Lesson Notes By Weeks and Term v3 - Senior Secondary 1
Notation : solfa
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Notation : solfa
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Subject: Music
Class: Senior Secondary 1
Term: 2nd Term
Week: 3
Theme: Theory Of Music Ii
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Students should be able to identify music written in to nic solfa. write a simple melody in.solfa
note. Often, no space is left between notes that are tied within a beat (e.g., d.r).
Slurs (implied): When several notes are to be sung smoothly over a single syllable of text, they are written closely together. 2.
5. Time Signatures in Solfa While not explicitly written as fractions like in staff notation, the time signature is implied by the grouping of beats within measures. For example, a measure of `d r m f` indicates 4 beats, implying 4/4 time. If a song is in 3/4 time, each measure would contain 3 beats, e.g., `d r m | f s l |`. Worked
Examples: Example 1: Simple Melody (Middle Octave, Basic Rhythms) Let's transcribe a familiar tune "Are You Sleeping?" (or a similar Nigerian children's song like "Suku Suku Bambam" - the first line) into solfa.
Melody: "Suku Suku Bambam" (using a simplified version for illustration)
Sung pitches: G G A G C B (in C Major, this is So So La So Do' Ti)
Rhythm: Each note one beat.
Solfa Notation: `| s s | l s | d' t | d' - |` (Explanation: Each syllable represents one beat. The dash after d' indicates it is sustained for a second beat.)
Example 2: Melody with Lower and Upper Octaves, and Rests Consider a phrase that uses a wider range, such as part of a praise song like "Oluwa is involved" (first phrase).
Melody: "Oluwa is involved" (pitches: C C G G A G, A G F E D C) If 'Do' is C, then: Do Do So So La So, La So Fa Mi Re Do Rhythm: Each note approximately one beat, some sustained. Solfa Notation (assuming starting Do is C): `| d d | s s | l s | l s | f m | r d |` (Explanation: All notes are in the middle octave. Each note gets one beat. Bar lines divide into measures of 2 beats.) Now, let's create a different example specifically demonstrating the three octaves for clarity in a new simple melody.
Example 3: Melody demonstrating Lower, Middle, and Upper Octaves Melody Idea: A short ascending and descending phrase spanning octaves.
Starting low: .do, .mi, .so (ascending)
Middle: do, mi, so (ascending)
Upper: do', ti', la' (descending)
Middle: so, mi, do (descending) Each note one beat.
Solfa Notation: `| .d .m | .s d | m s | d' t' | l' s | m d |` (Explanation: First measure has lower octave notes, second transitions to middle. Third has middle notes, fourth transitions to upper. Fifth and sixth descend through upper and middle octaves. Each note is one beat.) --- This section provides a detailed explanation of tonic solfa notation, covering its fundamental elements and practical application. 2.
1. Definition of Tonic Solfa Notation Tonic solfa is a system of musical notation that uses syllables (do, re, mi, fa, so, la, ti) to represent the notes of a musical scale. Unlike staff notation, where the absolute pitch of a note is fixed, in tonic solfa, 'Do' is always the tonic (keynote) of the scale. This means 'Do' can represent any pitch, and the other syllables follow relative to it, making it a movable 'Do' system. It simplifies pitch recognition and is particularly effective for aural learners and those new to music theory. Its widespread adoption in Nigeria is due to its simplicity and effectiveness in teaching group singing. 2.
2. The Solfa Syllables There are seven fundamental solfa syllables, which correspond to the seven degrees of a major scale: Do (pronounced 'Doh') - The tonic, 1st degree Re (pronounced 'Ray') - The supertonic, 2nd degree Mi (pronounced 'Mee') - The mediant, 3rd degree Fa (pronounced 'Fah') - The subdominant, 4th degree So (pronounced 'Soh') - The dominant, 5th degree La (pronounced 'Lah') - The submediant, 6th degree Ti (pronounced 'Tee') - The leading note, 7th degree After 'Ti', the scale ascends to another 'Do', an octave higher, completing the scale. 2.
3. Octaves in Solfa Notation To indicate notes in different octaves, tonic solfa uses specific markings around the solfa syllables. There are commonly three main octaves used: Middle Octave (Normal Octave): These are the standard syllables without any markings. They represent the central range of the voice or instrument.
Example: do, re, mi, fa, so, la, ti Lower Octave: Notes an octave below the middle octave are indicated by a dot placed before the syllable.
Example: .do, .re, .mi, .fa, .so, .la, .ti Pronunciation: The dot indicates a lower pitch.
Upper Octave: Notes an octave above the middle octave are indicated by an apostrophe or prime symbol placed after the syllable.
Example: do', re', mi', fa', so', la', ti' Pronunciation: The apostrophe indicates a higher pitch. 2.
4. Rhythmic Notation in Solfa Tonic solfa also includes symbols to represent the duration (rhythm) of notes. Bar Lines (|): These vertical lines divide the music into measures (bars). Each measure contains a specific number of beats as indicated by the time signature.
Beat Signs (Implicit): In solfa, the duration of notes is primarily shown using dashes and rests. A single solfa syllable (e.g., 'do') usually represents one beat.
Dashes (-): A dash following a solfa syllable indicates that the note is sustained for an additional beat. `d:` (doh sustained for 2 beats) is written as `d -` `d::` (doh sustained for 3 beats) is written as `d - -` `d::: ` (doh sustained for 4 beats) is written as `d - - -` Rests (,): A comma represents a rest (silence). `,` represents one beat of silence. `,-` represents two beats of silence. `,--` represents three beats of silence. Half Beats/Divided Beats (.): A dot placed after a solfa syllable indicates it is a half-beat. Two half-beat notes usually share one beat. `d. r` (doh and re each get half a beat within one full beat) Ties (~ or no space): To connect notes of the same pitch across a bar line or for durations longer than can be fit with dashes, a tie is implied by writing the note, then a dash, and then the next note. Often, no space is left between notes that are tied within a beat (e.g., d.r). * Slurs (implied): When several notes are to be sung smoothly over a single syllable of text, they are written closely together. 2.
5. Time Signatures in Solfa While not explicitly written as fractions like in staff notation, the time signature is implied by the grouping of beats within measures. For example, a measure of `d r m f` indicates 4 beats, implying 4/4 time. If a song is in 3/4 time, each measure would contain 3 This section outlines practical activities for both teachers and students to facilitate understanding and application of solfa notation. 3.
1. Teacher Activities Introduction (10 minutes): Begin by singing a familiar Nigerian children's song or a popular hymn (e.g., "Jesus Loves Me" or a simple Yoruba/Igbo/Hausa folk tune) without revealing the solfa. Ask students to identify the song. Discuss how they recognized it (melody, words).
Pose the question: "How can we write down this beautiful melody so others can sing it exactly as we do?" Introduce the concept of musical notation and specifically tonic solfa as an accessible method widely used in Nigeria. Display a large chart showing the seven solfa syllables (do, re, mi, fa, so, la, ti) and their relative positions. Explanation of Solfa Syllables and Pitch (15 minutes): Sing the C Major scale ascending and descending, pointing to each solfa syllable on the chart as it is sung. Emphasize 'Do' as the home note (tonic). Guide students through singing the scale with hand signs (if the teacher is familiar with the Curwen hand signs).
Conduct call-and-response exercises: Teacher sings a solfa syllable, students echo. Vary the order (e.g., `do-mi-so`, `re-fa-la`).
Introduction of Octaves (15 minutes): Explain the concept of octaves – higher and lower versions of the same pitch. Introduce and demonstrate the notation for the middle octave (no markings), lower octave (dot before: `.do`), and upper octave (apostrophe after: `do'`). Sing simple phrases that move between two or three octaves (e.g., `.d m s d'`) and have students echo. Write short solfa phrases on the board and ask students to identify the octave of each note. Introduction of Rhythmic Notation (15 minutes): Explain and demonstrate the use of dashes (-) for sustained notes (e.g., `d -` for 2 beats). Explain and demonstrate commas (,) for rests (e.g., `,` for 1 beat rest). Explain dots (.) for half beats (e.g., `d.r` for two half-beat notes in one beat). Demonstrate how bar lines (|) divide music into measures. Use clapping or tapping to demonstrate the rhythm of simple solfa phrases containing these elements. Guided Transcription Practice (15 minutes): Sing a very simple, short melody (e.g., "Mary Had a Little Lamb" or "Oluwa is involved" opening phrase) clearly. Guide students, step-by-step, to transcribe it onto the board or in their notebooks.
Step 1: Identify the starting note ('Do' or another syllable relative to 'Do').
Step 2: Identify subsequent pitches using solfa syllables.
Step 3: Determine the duration of each note (using dashes, rests, half-beats).
Step 4: Add bar lines to divide the melody into measures. Ensure the melody includes notes from at least two octaves to align with the objectives. 3.
2. Student Activities Aural Identification and Echoing (Throughout lesson): Listen attentively as the teacher sings solfa syllables and melodic phrases. Echo the teacher's singing of solfa syllables and short melodic patterns, including those that span different octaves. Practice Curwen hand signs along with singing (if introduced).
Reading Solfa Notation (15 minutes): Read simple solfa phrases written on the whiteboard or projected, identifying the pitches and durations. Sing the phrases as a class, in groups, or individually, focusing on correct pitch and rhythm. Identify the octave of specific notes in a given solfa passage.
Transcribing Simple Melodies (15 minutes): Attempt to transcribe short, familiar melodies (sung by the teacher or played on an instrument) into solfa notation in their notebooks. Focus on accurately representing pitch (including octave markings) and rhythm (dashes, rests, half-beats, bar lines). Collaborate in pairs or small groups to compare and refine their transcriptions. --- This section provides scaffolded practice questions to reinforce learning, with complete solutions and explanations.
Question 1: Identify the solfa syllables and their octaves in the following phrase, then sing it aloud. `| .s .l | t d' | m' r' | d' - |` Solution 1: `.s`: Lower So `.l`: Lower La `t`: Middle Ti `d'`: Upper Do `m'`: Upper Mi `r'`: Upper Re `d'`: Upper Do `-`: Sustains the Upper Do for one more beat.
Singing Guidance: The teacher should lead the class in singing this phrase, ensuring correct pitch for each octave. This exercise directly addresses Objective 1 (identify music written in tonic solfa).
Question 2: Transcribe the following melody, sung by the teacher, into tonic solfa notation. Ensure the melody uses notes primarily from the middle octave and basic rhythms.
Melody to be sung by teacher: "Happy Birthday to You" (first line) Pitches (assuming C Major where Do=C):* C C D C F E Solfa:* Do Do Re Do Fa Mi Rhythm:* Short-short-long-short-long-long (approximately)
Solution 2: `| d d | r d | f - | m - |`
Commentary: This transcription accurately represents the pitches using middle octave solfa syllables and captures the basic rhythm with dashes for sustained notes. This addresses Objective 2 (write a simple melody in solfa).
Question 3: The teacher will sing a melody that incorporates notes from the lower, middle, and upper octaves, along with various rhythmic elements (dashes, rests, half-beats). Transcribe this melody into solfa notation.
Melody to be sung by teacher: A phrase from a familiar Nigerian song (e.g., "Oluwa Is Involved" first line adapted for octaves) or a created phrase like: Pitches:* Low So, Middle Do, Mi, So, Upper Do', Ti, Middle So, Low Do Rhythm:* .So, Do, Mi, So (each half beat), Do' (2 beats), Ti (1 beat), So (1 beat), .Do (half beat) Solfa Representation of the melody the teacher will sing: `| .s d.m | s d' | t s | .d - |` Solution 3: `| .s d.m | s d' | t s | .d - |`
Commentary: This transcription correctly uses the lower octave `.s`, middle octave `d`, `m`, `s`, and upper octave `d'`, `t`. It also demonstrates the use of a half-beat (`d.m`), sustained notes (`d' -`, `.d -`), and implicitly, bar lines separating the measures. This directly targets Objective 2 and also the evaluation guide's requirement for using notes from at least two octaves. The teacher should clearly sing this phrase twice, then guide students to identify each note and its octave, then its duration, before finally putting it together. ---
Example 1: Simple Melody (Middle Octave, Basic Rhythms)
Let's transcribe a familiar tune "Are You Sleeping?" (or a similar Nigerian children's song like "Suku Suku Bambam" - the first line) into solfa.
Melody: "Suku Suku Bambam" (using a simplified version for illustration)
Sung pitches: G G A G C B (in C Major, this is So So La So Do' Ti)
Rhythm: Each note one beat.
Solfa Notation:
`| s s | l s | d' t | d' - |`
(Explanation: Each syllable represents one beat. The dash after d' indicates it is sustained for a second beat.)
Example 2: Melody with Lower and Upper Octaves, and Rests
Consider a phrase that uses a wider range, such as part of a praise song like "Oluwa is involved" (first phrase).
Melody: "Oluwa is involved" (pitches: C C G G A G, A G F E D C)
If 'Do' is C, then: Do Do So So La So, La So Fa Mi Re Do
Rhythm: Each note approximately one beat, some sustained.
Solfa Notation (assuming starting Do is C):
`| d d | s s | l s | l s | f m | r d |`
(Explanation: All notes are in the middle octave. Each note gets one beat. Bar lines divide into measures of 2 beats.)
Now, let's create a different example specifically demonstrating the three octaves for clarity in a new simple melody.
Example 3: Melody demonstrating Lower, Middle, and Upper Octaves
Melody Idea: A short ascending and descending phrase spanning octaves.
Starting low: .do, .mi, .so (ascending)
Middle: do, mi, so (ascending)
Upper: do', ti', la' (descending)
Middle: so, mi, do (descending)
Each note one beat.
Solfa Notation:
`| .d .m | .s d | m s | d' t' | l' s | m d |`
(Explanation: First measure has lower octave notes, second transitions to middle. Third has middle notes, fourth transitions to upper. Fifth and sixth descend through upper and middle octaves. Each note is one beat.)
Teaching and Learning Activities
Understanding tonic solfa notation has numerous practical applications within the Nigerian context, connecting classroom learning to everyday life.
Church and Community Choirs: Solfa is the primary tool for learning and performing music in many Nigerian churches, cultural groups, and school choirs. Students who master solfa can easily join these groups, read new songs, and contribute meaningfully to worship and cultural events. For example, a student can pick up a solfa hymn book and immediately sing along with the choir, or teach a new song to their local church children's choir using solfa charts.
Preservation of Indigenous Nigerian Music: Many traditional Nigerian folk songs, proverbs, and oral histories are rich with melodic content. With solfa notation, students can transcribe these melodies from their elders or local musicians, documenting them for future generations. This helps to preserve cultural heritage that might otherwise be lost, making the music accessible for study, performance, and adaptation (e.g., transcribing a praise song from a particular ethnic group).
Basic Musical Composition and Arrangement: Solfa provides an accessible entry point for aspiring Nigerian composers and arrangers. Instead of needing complex staff notation, students can use solfa to quickly jot down their melodic ideas for new songs, hymns, or even simple instrumental pieces. This fosters creativity and allows them to experiment with musical ideas, perhaps creating new praise songs or jingles for local events. For instance, a student can compose a short solfa melody to celebrate a community festival or a school event. ---