Hello, dear vocalists!

Today we will walk through the basics of solfeggio, find out what it is and how to study it correctly and competently in stages. The tutorial is not useful yet, all the most important in this article. So

Solfeggio is a discipline that is designed to develop musical ear, and learns notes, octaves, keys, durations, intervals, etc... This allows you to train your ear with musical dictations, analyzes, solfegging, etc.

1. The first thing you need to know is, of course, the notes (there are only 7 of them) and their symbols.

1st - TO (C)

5th - SALT (G)

7th - SI (H, can also sign B)

An example on the piano keys.

If you don't have a piano, you can download the app to your phone or computer to practice solfeggio.

Here is an example in a music book in the treble clef, in the first octave.

What is an octave?

An octave is a musical interval consisting of 8 steps! Example:

Do, re, mi, fa, salt, la, si, do. Also, do not forget about such a concept as a scale.

A scale is a sequence of sounds arranged in ascending and descending order in solfeggio. Vocals for beginners are possible without this knowledge, but in the future they will come in handy.

Octaves on the musical instrument piano.

You should know how many octaves, notes, keys and their names are:

• Subcontroctave (this octave is incomplete, starts with "La" and has only 3 notes)
• Contractave
• Big octave
• small octave
• First octave
• Second octave
• third octave
• fourth octave
• Fifth octave (has only one note “Do”)

There are 88 keys on the piano - 52 white and 36 black.

Keys

The clef determines the position of the notes on musical staff in solfeggio. Vocals for beginners do not require knowledge of the keys, but if you want to sing from notes, this will be useful.

There are 3 in total:

• The treble is the most common and popular clef. It comes from the note "salt" of the first octave. It is drawn on the second line of the staff.
• The bass is the second most common clef after the treble! It is drawn on the fourth line of the staff and surrounds the line on which the note “F” of a small octave is written.
• Alto - denotes the note "Do" of the first octave. It is drawn on the middle line of the stave.

Alteration

Raising or lowering a note.

Let's find out what characters exist with the key:

• sharp - increase by half a tone,
• flat - lowering by a semitone,
• bekar - cancellation of signs at the key.

Accidentals are divided into 2 types:

• key - are written next to the key and act until new ones appear.
• random - placed before the note.

Tone and semitone.

A semitone is a smaller distance. That is, 2 adjacent keys, including black ones. A tone is 2 semitones.

Intervals

Interval - 2 sounds, which can be the same note, or two different ones.

The lower sound of an interval is its base, and the upper sound is its top.

Intervals are divided into 2 types:

• melodic - notes that are taken sequentially,
• harmonic - the same note taken at the same time.

So, let's consider what are the values ​​of the intervals:

• Prima (1)
• Second (2)
• Third (3)
• Quart (4)
• Quinta (5)
• Sexta (6)
• Septima (7)
• Octave (8)

Also, the value of the interval is the number of semitones and tones in it. So, the following intervals are formed between the steps: Pure prima (0 semitones)

• Minor second (1 semitone)
• Major second (2 semitones)
• Minor third (3 semitones)
• Major third (4 semitones)
• Perfect fourth (5 semitones)
• Augmented fourth (6 semitones)
• Pure fifth (7 semitones)
• Diminished fifth (6 semitones)
• Minor sixth (8 semitones)
• Major sixth (9 semitones)
• Minor seventh (10 semitones)
• Major seventh (11 semitones)
• Pure octave (12 semitones)

Duration

If we listen to songs, we catch by ear that notes and pauses have different durations. Some sound longer, some faster ... In order to understand the durations, we need a metronome for 60 beats.

So, let's look at the names and notation:

• a whole note is the longest. Rhythmically consists of 4 metronome beats.
• half note - 2 times shorter than a whole note. Therefore, it sounds rhythmically on 2 beats of the metronome.
• quarter note - rhythmically goes to each beat of the metronome.
• eighth note - accelerates in rhythm compared to a quarter by 2 times. Therefore, there are 2 eighths per beat of the metronome!
• sixteenth note - naturally, 2 times faster than the eighth note. Therefore, 4 sixteenth notes have time to pass for one beat of the metronome.

Here, our dear readers, are the basics that you need to know for a vocalist in solfeggio. Vocals for beginners are possible without this, but for those who want to sing with pure intonation and feel the rhythm of the songs, this will definitely come in handy.

If you've read this far, then you obviously have a serious approach to vocals. And we have a serious approach to learning:

A unique technique that has shown its effectiveness on hundreds of students.

Exercises that will allow you to sing both high and low notes in a month, and in two months to perform and earn vocals.

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I wish you success in studying the material! You will certainly succeed!

Solfeggio. All rules for solfeggio

1. Names of sounds.

do, re, mi, fa, sol, la, si

Names of white piano keys

White key between two black ones - re

Two white keys to the right of re - mi, fa.

Two white keys to the right of fa (between three black ones) - sol, la

Two white keys to the right of la (after three black ones) - si, do.

Octave names

Octave called a group of sounds before until each next before.

The octave that is in the middle of the piano keyboard is called first.

Octaves that are higher (to the right) of the first octave are called: second octave, third octave, fourth octave.

Octaves that are lower (to the left) of the first are called: small octave, large octave, counteroctave, subcontroctave.

Placement of notes on the staff.

Notes are signs for recording music. A stave, or staff, is a line of five lines on which notes are placed. The lines of the staff are counted from bottom to top. Notes are located on the lines, between the lines, under the first line, above the fifth line, on the lower additional lines, on the upper additional lines.

Treble clef

The treble clef is a sign that indicates that the sound of the salt of the first octave is recorded on the second line of the staff.

Notes of the first octave in the treble clef are written as follows:

do - on the first additional line, re - under the first line, mi - on the first line, fa - between the first and second lines, sol - on the second line, la - between the second and third lines, si - on the third line.

Musical notation for the duration of sounds

The duration of the sound is indicated various types notes.

A white note (circle) without a stick is a whole note.

White note (circle) with stick - half note.

Black note (circle) with stick - quarter note

A black note with a stick and a tail is the eighth note.

The main division of the duration of sounds:

A whole is divided into 2 halves, a half is divided into 2 quarters, a quarter is divided into 2 eighths

The direction of the sticks on the staff: up to the third line, the sticks are written up, above the third line - down.

6.Size 2/4- This is a two-beat measure in which each beat lasts a quarter, the first beat is strong, the second is weak.

Conducting scheme for 2/4: down, up.

7. Eighth notes in a double beat.

Durations that are performed 2 times faster than quarter notes are called eighth notes. One quarter is two eighths.

Dividing the first beat of a measure into two equal parts: two eighths, a quarter

Dividing the second beat of a measure into two equal parts: a quarter, two eighths

Dividing the first and second beats of a measure into two equal parts: two eighths, two eighths.

Song recording with and without words.

If the song is written without words, two eighths, which make up a quarter, are connected by an edge.

If the song is recorded with words, then every eighth, which falls on one syllable of the text, is written separately.

Major and minor. Tonic.

Major and minor are the most common scales in music. Cheerful, cheerful melodies, bright melodies corresponds to the major scale. Sad, sad melodies correspond to a minor scale. The main, reference sound of the mode is called the tonic. The melody usually ends on the tonic.

Gamma in C major.

Gamma - these are the sounds of the mode, located in height up or down from the tonic to its octave repetition. The sounds that make up the scale are called steps. The full scale consists of eight steps. The eighth degree of the scale is a repetition of the first. The steps are indicated by Roman numerals: I, II, III, IV, V, VI, VII. The name of the scale is given by its main tone, that is, the tonic. In C major, the tonic is C.

Scale steps C major: do-I, re-II, mi-III, fa-IV, salt-V, la-VI, si-VII, do-again I

Tonic triad.

In addition to the tonic (the first step), the third and fifth steps also belong to the reference sounds of the mode. The first, third and fifth steps form a tonic triad. Tonic triad in C major: do-I, mi-III, salt-V.

12. Introductory sounds- sounds surrounding the tonic (VII and II steps).

Introductory sounds in C major: B - D.

Rising introductory sound in C major - B.

Descending opening sound in C major - D.

The transition of the rising introductory sound to the tonic: si passes into do.

The transition of the descending introductory sound to the tonic: re passes into do.

Semitone and tone.

A semitone is the distance between two nearest sounds. Two semitones make up a whole tone.

Tones and semitones in the C major scale:

do-re- tone, re-mi- tone, mi-fa- semitone, beans- tone, salt-la- tone, la-si- tone, si-do- semitone.

And here there are musical audio dictations for the 1st class of solfeggio in C major.

Sharp, flat, bekar.

Signs of rising and falling of individual sounds are called accidental signs, or chromatic signs.

Sharp - a sign of raising the sound by half a tone: #

Flat - a sign of lowering the sound by half a tone: b

Bekar - a sign that cancels the action of a sharp or flat.

Piano Black Key Names

Black key between C and D - C-sharp or D-flat

The black key between D and E is D-sharp or E-flat

The black key between F and G is F-sharp or G-flat

Black key between G and A - G sharp or A flat

The black key between A and B is A-sharp or B-flat

Sharps or flats placed near the key are called key accidentals. Key signs are preserved throughout the melody.

A sharp or flat before a note is called a non-key, or random accidental. Random characters are stored only in this measure.

Key G major

G major - a major mode in which the tonic is the sound of sol (a mode with one sharp in the key).

The sounds that make up the G major: sol, la, si, do, re, mi, f-sharp, (sol).

The key sign in the key of G major is F-sharp.

Gamma G major and its steps: sol-I, la - II, si - III, do - IV, re - V, mi - VI, F-sharp - VII, (sol) - I.

Tonic triad in G major: G-I, B-III, D-V

Introductory sounds in G major: F-sharp - VII, A - II

Key F major

F major - a major mode in which the tonic is the sound F (a mode with one flat in the key).

The sounds that make up F major: fa, salt, la, b-flat, do, re, mi, (fa).

The key sign in the key of F major is B-flat.

Gamma F major and its steps: F-I, G-II, A-III, B-flat - IV, do-V, D-VI, mi-VII, (fa)-I.

Tonic triad in F major: F-I, A - III, C - V

Introductory sounds in F major: mi - VII, salt - II

Transposition

Transposition is the transfer of a melody from one key to another. At the same time, the numbers of the steps are put down in the melody with the original key, the numbers of the steps are signed under the new musical staff, then the notes of the melody in the new key are assigned above the step numbers.

Pause.

A pause is a break in sound (a sign of silence).

A whole pause, equal in duration to a whole note, is written as a black rectangle under the fourth line.

A half rest, equal in duration to a half note, is written as a black rectangle on the third line.

A quarter pause, equal in duration to a quarter note, is written as a sign resembling a zigzag.

The eighth pause, equal in duration to the eighth note, is written as a sign resembling the number four.

Musical phrase.

Phrases are the parts into which a melody is divided.

Rhythmic stops or pauses in the melody (these are called caesuras) indicate the end of musical phrases. Any repetition in the melody - exact or with some changes - creates the feeling of the beginning of a new musical phrase. The end of a phrase is indicated by a daw or a comma.

Reprise.

A repetition is a sign of repetition, these are two points - above the second and above the third rulers near two vertical lines.

22. Bass clef- this is a sign that indicates that the sound F of a small octave is recorded on the fourth line of the staff.

According to the location of the note F, other notes are also located on the fourth line, for example, a note up to a large octave is written on the second additional line from the bottom, and a note up to a small octave is written between the second and third lines.

Key in A minor.

A minor is a minor scale in which the tonic is the sound la. This is a scale parallel to C major.

Major and minor keys with the same key signs are called parallel. The tonic of the parallel minor key is the sixth degree of the major key.

Gamma in A minor and its steps:

la-I, si - II, do - III, re - IV, mi - V, fa - VI, salt - VII, (la) - I.

Tonic triad in A minor: la - I, do - III, mi - V

Key in E minor

E minor - minor mode, in which the tonic is the sound "mi" (mode parallel to G major, with one sharp in the key).

The sounds that make up E minor: mi, f-sharp, salt, la, si, do, re, mi.

The key sign in the key of E minor: F-sharp, is written on the fifth line of the stave.

Gamma E minor and its steps up: mi - I, F-sharp - II, salt - III, la - IV, si - V,

to - VI, re -VII, mi - I.

Gamma E minor and its steps down: mi -I, re -VII, do - VI, si - V, la - IV, salt - III,

f-sharp - II, mi - I

Tonic triad in E minor: mi -I, salt - III, si - V.

Key in D minor

D minor- minor mode, in which the tonic is the sound "D" (mode parallel to F major, with one flat in the key).

The sounds that make up D minor: re, mi, fa, salt, la, b-flat, do, re.

The key sign in the key of D minor: B-flat, is written on the third line of the staff.

Gamma D minor and its steps up: re - I, mi - II, fa - III, salt - IV, la - V,

b-flat - VI, to -VII, re - I.

Gamma D minor and its steps down: re -I, to -VII, B-flat - VI, la - V,

salt - IV, fa - III, mi - II, re - I

Tonic triad in D minor: D -I, F - III, A - V.

Size 3/4

Size 3/4 - it is a three-beat measure in which each beat lasts a quarter. Each strong beat is followed by two weak beats.

Conducting scheme for 3/4: down - to the side - up.

Size 3/8

Size 3/8 - it is a three-beat measure in which each beat lasts one eighth. Each strong beat is followed by two weak beats.

Conducting scheme for 3/8: down - to the side - up.

Zatakt.

Zatakt - this is the incomplete measure at which the melody begins. Melodies that have an upbeat always start on the downbeat of the beat.

Zatakty - a quarter, an eighth, two eighths.

Key in D major

D major - a major mode in which the tonic is the sound D (a mode with two sharps in the key).

The sounds that make up D major: re, mi, f-sharp, salt, la, si, c-sharp, re.

Key signs in the key of D major: F-sharp, C-sharp.

Gamma D major and its steps: re -I, mi - II, f-sharp - III, salt - IV, la - V, si-VI, C-sharp - VII, (re) - I.

Tonic triad in D major: D-I, F-sharp - III, A - V

Introductory sounds in D major: C-sharp - VII, mi - II

League.

If a league (arc) stands above or below two adjacent notes of the same height, then it links these notes into one continuously stretching sound, increasing its duration.

If the league stands above notes of different heights, then it indicates the need for a coherent, or smooth, performance, called legato.

Fermata

Fermata - it is a sign that shows that given sound You have to wait a little longer than what is written. The fermata sign is denoted as a league above or below the dot.

Intervals

An interval is a combination of two sounds.

If the sounds of the interval are taken separately (one after the other), then the interval is called melodic. If the sounds of the interval are taken simultaneously, then the interval is called harmonic. There are eight main names of intervals. Each interval contains a certain number of steps.

Interval names:

Prima - the first, indicated by the number 1

The second is the second, indicated by the number 2

Third - the third, indicated by the number 3

Quart - the fourth, indicated by the number 4

Fifth - the fifth, indicated by the number 5

Sexta - the sixth, indicated by the number 6

Septima - the seventh, denoted by the number 7

Eighth - eighth, indicated by the number 8

Melodic intervals from sound to up:

do-do (prima), do-re (second), do-mi (third), do-fa (quart), do-sol (fifth), do-la (sixth), do-si (septim), do -do (octave)

Melodic intervals from sound to down:

do-do (prima), do-si (second), do-la (third), do-sol (quart), do-fa (fifth), do-mi (sixth), do-re (septim), do -do (octave)

The harmonic intervals from sound to are the same, only their notes sound simultaneously

Size 4/4

4/4 time signature is a four-beat measure in which each beat lasts a quarter. Consists of two simple measures in 2/4.

Size designation 4/4: 4/4 or C

Strong and weak beats in a 4/4 measure: the first is strong, the second is weak, the third is relatively strong, the fourth is weak.

Conducting scheme for 4/4: down - towards you - to the side - up.

Three types of minor scale.

The minor scale is of three types: natural, harmonic, melodic.

Natural minor is a minor in which the steps are not changed.

Harmonic minor - a minor with an increased VII step.

Melodic minor - a minor with raised VI and VII steps (in ascending order). In descending order, the melodic minor scale is played as natural.

Gamma A minor natural: la - si - do - re - mi - fa - sol -la.

Gamma A minor harmonic - la - si - do - re - mi - fa - sol-sharp - la.

A minor melodic scale: la - si - do - re - mi - f-sharp - sol-sharp -la.

Key in B minor.

B minor- minor mode, in which the tonic is the sound "si" (mode parallel to D major, with two sharps in the key).

The sounds that make up D minor: si, C-sharp, re, mi, f-sharp, salt, la, si.

Key signs in the key of B minor: F-sharp, written on the fifth line of the stave and C-sharp, written between the third and fourth lines.

Gamma B minor natural: B - I, C-sharp - II, D - III, E - IV, F-sharp - V,

salt - VI, la -VII, si - I.

Gamma B minor harmonic: si - I, C-sharp - II, re - III, mi - IV, F-sharp - V,

salt - VI, A-sharp -VII, si - I.

B minor melodic scale: si - I, C-sharp - II, re - III, mi - IV, f-sharp - V,

sol-sharp - VI, a-sharp -VII, si - I.

Tonic triad in B minor: B -I, D - III, F-sharp - V.

Unstable sounds with resolution in harmonic B minor:

a-sharp - in si, c-sharp - in si, c-sharp - in re, mi - in re, sol - in f-sharp.

Major and minor seconds.

A second is an interval that contains two steps. A second is called a major second if it makes up a whole tone. A second is called a small second if it is half a step. The major second is denoted b.2, the minor second is denoted m.2.

Big second from sound to up - do-re. A small second from sound to up - to-d-flat.

Big second from sound to down - C-b-flat. Minor second from sound to down - do-si.

And here there are musical audio dictations for the 3rd class of solfeggio - in B minor

Seconds in a major scale.

In the major mode, the following seconds are formed: small seconds on the III and VII steps; major seconds on I, II, IV, V, VI steps.

Big seconds in the key of C major: do-re, re-mi, f-sol, sol-la, la-si. Small seconds in the key of C major: mi-fa, si-do.

Major and minor thirds.

Third - an interval that contains three steps. A third is called a major if it is two tones. A third is called a minor if it is one and a half tones. The major third is denoted b.3, the minor third is denoted m.3.

Major third up from sound to: do-mi, small third up from sound to: do-mi-flat.

Major third down from sound to: C-A-flat, small third down from sound to: C-A.

Thirds in a major scale

In the major mode, the following thirds are formed:

large thirds - on I, IV, V steps;

small thirds - on the II, III, VI, VII steps.

Large thirds in the key of C major: do-mi (on I), f-la (on IV), sol-si (on V)

Small thirds in the key of C major: re-fa (on II), mi-sol (on III), la-do (on VI), si-re (on VII)

A. Single tertz keys

One-terts are pairs (major and minor) of keys that have the same III steps (terts tones), for example, D major and D-sharp minor (they have one terts tone - F-sharp).

114. MELISMA
Melismas are melodic figures that decorate individual sounds of a melody.

A short grace note (a small crossed out note before the main note) is performed before the main note, without changing its rhythm, without moving it from its place, or shifting it by a quarter of the duration of the main note. An example is si (flat) -la.

A long grace note (a small uncrossed note before the main one) is performed at the expense of the main note, the grace note is put in place of the main note, this main note moves from its place and becomes shorter due to the grace note. An example is si (flat) -la.

Mordent (similar to a lying zigzag) - performed at the expense of the main note. There is a simple -la-si (flat) -la, crossed-la -sol (sharp) -la and double - la-si (flat) -la-si (flat) -la. Crossed out means moving down - la -sol (sharp) -la, la -sol (sharp) -la -sol (sharp) -la. An additional sharp, flat or becar refers to an auxiliary sound.

Gruppetto (recumbent inverted s). Groupetto can be simple-la-si (flat) -la-sol (sharp) -la, si (flat) -la-sol (sharp) -la and crossed-la-sol (sharp) -la -si (flat) - la, salt (sharp) -la -si (flat) -la. An additional sharp, flat or bekar refers to the first auxiliary sound.

Trill - denoted tr with a wavy line. Consists of small durations (for example, 32's). Example - re-mi-re-mi, re-mi-re-mi, re-mi-re-mi, re-mi-re-mi-re - the last group may contain not 4, but 5 notes (written as a quintuplet ).

Accakatura - an example is the G-C-Do-Mi chord, where the B note ends immediately after the chord is played, and the G-C-Do-mi notes continue to sound.

A shleyfer - an example - is a melody -mi-re-do, where the first note (mi) remains sounding during the passage of the notes in re-do.
115. SYMBOLS OF DYNAMIC SHADES
One of the most important conditions for the expressive performance of music are dynamic shades or nuances.
Dynamic shades are called changes in the volume of the sound during the performance of a piece of music.
Table of basic dynamic shades

Full designation	Abbreviation	Pronunciation	Meaning
piano	R	drunkenly	quiet
mezzo piano	mp	mezzo-piano	not too quiet
pianissimo	pp	drunkenly	very quiet
forte	f	forte	loudly
mezzo forte	mf	mezzo forte	not very loud
fortissimo	ff	fortissimo	very loud
crescendo	<	crescendo	reinforcing
poco a poco crescendo		poco-a-poco crescendo	gradually increasing
diminuendo	>	diminuendo	weakening
poco a poco diminuendo		poco-a-poco diminuendo	gradually weakening
morendo		morerendo	freezing
sforzando	sf	sforzando	sudden amplification (of a single sound - or chord)

116. ITALIAN DESIGNATIONS OF TEMPO AND CHARACTER OF PERFORMANCE

Tempo is the speed at which music is played.
The tempo is related to the nature of the work. The tempo is always indicated at the beginning of the piece. The tempo notation is often given in Italian.

Very slow pace
Largo (largo) - wide Lento (lento) - slowly Adagio (adagio) - slowly Grave (grave) - heavy, important

Slow pace
Larghetto (larghetto) - somewhat faster than Largo Andante (andante) - slowly, calmly Sostenuto (sosteno) - restrained

moderate pace
Moderate (moderate) - moderately
Andantino (andantino) - somewhat faster than Andante.
Allegretto (allegretto) - somewhat slower than Allegro.

fast paced
Allegro (allegro) - soon Vivo (vivo) - lively Vivace (vivace) - lively Presto (presto) - very soon

Additional words for notation of rates
piu mosso (piu mosso) - more mobile, meno mosso (meno mosso) - less mobile, non troppo (non troppo) - not too much, molto (molto) - very, assai (assai) - very, very, con moto (con moto) - with mobility, accelerando (accelerando) - accelerating, ritenuto (ritenuto) - restraining, ritardando (ritardando) - lagging, rallentando (rallentando) - slowing down

terms characterizing musical emotionality:

* abbandono (abbandono) - ease
* abbandonamente (abbandonamente) - at ease
* accarezzevole (accarezzevole) - affectionately
* affettuoso (affettuoso) - heartily
* agitato (agitato) - excited, excited
* amabile (amabile) - nice
* alla (alla) - in the genus, in the spirit
* alla marcia (alla marchya) - in the spirit of the march
* alla polacca (alla polyakka) - in the spirit of Polish
* amoroso (amoroso) - lovingly
* animato (animato) - enthusiastically, animatedly
* appassionato (appassionato) - passionately
* ardente (ardente) - with heat
* brillante (brillante) - brilliant
* buffo (buffo) - comically
* burlesco (burlesco) - comically
* cantabile (cantabile) - melodious
* capriccioso (capriccioso) - capricious
* con amore (con amore) - with love
* con anima (con anime) - with enthusiasm, with animation
* con bravura (con bravura) - brilliant
* con brio (con brio) - with heat
* con calore (con calore) - with heat
* con dolcezza (con dolcezza) - gently, softly
* con dolore (con dolore) - with sadness
* con espressione (con expression) - with an expression
* con forza (con forza) - with force
* con fuoco (con fuoco) - with fire
* con grazia (con grace) - with grace
* con malinconia (con malinconia) - melancholy
* con moto (con motto) - mobile
* con passione (con passione) - with passion
* con spirito (con spirito) - with enthusiasm
* con tenerezza (con tenerezza) - with tenderness
* con vigore (con vigor) - courageously
* deciso (dechizo) - resolutely
* dolce (dolce) - gently
* dolcissimo (dolcissimo) - very gently
* dolente (dolente) - sad, plaintive
* doloroso (doloroso) - sad, sad
* elegante (elegant) - elegant, beautiful
* elegaco (elejyako) - plaintively, sadly
* energico (energetic) - vigorously
* eroico (eroiko) - heroically
* espressivo (espressive) - expressively
* flebile (phlebile) - plaintively
* feroce (feroche) - wildly
* festivo (festivo) - festive
* fiero (fiero) - wildly
* fresco (fresco) - fresh
* funebre (funebre) - funeral
* furioso (furioso) - furiously
* giocoso (dzhyokozo) - playfully, playfully
* gioioso (gioyozo) joyfully, cheerfully
* grandioso (grandioso) - magnificent, magnificent
* grazioso (grazioso) - gracefully
* guerriero (guerrero) - militantly
* imperioso (imperioso) - imperative
* impetuoso (impetuoso) - rapidly, violently
* innocente (innocente) - innocent, simple
* lagrimoso (lagrimoso) - deplorable
* languido (languido) - exhausted, powerless
* lamentabile (lamentabile) - plaintively
* leggiero (dejero) - easy
* leggierissimo (leggierissimo) very easy
* lugubre (lugubre) - gloomy
* lusingando (lusingando) - flattering
* maestoso (maestoso) - solemnly, majestically
* malinconico (malinconico) - melancholy
* marcato (markato) - emphasizing
* marciale (marciale) - marchingly
* marziale (marciale) militantly
* mesto (mesto) - sad
* misterioso (mysterioso) - mysteriously
* parlando (parlando) - recitative
* pastorale (pastoral) - shepherd
* patetico (patetico) - passionately
* pesante (pezante) - heavy, heavy
* piangendo (piangendo) - deplorable
* pomposo (pomposo) - great, with a shine
* quieto (kieto) - calmly
* recitando (recitando) - telling
* religioso (religioso) - reverently
* rigoroso (rigoroso) - strictly, exactly
* risoluto (risoluto) - resolutely
* rustico (rustic) - rustic style
* scherzando (scherzando) - playfully
* scherzoso (scherzoso) - playfully
* semplice (sample) - simple
* sensibile (sensibile) - sensitive
* serioso (seriously) - seriously
* soave (soave) - friendly
* soavemente (soavemente) - friendly
* sonore (sonore) - sonorous
* spianato (drunk) - with simplicity
* spirituoso (spirituoso) - spiritually
* strepitoso (strepitozo) - noisy, stormy
* teneramente (teneramente) - gently
* tranquillo (tranquillo) - calmly
* vigoroso (vigoroso) - strong, cheerful

Some terms frequently found in musical notation:

* a capella (a cappella) - in chorus, without instrumental accompaniment
* a due (or a 2) (a due) - play the same part together
* ad libitum (ad libitum) - optional: an indication that allows the performer to freely vary the tempo or phrasing, as well as skip or play part of the passage (or other piece of musical text); abbreviated ad. lib.
* arco (arco) - literally "bow": an indication of coll arco for performers on string instruments- play with a bow, not pizzicato
* attacca (attack) - transition to the next part without interruption
* a tempo (a tempo) - return to the original tempo after changing it.
* basso continuo (basso continuo) (also general bass, digital bass) - “continuous, general bass”: a tradition of baroque music, according to which the lower voice in the ensemble was performed by a melodic instrument of the corresponding range (viola da gamba, cello, bassoon ), while another instrument (keyboard or lute) duplicated this line along with chords, which were indicated in the notes by a conditional digital notation, implying an element of improvisation
* basso ostinato (basso ostinato) - literally "permanent bass": a short musical phrase in the bass, repeated throughout the entire composition or any section of it, with free variation of the upper voices; in early music this technique is especially typical of the chaconne and passacaglia.
* ben (ben) - good
* blue note (English) - in jazz, the performance of the third or seventh step in major with a slight decrease (the term is associated with the blues genre)
* coda (code) conclusion
* col (col) - with
* come (come) - like
* con (kon) - with
* da capo (da capo) - "from the beginning"; an indication instructing to repeat from the beginning a fragment or a whole part of the work; D.C. for short.
* dal segno (dal segno) - “starting from the sign”; an indication instructing to repeat a fragment from the sign; D.S. for short.
* diminuendo (diminuendo) - dynamic indication, similar to decrescendo
* divisi (divisions) - separation (homogeneous instruments or voices perform different parts)
* e, ed (e, ed) - and
* fine (fine) - end (traditional designation in the score)
* forte (forte) - designation of expressiveness: loud; abbreviated
* ma (ma) - but
* mezza voce (mezza voche) - in an undertone
* mezzo forte (mezzo forte) - not very loud
* molto (molto) - very much; tempo symbol: molto adagio - tempo symbol: very slow
* non (non) - not
* non troppo (non troppo) - not too much; allegro ma non troppo - tempo notation: not too fast
* obligato (obbligato) - 1) in music of the 17th and 18th centuries. the term refers to those parts of instruments in a work that cannot be omitted and must be played without fail; 2) fully written accompaniment in a piece of music for voice or solo instrument and clavier
* opus (opus) (lat. opus, “work”; abbreviated - op.): the designation has been used by composers since the Baroque era and usually refers to the serial number of a given work in a list (most often chronological) of works by a given author
* ostinato (ostinato) - multiple repetition of a melodic or rhythmic figure, a harmonic turn, a separate sound (especially often in bass voices)
* poi (poi) - then
* perpetuum mobile (perpetuum mobile) (lat. "perpetual motion"): a piece built on continuous fast rhythmic movement from beginning to end
* pianissimo (pianissimo) - very quiet; abbreviated: pp
* piano (piano) - quiet; abbreviated: p
* piu (piu) - more; piu allegro - tempo designation: faster
* pizzicato (pizzicato) - pluck: a way to play stringed instruments by plucking the strings with your fingers
* portamento (portamento) - a sliding transition from one sound to another, used in singing and playing the strings
* portato (portato) - a way of sound production, between legato and staccato
* quasi (kuazi) - as if
* rallentando (rallentando) - tempo designation: gradually slowing down
* recitative (abbreviated recit.) (recitative) - recitative
* ripieno (ripieno) - in the instrumental music of the Baroque era, the designation of the game of the entire orchestra; same as tutti
* ritardando (ritardando) - tempo designation: gradually slowing down
* ritenuto (ritenuto) - tempo designation: gradually reducing the tempo, but in a shorter segment than ritardando
* rubato (rubato) - flexible interpretation of the tempo-rhythmic side of the work, deviations from a uniform tempo in order to achieve greater expressiveness
* scherzando (schertsando) - playfully
* segue (segue) - the same as the previous one
* senza (senza) - without
* simile (simile) - the same as the previous one
* solo (solo) - one
* soli (salts) - plural of solo, i.e. more than one soloist
* sostenuto (sostenuto) - designation of expressiveness: restrained; sometimes the notation can also refer to the tempo
* sotto voce (sotto voche) - designation of expressiveness: "in an undertone", muffled
* staccato (staccato) - abruptly: the manner of sound production, in which each sound is, as it were, separated by a pause from the other; the opposite way of sound production is legato (legato), connected. Staccato is indicated by a dot above the note.
* stile rappresentativo (rappresentative style) - the operatic style of the early 17th century, the basic principle of which is that musical beginning should be subject to the expression of dramatic ideas or reflect the content of the text
* sforzando (sforzando) - a sudden emphasis on a sound or chord; s.f. for short
* segue (segue) - continue as before: an indication that, firstly, replaces the indication attacca (i.e., instructs to perform the next part without interruption), and secondly, instructs to continue execution in the same manner as earlier (in this case, the designation sempre is more often used)
* semibreve (semibreve) - a whole note
* tace (tache) - be silent
* tacet (tachet) - silent
* tutti (tutti) - everything (for example, the whole orchestra)
* tenuto (tenuto) - sustained: the designation prescribes to maintain the full duration of the note; sometimes it means a slight excess of the duration
* unisono (unisono) - in unison
* voce (voche) - voice
* voci (vochi) - voices

. Common keys (24):

C major - A minor
Major and parallel minor keys with sharps:
G major - E minor
D major - B minor
A major - F sharp minor
E major - C-sharp minor
B major - G sharp minor
F-sharp major - D-sharp minor
C-sharp major - A-sharp minor

Major and parallel minor keys with flats:
F major - D minor
B flat major - G minor
E flat major - C minor
A flat major - F minor
D-flat major - B-flat minor
G-flat major - E-flat minor
C-flat major - A-flat minor

Why is it considered that there are 24 keys and not 30? Due to enharmonic equality (keyboard matches):
Enharmonic equal major keys:
B major and C flat major
F sharp major and G flat major
C sharp major and D flat major

Enharmonic equal minor keys:
G-sharp minor and A-flat minor
D-sharp minor and E-flat minor
A-sharp minor and B-flat minor
30- 6=24.

1. The order of appearance of sharps: f-do-sol-re-la-mi-si.
2. The order of appearance of flats: si-mi-la-re-sol-do-fa.
3.In sharp majors, a new sign appears at stage VII(for example, in G major, F-sharp on the 7th step, in D major, C-sharp on the 7th step).
4. In flat majors, a new sign appears at stage IV(for example, in F major B-flat on the IV degree, In B-flat major E-flat on the IV degree).
5. In sharp minors, a new sign appears in the second degree (three steps lower than in sharp majors).
6. In flat minors, a new sign appears on the VI step (three steps higher than in flat minors).

7. frets. AT natural major high III, VI and VII steps. do-re-mi-fa-sol-la-si-do
8. In natural minor low III, VI and VII steps. do-re-mi-flat-fa-sol-la-flat-si-flat-do
9. In harmonic major(unlike natural) lowered VI stage. do-re-mi-fa-sol-a-flat-si-do
10. In harmonic minor(unlike natural) elevated VII stage. do-re-mi-flat-fa-sol-la-flat-si-becar-do
11. In melodic major(unlike natural) lowered VI and VII steps. do-re-mi-fa-sol-la-flat-si-flat-do
12. In melodic minor(unlike natural) elevated levels VI and VII. do-re-mi-flat-fa-sol-la-becar-si-becar-do.

13. intervals. part 1. There are 7 clean prims on white keys (c-do, re-re, etc.). In all cases, the second note will repeat the first (mi-sharp-mi-sharp, mi-flat-mi-flat).
m.2. There are only 2 small seconds on the white keys (mi-fa, si-do).
14. Minor second from mi-sharp: mi-sharp-fa-sharp.
15. Minor second from C-sharp: B-sharp-to-sharp
16. Small second from E-flat: E-flat-F-flat
17. Small second from B-flat: B-flat-to-flat
18. Small seconds in all other cases
a) if you build from a note without a sign, then the second one will be with a sign (up - with a flat: G-A-flat, down - with a sharp: B-A-sharp)
b) if you build from a note with a sign, then the second one will be without a sign (F-sharp-sol, D-flat-do), or with a double sign (sol-sharp-F-double-sharp, D-flat-mi-double -flat).

19.intervals. b.2. There are only 5 big seconds on the white keys: do-re, re-mi, f-sol, sol-la, la-si.
20. If you build from a note with a sign, then the second note will be with the same sign: up: C-sharp-D-sharp, down: B-flat-A-flat.
21. All other cases of big seconds: mi-fa-sharp, b-do-sharp, mi-flat-fa, b-flat-do, mi-sharp-fa-double-sharp, b-sharp-do-double- sharp,

f-flat-mi-double-flat, C-flat-si-double-flat.

22.intervals. part 4. There are 6 pure fourths on white keys: do-fa, re-sol, mi-la, salt-do, la-re, si-mi.
intervals. part 5. There are 6 pure fifths on white keys: C-sol, D-la, mi-si, f-do, salt-re, la-mi.
23. Pure fourths and pure fifths (usually as in big seconds): If you build from a note with a sign, then the second note will be with the same sign: up: h.4

c-sharp-f-sharp, down h.5 b-flat-e-flat.
24. All other cases of part 4: f-si-flat, f-sharp-si, f-flat-si-double-flat.
All other cases of part 5: B-F-sharp, B-flat-F, B-sharp-F-double-sharp.

25. intervals. m.7. Small sevenths on white keys 5 (as well as b.2): re-do, mi-re, sol-fa, la-sol, si-la. m.7 is a reversal of b.2. This can be used if you want to build m.7. For example, build m.7 down from re: build up b.2 - re-mi, move mi down an octave and get m.7.
If you build m.7 from a note with a sign, then the second note will be with the same sign: up: D-sharp-to-sharp, down: A-flat-B-flat. (The rule is as in b.2)
Other cases of small sevenths: C-flat, C-sharp-si, F-mi-flat, F-sharp-mi.

26. intervals. b.7. Large sevenths on white keys 2 (as well as m.2): do-si, f-mi. b.7 is the inversion of m.2. This can be used if you want to build b.7. For example, build b.7 up from sol: build down m.2 - sol-f-sharp, move f-sharp up an octave and get b.7.
b.7 in all other cases
a) if you build from a note without a sign, then the second one will be with a sign (up - with a sharp: A-sol-sharp, down - with a flat: D-mi-flat)
b) if you build from a note with a sign, then the second one will be without a sign (up: A-flat-sol, down: D-sharp-mi), or with a double sign (up: G-sharp-F-double-sharp, re -flat-mi-double-flat).
27. intervals. part 8. There are 7 pure octaves on white keys (as well as pure prim). do1-do2, etc.). In all cases, the second note will repeat the first one through an octave (mi-sharp-mi-sharp, mi-flat-mi-flat).

How to help a child studying solfeggio? Such a question naturally arises before parents after they figured out why it is necessary to study solfeggio and understand how difficult and complex this musical discipline is for a child who is starting to learn.

And if the solfeggio lessons themselves delight him, then homework, as a rule, confuses both the student himself and his parents. Delight is gradually replaced by despondency: the child expected a solid holiday from music lessons, and here - difficulties in the form of theoretical rules that are not very understandable, and homework, compared with which school mathematics seems like entertainment for youngsters. Children love music, but not the pursuit of it.

Naturally and understandably, the desire of parents to help the child succeed as a musician. “Interested” mothers come with notebooks, write down the words of songs, rules, and are very worried about their kids, because in a week the children have time to completely forget everything that was discussed in the lesson.

Parents, grandparents, in fact, are a great help to both the teacher and the little student. But help in preparing for the solfeggio lesson is not at all that mom, dad, grandparents (or all of them together), using the "call a friend", instead of their beloved offspring, build intervals, dominant seventh chords or determine the key by the number of characters.

During the first years of study the most important moment is the interest of parents in the activities of the child, the desire to facilitate his entry into the difficult, tedious routine daily work, without which the fate of any musician is inconceivable. Dear adults, as soon as you find the strength to UNDERSTAND the essence of solfeggio, your child will stop shedding tears, and everything will go smoothly (moreover, in a major way).

Solfeggio is a specific subject, its teaching differs significantly from teaching the disciplines of the general education cycle: good results can be achieved only if you understand this specificity.

The two main components of solfeggio are singing and listening- help to master two main skills:
- see the notes and understand what kind of music is recorded in them;
- hear the music and know how to notate it.

Where does solfeggio training begin? First, they learn to read and write notes - there is no way without this, therefore, mastering musical notation is the very first, very short stage. At this stage, your help will be very welcome and appropriate - a lot of information suddenly “falls” on a child in September, and musical literacy- this is an area of ​​\u200b\u200bknowledge that the baby has never encountered before. And if you unobtrusively ask him every day on which line the note SALT or DO is written (you don’t have to remember this yourself, check the answers from the entry in his notebook, and even better if he checks it himself), you will “advance” very well your future musician. Solfeggio lessons are rare, only once a week, so your questions will help him keep in mind what was discussed in the last lesson, and what he will certainly be asked in the next lesson.

At the solfeggio lesson, students gain knowledge and get acquainted with the options for consolidating them in practice. Sounds very simple. In fact, the process goes something like this:

Learning a new rule
then follow:
- written exercises to consolidate it;
- then the child should sing what he just wrote;

- then sing exercises for this rule;
- then the child solfegges a “number” (an excerpt from a piece of music where this rule applies) - sings and names each note;
- sometimes the number needs to be transposed (transferred to another key);
- an obligatory moment - auditory analysis - the teacher plays (intervals, chords, frets, etc.), and the student determines by ear which of them in this moment sounds;
- in the lesson there may still be a musical dictation (recording the listened melody with notes) on the topic being studied;
- and in the end - at home it is also given to compose a melody using a new rule.

Naturally, the activity in the lesson takes only about 10% of the total amount of work required: there is no more time. The remaining 90% are for homework - what you get in the lesson must be “digested” and worked out, that is, repeated dozens of times. It is impossible to do this in one sitting - daily, albeit short-lived, classes are needed. If this does not happen, we get the effect of an “empty basket”: knowledge that has not been consolidated disappears.

The most common student mistake in homework in solfeggio is that, carefully completing written assignments, they practically DO NOT sing at home. Songs and exercises given at home (the so-called “numbers”), as well as intervals, keys, modes, chords are specially selected in accordance with the topic being studied and taking into account the increasing complexity. It is through singing and listening to this material (and when a child sings, he also listens and remembers) that the child's musical ear develops.

What help does the child need? The most important thing that parents should do is to make sure that the written assignment is completed, but most importantly, LISTEN how a child solfegges, that is, sings, naming notes. All!

Do not force to sing "from under the stick", but stimulate, interest the child, maybe at first, sing along with him. A solfeggio number or song should be sung to the lesson at least 10 times (this is not at all a lot, only 1-2 times daily).

You don't know if he accurately hits the right note with his voice ("purely" does he sing)? You don't need to know this! let him test himself by pressing the appropriate key on the instrument.
- Remind him that the sound of the key and the voice should match. Does not match? No big deal to start with.

Convince the child and believe for yourself that even if not one, but three bears stepped on his ear, which also roar with terrible voices, then daily 5-10 minute solfegging in combination with daily playing the instrument will make these bears jump off his ear in turn and leave to look for the ears of lazier children. The teacher is usually dissatisfied not with the fact that the child is false, but with the fact that he does nothing to improve his hearing and voice, that is, he does not work at home. Teachers of musical subjects know that time will pass (six months, a year, two, no more) - and the voice will sound in the best possible way, you only need patience and daily work.

The main thing is for the little student to understand right now that without singing there is nothing, so that he gets used to the vocal part of the solfeggio task every day, so that he knows that adults will control both his daily activities and his solfeggio grades, because his success , his musical development for parents is very important. No extra time is needed to listen to a child sing: you can do the cleaning and listen to the harmonic C minor. If you want, sing the solfeggio “number” (an excerpt from the opera) with your child while the dumplings are cooking.

The hardest thing for parents DEPRECIATE in the work of the child and REMEMBER that home solfeggio classes should be controlled. And if mom and dad don't care, if it doesn't matter to them - believe me, the child doesn't care either.

The life of the child should be organized in such a way that the baby EVERY DAY 5-10 MINUTES he was engaged in solfeggio: he sang an exercise, built, played and sang intervals, chords and what else he was given. And while this has not become a habit in the child, parents should to control this process, it is especially important to follow and support the little student on initial stage. No excuses are accepted: it's ONLY 5-10 MINUTES of work! And better - 5-10 minutes of the game. Daily instrument lessons and solfeggio lessons should enter the flesh and blood of a child, like washing in the morning, if he wants to become a musician (an amateur musician should do exactly the same way). With such an organization of homework, children quickly move on to independent work on solfeggio assignments. Remains with the parents first continuous, then periodic control.

The laziness of the child (and most of all - YOURS) in rooting and consolidating this habit will subsequently be a brake on his musical development and you want it to be the best.

Teachers often have to observe gifted children who, at the initial stage, easily master playing the instrument, but at the same time carelessly treat solfeggio classes. At the same time, less capable guys who diligently practice solfeggio, play an instrument every day, sing in a choir, as a rule, overtake their arrogant opponents in a couple of years.

How to help a child studying solfeggio? At first, in the literal sense of the word, everything must be done effortlessly, as they do in the lessons of a solfeggio teacher. The subject of solfeggio is, of course, very difficult for a child, but he does not need to know about it at all. Be sure to ask on the day of the solfeggio lesson what and how it was in the lesson, let him tell you and show you, sing and clap, then teach you or his puppets. And the next day he will do the same again ... and the day after tomorrow ... Then there will be a new task - and all over again ... everyday painstaking work, not always attractive to children with its monotony and endless repetitions. Well, that's the way of the musician. Good luck with your little one on this journey.

Those who decide to learn at least something serious in music cannot avoid getting acquainted with various musical notations. From this article, you will learn how to learn to read notes without memorizing them, but only by understanding the logical principles on which musical notation is based.

What is meant by musical notation? This is all that relates, one way or another, to writing and reading notes; this is such a peculiar language that is understandable to all musicians in Europe and America. As you know, each musical sound is determined by 4 physical properties: pitch, duration, volume and timbre(coloring). And with the help of musical notation, the musician receives information about all these four properties of the sound that he is going to sing or play on. musical instrument.

I propose to deal with how each of the properties of musical sound is displayed in musical notation.

Pitch

The whole range of musical sounds is built in single system – scale, that is, such a series in which all sounds follow each other in order, from the lowest to the highest sounds, or vice versa. The soundtrack is divided into octaves s - segments of the musical scale, each of which contains a set of notes of the same name - do, re, mi, fa, sol, la, si.

Used to write and read music stave- this is a line for recording notes in the form of five parallel lines (it is more correct to say - rulers). Any notes of the scale are recorded on the stave: on the rulers, under the rulers or above them (and, of course, between the rulers with equal success). Lines are numbered from bottom to top:

The notes themselves are indicated by oval-shaped heads. If the main five lines are not enough to record the note, then special additional lines are introduced for them. The higher the note sounds, the higher it is located on the rulers:

An idea of ​​​​the exact pitch of the sound is given by musical keys, of which two are most known to everyone - treble and bass. Musical notation for beginners is based on the study treble clef in the first octave. They are written like this:

Read about ways to quickly memorize all the notes in the article, follow the suggestions there practical exercises and you will not notice how the problem will disappear by itself.

Note durations

The duration of each note refers to the area of ​​musical time, which is a continuous movement with the same speed of equal shares, comparable to the measured beat of the pulse. Usually one such beat is associated with a quarter note in duration. Look at the picture, you will see graphic image notes of different duration and their names:

Of course, smaller durations are also used in music. And you already understood that each new, smaller duration is obtained by dividing a whole note by the number 2 to the nth power: 2, 4, 8, 16, 32, etc. So, we can divide a whole note not only into 4 quarter notes, but with equal success into 8 eighth or 16 sixteenth notes.

Music time is very well organized, and in addition to shares, larger units are involved in its organization - so you, that is, segments that contain exactly the specified number of beats. Measures are distinguished visually by separating one from the other with a vertical barline. The number of beats in bars, and the duration of each of them is reflected in notes using a numeric size.

And sizes, and durations, and shares are closely related to such an area in music as rhythm. Musical notation for beginners usually operates with the simplest sizes, for example, 2/4, 3/4, etc. See how the musical rhythm can be organized in them.

Volume

How to play this or that motive - loudly or quietly, is also indicated in the notes. Everything is simple here. Here are the icons you will see:

Timbre

The timbre of sounds is an area that is almost not affected by musical notation for beginners. However, as a rule, there are different instructions in the notes on this matter. The simplest is the name of the instrument or voice for which this composition is intended. The hardest part is related to playing technique (for example, turning the pedals on and off on the piano) or sound extraction techniques (for example, harmonics on the violin).

This should stop: on the one hand, you have already learned a lot about what can be read in music, on the other hand, there is still a lot to learn. Follow the site for updates. If you liked this material, recommend it to your friends using the buttons at the bottom of the page.