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What is meant my "ascend chromatically" is...

You play the pattern once, then you play it over again, but each note is a semitone higher the second time. Then you play it yet again, another semitone higher on each note... do this over and over again until you can go no higher.

the DRDTD....

It's called solfege...

D = Do
R = Re
M = Mi
F = Fa
S = Sol
L = La
T = Ti

They each represent a different step in the major scale...

so in C major

Do = scale degree 1 = C
Re = scale degree 2 = D
Mi = scale degree 3 = E
Fa = scale degree 4 = F
Sol = scale degree 5 = G
La = scale degree 6 = A
Ti = scale degree 7 = B

and it transfers into different keys

so in D flat major...

Do = scale degree 1 = D flat
Re = scale degree 2 = E flat
Mi = scale degree 3 = F
Fa = scale degree 4 = G flat
Sol = scale degree 5 = A flat
La = scale degree 6 = B flat
Ti = scale degree 7 = C

ETC...

BONUS MATERIAL:
and then there are the inflections...

in C major

Di = sharp degree 1 = C#
Ra = flat degree 2 = D flat
Ri = sharp degree 2 = D#
Me = flat degree 3 = E flat
Fi = sharp degree 4 = F#
Sa = flat degree 5 = G flat
Si = sharp degree 5 = G#
Le = flat degree 6 = A flat
Li = sharp degree 6 = A#
Te = flat degree 7 = B flat

Those all are also transferable to different keys as well.

It might be worth noting that there are two types of Solfege systems. One is the moveable Do, which has been explained with the Di's and Ri's that are part of this system.

The other system is the fixed Do system. This system is where Do is every C whether sharp, flat or natural. Every D is Re, and so on. This system, from what I've been told, was used in the past and is still in use in Europe.

Just more information...

ThomasP wrote:It might be worth noting that there are two types of Solfege systems. One is the moveable Do, which has been explained with the Di's and Ri's that are part of this system.

The other system is the fixed Do system. This system is where Do is every C whether sharp, flat or natural. Every D is Re, and so on. This system, from what I've been told, was used in the past and is still in use in Europe.

Just more information...

In Canada we typically use moveable Do for tonal melodies and fixed Do for atonal melodies.

And you would definitely need to be thinking moveable Do for this particular exercise.

Maybe I'm ignorant, but isn't this right:

Fixed DO: Do is always C, hence the need for inflections.

Movable DO: DO is whatever note you are starting on depnding on the key signature. So if you are in Db- Db is DO and so on with no inflections.

I hope I didn't learn it wrong and have been using it wrong for the past 25 years.

Chuck

Chuck Jackson wrote:Fixed DO: Do is always C, hence the need for inflections.

Yes. This is actually excellent for learning relative or perfect pitch (having a single syllable to represent each pitch no matter the key, if one exists).

Chuck Jackson wrote:Movable DO: DO is whatever note you are starting on depnding on the key signature. So if you are in Db- Db is DO and so on with no inflections.

Yes, but you still use inflections when there are accidentals (ie notes outside the major scale). Inflections would be frequently used when thinking minor scale.


I actually didn't properly read Thomas' post, my bad.

ThomasP wrote:The other system is the fixed Do system. This system is where Do is every C whether sharp, flat or natural. Every D is Re, and so on.

At least in Canada, we still use inflections for altered pitches in the fixed Do system (ie Di for C#). The concept of inflections (and this also applies to moveable Do) is that you are saying a different syllable when the pitch is altered (so instead of thinking "Do a step higher," you think "Di").

I got most of my music theory instruction (the useful part, anyway) from Franco Autori, a native of Italy, who spent his final 30 or so years in Tulsa.
http://www.music.buffalo.edu/bpo/autori.htm
(Google will turn up plenty of other references.)
He refused to use the system where Do means the tonic because to him, Do, Re, etc. were the names of the notes. Calling the tonic "Do" would be like pointing to an A in A major and calling it a C.

seems to be moveable.

Also known as "fungible" Do?

SplatterTone wrote:

seems to be moveable.

Also known as "fungible" Do?

That'd be "dough".

SplatterTone wrote:I got most of my music theory instruction (the useful part, anyway) from Franco Autori, a native of Italy, who spent his final 30 or so years in Tulsa.
http://www.music.buffalo.edu/bpo/autori.htm
(Google will turn up plenty of other references.)
He refused to use the system where Do means the tonic because to him, Do, Re, etc. were the names of the notes. Calling the tonic "Do" would be like pointing to an A in A major and calling it a C.

That's because he was brought up on the fixed Do system (which apparently seems to be the standard system in Europe). Fixed Do works very, very well for those in music theory.

The fixed Do system assigns syllables to notes based on what the actual note is, while the moveable Do system assigns syllables to notes based on the note's function relative to the key you are working in.

Can you imagine singing a C# major scale in fixed Do? Di Ri Fa(E#) Fi Si Li Do Di. This is very awkward - it would be much easier to call C# Do, then just sing Do Re Mi Fa Sol La Ti Do.

Different systems for different applications.

That's because he was brought up on the fixed Do system

No. My point was that, it was not a "Do system", those are the actual names of the notes. See the reference for Italy at the following.
http://en.wikipedia.org/wiki/Notes

sbring wrote:

sjra wrote:Another exercise is to take this to the higher registers. Use the Arnold Jacob's Beautiful Sounds exercise (D-R-D-T-D-M-S-L-D----D-R-D-T-D-L-S-M-D) and ascend chromatically.

I would be very grateful if someone would explain to me how this is to be played. Are all the notes to be played within one octave? And how does it progress between the first and the last part? I feel stupid, since I seem to be the only one who has to ask.

Sven

Sven,

I was the one who wrote that post - in the buzzing section. The exercise is pretty simple, and great for "sounding great." Start on any one note - let's say C in the bass clef staff, or C3.

Play this pattern, slurred: C3-D3-C3-B2 (right below it)-C3-E3-G3-B3-C4 (ti-do above the staff). Then come back down, C4 (start high) -D4-C4-B3-C4-A3-G3-E3-C3.

You can do these in all keys, using scale degrees 1,3,5,6,7 and the octave. It is a great exercise for air flow and for tuning within a key or pitch center.

Hope this helps. Any more info, you can PM me. Thanks!

- Pat Stuckemeyer

Over here in our schools, all the kids start by learning movable 'La'. A tune of Jingle Bells simply go : La la la..la la la...la la laaa la la..

As an inhabitant of the mythical place some of you refer to as "Europe" and furthermore someone raised on C-D-E and moved to a do-re-mi region I'll try to explain things:

1st: Europe is a continent and although not so big, it has a loooaaad of different countries with several different languages and cultures per country.

Germanic based regions tend to use the C-D-E system, with the added bonus that everyone exept the English speakers does so with adding -is or -es to these letters indicate sharps and flats. Germans call B H and B flat B, but we don't.

Latin based regions (including the Dutch speaking part of Belgium) use Do-Re-Mi. Do is invariably the note you guys call C. Always. Sharps and flats are indicated by adding the word sharp or flat in the local language after the note. When singing on note names these are omitted. The movable Do'h-Di-Dah-Duh system is not used here, and nobody misses it.

I've no experience with the eastern regions so maybe someone from that part of Europe could enlighten us?

I initially learned Solfege using a Moveable Do system and we learned all the Di's and Ri's. Di, the way I learned it first, is the tonic raised a half step. If we're in Eb then E natural would be Di. The way I was told with the fixed do system, which I learned from someone recently, was that Do was EVERY C. Whether the C is sharp, natural, or flat, it's always Do, there are no alterations. The teacher that I learned this information from likes the system more because it develops a very good relative pitch, since you're always associating one syllable with only really 3 notes (eventhough C double sharp would be Do). Even when learning the moveable Do system I was thought to begin singing minor scales starting on La rather than Do. Whether who's right or who's wrong, I just wanted to make sure things were understood....

SplatterTone wrote:

seems to be moveable.

Also known as "fungible" Do?

Peripatetic. This is actually the origin of the walking bass, invented by a Greek named Aristotle, but now heard primarily in Nashville and New Orleans.

sjra wrote:

chiltern wrote:

sjra wrote:ok,I get the picture,in the Netherlands we don,t say ti but si,thats wy I did ask

Cannot type it, but may I say " Hoo-yah Mohr-KHen!" [hope my phonetics work]

Actually by now I should say " Hoo-yah Mee-daKH! "

is this elfisch,welsh or wat?maybe cockney?

It's a mere in can phone ethic wry thing.

Goeiemorgen en goeiemiddag.

Can you imagine singing a C# major scale in fixed Do? Di Ri Fa(E#) Fi Si Li Do Di. This is very awkward - it would be much easier to call C# Do, then just sing Do Re Mi Fa Sol La Ti Do.

If I'm not mistaken, there are no alternate syllables in fixed solfege. You wouldn't sing using "di's" and "ri's" or "ra's" like we're used to in movable do. So, C# would be Do Re Mi Fa Sol La Si Do. C# min would also be the same....so would C maj and min. It requires much more ability as a singer; you'd have to know your stuff, but fixed solfege is also a much simpler system....you're calling a note the note it is (relatively speaking--what the note is on the staff, sans accidentals).

If I'm wrong....well hey....it's been known to happen....

Now that I think about it, when I took solfege in the US, I don't remember learning flats. Is there a minor third = ma? A minor seventh = tay? a minor tonic = day ??? a minor sixth = lay???

And then, to mix things up some more, there are those shapenote singers who have their own system.

http://www.publica.com/beginnersheet.pdf
http://www.fasola.org

Good examples (I like 'em) of which are:

The traditionally(??) bucolic
http://tinyurl.com/awjww

Classically "correct" singing, but still with rhythmic drive.
http://tinyurl.com/dfm38

Somewhere in between.
http://tinyurl.com/dwwqm

zoro wrote:Si is also used sometimes instead of Ti.
In these cases I often find myself struggling to play the requested B instead of the C(Do).
Doh .

That's strange - since the syllable Si is Sol yp a step - so in C major Si would be A# - thus a step lower than Ti (B). I do acknowledge this as being the way it is done in Italy.