Pre-Academic Spoken Solfeggio


FORMAT / handouts
Includes audio material / melodic dictations

SKU: 36

Volume ONE Pre-academic preparatory

Pre-academic spoken solfeggio is a boring, stressful subject, it doesn't need that much, it's not really that important. I just take a 6 and I get it out of the way, so I can devote myself to the things I like, play, sing, compose songs. All things that really make me feel like a musician! A one-year-old child begins to stammer the first syllables, the first half words. Then over time the half words become whole words, small sentences, then more and more complete and articulated speeches he needs to communicate! With the others!

One fine day the same child discovers that everything he already manages to say or do can be represented with symbols, signs. He discovers that someone else has created these symbols for him by associating each of them with a particular sound, a particular emission (phoneme). Everything he has learned so far by imitation from others by voice can be codified through those signs.

A new language or rather a system to represent it, to write it in short, discovers writing! At this point he reflects a bit and then thinks: but if I know how to write and read, I can learn many other things, even never seen and heard before, I can read anything that interests me on any topic, you know how many new things I could discover , alone! Without anyone telling me, you do this - you have to say this. I can try to write a feeling, an emotion, a state of mind that if I don't stop now (on paper) maybe tomorrow I won't remember anymore as now, in the same way, with the same intensity, with the same words I have in my head , Right now.

The child becomes a boy and then a man, who has the ability to communicate with others, expressing their thoughts, feelings, emotions through this language. Which from a common language becomes a particular, special language in literature, in poetry.

In the world there is not just one language, there are many. All systems that have communication as their main purpose. Don't we have to learn French if we want to move to France? Not even English if we want to go to study in an American college? Do we have to learn the language of music if we want to be musicians? Mah… Jimi Hendrix didn't know how to read! Charlie Parker it's not that you wrote the only ones at home! This is a bit like our way of seeing musical (written) language. This strange, unknown, obscure way of communicating. But who invented it? Because?

Pre-academic spoken solfeggio and what if I told you that the language of sounds is actually the most primitive form of communication that man has ever used? Ah… you already knew. But then why not have a little more respect and gratitude for a language, that of sounds, which has allowed us to defend ourselves from the dangers of nature, from the time of the stone man who allowed us to evolve, allows us to make the moments of our life that are unique, unforgettable, only for that tune or the rhythmic one, which when you listen to them make you feel this way!

Someone (as has happened with all the languages ​​of the world), has taken on the burden of codifying the language of sounds with symbols, rules, like those of the grammar of each language. We are free, as always, to choose! If you learn this new language, with the simplicity and humility of a child, who begins to write the first letters, the first words, with the awareness that it will not be a short path, with the certainty that we will have to constantly work hard, like a child that every day he goes to school, to learn something new, to discover things, a little strange, others fascinating, until one day, we have come a long way that we will think: I have not finished learning yet, I want some know more and more!

It is this thought that pushes me to write to you, my desire to communicate, with this fascinating language for me that is the writing of sounds, which allows us to analyze a melody, a chord, a piece, allows us to enter into the musical thought of pages of the greatest musicians, both classical and modern, to pass on our knowledge, our achievements and musical discoveries, as those who came before us have already done, to those who will come after us!

Volume TWO - II Pre-academic

Pre-academic spoken solfeggio this book is the natural continuation of the Basic (preparatory) course and in-depth study of rhythmic figurations, sixteenths in all combinations with simple and compound pauses and syncopes, triplets in one and two tempos also in this case in all combinations with insertion of pauses and ligatures.

Compound tempos, odd tempos in 5 and 7, sixths, double triplets, duets and quatrains, these figures are very used in the rhythms and tempos of modern music; I have given particular emphasis in the last chapter to changes in tempo and speed, doubling and halving, the most common and important subordinations between simple and compound tempos, I hope this work will be of help in solving many of the rhythmic problems encountered when facing the study of a modern (or not) piece.

In fact, I believe it is more important to be aware of the rhythmic figurations, rather than the exact nomenclature of the notes, so dear to the "classical" spoken solfeggio; all exercises must first be solfegged rhythmically, focusing on precision and distribution in time and space (using the time-splitting movements), then actually saying the names of the notes that, at this point, I would assume have been assimilated. Good study!

Claudio Ricci
teacher of Saint Louis College of Music