Guido of Arezzo
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. 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.
Chancery hand
The English chancery hand was already an arcane specialty by the time of the Restoration. Samuel Pepys recorded (Thursday 12 July 1660):
The later "cancelleresca corsiva" ("cursive chancery hand"), often called "Chancery Cursive", developed from Humanist minuscule, itself the progeny of Carolingian minuscule, in the mid-fifteenth century as "a cursive form of the humanistic minuscule". In England and France at the time it was known as "Italic". In English it is often changed in spelling to "cancellaresca corsiva". The Italian scribe Ludovico Vicentino degli Arrighi's 1522 influential pamphlet on handwriting called "La Operina" was the first book on writing the italic script known as cursive chancery hand. He was a scribe in the Papal Curia, which had refined cursive chancery hand in its infancy during the latter half of the fifteenth century. While considered a cursive, this "papal hand" was "strongly disciplined in form, regular in movement and slightly, if at all, inclined from the perpendicular."