“Do-Re-Mi” as easy “1-2-3”

The system of using syllables---do-re-mi-fa-sol-la-si--starting with Guido de Arezzo, a Benedictine monk in the 11th century. His system was used to teach hymns and gave familiarity to the intervals to name notes. Similar to the "do-re-mi" song from the Rogers and Hammerstein musical "Sound of Music" Arezzo used a prayer that was sung where the first syllable of each phrase started on a consecutive step of the la minor (A minor) natural scale. This is known as the Aeolian mode. To provide better visual precision, he developed a system of lines and spaces so that the contour of the scale and subsequently any melody could be more easily distinguished.

There are many reasons why solfege singing is important and valuable to the musician. One important reason is that they are easily singable syllables. The consonant plus vowel combination allows the voice to properly produce the pitch. This is not as easy with the ABC system. Furthermore, for rapid tempo singing and short note values, solfege syllables are still singable. However, I feel the foremost reason for using solfege is that they are syllables that combine into patterns that are not only easily memorized, but also become connected to one's inner ear. That is, if I say "do-mi-do-mi" out loud, in my head I am actually hearing the pitches. Furthermore, the system of solfege is based upon thinking, hearing, and singing intervals--not individual pitches. Although we start with identifying the names of the notes using solfege syllables, it becomes effective as we develop fluency and speed for certain patterns that are connected to our ear.

At each level of our musicianship classes, we have benchmark skills that we have listed at the end of each workbook. There are many resources about how the level of musicianship work in our Parent Portal on our website, including how to practice at home to help your student or yourself become a better reader. As we all know, learning takes practice!

Here is a small challenge to work on at home: the order of sharps and the order of flats are based upon the interval of a fifth. I like to think of practicing this like learning the name of a new Italian dish like fettuccine alfredo. The order of sharps is: "fa-do-sol-re, la-mi-si" And I say it to practice like first name, last name. The order of flats is: "si-mi-la-re, sol-do-fa" (which is actually the order of sharps backwards.) When a student can memorize this, it is the basis for the entire circle of fifths which recreates all the major and minor keys in the equal temperament system by using a clock face.

There are many ways to practice the solfege syllables and once a student becomes proficient, naming the notes in a triad and its inversions is also easy to do but is also connected to the ear: "do-mi-sol, mi-sol-do, sol-do-mi, do-mi-sol", or" re-fal-la, fa-la-re, la-re-fa, re-fal-la".

We have a fun project circulating in the Musicianship Department. Each student is going to solfege a piece in their repertoire. It might be Twinkle Theme or it might be something more advanced. I look forward to hearing the Suzuki repertoire being sung throughout our school.