"When You Know the Notes to Sing": Mastering Intervals and Pitch with Sol-fa
- Chris Caton-Greasley
- 2 hours ago
- 10 min read
Index
Introduction
The Sound of Music by Rodgers and Hammerstein forever embedded Tonic Sol-Fa in the minds of a generation.
As part of this wonderful song is the line that sums up vocal lessons perfectly, and is, partly, the title of this article. “When You Know the Notes to Sing You Can Sing Anything” (Hurdalek et al., 1965)
When you know the notes to sing, you can sing most anything." This simple phrase, often heard in music education, encapsulates a profound truth about vocal development. But knowing the notes isn't just about identifying them; it's about accurately producing them, especially when moving between pitches. Today, we'll explore this concept using the sol-fa sequence:
Soh, Doh, La, Fa,
Me, Doh, Re,
Soh, Doh, La, Ti
Doh', Re', Doh'.
This sequence, tied to the familiar phrase, provides a fantastic opportunity to hone your pitch accuracy and understand interval relationships.
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Sol-Fa History
The sol-fa system, as we know it today, is deeply indebted to the work of Sarah Glover and John Curwen. Glover's "Norwich Sol-fa" system, detailed in her publication Scheme for Rendering Psalmody Congregational (Glover, 1835), provided the foundation for Curwen's "Tonic Sol-fa." Curwen himself acknowledged Glover's work as a pivotal moment in his development. In The Teacher's Handbook Of The Tonic Sol-Fa System, John Curwen elaborates on the emotional qualities associated with each sol-fa syllable: "Doh" is a strong and firm tone, "Re" a rousing or hopeful tone, "Me" a steady or calm tone, "Fah" a desolate or awe-inspiring tone, "Soh" a grand and bright tone, "Lah" a sad or weeping tone, and "Ti" (or "Te") a piercing or sensitive tone (Curwen, 1889). Each corresponding hand sign was devised to visually reinforce these emotional and sonic qualities: "Doh" is represented by a clenched fist facing down, "Re" by a hand lifting at a 45-degree angle from the wrist, "Me" by a flat hand facing down, "Fah" by a dropping hand with a pointed finger, "Soh" by a hand with the little finger down and thumb up, and "Lah" by a drooping hand reflecting a sad or weeping effect.
Images of Hand Signs
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This is John Curwen’s original diagram (Curwen, 1889)
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The Importance of Accurate Pitching
Accurate pitching serves as the cornerstone of proficient singing, facilitating a multitude of essential vocal abilities. Primarily, it allows for the effective conveyance of emotions; when pitches are rendered with precision, the intended emotional impact of the music resonates more profoundly with the listener. Furthermore, in choral or ensemble settings, precise intonation is vital for achieving harmonic cohesion, enabling singers to blend seamlessly and create a unified sound. Developing the ability to consistently hit the correct notes also fosters musical confidence, building self-assurance and encouraging further exploration of musical expression. Lastly, the diligent practice of intervals and pitch significantly enhances one's auditory acuity, strengthening the ability to accurately hear and reproduce intricate musical relationships.
The Benefits of Sol-fa in Vocal Training
The sol-fa system offers several advantages for vocal training, making it an invaluable tool for singers of all levels. Firstly, it emphasises relative pitch, allowing singers to understand and reproduce intervals based on their relationship to the tonic, rather than relying solely on absolute pitch. This fosters a deeper understanding of musical structure and harmony. Secondly, sol-fa is incredibly accessible, simplifying complex musical concepts into easy-to-grasp syllables and hand signs. This makes it particularly effective for beginners and young learners. Furthermore, by associating specific emotional qualities with each syllable, sol-fa enhances the singer's ability to interpret and convey the emotional content of music. Finally, the hand signs associated with sol-fa provide a kinesthetic connection to the pitches, aiding in the internalisation and physical embodiment of musical intervals.
Good Posture and Breathing for Good Singing
Optimal posture and breathing are fundamental to achieving vocal resonance, control, and stamina. A balanced, upright posture allows for unrestricted airflow and prevents unnecessary tension in the vocal mechanism. Stand with your feet shoulder-width apart, your spine elongated, and your shoulders relaxed. Studies have shown that vocal accuracy and pitch stability at a fundamental (semitone) level can be affected by variations in posture. (Castillo-Allendes et al., 2022).
Imagine a string pulling you gently upward from the crown of your head. Breathing should be diaphragmatic, engaging the deep muscles of the abdomen. Inhale deeply, allowing your abdomen to expand, and exhale slowly and steadily, maintaining support. Avoid raising your shoulders or tensing your neck during breathing. Proper breathing technique provides the necessary power and support for sustained singing, enabling you to produce a clear, resonant tone. The Importance of Warming Up
Warming up is an essential part of any vocal practice routine, preparing the vocal cords and surrounding muscles for singing. Just as athletes warm up their bodies before exercise, singers must warm up their voices to prevent strain and injury (Williams, 2017). Begin with gentle exercises, such as humming, lip trills, and vocal slides, to gradually increase blood flow and flexibility in the vocal cords. Progress to exercises that target specific aspects of vocal technique, such as scales, arpeggios, and interval jumps. Start at a comfortable range and gradually expand your vocal range as your voice warms up. A thorough warm-up should also include exercises for breath control and articulation. Devoting time to warming up ensures that your voice is ready to perform at its best, promoting vocal health and longevity. Speak to your music teacher for additional guidance and training here.
Practical Exercises
Slow and Steady: Begin by singing each sol-fa syllable slowly and deliberately. Focus on the transition between each note, ensuring you land precisely on the next pitch.
Interval Awareness: Pay close attention to the size and quality of each interval. Use a keyboard or pitch pipe to check your accuracy.
Visual Aids: Visualize the intervals on a musical staff. This can help you understand the relationships between the notes.
Listen and Repeat: Record yourself singing the sequence and listen back critically. Identify any areas where your pitch may have wavered.
Vary the Tempo: Once comfortable with the slow tempo, gradually increase the speed. This will challenge your ability to maintain accuracy at a faster pace.
Contextual Practice: Sing the phrase "When you know the notes to sing, you can sing most anything" using the sol-fa pitches. This helps connect the theoretical exercise to a practical musical phrase.
Interval identification: Practice identifying each interval by ear. Use a piano or keyboard to play the intervals, and then try to name them. Use the sol-fa names to define the intervals.
Practice Video
Free Worksheet Download
Understanding the Sol-fa Sequence
Let's break down the sol-fa sequence and its corresponding intervals:
Soh-Doh: A perfect fifth downward. This is a significant jump, requiring careful listening and a strong sense of pitch.
Doh-La: A minor sixth upward. Another large interval, demanding precise intonation.
La-Fa: A major third downward. A smaller, but still crucial, interval to master.
Fa-Me: A minor second downward. A step, but still requiring accuracy.
Me-Doh: A major third downward. Another common interval, essential for smooth vocal transitions.
Doh-Re: A major second upward. A simple step, but the foundation of melodic movement.
Re-Soh: A perfect fourth upward. This jump requires a good sense of harmonic relationships.
Soh-Doh: A perfect fifth downward. The same as the first interval.
Doh-La: A minor sixth upward. As previously, large intervals.
La-Ti: A major second upward. Requires careful listening to the leading tone.
Ti-Doh’: A minor second upward. The resolution to the tonic, a critical step in tonal music.
Doh’-Re’: A major second upward. Repeating this step reinforces its importance.
Re’-Doh’: A major second downward. Returning to the tonic, completing the phrase.
Skill Focus 2 and 7
This exercise directly addresses Level 1 Skill Focus 2 (learning notes) by reinforcing the association between sol-fa syllables and specific pitches. It also tackles Skill Focus 7 (two-note interval movement) by providing a practical application of interval recognition and production.
Cooling Down Exercises
Just as warming up prepares the voice for singing, cooling down is crucial for returning the vocal mechanism to its resting state and preventing strain . After a practice session or performance, engage in gentle vocal exercises to gradually reduce the intensity of vocal activity. Begin with soft humming or sustained vowel sounds at a low to moderate volume. Progress to gentle descending scales or arpeggios, gradually decreasing the range and volume. Incorporate relaxed breathing exercises to release any residual tension in the diaphragm and surrounding muscles. Finally, gentle stretches of the neck, shoulders, and jaw can help alleviate any physical strain accumulated during singing. Cooling down promotes vocal recovery, prevents muscle fatigue, and supports long-term vocal health (Boder, 2021).
Conclusion
Mastering intervals and pitch accuracy takes time and dedication. However, by consistently practicing exercises like the one outlined above, you'll develop the skills needed to sing with confidence and precision. Remember, "When you know the notes to sing, you can sing most anything." So, keep practicing, keep listening, and enjoy the journey of vocal development.
Quiz
Explain the fundamental idea behind the phrase "When you know the notes to sing, you can sing most anything" as it relates to vocal development.
Describe the contributions of Sarah Glover and John Curwen to the development of the sol-fa system. What was a key aspect of Glover's system that influenced Curwen?
According to John Curwen, what is the emotional quality associated with the sol-fa syllable "Soh," and what is its corresponding hand sign?
Why is accurate pitching considered the "cornerstone of proficient singing"? Provide at least two specific reasons outlined in the text.
Identify two key benefits of using the sol-fa system in vocal training, explaining why these are advantageous for singers.
Explain the relationship between good posture and breathing in achieving optimal singing. What specific advice is given regarding posture?
Why is warming up an essential part of a vocal practice routine? What are some examples of gentle warm-up exercises?
Describe the interval relationship between "Doh" and "La" as presented in the "Understanding the Sol-fa Sequence" section. Is this interval ascending or descending?
How does practicing the provided sol-fa sequence directly address Level 1 Skill Focus 2 and Skill Focus 7? Briefly explain each connection.
What is the purpose of cooling down exercises after a singing session or performance? Give an example of a recommended cool-down activity.
Glossary of Key Terms
Interval: The musical distance between two pitches. Intervals can be described by their size (e.g., second, third, fifth) and quality (e.g., major, minor, perfect).
Pitch: The perceived highness or lowness of a musical sound, determined by its frequency of vibration.
Relative Pitch: The ability to recognise and reproduce musical intervals and melodies based on their relationship to a reference pitch (often the tonic), rather than relying on absolute pitch recognition.
Sol-fa: A system of assigning syllables (Doh, Re, Me, Fah, Soh, Lah, Ti) to the degrees of a musical scale, used as a tool for sight-singing and understanding musical relationships. Also known as Tonic Sol-fa.
Tonic: The first and most stable note of a diatonic scale or key, serving as the tonal centre. In sol-fa, the tonic is typically represented by "Doh."
Intonation: The accuracy of pitch in singing or playing an instrument. Good intonation means consistently producing the correct pitches.
Diatonic Scale: A seven-note scale with a specific pattern of whole and half steps, forming the basis of much Western music.
Kinesthetic: Relating to movement and the sense of bodily position and motion. In music, kinesthetic learning involves physical actions, such as hand signs, to reinforce musical concepts.
Vocal Mechanism: The complex system of organs and muscles involved in producing sound, including the vocal cords, larynx, diaphragm, and respiratory system.
Resonance: The amplification and enrichment of a sound as it vibrates through air cavities in the vocal tract and head.
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Essay Format Questions
Discuss the historical development of the sol-fa system, highlighting the key contributions of Sarah Glover and John Curwen and explaining why Curwen's adaptation became so influential in music education.
Evaluate the benefits of using the sol-fa system as a tool for vocal training. In what ways does it contribute to a singer's understanding of music and their ability to perform effectively, considering concepts such as relative pitch and kinesthetic learning?
Explain the interconnectedness of accurate pitching, proper breathing technique, and good posture in achieving optimal vocal performance. How do these elements support each other, and what are the potential consequences of neglecting any one of them?
Analyze the importance of both warming up and cooling down in a singer's practice routine. What specific physiological benefits do these activities provide, and how do they contribute to long-term vocal health and development?
Drawing on the provided sol-fa sequence and its corresponding intervals, discuss how consistent practice of such exercises can lead to improved interval recognition and pitch accuracy. How might a singer incorporate this type of practice effectively into their vocal study?
Reference list
Boder, O. (2021). A Vocal Cool down Is an Essential Part of a Performer's Self Care. [online] Linkedin.com. Available at: https://www.linkedin.com/pulse/vocal-cool-down-so-important-maintaining-healthy-voice-oren-boder/ [Accessed 1 Apr. 2025].
Castillo-Allendes, A., Delgado-Bravo, M., Ponce, A.R. and Hunter, E.J. (2022). Muscle Activity and Aerodynamic Voice Changes at Different Body Postures: a Pilot Study. Journal of Voice. [online] doi:https://doi.org/10.1016/j.jvoice.2022.09.024.
Curwen, J. (1889). The Teacher’s Handbook of the Tonic sol-fa System. [online] Internet Archive. Available at: https://archive.org/details/teachersha89west00crin [Accessed 1 Apr. 2025].
Glover, S. (1835). Scheme for Rendering Psalmody Congregational (Glover, Sarah) - IMSLP. [online] Imslp.org. Available at: https://imslp.org/wiki/Scheme_for_Rendering_Psalmody_Congregational_(Glover%2C_Sarah) [Accessed 1 Apr. 2025].
Hurdalek, G., Lindsay, H., Crouse, R., Lehman, E. and Maria von Trapp (1965). The Sound of Music. [online] IMDb. Available at: https://www.imdb.com/title/tt0059742/.
Williams, J. (2017). Warm-ups for singers: What Exactly Are We Trying to achieve? [online] Available at: https://jenevorawilliams.com/wp-content/uploads/2024/03/Warm-ups-paper-Singing.pdf [Accessed 1 Apr. 2025].
Wisse, P. (n.d.). From Glover to Curwen and on to Kodály. [online] kodalyhub.com. Available at: https://kodalyhub.com/for-teachers/methodology-materials/from-glover-to-curwen-and-on-to-kodaly [Accessed 1 Apr. 2025].