Regular readers have seen a lot of solfedge in this topic lately. Let's discuss one of the big debates in the solfedge world. There are two basic types.
The first is called "Fixed Do" where the note C is always Do. This, of course, relates to the international scene, where Do Re Mi etc. are used instead of C D E etc. So if you are in E major, your scale goes Mi Fa# Sol# La Si(Ti) Do# Re# Mi.
The second is "Movable Do." In this type, whatever key you are in becomes Do. So if you were in A major, A B C# would be Do Re Mi. Surely this would be very confusing for international players used to a Fixed Do system, but quite advantageous for Western students of music theory and musicianship who are trying to learn what specific scale degrees sound like without a reference point, because each syllable has a unique sound no matter what the key. (This is, in other words, the ability to sing a piece of sheet music without ever hearing it. For example, the third note of any major scale would always be the syllable Mi.)
I know of at least one forumite who is currently studying music theory in college and I hope he'll chime in.
So, does any of this seem useful? Does any preference jump out at you?
This is pretty heavy stuff, so I apologize if you have steam coming out your ears. I know I do. But I am just trying to throw stuff at the wall and see what sticks!
Fixed or Movable Do?
Doh! I use a movable "do" because I tend to play numerically and by interval. Regardless of the key I'm in, I tend to be aware of my root and the subsequent notes that form the type of scale/chord I'm playing.
As I apply this, everything is derived from the ionian/major scale. All chords and scales have their essence in the ionian scale. I build my chords from these 7 basic tones, (do re mi fa....), as well as my scales.
To me, a major chord has a 1- do, natural 3- mi, and a 5- so. If I want to make that a major 7- ti, I simply add the natural 7 to the chord and adjust the accompanying scale to suit.
If the chord is minor, I will flat the 3 and sometimes add the flat 7. And the scale gets altered accordingly.
I find that playing in this fashion allows me deal with 7 notes in a very organized and efficient manner while producing good results in the music I play. I don't need to concern myself with the letters as they change from sharps to flats and as well as starting points for any given sequence. All I need to know is 1 thru 7 and what chord/scale type each number implies.
Essential to this approach though is to know the major scale. The vast majority of guitar players I've heard are hopelessly entrenched in the pentatonic minor/rock/blues scale and of course none of this will make sense when coming from that perspective.
For wind instruments, I can see where a fixed "do" is necessary. For guitar? I don't see the advantage as guitar is applied to pop and rock playing.
A fixed "do" seems rather cumbersome to me. I do understand it and use it to figure out chords at times, but when it's time to play, I do it by the numbers.
As I apply this, everything is derived from the ionian/major scale. All chords and scales have their essence in the ionian scale. I build my chords from these 7 basic tones, (do re mi fa....), as well as my scales.
To me, a major chord has a 1- do, natural 3- mi, and a 5- so. If I want to make that a major 7- ti, I simply add the natural 7 to the chord and adjust the accompanying scale to suit.
If the chord is minor, I will flat the 3 and sometimes add the flat 7. And the scale gets altered accordingly.
I find that playing in this fashion allows me deal with 7 notes in a very organized and efficient manner while producing good results in the music I play. I don't need to concern myself with the letters as they change from sharps to flats and as well as starting points for any given sequence. All I need to know is 1 thru 7 and what chord/scale type each number implies.
Essential to this approach though is to know the major scale. The vast majority of guitar players I've heard are hopelessly entrenched in the pentatonic minor/rock/blues scale and of course none of this will make sense when coming from that perspective.
For wind instruments, I can see where a fixed "do" is necessary. For guitar? I don't see the advantage as guitar is applied to pop and rock playing.
A fixed "do" seems rather cumbersome to me. I do understand it and use it to figure out chords at times, but when it's time to play, I do it by the numbers.
Happiness is a choice
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sloop_john_b
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I know of at least one forumite who is currently studying music theory in college and I hope he'll chime in.
Hey J - at my particular school, they're training us with moveable Do. I can't even imagine using a fixed Do now. Besides that, it just makes more sense to me. Bob outlined a few of the finer points, which I agree with.
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beatlefreak
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