Thank you for your question. I understand your concern about whether to use chromatic solfege for flats and sharps. Let me explain our approach in more detail.
Our method, based on the Russian-French school of music, emphasizes developing a deep internal understanding of music through extensive practice and immersion. Here’s why we focus on singing solfeggio without explicit sharps and flats:
1. Internalization of Alterations:
By practicing a wide variety of piano pieces, scales, exercises, chords, sight-reading, sight-singing, and transposing, students naturally internalize the concept of alterations (sharps and flats). This method encourages them to develop an intuitive sense of pitch and tonal relationships.
2. Contextual Learning:
Students learn to recognize alterations within the context of the music they are playing. For example, when they encounter a piece in a specific key, they will automatically understand the role of sharps and flats within that key through consistent practice.
3. Enhanced Musicianship:
Our approach aims to cultivate advanced musicianship where students can instantly translate sounds into notes and keys. This skill is developed through extensive ear training and practical application rather than relying solely on memorizing solfege syllables for each chromatic note.
4. Comprehensive Curriculum:
Following our curriculum ensures that students are exposed to all necessary musical concepts. Over time, they develop the ability to distinguish between natural, sharp, and flat notes without explicitly singing them in solfege. This leads to a more holistic and flexible understanding of music.
5. Comparing Methods:
While chromatic solfege (e.g., "Do", "Di", etc.) is used in some systems, our method prioritizes developing a natural and intuitive ear. Both methods have their merits, but our focus is on internalizing pitch through practical application rather than adding syllables for chromatic notes.
Practical Application:
When a student recalls a note in a song as "Do," they might initially be unsure whether it's C or C#. However, through our method, they learn to use context, harmonic understanding, and their developing ear to make this distinction. This approach aligns with how musicians interact with real music, relying on their ear and context rather than isolated note names.
In summary, our method nurtures an advanced level of musicianship where students can recognize and reproduce alterations intuitively. This internalization process, supported by a comprehensive curriculum, ensures a deeper and more flexible understanding of music.
I hope this explanation clarifies our approach and the rationale behind it. If you have any further questions, please feel free to ask.
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