One of the main contents of Solfege is listening. Listening is listening to the performance and writing notes and other symbols on the score.
In the listening sound solfege, we use a sheet of paper on which musical staffs are printed, called music paper. In Solfege, while listening to the performance, you will enter clefs such as treble clefs and bass clef, time signatures such as 4/4 time signatures, notes, etc. on music paper. Ultimately, we will complete the score.
What you should be aware of is the note (note pitch), the number of beats (note length), and key changes. By converting the sounds you hear into music, the symbols on the music are connected to the actual sounds and phrases in your head.
In the basic solfege training, the teacher plays the melody of the solfege using a piano and listens to the sound by the procedure of matching the answers.
By listening to practice, you can develop the ability to listen to music and write it accurately. As for listening sounds, teaching materials for pitch training on CDs and apps are sold, so it is possible to practice along with the teaching materials.
If there is no absolute pitch, or if there is no original pitch (relative pitch), it is more effective to get professional support.
The origins of Solfege were conceived by the Italian monk Guido d’Arezzo and are now being developed to nurture the overall fundamentals of music.
The reason Solfege was born was that when music wasn’t written in the way it is today, there was a need for a way for monks to learn chant efficiently.
Solfege is basic training in learning Western music to understand and read music.
To put it simply, Solfege looks at the music, sings, and rhythms with Doremi, and develops the heart and rhythm of singing. Reading ability is also called Solfege ability.
As the ability of Solfege increases, you will be able to imagine any song at the head, even if you are looking at music scores for the first time, and you will be able to listen and see at first glance.
Currently, Glockenspiel refers to a metallophone. This is a percussion instrument that has a tuned metal sound plate and is struck with the sticks.
In fact, in the past, there was a Glockenspiel played on the keyboard. The current Glockenspiel has only its sound plate remaining. Moreover, the keyboard-type Glockenspiel appeared before Celesta.
Originally “glocken” was a bell. When you go to Europe, there is a large bell in a church, but around the 17th century, a small version of the bell was adjusted to various types of pitches and prepared for about three octaves.
Celesta is a musical instrument devised by organist Auguste Mustel in Paris in 1886, about 130 years ago. It has a keyboard, and it looks like an organ in size and shape, but the sound is completely different, and it passes very well, even though it is a small, pretty sound.
Inside the Celesta, there are musical scales of metal sound plates resembling a metal lyre. It is a percussion instrument that has a keyboard action that hits it with a hammer to produce a sound.
Dixieland jazz is music that is centered on polyphonic melodies.
Jerry Roll Morton’s 1929 “Freakish” is a good example. Polyphony survives in a small group within a big band and is performed more or less as part of the nightly stage.
Selected bands in the band, including Tommy Dorsey’s Cranbake Seven, have satisfied the elderly audience. The last big band on stage with a Dixieland group is the Lawrence Welk Orchestra.
Also not often mentioned in the history of jazz, the re-emergence has been repeated at all times.
The Dixieland revival began in the early 1940s and was represented by a large number of young musicians in an older generation style.
The swing jazz band is modeled after a marching band, with a saxophone (lead), trumpet and trombone sections.
The sections are musically devised, responding independently of each other, or creating an ensemble as a single body. The saxophone section is the core of the swing band, consisting of alto, tenor and baritone saxophones with different ranges, as well as a choir divided into audio parts. The most common knitting is 2 altos, 1 to 2 tenor, 1 baritone.
For a swing band, it is often the part that expresses your personality. You have a surprisingly free idea of what sound to make.
The history of the swing era is divided into two parts. The first period from 1924 to 1932, the previous swing period, and the second period from the middle of the 1950s to the 1960s.
Each is distinguished by the size of the band and the relationship between the voices, the phrasing of the swing and the maturity of the rhythm, and the expressiveness of the soloist who has grown and refined his personality.
However, during the Great Recession from 30 to 32 years, the number of records made was very small, so there was little recorded evidence to tell the story.
It is jazz developed in the 1940s. It is played mainly in Latin percussions, such as Congo, Bongo, and Timbales.
Generally, music called Latin jazz refers to Afro-Cuban jazz evolved from Cuba.
Just as Bossa Nova of Brazilian jazz was born from the fusion of American modern jazz, new Latin music creation is expected in the future.
Some soul music is called funk. Funk is derived from Congo-language lu-fuki, rather than the English word “frightened” or “dreadful,” and it can absorb sweat and body odor when performing or performing something well. It is a word to praise.
Funk jazz is a repetitive bass form, drums that emphasize violently on the second and fourth beats of the bar (hi-hat cymbals are closed with these beats, following clapping), with clear melodies. Features simple harmony.
As a result, the sound is closer to gospel music than rhythm and blues.
Bebop was music born during World War II, and many of its major performers had no military experience, but strikes, racism and various discriminations, and economic inequity. And they experienced living the homefront.
Many of the first black musicians who played Bebop came from the west and southwest, and their music developed under local culture and political climate.
Bebop’s band takes the form of a small knitting combo. They often play one unison with a trumpet and a saxophone.
Its purpose wasn’t solely for nightclub dancers and floor shows, nor was playing for the pop market.
Bebop’s melody phrases aren’t simply phrasing for pop singers or swing riff melodies (where the bar-by-measure phrases are arranged in a similar tone and balance). It is long and has few repetitions. Moreover, it has an uneven structure and irregular sound arrangement.
During this time, young singers such as Babbs Gonzales, Jo Carroll, and Sarah Vaughan brought the tradition of scat-style to the bebop style, rethinking the sound of the bebop rhythms and elegance.