"David W. Fenton" <[EMAIL PROTECTED]> wrote:
> Huh? To me movable Do is all about not *needing* to think in
> intervals, because you sense where the notes are by scale-degree
> function. To sing Do-Sol, you don't need to think "up a fifth" you
> just need to think "tonic to dominant function."
Whereas to me, intervals enable me to do without sol-fa or solfeggio.
To sing Do-Sol, I don't need to think "tonic to dominant function", just
"up a fifth". If I want to talk about tonal harmony inside the family
(including son and daughter, both classically trained) I would use the
rather cumbersome "tonic", "supertonic", "mediant", "subdominant",
"dominant", "submediant", "leading note", with "sharpened" or
"flattened" as necessary.
Movable Do may help some people in singing by ear or from memory, but it
doesn't help playing. For that I need to turn the sound of an interval
into a note name, which I usually do directly (i.e. not via the name of
the interval).
There seem to be many different mental processes for the same musical
functions, arrived at either by accident, or deliberately taught in some
musical traditions. For pitch, I don't know of any evidence for a clear
winner. For time values and rhythm, the French tradition seems to give
better results than the English one. In particular, English amateur
musicans include many who are extremely weak in this area.
--
Ken Moore
Musician and engineer
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