This guy should be a politician. Even though he has no way of explaining what the purpose is for fixed do, he’s mastered the ability to be verbose enough to make it seem like he’s answering it.
I have never understood singing solfege. Singing the actual name of the note makes more sense to me ie. D major scale- D,E, F#, G, A, B, C# D. Especially with younger singers to develop perfect or at least relative pitch.
You can't sing "D, E, F#" etc easily though. The syllables are not conducive to singing. Do, re, mi etc very much is! All are easily pronounceable, clearly recognisable, and the fact that each starts with a consonant means it is easier to move between the pitches. Singing "EEEEAAAAA" is a LOT harder than singing "miiiiiilaaaaa"
Fixed solfeggio is easier to sing, otherwise you need to "count" based on the scale. Here in my country for singing we use moveable solfeggio but write it in numbers do is 1 re 2 and so on; easy when a song is transposed.
Hey Robert :3 I really really enjoy your videos about music theory, pianos and you being so much into all of this! I would really like to see a full video of you performing :3 I'd love to hear you perform your favourite piece, whatever it might be. Looking forward to more great videos! Regards from Germany :D
In fixed Do the "that is a La Flat" is EQUAL to "that is an A Flat", which only shows that fixed Do, Re, Mi represents just duplication of C, D, E. Maybe some experienced professionals see some benefits of such duplication other than long time habit, or some local version of "elitism", but nobody else is at that level and it breaks the communication with the rest of the musical world. Also, read this slowly: "naming tones in atonal music". :)
you can use numbers instead of C D E etc also :) The way I see it, CDE makes no sense (at least... why not start with an A? You don't count 3456712, it's not natural), fixed DO can at least be sung (try to "sing" D, F etc :) ), and moveable Do is for the moment too complicated for me...
I am wondering what percentage of professional singers can sight-sing fluently using *fixed do* in all 15 different keys? Is it easier to learn sight-sing using *movable do* in all 15 different keys?
I studied in Russia and we only have a fixed "do”.. I can sight read perfectly without any problems. but i have a question. how to do harmonic analysis with moveable “do” where do we modulate? again in “do”?
@@nadyabalyan8108 you could raise one of the syllables like this: C: do re mi "FIS" G: do re mi fa so "SI" E: do re mi etc. You would basically raise any of the syllables to become the leading tone (ti) towards the new Do. To me this is a bit confusing despite having learned this first. I'm starting to realize that once someone mastered the intervals fixed Do is superior since it allows us to know objectively in which key we are in (even which note!) very quickly making it easier to modulate. This is contrary to what is being said in the video where movable Do would be preferred to modulate. It might be easier at first but if you keep modulating it becomes easy to miss in which key you are.
In french they use do re mi etc as actual note names / key signatures instead of c, d, e etc. : do-re-mi-fa-sol-la-si-do - gratte-moi la puce que j'ai dans'l dos! .. si tu m'l'avais grattée plus tot .. elle m'n'aurais pas piqué dans'l dos!
Wild - played piano since a child. Studied 8 years of classical piano growing up. Still play today as an adult. Never even heard the word Solfeggio :) Interesting topic.
I have monstrous orchestral scores, and transposed for each instrument for their sheet score. Yes, I would put a D on the Bb clarinet's sheet, while still writing C on my orchestral score. For shorter pieces, I would write everything already transposed on my orchestral score, and then just run off the lines for the individuals. Why? I can transpose in my head. Fixed do, modes, key sigs, etc. I didn't have to say "La", I could simply give a note to an instrument, finished, or give the untransposed note to the entire section. For singers, I suppose movable do can become important, too, but we (fixed do) also have more than three clefs, too. :-) For Eastern music, specifically Indian Classical, it is mostly movable do, but the Sa in centered on the vocalist, and the intervals are based on the raga, so the mechanism is completely different. I do both. But for teaching my daughter recorder, she knows that there are two different fingering for the same note, since she plays Soprano, and I play Alto frequently. Do is do is C for both of us. I don't write different music. If I wanted to transpose, then I would write it out as such, and label it "For Soprano, Tenor" or "For Sopranino, Alto, Basset". Otherwise, it's assumed you know what to do. I guess I don't understand the advantages in teaching children movable do for sight singing, when I get comments like, "Why is this note (c) sounded 'so' instead of 'do', daddy?" And it IS a third-space note in treble clef. Is this really about facility of singing vs. analysis (melodic or harmonic/chordal)? Thoughts?
I know this is kind of an old comment but what do you use for a chromatic solfege scale? chromatic solfege going up for me (movable do) is do di re ri mi fa fi so si la li ti do
You don't need fixed do to name notes though, just use the letter system, right ? It's the same thing. Using solfege syllables to refer to both scale degrees and absolute pitches is just confusing.
I have perfect pitch and learned the note names with the regular solfège system (fixed do) and I couldn’t use movable do if I tried and the only way I could use the letter system is if I figure out the solfège name first then remember when letter that note is
Each system has its benefits. Conductors rely upon fixed do since they have to communicate absolute pitch to everyone in the orchestra. Not only that, they must understand pitches that they are looking at in a score where most of the instruments are either transposed or in different clefs. However, movable do allows for understanding harmonic relationships. This is a tremendous asset for the vast majority of people who don't have perfect pitch.
for flats and sharps there is a name name them if you would have grown up wot the fixed do taught from a young age you would know the benefit and why its so important
In my mind, the point of solfedge is to understand the relationships between notes. If ti is always B, then what's the point of having ti? Maybe it's just because I'm a guitarist who plays pop music, but I've come across dozens of songs in B major or Eb minor, and to read them all in the context of C=do would completely miss the point, especially in the context of modal harmony.
This is interesting. When you talk about a pianist interpreting multiple staves of music at around the 6 minute mark, are there any videos that show an example of somebody actually doing this?
There are two types of perfect pitch: active and passive. A person with active perfect pitch is able to sing or hum any given pitch; that is, if they are asked to sing a Bb without hearing the said note or any reference note, they can sing it without any problem. If a person with passive perfect pitch is asked to sing the same Bb note, they cannot. However, if a random note is played for them, a person with passive perfect pitch will be able to name it without any problem. A person with Bilateral Perfect Pitch can do both* ( I don't know the exact English translation for 'Bilateral' here, the original study is in Finnish. We could use 'two-sided' in place of bilateral. (Finn: Kaksisuuntainen = bidirectional)
What is it called when, using moveable do, you start majors and minors with do re mi... & do re me... VS do re mi... & la ti do... respectively. I've seen both versions. Is there any benifits to using either one? I'm personally used to the second version I listed.
This guy should be a politician. Even though he has no way of explaining what the purpose is for fixed do, he’s mastered the ability to be verbose enough to make it seem like he’s answering it.
I have never understood singing solfege. Singing the actual name of the note makes more sense to me ie. D major scale- D,E, F#, G, A, B, C# D. Especially with younger singers to develop perfect or at least relative pitch.
You can't sing "D, E, F#" etc easily though. The syllables are not conducive to singing. Do, re, mi etc very much is! All are easily pronounceable, clearly recognisable, and the fact that each starts with a consonant means it is easier to move between the pitches. Singing "EEEEAAAAA" is a LOT harder than singing "miiiiiilaaaaa"
Fixed solfeggio is easier to sing, otherwise you need to "count" based on the scale. Here in my country for singing we use moveable solfeggio but write it in numbers do is 1 re 2 and so on; easy when a song is transposed.
This video helped make my decision on which system to use. Robert you should seriously consider creating an online solfege class.
So...what was your decision?
@@Sprellic😂I just wanted to ask the same thing
You're a fascinating man Robert. I've been watching your videos for about two years now. Always informative and educational.
W-O-W, Robert... that was a really great explanation on the benefits of each type. Thanks for the insight! I look forward to your next video.
Hey Robert :3
I really really enjoy your videos about music theory, pianos and you being so much into all of this! I would really like to see a full video of you performing :3 I'd love to hear you perform your favourite piece, whatever it might be.
Looking forward to more great videos!
Regards from Germany :D
In fixed Do the "that is a La Flat" is EQUAL to "that is an A Flat", which only shows that fixed Do, Re, Mi represents just duplication of C, D, E.
Maybe some experienced professionals see some benefits of such duplication other than long time habit, or some local version of "elitism",
but nobody else is at that level and it breaks the communication with the rest of the musical world.
Also, read this slowly: "naming tones in atonal music". :)
Thanks for sharing this topic. I've been wanting to know which is better because I taught myself movable Do, while my kid was taught fixed Do.
Fixed it's better
Because you hear exact the tone
Instead of fixed Do, I'd rather use numbers (1-7)
you can use numbers instead of C D E etc also :) The way I see it, CDE makes no sense (at least... why not start with an A? You don't count 3456712, it's not natural), fixed DO can at least be sung (try to "sing" D, F etc :) ), and moveable Do is for the moment too complicated for me...
I am wondering what percentage of professional singers can sight-sing fluently using *fixed do* in all 15 different keys? Is it easier to learn sight-sing using *movable do* in all 15 different keys?
I’ll tell you that as an American that was taught using fixed-do, I can sight read pretty well
I studied in Russia and we only have a fixed "do”.. I can sight read perfectly without any problems. but i have a question. how to do harmonic analysis with moveable “do” where do we modulate? again in “do”?
@@nadyabalyan8108 you could raise one of the syllables like this:
C: do re mi "FIS" G: do re mi fa so "SI" E: do re mi etc.
You would basically raise any of the syllables to become the leading tone (ti) towards the new Do. To me this is a bit confusing despite having learned this first. I'm starting to realize that once someone mastered the intervals fixed Do is superior since it allows us to know objectively in which key we are in (even which note!) very quickly making it easier to modulate. This is contrary to what is being said in the video where movable Do would be preferred to modulate. It might be easier at first but if you keep modulating it becomes easy to miss in which key you are.
In french they use do re mi etc as actual note names / key signatures instead of c, d, e etc. :
do-re-mi-fa-sol-la-si-do - gratte-moi la puce que j'ai dans'l dos! .. si tu m'l'avais grattée plus tot .. elle m'n'aurais pas piqué dans'l dos!
Wild - played piano since a child. Studied 8 years of classical piano growing up. Still play today as an adult. Never even heard the word Solfeggio :) Interesting topic.
I have monstrous orchestral scores, and transposed for each instrument for their sheet score. Yes, I would put a D on the Bb clarinet's sheet, while still writing C on my orchestral score. For shorter pieces, I would write everything already transposed on my orchestral score, and then just run off the lines for the individuals. Why? I can transpose in my head. Fixed do, modes, key sigs, etc. I didn't have to say "La", I could simply give a note to an instrument, finished, or give the untransposed note to the entire section.
For singers, I suppose movable do can become important, too, but we (fixed do) also have more than three clefs, too. :-)
For Eastern music, specifically Indian Classical, it is mostly movable do, but the Sa in centered on the vocalist, and the intervals are based on the raga, so the mechanism is completely different.
I do both.
But for teaching my daughter recorder, she knows that there are two different fingering for the same note, since she plays Soprano, and I play Alto frequently. Do is do is C for both of us. I don't write different music. If I wanted to transpose, then I would write it out as such, and label it "For Soprano, Tenor" or "For Sopranino, Alto, Basset". Otherwise, it's assumed you know what to do.
I guess I don't understand the advantages in teaching children movable do for sight singing, when I get comments like, "Why is this note (c) sounded 'so' instead of 'do', daddy?" And it IS a third-space note in treble clef.
Is this really about facility of singing vs. analysis (melodic or harmonic/chordal)?
Thoughts?
In italian and other languages in Europe we have : Do-Re-Mi-Fa-Sol-La-Si not Ti
exactly same in Russia and Europe
And in C major that Si is H, while B is H Flat. (hehehe)
Same in China. LOL
I know this is kind of an old comment but what do you use for a chromatic solfege scale? chromatic solfege going up for me (movable do) is do di re ri mi fa fi so si la li ti do
You don't need fixed do to name notes though, just use the letter system, right ? It's the same thing. Using solfege syllables to refer to both scale degrees and absolute pitches is just confusing.
Hi! What is the benefit in the end we get of Movable Do? Okay, 12 notes DO and we do not use the chord function, then why do we need Movable Do ....
Both have their uses. Fixed is better for theory knowledge. Movable can be helpful for sight reading, but not necessary.
I prefer Hexachord Do. Always move. Especially for singing renaissance music.
I have perfect pitch and learned the note names with the regular solfège system (fixed do) and I couldn’t use movable do if I tried and the only way I could use the letter system is if I figure out the solfège name first then remember when letter that note is
Each system has its benefits. Conductors rely upon fixed do since they have to communicate absolute pitch to everyone in the orchestra. Not only that, they must understand pitches that they are looking at in a score where most of the instruments are either transposed or in different clefs. However, movable do allows for understanding harmonic relationships. This is a tremendous asset for the vast majority of people who don't have perfect pitch.
for flats and sharps there is a name name them if you would have grown up wot the fixed do taught from a young age you would know the benefit
and why its so important
Hahah this really helps, thank you so much!!!
In my mind, the point of solfedge is to understand the relationships between notes. If ti is always B, then what's the point of having ti? Maybe it's just because I'm a guitarist who plays pop music, but I've come across dozens of songs in B major or Eb minor, and to read them all in the context of C=do would completely miss the point, especially in the context of modal harmony.
This is interesting. When you talk about a pianist interpreting multiple staves of music at around the 6 minute mark, are there any videos that show an example of somebody actually doing this?
There are two types of perfect pitch: active and passive. A person with active perfect pitch is able to sing or hum any given pitch; that is, if they are asked to sing a Bb without hearing the said note or any reference note, they can sing it without any problem.
If a person with passive perfect pitch is asked to sing the same Bb note, they cannot. However, if a random note is played for them, a person with passive perfect pitch will be able to name it without any problem.
A person with Bilateral Perfect Pitch can do both*
( I don't know the exact English translation for 'Bilateral' here, the original study is in Finnish. We could use 'two-sided' in place of bilateral. (Finn: Kaksisuuntainen = bidirectional)
none of this exist. There is only perfect pitch. no passive or active about it.
Isn’t passive perfect pitch just relative pitch?
What is it called when, using moveable do, you start majors and minors with do re mi... & do re me... VS do re mi... & la ti do... respectively. I've seen both versions. Is there any benifits to using either one? I'm personally used to the second version I listed.
I'm with you as you will see on this video: ruclips.net/video/FdlGa6m9leM/видео.html