ANSWERS: 5
  • If you search Google for "origin do re mi" one of the hits you get is this one http://en.wikipedia.org/wiki/Solfege Basically, the system is called Solfege. Interestingly, there are names on all 12 chromatic intervals, not just the diatonic notes, which I've not seen before. But the diatonic names come from the first syllables of each verse of the medieval hymn Ut queant laxis, with a couple of changes. This hymn has each verse start on the next ascending diatonic note of the major scale. Hope this is useful.
  • Hello, I teach an advanced musicianship course at a college preparatory conservatory. We teach Kodaly there, which is a musicianship training tool based on solfege. Solfege syllables use a "moveable do"--in other words, the key note (or tonic--e.g., C in the key of C Major or D in the key of D Major) is always called Do. The diatonic scale of C major in solfege would be: Do-C Re-D Mi-E Fa-F So-G (aka, Sol, but say "So" when singing solfege! It aids in pitch accuracy) La-A Ti-B Do-C Between those pitches are: Di-C# (enharmonic with Db) Ra-Db (enharmonic with C#) Ri-D# Me-Eb Fi-F# (there can't be an Fb--that would be E! So b4 or flat-Fa doesn't exist!) Se-Gb Si-G# Le-Ab Li-A# Te-Bb Additionally, there are handsigns for some of the pitches. They are: Do--a fist Re--hand straight and at a 45ยบ angle (pointing up) Mi--hand straight and level Fa--thumb down (as in boo!) So--palm facing self, hand straight La--hand like an upside down "U" Ti--point up to Heaven (leading tone--pointing up to Do) To keep it simple, for chromatic alterations (up or down a half-step), simply point up or down with the other hand. The only time this is NOT the case is when we have a change in where an already strong tendency would take us. That is, on Fa to Fi, So, Si, and Ti to Te. Fi--thumb up (good job!) Si--jazz hand (open your hand, palm facing you--spread your fingers) Te--point down to the ground, instead of toward Heaven (pointing DOWN to La or Le) Also, when learning solfege, it is best to start with Mi and So first. Then add them in this progression (one at a time): La, Do, Re, Ti, Fa. When you get to chromatics, take it slowly. I would begin with Me and Fi, then work systematically through the rest. Te will probably be the hardest, because it really denies tonality. By defeating the strongest tendency tone in the major/minor tonality system, you really mess with the ear. Mike
  • The origin of the use these specific names for the notes starts with the comment at http://en.wikipedia.org/wiki/Solfege that there is a variation "Do, Re, Mi, Fa, So, La, Si, Do" that is used in Continental Europe and was common in English-speaking countries until John Curwen changed Si to Ti so each syllable would start with a different letter. Hence one needs to look at Do, Re, Mi, Fa, So, La, Si, Do. The sub-article at http://en.wikipedia.org/wiki/Ut_queant_laxis gives something of the flavour of the origin - it comes from a hymn and "Do" is 'probably inspired by the word Dominus (Lord)' and the main article indicates that Solfege had been discussed in the Upanishads, philosophical and spiritual commentaries. Expanding on this is the following explanation which I have heard. The names of the notes are the first two letters of each of these word concepts - Do=Dominus=dominate=Lord Re=Regina=Queen of heaven=moon Mi=Miracula=miracle=peace/world (in Russian) Fa=Fatum=fate=astrolgy=planets=solar system So=Sol solis=solar=sun La=lac lactis=milk (as in lactic acid)=milky way=galaxy Si=Sidus=constellation=sidereal=starry system Do=Dominus=dominate=Lord Hence the names begin with Lord and, in ascending order, describe the layers of the physical universe, in ascending order, ending with the Lord. An interesting observation is that the word "universe" itself means "one-song" so it is not surprising to see its physical structure described in musical terms.song".
  • Hello, In "A Beginner's Guide to Constructing the Universe: The Mathematical Archetypes of Nature, Art And Science-A Voyage From 1 to 10" by Michael S.,Schneider, states on page 234 second paragraph, "Western civilization's seven note diatonic (from the Greek "across the tones") musical scale (the piano's white key) have been used from time immemorial. In ancient times it was traditional to arrange the strings to play the scale downward, as if it were descending from heaven. The modern names of the seven familiar notes in descending order, DO-SI-LA-SOL-FA-MI-RE-DO, were proposed by Guido d' Arezzo, inventor of the musical staff, around 1000 AD. These popular names are only the first letters of Latin words whose traditions reveals a cosmological structure derived from an earlier age: DOminus "Lord" Absolute SIder "Stars" All Galaxies LActea "Milk" Milky Way Galaxy SOL "Sun" Sun FAta "Fate" Planets MIcrocosmos "Small Universe" Earth REgina Coeli "Queen of Heavens" Moon DOminus "Lord" Absolute The seven note scale is meant to model the hidden side of the macrocosmic design, the universe ruled by mathematical harmonies of music. The scale structure implies that the universe emerges from absolute divinity, descends through a seven stage celestial hierarchy and returns to absolute divinity. The ancients designed and used musical scales to play the harmonies of the heavens, the music of the spheres pleasing to both gods and humans. Music was meant to allow the higher principles to enter our lives through our sense of hearing and our emotions. My understanding of the Solfeggio frequencies is: they are frequencies embedded in Georgian chants that affect changes in the DNA of the human body and there were only 6 genuine frequencies. The 7th was added I guess to make it compatible with the 7 note musical scale. Some believe them to be a lost Bible Codes and a very powerful healing frequencies. The evolution of the frequencies are below and one reference can be found at: http://www.relfe.com/solfeggio.html. There are dozens of other sites with this information. The 7 note musical scale beginning with DO date back to the ancient Pythagorean age of mystery schools. Pythagoras (569-475 BC) is credited with bringing the musical scale to Europe which he learned in Egypt, India, and Chaldea. He is said to be the first to teach the harmonious cosmic relationship known as "the music of the spheres", which teaches that music is based on the mathematical relationships found in nature which can be expressed by ratios of simple whole numbers, outside the temple. The Solfeggio frequencies date back to the 17th century. The Original Solfeggio 1. Ut - queant laxis 2. Re - sonare fibris 3. Mi - ra gestorum 4. Fa - muli tuorum 5. Sol - ve polluti 6. La -0 biireatum The Earlier Modified Solfeggio 1. Ut - queant laxis 2. Re - sonare fibris 3. Mi - ra gestorum 4. Fa - muli tuorum 5. Sol - ve polluti 6. La - biireatum 7. SI - Sancto Iohannes The Current Modified Solfeggio 1. Do - queant laxis 2. Re - sonare fibris 3. Mi - ra gestorum 4. Fa - muli tuorum 5. Sol - ve polluti 6. La - biireatum 7. TI - Sancto Iohannes Hope you find this useful.
  • Some of the answers to this question seem to make overly complicated a very simple answer. The "Hymn to St. John" by Guido of Arezzo (c. 991-1033) which has been quoted in other answers, begins each phrase no the next successive note of the relative scale in Gregorian Chant. Ut queant laxis Resonare fibris Mira gestorum Famuli tuorum Solve polluti Labii reatum Sancte Johannes. ...which, roughly translated, is... So that your servants may, with loosened voices, resound the wonders of Your deeds: clean the guilt from our lips, O Saint John.

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