Please forward this error screen to 209. Syllables are assigned to the notes of the scale and enable the musician to audiate, or mentally hear, the pitches of a piece print syllables to teach children music which he or she is seeing for the first time and then to sing them aloud.
French “solfège” derive from the names of two of the syllables used: sol and fa. The generic term “solmization”, referring to any system of denoting pitches of a musical scale by syllables, including those used in India and Japan as well as solfège, comes from French solmisatio, from the Latin solfège syllables sol and mi. The verb “to sol-fa” means to sing a passage in solfège. In eleventh-century Italy, the music theorist Guido of Arezzo invented a notational system that named the six pitches of the hexachord after the first syllable of each line of the Latin hymn Ut queant laxis, the “Hymn to St.
The words were written by Paulus Diaconus in the 8th century. In the Elizabethan era, England and its related territories used only four of the syllables: mi, fa, sol, and la. Mi” stood for modern si, “fa” for modern do or ut, “sol” for modern re, and “la” for modern mi. Then, fa, sol and la would be repeated to also stand for their modern counterparts, resulting in the scale being “fa, sol, la, fa, sol, la, mi, fa”. There are two main types of solfège Movable do and Fixed Do.
In Movable do, or tonic sol-fa, each syllable corresponds to a scale degree. This is analogous to the Guidonian practice of giving each degree of the hexachord a solfège name, and is mostly used in Germanic countries, Commonwealth Countries, and the United States. One particularly important variant of movable do, but differing in some respects from the system described below, was invented in the nineteenth century by Sarah Ann Glover, and is known as tonic sol-fa. In Italy, in 1972, Roberto Goitre wrote the famous method “Cantar leggendo”, which has come to be used for choruses and for music for young children.
Thus, while fixed-do is more applicable to instrumentalists, movable-do is more applicable to theorists and, arguably, composers. If, at a certain point, the key of a piece modulates, then it is necessary to change the solfège syllables at that point. For example, if a piece begins in C major, then C is initially sung on “do”, D on “re”, etc. If, however, the piece then modulates to G major, then G is sung on “do”, A on “re”, etc.
C is then sung on “fa”. The choice of which system is used for minor makes a difference as to how you handle modulations. The names of the notes in Romance languages. In Fixed do, each syllable corresponds to the name of a note. This is analogous to the Romance system naming pitches after the solfège syllables, and is used in Romance and Slavic countries, among others, including Spanish speaking countries. In the major Romance and Slavic languages, the syllables Do, Re, Mi, Fa, Sol, La, and Si are used to name notes the same way that the letters C, D, E, F, G, A, and B are used to name notes in English. In the fixed do system, shown above, accidentals do not affect the syllables used.
Movable Do corresponds to our psychological experience of normal tunes. If the song is sung a tone higher it is still perceived to be the same song, and the notes have the same relationship to each other, but in a fixed Do all the note names would be different. A movable Do emphasizes the musicality of the tune as the psychological perception of the notes is always relative to a key for the vast majority of people that do not have absolute pitch. Sotorrio argues that fixed-do is preferable for serious musicians, as music involving complex modulations and vague tonality is often too ambiguous with regard to key for any movable system. That is, without a prior analysis of the music, any movable-do system would inevitably need to be used like a fixed-do system anyway, thus causing confusion. Those trained in fixed-do will argue that their act is the analogue of reading aloud in a language.