Solfège

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For similar terms, see Solfeggietto and Solfege (manga).

In music, solfège (UK: /ˈsɒlfɛdʒ/,[1] US: /sɒlˈfɛʒ/; French: [sɔlfɛʒ]) or solfeggio

(/sɒlˈfɛdʒioʊ/; Italian: [solˈfeddʒo]), also called sol-fa, solfa, solfeo, among
many names, is a music education method used to teach aural skills, pitch and
sight-reading of Western music. Solfège is a form of solmization, and though the
two terms are sometimes used interchangeably, this system originated from other
"Eastern" music cultures such as swara, durar mufaṣṣalāt and Jianpu.

Syllables are assigned to the notes of the scale and enable the musician to
audiate, or mentally hear, the pitches of a piece of music which he or she is
seeing for the first time and then to sing them aloud. Through the Renaissance (and
much later in some shapenote publications) various interlocking 4, 5 and 6-note
systems were employed to cover the octave. The tonic sol-fa method popularized the
seven syllables commonly used in English-speaking countries: do (or doh in tonic
sol-fa),[2] re, mi, fa, so(l), la, and si (or ti), see below).

There are two current ways of applying solfège: 1) fixed do, where the syllables
are always tied to specific pitches (e.g. "do" is always "C-natural") and 2)
movable do, where the syllables are assigned to scale degrees ("do" is always the
first degree of the major scale).
Contents

1 Etymology
2 Origin
3 In Elizabethan England
4 Modern use
4.1 Movable do solfège
4.1.1 Major
4.1.2 Minor
4.2 Fixed do solfège
4.2.1 Chromatic variants
4.3 Comparison of the two systems
5 Note names
6 Other possibilities to denote solfège
6.1 Rainbow colors assigned by Isaac Newton
7 Cultural references
8 See also
9 References
10 External links

Etymology

Italian "solfeggio" and English/French "solfège" derive from the names of two of
the syllables used: sol and fa.[3][4]

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.
[5]

The verb "to sol-fa" means to sing a passage in solfège.[6]

Origin
In eleventh-century Italy, the music theorist Guido of Arezzo invented a notational
system that named the six notes of the hexachord after the first syllable of each
line of the Latin hymn Ut queant laxis, the "Hymn to St. John the Baptist",
yielding ut, re, mi, fa, sol, la.[7][8] Each successive line of this hymn begins on
the next scale degree, so each note's name was the syllable sung at that pitch in
this hymn.
Sheet music for Ut queant laxis

Ut queant laxīs resonāre fībrīs

Mīra gestōrum famulī tuōrum,
Solve pollūtī labiī reātum,
Sancte Iōhannēs.

The words were written by Paulus Diaconus in the 8th century. They translate as:

So that your servants may, with loosened voices,

Resound the wonders of your deeds,
Clean the guilt from our stained lips,
O St. John.

"Ut" was changed in the 1600s in Italy to the open syllable Do,[8] at the
suggestion of the musicologue Giovanni Battista Doni (based on the first syllable
of his surname), and Si (from the initials for "Sancte Iohannes") was added to
complete the diatonic scale. In Anglophone countries, "si" was changed to "ti" by
Sarah Glover in the nineteenth century so that every syllable might begin with a
different letter.[9] "Ti" is used in tonic sol-fa (and in the famed American show
tune "Do-Re-Mi").

An alternative theory argues that the solfège syllables (do, re, mi, fa, sol, la,
ti) derive from the syllables of an Arabic solmization system ‫ درر مفصصلت‬Durar
Mufaṣṣalāt ("Detailed Pearls") (dāl, rā', mīm, fā', ṣād, lām, tā'), mentioned in
the works of Francisci a Mesgnien Meninski in 1680 and later discussed by Jean-
Benjamin de La Borde in 1780.[10][11][12][13] However, there is no documentary
evidence for this theory.[14]
In Elizabethan England

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". The use of "fa", "sol" and "la" for two positions in the
scale is a leftover from the Guidonian system of so-called "mutations" (i.e.
changes of hexachord on a note, see Guidonian hand). This system was largely
eliminated by the 19th century, but is still used in some shape note systems, which
give each of the four syllables "fa", "sol", "la", and "mi" a different shape.

An example of this type of solmization occurs in Shakespeare's King Lear, I, 2 (see

§ Cultural references).
Modern use

Solfège is still used for sight reading training. In the U.S., traditional American
country music was first recorded in the 1920s by solfège-trained singers, often too
poor to afford a piano, who used sight reading as a way of making printed music
into entertainment. Flanders Bays and "Singing Bob" Leonard were traveling music
teachers who trained hundreds of students, among them The Carter Family, who
recorded the first nationally distributed recordings of regional "country" music.

There are two main types of solfège: Movable do and Fixed do.
Movable do solfège
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.

The pedagogical advantage of the movable-Do system is its ability to assist in the
theoretical understanding of music; because a tonic is established and then sung in
comparison to, the student infers melodic and chordal implications through his or
her singing. Thus, while fixed-do is more applicable to instrumentalists, movable-
do is more applicable to theorists and, arguably, composers.
Major

Movable do is frequently employed in Australia, China, Japan (with 5th being so,
and 7th being si), Ireland, the United Kingdom, the United States, Hong Kong, and
English-speaking Canada. The movable do system is a fundamental element of the
Kodály method used primarily in Hungary, but with a dedicated following worldwide.
In the movable do system, each solfège syllable corresponds not to a pitch, but to
a scale degree: The first degree of a major scale is always sung as "do", the
second as "re", etc. (For minor keys, see below.) In movable do, a given tune is
therefore always sol-faed on the same syllables, no matter what key it is in.

The solfège syllables used for movable do differ slightly from those used for fixed
do, because the English variant of the basic syllables ("ti" instead of "si") is
usually used, and chromatically altered syllables are usually included as well.
Major scale degree Mova. do solfège syllable # of half steps from Do
Trad. pron.
1 Do 0 /doʊ/
Raised 1 Di 1 /diː/
Lowered 2 Ra 1 /ɹɑː/
2 Re 2 /ɹeɪ/
Raised 2 Ri 3 /ɹiː/
Lowered 3 Me (or Ma) 3 /meɪ/ (/mɑː/)
3 Mi 4 /miː/
4 Fa 5 /fɑː/
Raised 4 Fi 6 /fiː/
Lowered 5 Se 6 /seɪ/
5 Sol 7 /soʊ/
Raised 5 Si 8 /siː/
Lowered 6 Le (or Lo) 8 /leɪ/ (/loʊ/)
6 La 9 /lɑː/
Raised 6 Li 10 /liː/
Lowered 7 Te (or Ta) 10 /teɪ/ (/tɑː/)
7 Ti 11 /tiː/

If, at a certain point, the key of a piece modulates, then it is necessary to

change the solfège syllables at
major, then C is initially sung
then modulates to G major, then
sung on "fa".
Minor
that point. For example, if a piece begins in C
on "do", D on "re", etc. If, however, the piece
G is sung on "do", A on "re", etc., and C is then
Passages in a minor key may be sol-faed in one of two ways in movable do: either
starting on do (using "me", "le", and "te" for the lowered third, sixth, and
seventh degrees, and "la" and "ti" for the raised sixth and seventh degrees), which
is referred to as "do-based minor", or starting on la (using "fi" and "si" for the
raised sixth and seventh degrees). The latter (referred to as "la-based minor") is
sometimes preferred in choral singing, especially with children.

The choice of which system is used for minor makes a difference as to how you
handle modulations. In the first case ("do-based minor"), when the key moves for
example from C major to C minor the syllable do keeps pointing to the same note,
namely C, (there's no "mutation" of do's note), but when the key shifts from C
major to A minor (or A major), the scale is transposed from do = C to do = A. In
the second case ("la-based minor"), when the key moves from C major to A minor the
syllable do continues to point to the same note, again C, but when the key moves
from C major to C minor the scale is transposed from do = C to do = E-flat.
Natural minor scale degree Movable do solfège syllable (La-based minor)
Movable do solfège syllable (Do-based minor)
Lowered 1 Le (or Lo) ( Ti )
1 La Do
Raised 1 Li Di
Lowered 2 Te (or Ta) Ra
2 Ti Re
3 Do Me (or Ma)
Raised 3 Di Mi
Lowered 4 Ra ( Mi )
4 Re Fa
Raised 4 Ri Fi
Lowered 5 Me (or Ma) Se
5 Mi Sol
6 Fa Le (or Lo)
Raised 6 Fi La
Lowered 7 Se ( La )
7 Sol Te (or Ta)
Raised 7 Si Ti
Fixed do solfège
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. For native speakers of these languages, solfège
is simply singing the names of the notes, omitting any modifiers such as "sharp" or
"flat" in order to preserve the rhythm. This system is called fixed do and is used
in Spain, Portugal, France, Italy, Belgium, Romania, Latin American countries and
in French-speaking Canada as well as countries such as Bosnia and Herzegovina,
Croatia, Russia, Serbia, Ukraine, Georgia, Bulgaria, Greece, Armenia, Albania,
North Macedonia, Mongolia, Iran, Israel, the Arab world, Turkey, and Taiwan where
non-Romance languages are spoken. In the United States, the fixed-do system is
principally taught at The Juilliard School in New York City, the Curtis Institute
of Music in Philadelphia, and the Cleveland Institute of Music in Cleveland, Ohio.
Traditional fixed do[15] Note name Syllable Pronunciation Pitch
class
English Romance Anglicized Italian
C♭ Do♭ do /doʊ/ /dɔ/ 11
C Do 0
C♯ Do♯ 1
D♭ Re♭ re /ɹeɪ/ /rɛ/ 1
D Re 2
D♯ Re♯ 3
E♭ Mi♭ mi /miː/ /mi/ 3
E Mi 4
E♯ Mi♯ 5
F♭ Fa♭ fa /fɑː/ /fa/ 4
F Fa 5
F♯ Fa♯ 6
G♭ Sol♭ sol /soʊl/ /sɔl/ 6
G Sol 7
G♯ Sol♯ 8
A♭ La♭ la /lɑː/ /la/ 8
A La 9
A♯ La♯ 10
B♭ Si♭ si /siː/ /si/ 10
B Si 11
B♯ Si♯ 0

In the fixed do system, shown above, accidentals do not affect the syllables used.
For example, C, C♯, and C♭ (as well as Cdouble sharp and Cdouble flat, not shown
above) are all sung with the syllable "do".
Chromatic variants

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 name Syllable Pitch
class
English Romance Traditional
[15] 5 sharps, 5 flats
[15][16][17] Hullah
[18] Shearer
[19] Siler
[20] Sotorrio
[21]
Cdouble flat Dodouble flat do – duf daw du (Pe) 10
C♭ Do♭ – du de do (Tsi) 11
C Do do do do da Do 0
C♯ Do♯ di da di de Ga 1
Cdouble sharp Dodouble sharp – das dai di (Ray) 2
Ddouble flat Redouble flat re – raf raw ru (Do) 0
D♭ Re♭ ra ra ra ro Ga 1
D Re re re re ra Ray 2
D♯ Re♯ ri ri ri re Nu 3
Ddouble sharp Redouble sharp – ris rai ri (Mi) 4
Edouble flat Midouble flat mi – mef maw mu (Ray) 2
E♭ Mi♭ me me me mo Nu 3
E Mi mi mi mi ma Mi 4
E♯ Mi♯ – mis mai me (Fa) 5
Edouble sharp Midouble sharp – mish – mi (Jur) 6
Fdouble flat Fadouble flat fa – fof faw fu (Nu) 3
F♭ Fa♭ – fo fe fo (Mi) 4
F Fa fa fa fa fa Fa 5
F♯ Fa♯ fi fe fi fe Jur 6
Fdouble sharp Fadouble sharp – fes fai fi (Sol) 7
Gdouble flat Soldouble flat sol – sulf saw su (Fa) 5
G♭ Sol♭ se sul se so Jur 6
G Sol sol sol so sa Sol 7
G♯ Sol♯ si sal si se Ki 8
Gdouble sharp Soldouble sharp – sals sai si (La) 9
Adouble flat Ladouble flat la – lof law lu (Sol) 7
A♭ La♭ le lo le lo Ki 8
A La la la la la La 9
A♯ La♯ li le li le Pe 10
Adouble sharp Ladouble sharp – les lai li (Tsi) 11
Bdouble flat Sidouble flat si – sef taw tu (La) 9
B♭ Si♭ te se te to Pe 10
B Si ti si ti ta Tsi 11
B♯ Si♯ – sis tai te (Do) 0
Bdouble sharp Sidouble sharp – sish – ti (Ga) 1
A dash ("–") means that the source(s) did not specify a syllable.
Comparison of the two systems

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[22] 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. With fixed-do, the musician learns to regard any syllable
as the tonic, which does not force them to make an analysis as to which note is the
tonic when ambiguity occurs. Instead, with fixed-do the musician will already be
practiced in thinking in multiple/undetermined tonalities using the corresponding
syllables.

In comparison to the movable do system, which draws on short-term relative pitch

skills involving comparison to a pitch identified as the tonic of the particular
piece being performed, fixed do develops long-term relative pitch skills involving
comparison to a pitch defined independently of its role in the piece, a practice
closer to the definition of each note in absolute terms as found in absolute pitch.
The question of which system to use is a controversial subject among music
educators in schools in the United States. While movable do is easier to teach and
learn, some feel that fixed do leads to stronger sight-reading and better ear
training because students learn the relationships between specific pitches as
defined independently, rather than only the function of intervals within melodic
lines, chords, and chord progressions.[23]

If a performer has been trained using fixed do, particularly in those rare cases in
which the performer has absolute pitch or well-developed long-term relative pitch,
the performer may have difficulty playing music scored for transposing instruments:
Because the "concert pitch" note to be performed differs from the note written in
the sheet music, the performer may experience cognitive dissonance when having to
read one note and play another. Especially in the early stages of learning a piece,
when the performer has yet to gain familiarity with the melodic line of the piece
as expressed in relative terms, he or she may have to mentally re-transpose the
sheet music in order to restore the notes to concert pitch.

Those trained in fixed-do will argue that their act is the analogue of reading
aloud in a language. Just as one reads this very sentence without parsing it
grammatically, so too fixed-do is the direct sounding of the music. Where the
movable-do system requires constant real-time analysis of the tonality and
modulations in the score, in fixed-do the musician uses knowledge of the changing
tonality to understand for example that the pitch class c-natural is the supertonic
in B-Flat major or minor, and the dominant when the music modulates to F-major, but
the c-note remains the same pitch.

Instrumentalists who begin sight-singing for the first time in college as music
majors find movable do to be the system more consistent with the way they learned
to read music.

For choirs, sight-singing fixed do using chromatic movable do syllables (see below)
is more suitable than sight-singing movable do for reading atonal music, polytonal
music, pandiatonic music, music that modulates or changes key often, or music in
which the composer simply did not bother to write a key signature. It is not
uncommon for this to be the case in modern or contemporary choral works.
Note names

In the countries with fixed-do, these seven syllables (with Si replacing Ti) –
rather than the letters C, D, E, F, G, A, and B – are used to name the notes of the
C-Major scale. Here it would be said, for example, that Beethoven's Ninth Symphony
(in D minor) is in "Re minor", and that its third movement (in B-flat major) is in
"Si-bemol major".

In Germanic countries, on the other hand, it is the letters that are used for this
purpose (so that Beethoven's Ninth Symphony is said to be in "d-Moll") and the
solfège syllables are encountered only in their use in sight-singing and ear
training.
Other possibilities to denote solfège
Depiction of John Curwen's Solfege hand signs used in Tonic sol-fa. This version
includes the tonal tendencies and interesting titles for each tone.
Rainbow colors assigned by Isaac Newton

Isaac Newton[24] had associated the seven solfège syllables with the seven colors
of the rainbow and surmised that each color vibrated accordingly (a concept
possibly related to the modern view of chromesthesia). Thus, red has the least
amount of vibration while violet vibrates the most.
Pitch Solfège Color
C do (or doh in tonic sol-fa) Red
D re Orange
E mi Yellow
F fa Green
G sol (or so in tonic sol-fa) Blue
A la Indigo
Blue violet
B ti/si Purple
Red violet
Cultural references

The various possibilities to distinguish the notes acoustically, optically and

by ways of speech and signs, made the solfège a possible syllabary for an
International Auxiliary Language (IAL/LAI). This was, in the latter half of the
19th century, realised in the musical language Solresol.

In Shakespeare's play King Lear (Act 1, Scene 2), Edmund exclaims to himself
right after Edgar's entrance so that Edgar can hear him: "O, these eclipses do
portend these divisions". Then, in the 1623 First Folio (but not in the 1608
Quarto), he adds "Fa, so, la, mi". This Edmund probably sang (see § In Elizabethan
England) to the tune of Fa, So, La, Ti (e.g. F, G, A, B in C major), i.e. an
ascending sequence of three whole tones with an ominous feel to it: see tritone
(historical uses).
 In The Sound of Music, the song "Do-Re-Mi" is built around solfège. Maria sings
it with the von Trapp children to teach them to sing the major scale.

See also

Key signature names and translations

Numbered musical notation
Ear training
Hexachord
Kodály method
Solmization, describing similar systems in other cultures
Solresol – Constructed language, a constructed language that had the solfège
notes as syllables and could be sung or played as well as spoken.
Shape note
Vocable

References

"Solfège". Oxford Dictionaries. Oxford University Press.

Oxford English Dictionary 2nd Ed.(1998)[page needed]
"Solfeggio". Merriam-Webster Online Dictionary. Merriam-Webster Online. Retrieved
2010-02-27.
"Solfège". Merriam-Webster Online Dictionary. Merriam-Webster Online. Retrieved
2010-02-27.
"Solmization". Merriam-Webster Online Dictionary. Merriam-Webster Online. Retrieved
2010-02-27.
"Sol-fa". Merriam-Webster Online Dictionary. Merriam-Webster Online. Retrieved
2010-02-27.
Davies, Norman (1997), Europe, pp.271–272
McNaught, W. G. (1893). "The History and Uses of the Sol-fa Syllables". Proceedings
of the Musical Association. London: Novello, Ewer and Co. 19: 35–51. ISSN 0958-
8442.
This also freed up Si for later use as Sol-sharp
Thesaurus Linguarum Orientalum (1680) OCLC 61900507
Essai sur la Musique Ancienne et Moderne (1780) OCLC 61970141
Farmer, Henry George (1988). Historical facts for the Arabian Musical Influence.
Ayer Publishing. pp. 72–82. ISBN 0-405-08496-X. OCLC 220811631.
Miller, Samuel D. (Autumn 1973). "Guido d'Arezzo: Medieval Musician and Educator".
Journal of Research in Music Education. MENC_ The National Association for Music
Education. 21 (3): 239–245. doi:10.2307/3345093. JSTOR 3345093.
Miller 1973, p. 244.
Demorest, Steven M. (2001). Building Choral Excellence: Teaching Sight-Singing in
the Choral Rehearsal. New York: Oxford University Press. p. 46. ISBN 978-0-19-
512462-0.
Benjamin, Thomas; Horvit, Michael; Nelson, Robert (2005). Music for Sight Singing
(4th ed.). Belmont, CA: Thompson Schirmer. pp. x–xi. ISBN 978-0-534-62802-4.
White, John D. (2002). Guidelines for College Teaching of Music Theory (2nd ed.).
Lanham, MD: Scarecrow Press. p. 34. ISBN 978-0-8108-4129-1.
Hullah, John (1880). Hullah's Method of Teaching Singing (2nd ed.). London:
Longmans, Green and Co. pp. xi–xv. ISBN 0-86314-042-4.
Shearer, Aaron (1990). Learning the Classical Guitar, Part 2: Reading and
Memorizing Music. Pacific, MO: Mel Bay. p. 209. ISBN 978-0-87166-855-4.
Siler, H. (1956). "Toward an International Solfeggio". Journal of Research in Music
Education. 4 (1): 40–43. doi:10.2307/3343838. JSTOR 3343838.
Sotorrio, José A (2002). Tone Spectra -and the Natural Elements of Music. (1st Ed)
Spectral Music, 2002. (Presents a simple 12-tone Solfège: Do (Ga) Re (Nu) Mi Fa
(Jer) Sol (Ki) La (Pe) and Tsi, a written compromise between "Ti" and "si".]
Sotorrio, José A (2002). Tone Spectra -and the Natural Elements of Music. (1st Ed)
Spectral Music, 2002.
Humphries, Lee. Learning to Sight-Sing: The Mental Mechanics of Aural Imagery.
Minneapolis: Thinking Applied, 2008, No. 1.

Ashley P. Taylor (March 1, 2017). "Newton's Color Theory, ca. 1665". The
Scientist.

External links
Wikimedia Commons has media related to Solfege.
Look up solfège in Wiktionary, the free dictionary.

History of Notation by Neil V. Hawes

Various scales with their solfège names and associated hand signs
A search engine for melodies that uses solfège
An online music notation editor for Sargam (the Indian Solfège), ABC, and
numbered notation, the Indian solfège
Music theory online: key signatures and accidentals
Music theory online : staffs, clefs & pitch notation
GNU Solfège, a free software program to study solfeggio
Eyes and Ears, an anthology of melodies for practicing sight-singing, available
under a Creative Commons license
The advantages of movable do over fixed do
theSightReadingProject: an interactive database of sight-reading materials
(utilizes movable do, la minor)
Origin of Do Re Mi singing system 900 AD
"Colours are sounds: How to See the Music", Creativelab. The method for
transformation of music into an image.
What Is Solfège Singing?

vte

Ear training & Sight-reading

Counting Learning music by ear Music psychology Relative pitch Solmization

Solfège Tempo Tonal memory

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