Scale degree | Number | Solfege Syllable | |
---|---|---|---|
Unison, Octave | "one" | Do | |
Augmented unison | "sharp one", or just "one" | Di | |
Minor second | "flat two" or just "two" | Ra | |
Major second | "two" | Re | |
Augmented second | "sharp two" or just "two" | Ri | |
Minor third | "flat three" or just "three" | Mé | |
Major third | "three" | Mi | |
Perfect fourth | "four" | Fa | |
Augmented fourth | "sharp four" or just "four" | Fi | |
Diminished fifth | "flat five" or just "five" | Se | |
Perfect fifth | "five" | Sol | |
Augmneted fifth | "sharp five" or just "five" | Si | |
Minor sixth | "flat six" or just "six" | Le | |
Major sixth | "six" | La | |
Augmented sixth | "sharp six" or just "six" | Li | |
Minor seventh | "flat seven" or just "seven" | Te | |
Major seventh | "seven" | Ti |
In this system, 1 is always the root or origin, but the scale being represented may be [major], [minor], or any of the diatonic modes[?]. Accidentals (sharps and flats outside the key signature) are noted with a + or - when the numbers are written, but are often skipped when they are spoken or sung.
For example, one might sing "one, three, five, three, one" for a [major triad], but a [diminished triad] might be either "one, three, five, three one" or "one, flat three, flat five, flat three, one", depending on the student and the speed of the piece.
There is a pedagogical[?] debate about the merits of this system as compared to solfege: it holds an advantage in that no time is spent teaching the singers the system, and no memorization is required, but it is less precise.
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