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During page turns, those who look ahead already know what to sing and can turn the page and read what comes next, without stopping. Looking ahead increases the chance of figuring out the music before you actually have to sing it. Once the accompanist starts playing, continue looking ahead. quarter rest followed by quarter note, dotted quarter and eighth…) Mentally play this in your head. Tips and tricks for more effective sightreading:īefore the accompanist starts playing, look at the music - how many beats per measure? What is the key signature? Which notes will be sharp/flat? What are the first few pitches? What types of notes are they (e.g. Tell students to take the note in treble clef and go up two notes, until reading bass clef becomes second nature. Do a few exercises in bass clef, return to treble, and alternate back and forth. Practice engaging in musical mental play to hear these scales on pitch without a keyboard and without singing.Īt exercise 67, introduce bass clef (exercise 147). Take sol, go up one note, the key is la major.įor major scales with flat key signatures, go back one flat. This jingle makes figuring out key signatures easy.įor major scales with sharp key signatures, take the last sharp and go up one note.
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Major sixth - My Bonnie Lies Over the OceanĪt the end of solfege exercise 23, introduce the sharps and flats (using the French method, this is a lyrical jingle):īreak the sequence up like a phone number so it is easier to learn and remember: Perfect fifth - Twinkle Twinkle Little Star
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Major third - When the Saints Go Marching In Younger students may require separate one-on-one attention for this.Ī tip for mastering intervals is associating intervals with well-known songs: Yawn - do you feel how the space right behind your nose opens up? Singing should feel like thisĭrill the notes with flash cards and the solfege book so they become automatic. Stand straight, like a puppet being pulled up on a string at the top of your head (not military stance with chest thrust out)īreathe from your stomach, not high up in your chest which can constrict your throat This system allows you to sing do (for do♭) even though the pitch is si.Īdding chromatic syllables facilitates greater awareness of the chromatic scale and the enharmonic equivalents.Ĭheck the References section at the end of this guide for downloadable handouts for drilling students in the basics. There are times you may want a do♭, which is si. Instructors can clearly hear every syllable (do re mi etc.)ĭo begins with a hard percussive consonant, and so does ti. There are pros and cons to each system.Įven young children can pick this up easily, there are only seven syllables to learn. The French method entails singing do re mi, and re could be re, re#, or re♭ depending on the key. Changing si to ti means there is no ambiguity with the chromatic syllables for sol and si.
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The syllables for the flats are do, ti, te, la, le, sol, se, fa, mi, re, ra, do. This makes it possible to solfege the chromatic scale with raised pitches (sharps) by using do, di (for do sharp), re, ri, mi, fa, fi, sol, si, la, li, ti and do. In the nineteenth century, Anglophone countries like Britain changed si to ti so that each note started with a different syllable. The goal is for students to develop a consistent level of competency with respect to the fundamentals such that they are self-sufficient enough to continue broadening and deepening their understanding of music. How this foundation together with music related apps and technology lead to infinite possibilitiesįilling in some gaps to help solfege students prepare for a conservatory environment How a few key concepts in piano practice dovetail with solfege Using this foundation to learn to improvise and compose Several chromatic fixed-do Systems that have also been devised to account for chromatic notes (and even for double-sharp and double-flat variants) are as follows: Chromatic variants of fixed do Note nameĪ dash ("–") means that the source(s) did not specify a syllable.Now that solfege class has launched, the rest of the chapters in this guide will cover:įurther details of each of the main areas of solfege, using the French School method