Exercises in the diatonic scale 

Introduction 
1. Scales and scale sections 
1.1 The do-scale 
1.2 Dichords (1 2) 
1.3 Trichords (1 2 3) 
1.4 Tetrachords (1 2 3 4) 
1.5 Pentachords (1 2 3 4 5) 
1.6 Hexachords (1 2 3 4 5 6) 
1.7 Diatonic scales/modes (1 2 3 4 5 6 7 8) 
2. Intervals 3-7 
2.1 Thirds (1 3) 
2.2 Fourths (1 4) 
2.3 Fifths (1 5) 
2.4 Sixths (1 6) 
2.5 Sevenths (1 7) 
3. Triads 
3.1 Root position (1 3 5) 
3.2 First inversion (1 3 6) 
3.3 Second inversion (1 4 6) 
4. Seventh chords 
4.1 Root position (1 3 5 7) 
4.2 First inversion (1 3 5 6) 
4.3 Second inversion (1 3 4 6) 
4.4 Third inversion (1 2 4 6) 
Appendix: scale overview 

Introduction 
Here are some exercises to help you internalise solfa using scale, interval, and 
chord patterns in the diatonic scale (do re mi fa so la ti). They absolutely do not 
substitute singing “real music”, but will definitely support your understanding of 
it as well as improve ease in sight singing. Sing the exercises in any key that is 
comfortable to your voice (take a comfortably low note as the starting pitch of 
each exercise, jump octave if necessary). Sing over a ​drone​ that is your ​do​, or, 
when you are singing the chords, you may play the lowest tone of each column 
on the piano (moving along with the exercise) and sing over that. Later, sing the 
exercises unaccompanied as well.  
 

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In each exercise, the numbers in brackets and in the left column stand for the 
intervallic pattern to be realised on each tone in the scale, and the first pattern 
is already given in solfa. Analyse the pattern and realise the same on each 
consecutive degree of the scale. Only use diatonic tones, and use your ​Movable 
Do Disc​ to visualise. Try to hear the tones as you’re writing them in the table. Use 
only their initials (d r m f s l t) to write them! Use commas and apostrophes to 
mark the lower and upper octave, if needed. A scale covering three octaves, from 
low to high, will look like this:  
 
d, r, m, f, s, l, t, d r m f s l t d’ r’ m’ f’ s’ l’ t’ d’’ 
 
When you sing the exercise from your notation, use ​hand signs​ to support your 
singing. If you can sing an exercise by heart (because you understand its 
pattern), sing and point to the tones on your Movable Do Disc. Notice the ​major, 
minor, perfect, diminished or augmented intervals​ you are singing within each 
pattern, and going from the pattern on one scale degree to the next! 
 
Sing the pattern in the given order, but also look for variations. For example, 
from the trichord pattern 1 2 3 and its ​retrograde​ (and ​inversion​) 3 2 1 we can 
form these variations with their retrogrades: 
- 1 3 2 and 2 3 1 
- 2 1 3 and 3 1 2 
 
When you have established the pattern, you can sing the exercises as shown in 
the following tables (with a pattern ↑↓ it is not necessary to sing the highest tone 
twice, as it is not necessary to sing the lowest tone twice with a pattern ↓↑) :   
 
Up and down 
  ↑↓  ↑↓  ↑↓   ↑↓  ↑↓  ↑↓  ↑↓  ↑↓ 
 
Up 
  ↑  ↑  ↑  ↑  ↑  ↑  ↑  ↑ 
 
Down and up 
  ↓↑  ↓↑  ↓↑  ↓↑  ↓↑  ↓↑  ↓↑  ↓↑ 
 
Down 
  ↓  ↓  ↓  ↓  ↓  ↓  ↓  ↓ 
 
Alternating up and down 
  ↑  ↓  ↑  ↓  ↑  ↓  ↑  ↓ 
 
Alternating down and up 
  ↓  ↑  ↓  ↑  ↓  ↑  ↓  ↑ 

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Sing the exercises ascending (from left to right) as well as descending (from right 
to left). 
 
In the triad and seventh chord exercises, the second table, right below each 
exercise, shows symbols in capital letters. These are chord symbols in solfa, that 
summarize the collection of tones you find above it. You can figure out what 
each symbol stands for by looking at which intervals are on the root. “x” marks 
the leading tone in the dominant chord. 
  
Take your time to sing each tone, and later also experiment with any rhythm you 
like and sing it in tempo (this ​drone tool​ has a metronome function too!).​ ​But 
don’t rush! ​The slower you sing, the more time you have to hear, understand, 
and appreciate the different tones in their diatonic environment, each with their 
very own particular character. Enjoy the sounds you create! 
 
When you are ready for it, you can sing the exercises on ​letternames​ in any key 
or all keys (use the German/Dutch convention to sing tones with sharps or flats 
with one syllable). Use your ​Movable Do Disc​ to make it easier! Finally, if you play 
an instrument, play the exercises on it. 
 
Also, make variations on the exercises: 
- with the interval and chordal exercises you might want to add the upper 
octave of the bottom tone of each pattern (though this will increase the 
range) 
- add chromaticism  
- make similar exercises using different scales (see ​Appendix​) 
- change the function of the drone with each column, starting the pattern 
on each new degree on the same pitch (d=r=m etc.). This will work with all 
exercises except no. 1.1. This means you change the tonal environment with 
each pattern; the solfa has to be very well internalised for you to be able 
to sing it this way! 
 
Have fun!   

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1. Scales and scale sections 

1.1 The do scale 

  d  r  m  f  s  l  t  d’ 
 

1.2 Dichords (1 2) 

2  r               

1  d    r            d’ 

1.3 Trichords (1 2 3) 

3  m               

2  r               

1  d                d’ 

1.4 Tetrachords (1 2 3 4) 

4  f               

3  m               

2  r               

1  d              d’ 

   

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1.5 Pentachords (1 2 3 4 5) 
5  s               

4  f               

3  m               

2  r               

1  d              d’ 

1.6 Hexachords (1 2 3 4 5 6) 

6  l               

5  s               

4  f               

3  m               

2  r               

1  d              d’ 

1.7 Diatonic scales/modes (1 2 3 4 5 6 7 8) 

8  d’               

7  t               

6  l               

5  s               

4  f               

3  m               

2  r               

1  d              d’ 

   

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2. Intervals 3-7 

2.1 Thirds (1 3) 

3  m               

1    d              d’ 

2.2 Fourths (1 4) 

4  d               

1    s,  l,  t,  d         

2.3 Fifths (1 5) 

5  s               

1    d              d’ 
 
If you feel unready for exercises 2.4 and 2.5, skip them for now and come back to 
them after mastering exercises 3.1-4.1. 

2.4 Sixths (1 6) 

It might help to think of the interval of a sixth as an inversion of a third! 
6  l               

1    d              d’ 

2.5 Sevenths (1 7) 

It might help to think of the interval of a seventh as an inversion of a second!
7  t               

1    d              d’ 
 
They are not shown in a table, but do sing octaves going through the scale as 
well, it is not as easy as it may seem! 

   

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3. Triads 

3.1 Root position (1 3 5) 

5  s               

3  m               

1  d              d’ 

 
Symbol:  D  R-  M-  F  Sx  L-  To  D 

3.2 First inversion (1 3 6) 

6  d               

3  s,               

1  m,                m 

 
Symbol:  D/m  R-/f  M-/s  F/l  Sx/t  L-/d  To/r  D/m 

3.3 Second inversion (1 4 6) 

6  m               

4  d               

1  s,               s 

 
Symbol:  D/s  R-/l  M-/t  F/d  Sx/r  L-/m  To/f  D/s 

   

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4. Seventh chords 

4.1 Root position (1 3 5 7) 

7  t               

5  s               

3  m               

1  d               d’ 

 
Symbol:  D△  R-7  M-7  F△  Sx7  L-7  Tø  D△ 

4.2 First inversion (1 3 5 6) 

6  d               

5  t,               

3  s,               

1  m,              m 

 
Symbol:  D△/m  R-7/f  M-7/s  F△/l  Sx7/t  L-7/d  Tø/r  D△/m 

4.3 Second inversion (1 3 4 6) 

6  m               

4  d               

3  t,               

1  s,              s 

 
Symbol:  D△/s  R-7/l  M-7/t  F△/d  Sx7/r  L-7/m  Tø/f  D△/s 

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4.4 Third inversion (1 2 4 6) 
6  s               

4  m               

2  d               

1  t,              t 

 
Symbol:  D△/t  R-7/d  M-7/r  F△/m  Sx7/f  L-7/s  Tø/l  D△/t 

Appendix: scale overview 

Here is an overview of some common scales, some of which you have already 
seen in exercise 1.7. Make your own exercises for the other scales! 
 
Ionian/major  do is tonic (d r m f s l t d’) 

Dorian  re is tonic (r m f s l t d’ r’; alternative solfa: l, t, d r m fi s l) 

Phrygian  mi is tonic (m f s l t d’ r’ m’) 

Lydian  fa is tonic (f s l t d’ r’ m’ f’; alternative solfa: d r m fi s l t d’) 

Mixolydian  so is tonic (s, l, t, d r m f s; alternative solfa: d r m f s l ta d’) 

Aeolian/natural  la is tonic (l, t, d r m f s l) 

minor 

Locrian  ti is tonic (t, d r m f s l t) 

Harmonic minor  la is tonic, scale has a leading tone to the tonic (l, t, d r m f si l) 

Melodic minor   la is tonic, scale with fi as well as si (l, t, d r m fi si l) 

Pentatonic   d r m s l (each of the tones can be tonic) 

Blues  la is tonic (l, d r ri/ma m s l) 

Acoustic scale  d r m fi s l ta d’ (occurs in various modes, possibly with different 

solfa) 

Whole tone  d r m=d r m=d r m or for example ta, d r m fi si li/ta or any 

solution you find 

Octatonic  1-½: l t d’=l t d’=l t d’=l t d’ or as a five tone pattern l, t, d r ma 

½-1: t, d r=t, d r=t, d r=t, d r or as a five tone pattern m f s lo ta 
or any solution you find 
 

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