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Introduction to solmization
Principle
Solmization is a method based on conditioning: Sound-syllable combinations are sung repeatedly until one
reflexively internalizes these connections, even if one of the two parts is missing. Then sounds enter the
consciousness when only their syllables are thought. The other way around, syllables come when one hears tones.
The advantages of it are so numerous and musically valuable that solmization can be considered one of the best
methods available in music education. Beginners often cannot appreciate the advantages, even if they are listed1 , so
they have to trust the method blindly for a while.
There are many different forms of solmization. The most common ones can be sorted - as a first overview - as
follows:
•
In Fixed Do or Absolute Do, the note c is always called Do, regardless of the key and tone function it is in.2
a) Many schools do not designate alterations, i.e. the notes c, c-sharp and c-flat are always called Do there.3
b) Some denote alterations, e.g.: c = Do, c sharp = Di, ces = De, or one sings immediately on tone names c, c
sharp....4
•
In Moveable Do or Relative Do, the tonic note is called Do. In the key of G major, g = Do.5
▪
This method distinguishes between two ways of designating minor tonics.6
a) Minor = Do: A minor tonic is called Do. Thus, in the key of G minor, g = Do.
b) Minor = La: A minor tonic is called La. Thus, in the key of G minor, g = La.
▪
Furthermore, one distinguishes between at least two designation collections:7
a) Syllables:
Di
Ri
? FiSi (l) Li
?
← High alteration with i
Do Re Wed FaSo (l) LaTi ← denote the same as the numbers below De
RaMe
FeSelLe Te←
Deep aging with e (except Re -> Ra)
b) Numbers: #1 #2 #3 #4 #5 #6
#7← High alteration with "sharp" (mumbled "ShVier").
1 2 3 4 5 6 7 1
← denote pure or major intervals above 1 b1 b2
b3 b4 b5 b6
← low alteration with "b" (mumbled "BDrei")
Unfortunately, our language is not powerful enough to communicate the myriad benefits. While you can say things like "you
will feel the exact tension relationship between the notes and thus be able to play more musically," that doesn't feel convincing
enough because you can't communicate what exactly the tension relationship is, how exactly you can use it for your own music
making, and how valuable the skill is in relation to the amount of training you have to do. Believe me, if you knew the benefits,
you wouldn't doubt the value of it, you would practice. 2 The biggest disadvantage of this method is that you train almost no
tonal references or tonal listening with it, although these are extremely profound and you probably play and listen to almost
exclusively tonal music in everyday life.
3 This method is useless because no conditioning can take place since the assignments are ambiguous.
4 This method is useful to be able to sing atonal music. In addition, in order to achieve absolute hearing, which, however, is only
possible in childhood. For all others, this method brings comparatively little for the enormous effort, because it hardly trains
tonal hearing.
5 This method has the advantages promised at the beginning, but is hardly suitable (only) for sight-singing atonal music.
6 Both methods have certain advantages and disadvantages, which are so well balanced in the overall picture that even
solmization experts disagree among themselves as to which method is better. Both methods are excellent.
7 The advantages and disadvantages of both collections are balanced: The syllables are more singable (and thus more suitable
for children), but must be memorized first. The numbers, on the other hand, are quickly learned and have a direct connection to
1
1
Introduction to solmization
step theory, but can seem dauntingly "mathematical".
2
Introduction to solmization
Training
Who should practice what? In any case, I recommend Moveable Do with the following additions (check the appropriate
box):
o
o
o
Those who have trained Fixed Do should practice with Minor = Do on numbers.8
Those who have trained Moveable Do of whatever kind do not change anything, but stick to it.9
If you haven't practiced anything yet, you should practice with minor = do and a designation collection of your
choice.
Important: Conditioning only works if the assignments are unambiguous. Therefore, once you have chosen one
of these methods, you should not change the method, otherwise you will start conditioning all over again.
→ "I choose Fixed/Moveable Do with minor = Do/La on syllables/numbers." (Please cross out where not applicable)
How does the training progress feel?
Most of the time you don't notice any progress in training, but at some point it "clicks" and suddenly you can do
everything. In the beginning, you can't judge for yourself whether you are practicing correctly and enough, and
whether solmization is any good at all. This can be unsettling and demotivating, which is why you need two things:
1. Trust:
▪ Read again the paragraph with footnote on benefits.
▪ Solmization has been proven for centuries all over the world. It works for anyone who practices.
▪ It's like a long drive. You don't feel any progress there either; nevertheless, you don't stop the ride, but lean
back, enjoy the ride, and at some point you've arrived.
2. A neat method of practice: see below.
How should you practice? - Basic
•
•
•
•
•
Singing. On the other hand, if you are playing a wind instrument or have to be quiet, you can think the syllables
or numbers clearly.
With tone control, or when you are sure that the intervals above the tonic note are correct. You don't need to
know whether your tonic note is called c or des, but whether the rest is correct in relation to it.10
30 minutes per week = ear training lessons in college are not enough, because you quickly forget at the
beginning. Experts estimate that in the middle between two lessons you should practice again for at least
30min.
Keep a practice log (possibly with a timer) to get objective feedback (think about the impalpable progress of
training) and because it feels good to know that you have practiced enough for today.
Tips to save time:
▪ While you practice, train yourself to "get your hands on" something on your instrument.
▪ Train in everyday life with the earworm you have at the moment.
▪ Practice while you wait: for the bus, the practice cell, or your turn in the orchestra or choir.
▪ Develop fun and curiosity in "decoding" melodies, i.e. translating them into syllables or tones.
▪ Look forward to getting the promised benefits soon!
In order not to give the syllables a second meaning, which would disturb their uniqueness and thus the conditioning.
On the other hand, if you were to change something, you would practically be starting from scratch.
10 If the tone is not right, the unambiguity of the assignment is missing. With tone control, the practice process can seem trivial,
but remember: you don't make progress by checking yourself ("can I hit the right note?"), because then you also practice
mistakes in, but by practicing ("so this is what a do sounds like").
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3