I'm not trained in tonic solfa and don't find any advantage in singing by using it. That said, I'm as likely to write "fah" over an entrance that's difficult to pitch as writing "IV', but my "fah" relates to the key that the music *feels* like it's in at the time. (I have a good memory for pitch, but it's almost completely relative; I don't have perfect pitch.) So my question is, when you're singing along with typing a piece that's in Aflat major, how do you cope with the fact that your "do" is now "III" in the scale (IOW, you seem to be transposing the whole time)?
It seems to me that your question is based on the assumption that the syllable "do" should have some inherent meaning of "tonic". But this is simply not the case in French practice (and, for that matter, Italien, Spanish, Russian etc.) - it's just the name of an (absolute) note. That the same, or rather, quite similar syllables are being used in other countries (and pedagogical contexts like tonic solfa) to have a _relative_ meaning is really unfortunate; their basic incompatibility leads to headaches all over the place when you want to accomodate mixed groups from both cultures. (This is something I have to cope with every day, teaching in a quite international environment at schools in Germany and Austria.)
Lukas _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
