 The Clarinet BBoard
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Author: Clarinet333
Date: 2026-08-09 22:29
I have recently been told to use Solfege syllables to help memorise music, but have never been taught this. Can someone explain it, especially as clarinet is a transposing instrument?
For example, if I were to sing Mozart Clarinet Concerto using Solfege syllables, what would I sing? Written in A clarinet, it starts with the notes:
G, E, F, A, G, F, E, E
How would I sing this using do, re, mi, fa, sol, la, and ti?
Thank you!
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Author: m1964
Date: 2026-08-09 23:39
Clarinet333 wrote:
> I have recently been told to use Solfege syllables to help
> memorise music, but have never been taught this. Can someone
> explain it, especially as clarinet is a transposing instrument?
>
> For example, if I were to sing Mozart Clarinet Concerto using
> Solfege syllables, what would I sing? Written in A clarinet, it
> starts with the notes:
> G, E, F, A, G, F, E, E
> How would I sing this using do, re, mi, fa, sol, la, and ti?
> Thank you!
I'd think "do, re, mi, fa, sol, la, ti"
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Author: kdk
Date: 2026-08-10 04:03
I'm not sure how it would help people to memorize music, especially if the whole sol-fa system is new. Solfegge (the French word for solfeggio) is a way of naming notes, not really unlike using letter names, except that the pronunciation of letter names tends to be language-dependent, and players who speak different languages might not understand each other's note names. The solfegge syllables' pronunciation is, from my experience, pretty consistent across different languages. So, a German player singing "sol-mi-fa-la-sol-fa-mi-mi" at the beginning of the Mozart Concerto (using the written, untransposed notes) would be understood by American, English, French or probably Japanese musicians whose alphabets all sound different. Using concert pitch wouldn't change the usefulness of the syllables, although it would complicate things unless you use clefs instead of note-to-note transposition.
People thoroughly trained to use sol-fa syllables for reading music also learn over time to hear and recognize the pitch relationships among notes, which can aid in sight-reading. And then there's the whole area of fixed vs. moveable "do."
I don't see what any of this would have to do with memorizing, unless your memory for a series of disembodied syllables is a lot stronger than your melodic pitch memory. I guess I'd need to know who has told you this to be able to make more sense of it.
Karl
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