Synonymer & Information om | Engelska ordet SOLFÈGE

Exempel på hur man kan använda SOLFÈGE i en mening

• In English the term Do is used interchangeably with C only in the context of fixed Do solfège; in the movable Do system Do refers to the tonic of the prevailing key.
• In the Movable do solfège, the hexatonic major blues scale is solmized as "do-re-me-mi-sol-la"; In the La-based minor movable do solfège, the hexatonic minor blues scale is solmized as "la-do-re-me-mi-sol".
• The chant is useful for teaching singing because of the way it uses successive notes of the scale: the first six musical phrases of each stanza begin on a successively higher notes of the hexachord, giving ut–re–mi–fa–so–la; though ut is replaced by do in modern solfège.
• In 1835, his father resolved that the time had come for wider audiences, and brought César-Auguste and his younger brother Joseph to Paris, to study privately: harmony and counterpoint with Anton Reicha, piano with Pierre Zimmerman, and solfège with Hippolyte-Raymond Colet.
• Wigman came to dance comparatively late after seeing three students of Émile Jaques-Dalcroze, who aimed to approach music through movement using three equally important elements: solfège, improvisation and his own system of movements—Dalcroze eurhythmics.
• She won a second prize in solfège in 1829, a first prize in vocalization (vocalisation) in 1830, and a first prize in singing (chant) in 1831.
• The Guidonian hand is closely linked with Guido's new ideas about how to learn music, including the use of hexachords, and the first known Western use of solfège.
• These include his Méthode complète de vocalisation, in editions for all categories of voice; solfège exercises in editions for solo voice, vocal ensembles, piano, and violin; vocalises; and other specialized exercises.
• At the instigation of Jean Gehret, in 1933 Joachim began singing lessons, with Germaine Chevalet; her progress was such that she entered the competition to enrol at the Conservatoire de Paris, joining the class of Suzanne Cesbron-Viseur in October 1935, later studying with Georges Viseur (solfège) and Pierre Chéreau.
• From 1831 he worked at the Conservatory as successor of Ferdinand Gasse in solfège and later as piano teacher at the École de musique classique et religieuse of Louis Niedermeyer, where he was succeeded by Camille Saint-Saëns in 1865.
• Douze Leçons de solfège: à changements de clefs sur toutes les clefs (difficiles et très difficiles), Henry Lemoine, 1953.
• Both borrowed Chinese music terms in order to lexicographically collate words by pronunciation: the contrasting terms qīng 清 "clear; high pitch" and zhuó 濁 "muddy; low pitch", and the wǔshēng 五聲 "five musical tones (of the pentatonic scale)": gōng 宮, shāng 商, jué 角, zhǐ 徵 and yǔ 羽—equivalent to do, re, mi, sol, and la in western solfège.
• Here he was a student of Berthe Duru (solfège), Jules Gentil (piano), Félix Passerone (drums), Marcel Dupré and Rolande Falcinelli (organ and improvisation), Louis Fourestier (conducting), Noël Gallon (counterpoint and fugue), Henri Challan (harmony), Norbert Dufourcq (music history) and Tony Aubin (composition).
• Répertoire pratique du pianiste: Précedé de conseils préliminaires pour apprendre les notes et le solfège, aider au choix et à l'étude des morceaux : accompagné de 20 exemples musicaux (How a pianist should practice: with preliminary advice for learning the notes and music theory, to help in the choice and study of pieces, accompanied by 20 musical examples).

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