![]() ![]() The reason that we use solfege and not just note names is because we want to describe how the notes function and depending on what degree of the scale we’re on, that note has a function and a sound. If you’re in the key of C, then C is ‘do’. If you’re in the key of A, then A is ‘do’. In movable ‘do’ solfege, whatever key we are in, that note is ‘do’. This is a very important step! Solfege is a technique of naming the notes in a way that describes their function. It will help you get to know the feeling of the half step intervals so you can sing them in tune. Practicing the chromatic scale in solfege, is a great way to ensure that you are able to sing your pitches clearly and accurately. In this video I will share solfege practice in major. ![]() I sing it in several different keys, droning the Do (the tonic or root note) as I play. In this video, I sing you up and down the major scale in Moveable Do solfege using the Kodaly hand signs. This is not only a pathway to better ear training, but also leads to playing songs by ear, remembering melodies and chords and will improve your songwriting and improvising. ![]() Solfege helps you to build strong ears so you can hear and imagine pitch better. Solfege is a powerful tool that is often used for singers, but is amazing for musicians of any level. Last week, I broke down how to sing the chromatic solfege scale ascending (going up). I will take you through an effective method to break down this challenging scale so you can sing it perfectly in tune every time. F chromatic scale No.In this video, we will sing the CHROMATIC SOLFEGE SCALE DESCENDING. The final 13th note is the octave note, having the same name as the starting note. In this case, the first explanation above applies - we will continue to use flat notes ascending and descending to match the scale. An example F chromatic scaleįor this example - the chromatic scale in the key of F, let's assume that we are working with a key that is on the circle of 5ths - F major scale, which is a flat-based key signature, and we want to identify some chromatic scale notes outside that key. when playing the notes from lowest to the highest pitch, then use flats when descending. Chromatic scales without a key signatureįor both C major key signature and A natural minor key signature, there are no sharp or flat notes, so since there is no key signature, we have no clue as to whether to use sharp or flat names to identify any non-natural notes.Īlthough there seem to be no generally agreed rules on how to handle this, one common music theory convention is to use sharps when ascending the scale ie. Eb major key signature, where flat note names would be used. The same principle applies to flat-based key signatures, eg. G major key signature, and we want to use the chromatic scale to identify notes outside that scale, sharps would be used for those chromatic scale notes. major scale, or any minor scale), then the key signature will be the guide as to whether to use sharps or flats for the chromatic scale.įor example, if a sharp-based key signature is used, eg. If chromatic scale notes are being used and identified within the context of a scale with a key signature (eg. Chromatic scale naming in the context of a key signature When it comes to naming the notes shown in the last step, the decision to be made is whether to use sharp or flat note names, both ascending or descending. This step gives note names to the piano keys identified in the previous step. ![]()
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