na melody. Thus, the other syllables, ‘Re, Mi, Fa, Sol, La, Ti" do not have shat sense of rest. Rather, each one has a distinctive sense of resolution to “Do” is simply Ti Do. So, while they both resolve to Do, they each take a different path. ach distinctive path is your first task in learning Sol-Fa. Method For Singing Sol-Fa Look at the following example: ®%.8 Do Re Mi Re Mi Fa Mi Re Do 1. Geta reference note from the piano, your instrument, a pitch pipe or a tuning fork. That note will be Do. 2. Sing that note and stop. 8. Listen internally for the next Sol-Fa note, Re. (Think of Re’s resolution to Do.) 4. Sing the note Re. 5. Repeat this technique for the rest of the notes until you get back to Do. 6. Play your reference note to check your intonation. Practice Tips Go slow enough on each note to feel sure about your intonation. Never play the pitches on the piano after you have sung them (until you get to the end). You must adjust your intonation by concentration, not by matching the piano. If, after singing the example, you find that you are sharp or flat, sing the example again — slower and with more attention given to the intonation of each note. Putting silence between each note is essential to build your inner hearing. Notice that when you are searching for the next pitch in silence your voice box moves to that pitch. This is. called muscular memory — your musical mind and your throat working together. Using silence between the notes will help you develop a vivid inner sense of musical sounds — and that is a primary goal of ear training, ETI Chapter 1-9 la a EE a