we
have noticed in the song of the King of Navarre (1250). At
first a means to indicate triple time was invented, and the
measure corresponding to our [9/8] was indicated by placing
the sign [O.] at the beginning of the line. This was called
perfect. Then, for plain triple time the dot was omitted [O];
for [6/8] time the sign [C.] was adopted, and for ordinary
common time [C] was taken. Consequently, when these signs
were placed at the beginning of the line they changed the
value of the notes to correspond to the time marked. Thus in
[O.] (_tempus perfectum_, _prolatio major_) or [9/8], the
_brevis_ was reckoned worth three _semibrevi_ [B = S S S]
([1. = 4. 4. 4.]); the _semibrevis_ three _minimi_ [S = M M M]
([4. = 8 8 8]). In [O] or [3/4] time [B = S S S] ([2. = 4 4 4]);
but the _semibrevis_ was only as long as two _minimi_ [S = M M]
([4 = 8 8]). In [C.] or [6/8] time [B = S S] ([2. = 4. 4.]),
but [S = M M M] ([4. = 8 8 8]). In [C] or [2/2] time [B = S S]
([1 = 2 2]), and [S = M M] ([2 = 4 4]).
In the beginning of the fifteenth century the notes began to
be written in an open form
[Illustration] _Maxima_.
[Illustration] _Longa_.
[Illustration] _Brevis_.
[Illustration] _Semibrevis_.
[Illustration] _Minima_.
[Illustration] _Semiminima_, which was added later.
As still smaller units of value were added, the _semiminima_
was replaced by [filled minima], and the half _semiminima_
thus became [minima with tail], and the next smaller values,
[two tails] and [three tails]. The rest to correspond to
the _semiminima_ was [illustration]; for the _semibrevis_
[illustration], and _minima_ [illustration].
Thus we have the following values and their corresponding rests:
_Maxima_ [Illustration]
_Longa_ [Illustration]
_Brevis_ [Illustration]
_Semibrevis_ [Illustration]
_Minima_ [Illustration]
_Semiminima_ or _crocheta_ [Illustration]
_Fusa_ or _crocheta_ [Illustration]
_Semifusa_ [Illustration]
The rests for the _fusa_ and _semifusa_ were turned to the left
in order to avoid the confusion that would ensue if the rest
[illustration] stood for [fusa]. Besides, the sign would have
easily become confused with the C clef [illustration].
Signs for the changes of _tempo_, that is to say changes
from quick to slow, etc., were introduced in the fifteenth
century. The oldest of them consists of drawing a line through
the _tempus_ sign [O|]. This meant that the notes were to be
played or sung twice as rapidly as would usually be the case,
without, however, affecting the relative value of the notes
to one another. Now we remember that the sign [C] stood for
our modern [4/4] time; when a line was drawn through it,
[C|] it indicated that two _brevi_ were counted as one, and
the movement was said to be _alla breve_. This is the one
instance of time signatures that has come down to us unaltered.