Mensuralnotation

In the 13th century developed, propelled by the differentiation of the rhythms, the mensural. Franco of Cologne in 1280 formulated the rules for this notation in his treatise Ars cantus way mensurabilis. According to him, ie the first occurrence of the black mensural French- American notation.

Black mensural notation (approx. 1230-1430 )

With the help of the French- American notation for the first time were able to note values ​​( durations ) of music are clearly defined. The most important central characters were Brevis and Longa. According to the three-part basic rhythm of time, the Longa period of three briefs ( perfect Longa ). Within certain groups of notes, it can also have two briefs take ( be imperfect ), for example within the sequence Longa - Brevis - Longa - Brevis ... in which each of imperfect Longa ( 2 beats ) and Brevis ( 1 beat ), a three -term unit will. Likewise, the other note values ​​can be two or three times as long as the next smallest note value. The following figure shows all the note values ​​of the French- American notation, starting with the largest.

Maxima or duplex Longa - Longa - Brevis - semibreve

Notation of the Ars Nova ( by Philippe de Vitry )

At the beginning of the 14th century occurred in the so-called Ars Nova next to the perfect scale, ie the three-part basic beat, the imperfect scale. It now also compositions were therefore made ​​in even measures in which units to two strokes were the mensural framework. The name of the era goes back to the same name, created in 1320 treatise Ars Nova of the French music theorist and composer Philippe de Vitry. Although the dating is uncertain, but to the Italians Marchetus de Padua have already described shortly before Vitry the possibility of two-stage division in pomerium. Now the question was for the performance of a work first to determine the following dimensions:

• The major mode or Maxi mode, which indicated whether the Maxima was two - or three -term run.
• The mode or minor mode showed this to the Longa.
• Tempus was the name given to the measure of the Brevis, and the division ratio Brevis - semibreve
• Prolatio for the measure of the semibreve, or the division ratio semibreve - minima.

As in the Ars Nova as the next smaller note value came near the minima, now also the length of Semibreves had to be determined.

While mode major and minor mode could be accessed via the arrangement of the pause character, Tempus and prolatio could be detected at the piece prefixed Mensurzeichen. A circle (symbolizing the " perfection " ) was perfect, three -term, Scale the Brevis at ( Tempus perfectum ), the semi-circle, the imperfect, that is, two -time scale of the Brevis ( Tempus imperfectum ). Was also drawn into the circle or semi-circle, a point was the semibreve as perfect ( perfecta prolatio or prolatio major). In omitting the point, the scale of the imperfect semibreve came into force, which is the normal case. ( Prolatio imperfecta / minor). From the semi-circle to the current clock sign for the 4/4- and Alla breve clock is derived. In Ars Nova Vitry introduces a further sign, with the help of which the mode (ie the ratio Longa to Brevis ) can be recorded. It is a square, which is provided for a perfect mode with three horizontal lines, and for the imperfection with two. Another phenomenon in the manuscripts is the Rubifizierung, the red color. So Vitry used this way of marking by black marks ternary, and red notes represent binary division level.

However, if no sign of mood, tense and prolatio are present, other features need to be considered:

• Is there a break, which extends over three spaces, so this is three periods, which is a sure indication of the presence of a perfect mode.
• However, if a two-stage break exist, it must always be accompanied in the perfect mode of a breve. If you see this pause between two longae, the assignment to the imperfect mode is unique, just as if two two -term breaks consecutive. In mode perfectum this break would be namely represented as a three -term and a One-stage.
• If three notes of a kind occur between two of the next largest genus, perfect mode / tense / prolatio is considered probable. Sure, this provision is therefore not because even syncope may occur. However, in this case, would have a fourth, similar note in the vicinity are to close the resulting gap in imperfect meter.
• Often when two similar notes after each other, and even more compelling when one of them is replaced by its rest value, this is a sign of imperfect scale. In breaks namely the alteration is not possible.

In the Ars Nova systems are used together with five lines.

Trecento notation ( after Marchetus de Padua )

In the notation of the Italian Trecento also formed the early 14th century, a different type of recording out. This practice was described by Marchetus de Padua in his treatise " pomerium in arte musicae mensuratae ". Here for the first time in history is a mensurales system is described in which the Brevis can be divided not only in three child values ​​( perfect), but also in two values ​​( imperfect ). The previous rejection of this practice was referring to the Trinity of God. Now also divisions by multiples of 2 or 3 ( 4, 6, 8, 9 or 12) can happen. The resulting groups of semibreves and Minimae be bounded by points. The grade values ​​between two points thus always give a Brevis.

There are up to three dividing planes. These are:

Due to these three levels, it is therefore only necessary to divide each note value into two or three smaller note values.

The notes that form the smallest units in the respective division level are to recognize by their necks upward. The partition types are specified by the initial letters of their names in points:

• . q. for Quaternaria ( quartering ): 1st level: 2 2nd level: 2, 3rd level: not used
• . t. for Ternaria ( trichotomy ): 1st level: 3, 2nd level: not used, 3rd level: not used
• I. for Senaria imperfecta ( imperfect six- division ): 1st level: 2 2nd level: 3, 3rd level: not used
• . p. for Senaria perfecta ( perfect six- division ): 1st level: 3, 2nd level: 3rd level 2: not used
• . o for Octonaria (Eight division ): It is based on the Quaternaria 1st level: 2 2nd level: 2, 3rd level: 2
• . n for Novenaria ( Nine division ): 1st level: 3, 2nd level: 3, 3rd level: not used
• D. for Duodenaria ( Twelve division ) It is based on the Senaria Perfecta. 1st level: 3, 2nd level: 2, 3rd level: 2

It can be seen that in the third stage division occur only binary divisions.

In the Trecentonotation systems were used with six lines.

In the mannered notation around 1400 in southern France, finally, the rhythmic refinement was brought to a head. Now could be displayed within pieces Mensurwechsel without Mensurzeichen for the duration of fewer notes. For example, could imperfizierte notes occur within a perfect scale, which were identified by red or hollow note characters.

White mensural notation (approx. 1430-1600 )

Before the invention of printing choirs usually had only a single hand- written copy of a work available. Due to the enlargement of the choirs, the notes were written bigger and bigger, so that everyone could read singers from the choir book. For simplicity, we now only drew the outlines of the notes, eliminating white, " hollow " notes created (as in today's notation nor the half and whole notes are hollow ). Another reason for the transition to white mensural notation is the replacement of thick parchment by thin paper in the 15th century, because on paper shone completed by notes often.

Again, enter add new smaller note values ​​, so that the note stock now looks like this:

Only the four major central maxima values ​​, Longa, Brevis and semibreve can be both perfect and imperfect occur. The four small values ​​are always bilateral. Since the beginning of the 16th century, the semibreve is considered Tactus and has Tempus Tempus imperfectum perfectum and in the same time at different lengths Brevis durations.

For an additional modification of the proportion Mensursystem provides. Here, the normal value of the notes, the integer valor notarum is enlarged or reduced.

In the simplex diminutio the reduction ( diminution ), the note values ​​appear to half their original length by a vertical line through it Mensurzeichen ( the Tempus perfectum ) or an upturned semicircle ( the Tempus imperfectum ). An attached to the Mensurzeichen " 2" indicates a proportional to dupla, in which the notes will be converted at a 1:2 ratio. The numbers 3 and 4 are ( triplane proportional or quadrupla ) as a proportion designation possible. Generally this is true: The number indicates the number of Semibreves which form a Tactus, the tense sign indicates how many Tactus are in turn combined to form a higher-level unit.

Another important proportion, the proportions sesquialtera is to lead, come in 3 semibreves the following part 2 of the previous part or the integer valor notarum.

Special workmanship reveals the Proportions or Mensurkanon, in which a single voice is provided with a plurality of proportions or Mensurzeichen. Due to the different durations in the scale lengths / proportions results in a more coherent and contrapuntal meaningful sentence.

( See, for example, the Missa Prolationum of Ockeghem, in the recorded two voices through a four-part canon of proportions shows ( a discussion of the method in Diether de la Motte 1981), the Missa L' homme armé exhibition of Pierre de la Rue, in the four-part results from a single voice, Si Dedero by Jacob Obrecht or the Benedictus of the Missa L' homme armé super voces musicales " by Josquin Desprez. )

Using Proportions and Mensurzeichen also can be rhythmically " redefine " a given cantus firmus (arguably the most virtuoso example of this is the " Missa everything regretz " of Loyset Compère ).

The mensural until around 1600 in use, then put the modern notation with their clocking scheme through. The central characters, however, have been preserved until today: Rounding the square or rhombic shape was from the semibreve the whole note, from the minima of the half, etc. In addition, the Brevis find than double Whole and rarely also the Longa as a quadruple whole still use (eg as in long final chords ).