Moveable
Solfeggio (Do, Re, Mi)
· Solfeggio notation can either be “fixed” or “moveable”. By “fixed” we mean that Do always starts on the same note – perhaps C. By “moveable” we mean that Do always starts on the first note of the key that we are singing in. If we are singing in the key of F then we sing Do on the note F.
· The moveable Solfeggio notation is useful for singers because you don’t have to worry about black notes or whites notes – you just need to learn to think in terms of intervals. By “intervals” we mean the number of half notes between notes.
·
In Solfeggio notation major scales always start
at Do and minor keys always start at
·
Note that, from your
point of view as a singer, it does not really matter whether the key is major
or minor. The notes are the same in both keys – the only difference is
the starting point. If you learn the intervals for the Do based solfeggio major
scale, and if you thing in terms of the home note for Do, then you will be able
to read the notes correctly.
· Click here to download a set of Solfeggio scales for all possible key signatures.
Musical Intervals
|
Note |
Half Steps From
Note 1 |
Interval |
Ascending
Examples |
||
|
From |
To |
|
|||
|
1 |
0 |
Unison |
Aus |
der |
Traube in die Tonne |
|
|
1 |
Minor 2nd |
I’m |
dream- |
-ing of a white Christmas, |
|
2 |
2 |
Major 2nd |
Ei- |
- nig |
-keit und Recht und Freiheit |
|
|
3 |
Minor 3rd |
O |
Ca- |
-nada, our home and native land. |
|
3 |
4 |
Major 3rd |
Oh |
when |
the Saints, go marching in, |
|
4 |
5 |
Perfect 4th |
Grüß |
Gott, |
Grüß Gott mit hellem Klang. |
|
|
6 |
Augmented 4th |
Ma- |
-ri- |
-a, I’ve just met a girl like Maria |
|
5 |
7 |
Perfect 5th |
Twinkle |
Twinkle |
Little Star, how I wonder |
|
|
8 |
Minor 6th |
Do |
do |
do do do do do do do (Conquest of |
|
6 |
9 |
Major 6th |
My |
Bon- |
-nie lies over the the ocean, |
|
|
10 |
Minor 7th |
Some- |
-where |
there's a place for us (West Side Story) |
|
7 |
11 |
Major 7th |
Ba- |
-li |
Hai (South Pacific) |
|
8 |
12 |
Octave |
Some |
where |
over the rainbow, |
|
Note |
Half Steps From
Note 1 |
Interval |
Descending
Examples |
||
|
From |
To |
|
|||
|
1 |
0 |
Unison |
Aus |
der |
Traube in die Tonne |
|
|
1 |
Minor 2nd |
Joy |
to |
the world |
|
2 |
2 |
Major 2nd |
Ma- |
-ry |
had a little lamb |
|
|
3 |
Minor 3rd |
Fros- |
-ty |
the snowman |
|
3 |
4 |
Major 3rd |
Swing |
Low, |
sweet chariot |
|
4 |
5 |
Perfect 4th |
I've |
been |
working on the railroad |
|
|
6 |
Augmented 4th |
Ee |
ah |
ee ah (European police siren) |
|
5 |
7 |
Perfect 5th |
Bring |
a |
torch Jeannette Isabella |
|
|
8 |
Minor 6th |
La |
la |
la la la, (Love Story Theme) |
|
6 |
9 |
Major 6th |
No- |
-body |
knows the trouble I’ve seen, |
|
|
10 |
Minor 7th |
|
|
|
|
7 |
11 |
Major 7th |
|
|
|
|
8 |
12 |
Octave |
Wil- |
-low |
weep for me, |
Moveable
Solfeggio Notation – Major Scale
|
Interval From Do |
Moveable
Solfeggio Syllable |
Pronunciation |
Half Steps From
Do |
|
Unison |
Do |
Doe |
0 |
|
Minor 2nd |
Ra |
Rah |
1 |
|
2 |
Re |
Ray |
2 |
|
Minor 3rd |
Me |
May |
3 |
|
3 |
Mi |
Mee |
4 |
|
4 |
Fa |
Fah |
5 |
|
Augmented 4th |
Se |
Say |
6 |
|
5 |
Sol |
Soe |
7 |
|
Minor 6th |
Le |
Lay |
8 |
|
6 |
La |
Lah |
9 |
|
Minor 7th |
Te |
|
10 |
|
7 |
Ti |
Tee |
11 |
|
Octave |
Do |
Doe |
12 |
Moveable
Solfeggio Notation – Minor Scale
|
Interval From La |
Moveable
Solfeggio Syllable |
Pronunciation |
Half Steps From
La |
|
Unison |
La |
Lah |
0 |
|
Minor 2nd |
Te |
|
1 |
|
2 |
Ti |
Tee |
2 |
|
3 (Minor
3rd) |
Do |
Doe |
3 |
|
Major 3rd |
Ra |
Rah |
4 |
|
4 |
Re |
Ray |
5 |
|
Augmented 4th |
Me |
May |
6 |
|
5 |
Mi |
Mee |
7 |
|
6 |
Fa |
Fah |
8 |
|
Major 6th |
Se |
Say |
9 |
|
7 |
Sol |
Soe |
10 |
|
Major 7th |
Le |
Lay |
11 |
|
Octave |
La |
Lah |
12 |
Remembering
Major Key Signatures
·
No sharps or flats
– key is C major – you just have to remember this one.
·
One flat – key
is F major – you just have to remember this one too.
·
Two to seven flats
– look at the second flat from the right – the key is this note.
For example, 2 flats, second flat from right is B flat, key is B flat.
·
One to seven sharps
– look at the sharp on the right – the key is one semitone up from
this note. For example, 2 sharps, right hand sharp is C sharp, the key is one
semitone up – key is D
·
Minor keys are three
semitones down from the major key. If the major key is F then its relative
minor key is three semitones down from F, which is D (E, Eb, D). So if you
realize that the piece you are looking is written in a minor key, find the
major key using the number of sharps or flats and the memory rule just mentioned,
then count three semitones down.
·
How can you tell if
the piece is written in a major or a minor key? Try to figure out what the
“home” note is. If there are no sharps or flats in the signature
the key is either C major or A minor. If there are a lot of C notes and C major
chords in the piece then it may be in C. A three note chord with C, E and G in
it is a C major chord. If there are a lot of A notes and A minor chords in the
piece then it may be in A. A three note chord with A, C and E in it is an A
minor chord.
·
Note that, from your
point of view as a singer, it does not really matter whether the key is major
or minor. The notes are the same in both keys – the only difference is
the starting point. If you learn the intervals for the Do based solfeggio major
scale, and if you thing in terms of the home note for Do, then you will be able
to read the notes correctly.
·
The chart below shows
all 15 possible key signatures. If
you start with C in this chart and move around clockwise (skipping either
synonym group: F#, C#, Cb, or C#, Cb, Gb), you will see that the
interval between keys is a perfect 5th – e.g. C major to G
major, etc. Since this patterns of fifths wraps around back to C major in a
circle it is referred to as the circle of fifths.

Key
Signature Synonyms
· In our 12 tone musical system we
have the possibility of 12 unique keys, as follows: C, C#, D, D#, E, F, F#, G,
G#, A, A#, B/Cb
· Note that within the 12 unique
keys there are 9 possible synonyms (duplicates), as follows: C/B#, C#/Db,
D#/Eb, E/Fb, F/E#, F#/Gb, G#/Ab, A#/Bb, B/Cb
· Thus one could, in theory,
create a total of 21 key signatures, as follows: C, B#, C#, Db, D#, Eb, E, Fb,
F, E#, F#, Gb, G#, Ab, A#, Bb, B, Cb
· Modern western music uses 1 to 7
sharps, or 1 to 7 flats, or no sharps or flats, to denote the key signature. By
this method you can see that there are 15 possible key signatures, of which 3
must be synonyms since we know that there are only 12 unique key signatures.
· The chart below shows the 12
unique key signatures in ascending order on the left with the 3 synonyms shown
on the right. Note that the choice of which synonym is displayed on the right
is purely arbitrary – Db, F# and B could equally be placed on the right
side of this chart.
