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  • Solfege - Part 2

    Welcome back to Part 2 in our series about Solfege. This time we will focus on diatonic triads, chord progressions and bass lines discovering the useful benefits of Solfege in this area to train your ear.

    I hope that you had some time to practice and get familiar with what we talked about in the first article.

    This time we will focus on triads, chord progressions and bass lines, discovering the useful benefits of Solfege in this area.

    All set with the syllables and the 'Tendency Tone' exercise? Then let's move forward.

    First of all let's have a look at the syllables for diatonic triads.
    I:      Do Mi Sol
    IIm: Re Fa LA
    IIIm: Mi Sol Ti
    IV: Fa La Do
    V: Sol Ti Re
    VIm: La Do Mi
    VIIdim: Ti Re Fa

    Let's jump right in with singing diatonic triads up and down. Make sure to double check your pitch with an instrument. Also, try to bring this exercise up to pace so that the actual groups of syllables for each triad becomes like second nature. Furthermore, pick an octave range that you feel comfortable with singing in (and this goes for all the exercises).

    Exercise 1



    Here's a variation including quicker changes between the triads

    Exercise 2


    A little practicing routine: Sing exercise 1 in the key of C. Pick a new Do, say Bb. Now perform exercise 2 in Bb. Pick a new Do, say G. Now sing exercise 1 in the key of G.

    For another exercise we sing all diatonic triads starting on the same note. Pick a 'Do', sing the I triad, then think of the same 'Do' as being a 'Re' and sing the IIm, etc... Here's the notation:

    Exercise 3


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