Solfege

Lesson Goal: To understand the concept of Solfege… and how to use it to think about and hear melodies in functional terms…

Table of Contents

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Prerequisites

Basic music reading… LOVE of music… and the discipline to study and practice.

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Melodic Analysis of “Happy Birthday”

Welcome to your first lesson in conceiving and perceiving melody like a real musician… in meaningful functional terms…

The String of Intervals Approach

First, consider the commonly-prescribed String-of-Intervals approach, which goes something like this:

• Conceive, perceive, hear, and sing the first note in the melody, then…
• Conceive, perceive, hear, and sing the interval between the first note and second note and figure out what note that is, then…
• Conceive, perceive, hear, and sing the interval between the second note and third note and figure out what note that is, then…
• Conceive, perceive, hear, and sing the interval between the third note and fourth note and figure out what note that is, and so on.

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“Happy Birthday” Analyzed as a String of Intervals

Let’s apply the “string of intervals” approach to “Happy Birthday” starting on the note G (M2=major 2nd, m2=minor 2nd, M3=Major 3rd, m3=minor 3rd, P4=Perfect 4th, P5=Perfect 5th, m6=minor 6th, P8=octave)…

Problems with the String of Intervals Approach

Yikes! Although the “string-of-intervals” approach is mathematically accurate, it suffers from two serious shortcomings:

First, the “string-of-intervals” view is an incomplete conception of melody, because…

• It ignores the critically important concept (and reality) of tonal centers and keys.
• It ignores the fact that the melody occurs in the context of a key center that organizes all the notes harmonically.
• It ignores the fact that each note in the melody has a particular harmonic function in the context of the key center.
• It ignores the fact that not all notes in a melody are of equal importance: some notes are structural, others are embellishments.
• It ignores the fact that each melody note performs a unique function, sometimes creating harmonic tension, sometimes relieving harmonic tension.
• It ignores the fact that it is relatively easy to hear and feel the sound of each note, independently of all the other notes, with respect to the key center.

Second, the incomplete melodic conception fostered by the “string-of-intervals” approach makes melodic perception (hearing) and performance (singing and playing) much more difficult than it needs to be. Because…

• You have to remember the sound of the note you just played.
• You have to remember the symbol for or key on the piano of the note you just played.
• You have to be able to hear the interval between each adjacent note.
• You have to theoretically know the intervals between each adjacent note.
• You have to keep track of where you are at all times; if you miss just one note, you will be hopelessly lost.
• While trying to remember what just happened, you are being distracted from what is happening.
• There are far more possible combinations of intervals between any two notes than there are numbers of notes in a key (twelve maximum).

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“Happy Birthday” Analyzed using Solfege

Solfege teaches us to conceive (think about), perceive (hear), and perform (sing and play) the melody with the awareness of the unique “sound-feelings” of each note with respect to a tonal center. In other words, Solfege is all about learning to hear a melody harmonically.

Solfege analysis of “Happy Birthday” in the key of C (C=Do)…

The beauty and simplicity of this approach is that, when you are in the key of C, C will always sound/feel like Do, G will always sound/feel like So, A will always sound/feel like La, and so on. And it does not matter which notes come before or after. This is so important that it must be repeated: When you are in the key of C, C will always sound/feel like Do, G will always sound/feel like So, A will always sound/feel like La, and so on.

With a little know-how and the right kind of study-practice, you will learn to recognize all of the sound-feelings instantly in any context without having to remember each note or to keep track of intervals.

Special Note: Naming notes (including Solfege names) is not a necessary performance skill. In fact, the ultimate goal is to abandon the use of names altogether. Names are just a temporary and convenient way to communicate with each other while learning the concepts and training our ears. The ultimate goal is to go straight from music notation to sound (sight singing), from sound to notation (dictation), or from sound to physical execution at the keyboard (playing by ear).

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What is Solfege?

Solfege is the the system of assigning easy to sing single syllable names to the notes in any scale. This serve as a way to connect and internalize these names to the way each note sounds, feels, and functions within a key.

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“Fixed Do” or “Moveable Do”?

You will hear some theoreticians talk about “fixed Do” and “moveable Do” Solfege. “Fixed Do” might make sense if you have perfect pitch, but is redundant as we already have a system of letter names for each pitch.

Piano-ology uses “moveable Do” for one reason: It’s the only Solfege system that accurately and naturally describes how scales and tonal music works… and matches the way that the overwhelming majority of humans perceive and enjoy music. In other words, this is not a choice at all, but the way that music works!

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Solfege and the Notion of Keys

Did you know that you can play a melody starting on any of the twelve possible notes?

For example, you can play “Twinkle, Twinkle” starting on the note C…

But you can also play starting on the note G…

or starting on the note Eb…

Notice that the Solfege syllables are exactly the same no matter what note you start on!

In fact, you can play “Twinkle, Twinkle” (or any other melody) starting on any of the twelve physical keys on the piano.

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How Many Keys are There?

Since there are twelve possible physical keys on the piano, there are twelve possible physical “keys” in which you can play a piece of music. But, while there are twelve physical keys, at least fifteen keys theoretically possible: no sharps or flats in the key signature, up to seven sharps in the key signature, and up to seven flats in the key signature.

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“Twinkle, Twinkle” in All Fifteen Possible Keys

Here is “Twinkle, Twinkle” written out and played in all fifteen theoretical keys arranged around the cycle from seven sharps to seven flats…

As you read, play, and sing along notice the following…

1. Do always sounds and feels like Do, So always sounds and feels like So, La always sounds and feels like La, and so on… no matter what key you are in!
2. The “shape” of the melody in the score is identical, no matter what key you are in.
3. When you change keys, all the letter names of the notes change, but the Solfege names remain exactly the same. The letter names change because they are arbitrary, but the Solfege names remain the same because they represent the inherent melodic-harmonic function of each note no matter what key you are in.

“Twinkle, Twinkle” in C# Major

Don’t merely passively listen to these sound bits. Read the score as you play and sing the Solfege syllables out loud. Doing so is a highly effective way to internalize the sound, feeling, and function of each note in the melody!!!

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“Twinkle, Twinkle” in F# Major

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“Twinkle, Twinkle” in B Major

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“Twinkle, Twinkle” in E Major

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“Twinkle, Twinkle” in A Major

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“Twinkle, Twinkle” in D Major

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“Twinkle, Twinkle” in G Major

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“Twinkle, Twinkle” in C Major

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“Twinkle, Twinkle” in F Major

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“Twinkle, Twinkle” in Bb Major

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“Twinkle, Twinkle” in Eb Major

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“Twinkle, Twinkle” in Ab Major

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“Twinkle, Twinkle” in Db Major

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“Twinkle, Twinkle” in Gb Major

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“Twinkle, Twinkle” in Cb Major

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Understanding these concepts is essential for understanding how scales and melodies work and lays a solid foundation that facilitates ear training, reading, memorization, transposition, composition, and improvisation.

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Solfege Analysis & Ear Training for Famous Melodies

Lesson Goal: To quickly learn how to think about, hear, and internalize some famous melodies using Solfege… in functional melodic/harmonic terms, not just as a string of random and unrelated sounds.

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“Are You Sleeping?”

Part 1. Read, play, listen, and sing/hum along…

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Part 2. Use your piano, ears, voice, and knowledge of music theory to figure out the key center (Do) and tonality (major, minor, mixolydian, dorian, blues, etc) and name each note using Solfege…

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Part 3. Scroll down to check your work…

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Part 4. Play and sing the Solfege syllables aloud…

Important: First, establish a clear sense of Do, then sing each note slowly enough to allow the unique sound-feeling of each Solfege syllable to seep into your mind’s ear.

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Extra Credit #1. Explain how the placement of each note within the meter affects it’s function (Please share your discoveries in comments below).

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Extra Credit #2. Use your knowledge of scales and Solfege to play “Are Your Sleeping?” in a few other keys.

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“Bach Minuet”

Part 1. Read, play, listen, and sing/hum along…

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Part 2. Use your piano, ears, voice, and knowledge of music theory to figure out the key center (Do) and tonality (major, minor, mixolydian, dorian, blues, etc) and name each note using Solfege…

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Part 3. Scroll down to check your work…

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Notice that the melody doesn’t start on Do.

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Part 4. Play and sing the Solfege syllables aloud…

Important: First, establish a clear sense of Do, then sing each note slowly enough to allow the unique sound-feeling of each Solfege syllable to seep into your mind’s ear.

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Extra Credit #1. Explain how the placement of each note within the meter affects it’s function (Please share your discoveries in comments below).

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Extra Credit #2. Use your knowledge of scales and Solfege to play the melody for “Bach Minuet” in a few other keys.

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“The Godfather” Theme

Part 1. Read, play, listen, and sing/hum along…

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Part 2. Use your piano, ears, voice, and knowledge of music theory to figure out the key center (Do) and tonality (major, minor, mixolydian, dorian, blues, etc) and name each note using Solfege…

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Part 3. Scroll down to check your work…

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Part 4. Play and sing the Solfege syllables aloud…

Important: First, establish a clear sense of Do, then sing each notes slowly enough to allow the unique sound-feeling of each syllable to seep into your mind’s ear.

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Extra Credit #1. Explain how the placement of each note within the meter affects it’s function (Please share your discoveries in comments below).

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Extra Credit #2. Use your knowledge of scales and Solfege to play the theme from “The Godfather” in a few other keys.

back to… Table of Contents

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“Happy Birthday”

Part 1. Read, play, listen, and sing/hum along…

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Part 2. Use your piano, ears, voice, and knowledge of music theory to figure out the key center (Do) and tonality (major, minor, mixolydian, dorian, blues, etc) and name each note using Solfege…

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Part 3. Scroll down to check your work…

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Notice that the first note is not Do.

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Part 4. Play and sing the Solfege syllables aloud…

Important: First, establish a clear sense of Do, then sing each note slowly enough to allow the unique sound-feeling of each Solfege syllable to seep into your mind’s ear.

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Extra Credit #1. Explain how the placement of each note within the meter affects it’s function (Please share your discoveries in comments below).

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Extra Credit #2. Use your knowledge of scales and Solfege to play “Happy Birthday” in a few other keys.

back to… Table of Contents

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“Love Story”

Part 1. Read, play, listen, and sing/hum along…

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Part 2. Use your piano, ears, voice, and knowledge of music theory to figure out the key center (Do) and tonality (major, minor, mixolydian, dorian, blues, etc) and name each note using Solfege…

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Part 3. Scroll down to check your work…

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Notice that Do is not the first note. Neither is Do to be found in these early phrases of the melody!

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Part 4. Play and sing the Solfege syllables aloud…

Important: First, establish a clear sense of Do, then sing each note slowly enough to allow the unique sound-feeling of each Solfege syllable to seep into your mind’s ear.

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Extra Credit #1. Explain how the placement of each note within the meter affects it’s function (Please share your discoveries in comments below).

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Extra Credit #2. Use your knowledge of scales and Solfege to play the theme from “Love Story” in a few other keys.

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“Mary Had a Little Lamb”

Part 1. Read, play, listen, and sing/hum along…

Playing with good rhythm is essential because the sound-feeling and function of each note depends on where it fits within the meter!

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Part 2. Use your piano, ears, voice, and knowledge of music theory to figure out the key center (Do) and tonality (major, minor, mixolydian, dorian, blues, etc) and name each note using Solfege…

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Part 3. Scroll down to check your work…

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Notice that Do is not the first note in the melody!

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Part 4. Play and sing the Solfege syllables out loud…

Important: First, establish a clear sense of Do, then sing each note slowly enough to allow the unique sound-feeling of each Solfege syllable to seep into your mind’s ear.

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Extra Credit #1. Explain how the placement of each note within the meter affects it’s function (Please share your discoveries in comments below).

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Extra Credit #2. Use your knowledge of scales and Solfege to play “Mary Had a Little Lamb” in a few other keys.

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“Ode to Joy”

Part 1. Read, play, listen, and sing/hum along…

Notice that the theme is 8 bars long and consists of two almost identical 4-bar phrases (except for the last three notes).

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Part 2. Use your piano, ears, voice, and knowledge of music theory to figure out the key center (Do) and tonality (major, minor, mixolydian, dorian, blues, etc) and name each note using Solfege…

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Part 3. Scroll down to check your work…

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The first 4-bar phrase ends on the active note Re, an active tone which leaves the melody unresolved. And the second 4-bar phrase ends on Do, which fully resolves the harmonic tension.

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Part 4. Play and sing the Solfege syllables out loud…

Important: First, establish a clear sense of Do, then sing each note slowly enough to allow the unique sound-feeling of each Solfege syllable to seep into your mind’s ear.

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Extra Credit #1. Explain how the placement of each note within the meter affects it’s function (Please share your discoveries in comments below).

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Extra Credit #2. Use your knowledge of scales and Solfege to play “Ode to Joy” in a few other keys.

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“Old McDonald”

Part 1. Read, play, listen, and sing/hum along…

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Part 2. Use your piano, ears, voice, and knowledge of music theory to figure out the key center (Do) and tonality (major, minor, mixolydian, dorian, blues, etc) and name each note using Solfege…

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Part 3. Scroll down to check your work…

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Part 4. Play and sing the Solfege syllables aloud…

Important: First, establish a clear sense of Do, then sing each note slowly enough to allow the unique sound-feeling of each Solfege syllable to seep into your mind’s ear.

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Extra Credit #1. Explain how the placement of each note within the meter affects it’s function (Please share your discoveries in comments below).

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Extra Credit #2. Use your knowledge of scales and Solfege to play “Old McDonald” in a few other keys.

back to… Table of Contents

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“Tarantella”

Part 1. Read, play, listen, and sing/hum along…

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Part 2. Use your piano, ears, voice, and knowledge of music theory to figure out the key center (Do) and tonality (major, minor, mixolydian, dorian, blues, etc) and name each note using Solfege…

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Part 3. Scroll down to check your work…

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Part 4. Play and sing the Solfege syllables aloud…

Important: First, establish a clear sense of Do, then sing each note slowly enough to allow the unique sound-feeling of each Solfege syllable to seep into your mind’s ear.

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Extra Credit #1. Explain how the placement of each note within the meter affects it’s function (Please share your discoveries in comments below).

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Extra Credit #2. Use your knowledge of scales and Solfege to play “Tarantella” in a few other keys.

back to… Table of Contents

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“Twinkle Twinkle”

Part 1. Read, play, listen, and sing/hum along…

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Part 2. Use your piano, ears, voice, and knowledge of music theory to figure out the key center (Do) and tonality (major, minor, mixolydian, dorian, blues, etc) and name each note using Solfege…

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Part 3. Scroll down to check your work…

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Part 4. Play and sing the Solfege syllables aloud…

Important: First, establish a clear sense of Do, then sing each note slowly enough to allow the unique sound-feeling of each Solfege syllable to seep into your mind’s ear.

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Extra Credit #1. Explain how the placement of each note within the meter affects it’s function (Please share your discoveries in comments below).

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Extra Credit #2. Use your knowledge of scales and Solfege to play “Twinkle Twinkle” in a few other keys.

back to… Table of Contents

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learn more… Scales