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 Felipe Guerzoni

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Básico 1
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Solfejo
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Felipe Guerzoni
Rhythmic Duets
Rhythmic duets may be performed in the following ways:
1. Separate people vocalizing, tapping, or clapping each part.
2. Each student performing both parts, using some combination of tapping, clapping, or vocalizing.

da
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Pitch: The Major Scale e r bo
Preliminary Exercises

i
on
lip po ela
These exercises contain only conjunct (stepwise) motion. They should be performed by tapping or
clapping the pulse while singing the pitches, using scale-degree numbers, a neutral syllable, fixed
do, or movable do. rz
a

ue
til

In all pitch exercises in this book, work for very good intonation. For those without “per-
os

fect” (absolute) pitch, give yourself the first pitch, using some instrument, and check your
pitch again at the end. Do not use any instrument to help you with difficult passages, as
Ap

this will result in your not being able to sight sing or internally “picture” the sound. It is
often effective and efficient to work with a classmate, alternating singing and listening; this
builds both sight-singing and ear-training skills. It may also help you to sing into a tape or
Fe

disk recorder to check your accuracy.

Perform all exercises only as fast as you can with complete accuracy of pitch and
rhythm. As with learning an instrument, speed is not of primary concern at the early stages.
Very consciously, keep your eyes scanning ahead of where you are in an exercise, taking in
patterns where present.

Felipe Guerzoni

4 Unit 1

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deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 da
ra
e r bo

i
on
lip po ela

rz
a

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til
os

G
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Fe

Felipe Guerzoni

Pitch: The Major Scale 5

Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 da
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rz
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Fe

Melodic Exercises
Sing these exercises with great accuracy of rhythm and pitch, and as musically as possible, with
good continuity, steady pulse, and attention to the shape of the phrase. For further suggestions for
preparing the melodic exercises, see Suggestions to the Student, pp. xii–xvi.

Felipe Guerzoni

6 Unit 1

Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 da
ra
e r bo

i
on
lip po ela

rz
a

ue
til
os

G
Ap

Fe

Felipe Guerzoni

Pitch: The Major Scale 7

Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 da
ra
e r bo

i
on
lip po ela

rz
a

ue
til
os

G
Ap

Fe

Felipe Guerzoni

8 Unit 1

Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 Duets and Trios

da
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lip po ela

rz
a

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os

G
Ap

Fe

Felipe Guerzoni

Pitch: The Major Scale 9

Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 Ap
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a
Fe
p
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Felipe Guerzoni
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on
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 Ap
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Fe
p
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Felipe Guerzoni
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 Ap
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Felipe Guerzoni
ra
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on
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 goes significantly below the tonic, sing the lower note in measure 3; if it stays
mostly above the tonic, sing the high note.)

5. Continue to use the conductor’s beat, as described under “Rhythmic Read-

ing” on page 2. Remember that “sight singing” refers only to the first time you
sing the melody. Sing to the end of the example without stopping, no matter
how many mistakes you make. Then go back, review the melody, practice the
rough spots, and sing the entire melody again.

Pitch solmization for Western music has a venerable history, dating

back approximately a thousand years to Guido d’Arezzo.2 Its longevity is
easily explained: with practice, most musicians find that solmization facili-

da
tates accurate sight singing. Several different systems are currently used:
1. Moveable-do solfège, where the tonic note is do
2.
3.
ra
Scale-degree numbers, where the tonic note is 1̂
Letter names (already familiar to North American musicians)
e r bo
4. Fixed-do solfège, where C is do even when C is not the tonic

i
on
lip o la

A simple illustration is shown below; detailed information is provided in

Appendix B.
e

rz
a

ue
til
p
os

G
Ap

Section I. Major keys, treble clef, the quarter note as the beat unit. Key
Fe

signatures with no more than three sharps or three flats.

2
Guido d’Arezzo was a Benedictine monk who lived from approximately 991 until
some time after 1033 and wrote one of the most widely read music instruction books of the
Middle Ages. The solmization system passed down from Guido is known today as solfége (or
solfeggio).

13

Felipe Guerzoni
 2.1

2.2

da
2.3

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e r bo
2.4

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lip o la e

rz
a

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til
p
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2.5
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2.6

2.7

2.8

14

Felipe Guerzoni
 2.9

2.10

da
2.11
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a

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til

2.12
p
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G
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Fe

2.13

2.14

15

Felipe Guerzoni
2.15

Melodies occasionally begin on pitches outside of the tonic triad, as in

the next two examples. Be sure to identify the key first, then sing a scale from
the tonic pitch up or down to the melody’s first note. Alternatively, given
that the first note necessarily falls within one scale step of 1̂, 3̂ or 5̂, it is also
convenient to sing the nearest member of the tonic triad and then move
stepwise to the first note of the melody. The latter strategy is depicted here.

da
2.16
ra
e r bo

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on
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2.17
e

rz
a

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til
p
os

Section 2. Bass clef.

Ap

2.18
Fe

2.19

2.20

16

Felipe Guerzoni
2.21

2.22

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2.23

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2.24
p
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2.25
Fe

2.26

17

Felipe Guerzoni
2.27

2.28

da
2.29
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a

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til

2.30
p
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Ap

Fe

2.31

Section 3. Other meter signatures.

The meter signatures in melodies 2.32–2.40 are quite common. Review

examples in Chapter 1, Section 4.

2.32

18

Felipe Guerzoni
2.33

2.34

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2.35
e

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2.36
Fe

2.37

2.38

19

Felipe Guerzoni
2.39

2.40

2.41

da
2.42 ra
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a

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p
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2.43
G
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Fe

Section 4. Duets.

Suggested methods of performance:

1. Two people: Each sing a line.
2. One person: Sing one line while playing the other on the piano.

2.44

20

Felipe Guerzoni
 2.48
2.47
2.46
2.45
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Felipe Guerzoni
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on
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21
2.49

Section 5. Structured improvisation.

Structured improvisation exercises provide an opportunity to create

your own melodies while practicing the skills addressed in each chapter. Sing
the notes that are written, and complete the missing portions according to the
guidelines provided (indicated by double arrowheads ➤➤ throughout the

da
book). Notice that these exercises, unlike the more traditional rhythms and
melodies in the earlier sections of this chapter, may be repeated multiple
times because there are many different solutions.3 (As an example, two dis-
ra
tinct answers for exercise 2.50 are illustrated below; numerous other pos-
sibilities are left to your imagination.) It is highly recommended that you
e r bo
continue to use your preferred solmization system(s) while improvising.

i
on
lip o la

➤➤ Using entirely stepwise motion, follow the suggested rhythm to fill in

the missing notes.
e

rz
a

ue

2.50
til
p
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G
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Fe

➤➤ Using entirely stepwise motion and no rhythmic value shorter than an

eighth note, complete the second phrase.

2.51

3
You may even wish to repeat structured improvisation exercises after completing later
chapters, in which case you will likely want to incorporate the new material you have learned.
For instance, someone returning to the exercises in this chapter after finishing Chapter 3 might
prefer to include some leaps from the tonic triad rather than using stepwise motion throughout.

22

Felipe Guerzoni
 Ap
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p
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 Ap
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on
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 Ap
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p
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G ra
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on
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 Felipe Guerzoni

da
ra
e r bo
Básico 1

i
on
lip o la e

rz
Ritmo
a

ue
til
p
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G
Ap

Fe

Felipe Guerzoni
Unit 1
Rhythm: One- and Two-Pulse Units (Unmetered)
Preliminary Exercises
These exercises introduce one- and two-pulse rhythmic values. They may be performed in a
variety of ways, for example, by tapping or clapping the pulse while vocalizing the rhythm.

da
ra
e r bo

i
on
lip po ela

rz
a

ue
til
os

G
Ap

Fe

Felipe Guerzoni

Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 da
ra
e r bo

i
on
lip po ela

rz
a

ue
til
os

G
Ap

Fe

Felipe Guerzoni

Rhythm: One- and Two-Pulse Units (Unmetered) 3

Copyright 2012 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has
deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 Ap
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p
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Felipe Guerzoni
ra
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 Ap
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Felipe Guerzoni
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 Felipe Guerzoni

da
ra
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Básico 1

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on
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rz
Ação combinada
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p
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Ap

Fe

Felipe Guerzoni
 Ap
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