Tonic Solfa

We are starting to have a closer look at melodies. We discussed 2 tones connection in the last section and we’ll soon talk about the characteristics of a single tone.

But we have a serious problem left…We don’t have any names for each tone yet.

1. Relative Names

Yes, but No at the same time because ABC are almost unusable in discussing melodies.

Relativity in Music

The point is: Humans listen to music mainly from relative perspective, as was seen in the discussion on the mechanism of scales. Say, “Imagine” by John Lennon is covered by so many artists.

…And the key of the song is often changed so that it fits best to the singers’ vocal range. The key getting transposed, the absolute pitches of melody change, as a matter of course.

But, you know, you can recognize them as “the same melody”. This is the relativity in music. ABC pitches are just superficial data and what you have to look into is the relative musical structure behind it. Relative to what? —to the key, or to the tonal center.

Now you understand what I mean by “we don’t have names for tones”. In terms of relative pitch positions, the only word we have so far is just “tonal center”! We can’t go on expanding melody theory in such a poor environment. We’ve got to get something nice, something suitable for melodic analysis.

2. Scale Degree Names

To settle the issue, Western music theory gives following names to each tone of major scale:

The center tone of a key is called tonic, and the tone above it is supertonic, above it is mediant…These names are called Scale Degree Names or simply scale degrees.

With nice names given, the relative structure of a melody can be abstracted from actual pitches.

The melody of “Yoo hoo hoo” is mediant-dominant-mediant-supertonic-tonic!! Fine…but…obviously too lengthy for transcribing the entire melodic lines, even though they may be great for pointing just one tone. We need something better.

3. Scale Degree Numerals

There’s a rather more simple way of abstracting pitches : Just assign numerals to each note.

To clarify that they’re special numbers for melodies, carets(^) are put on the top. Such numbers assigned to notes are also called scale degrees.

In a different key, a different note is assigned No.1.

Numerals are far shorter than the polite names like “supertonic” or “submediant” so they’re much handier for transcribing melody lines.

“Yoo hoo hoo” is now “3-5-3-2-1”. Looks perfect!! But…numeral analysis has one drawback, unfortunately.

Singability Issue

On analyzing melodies, it is quite common to sing a melody with its lyrics replaced by relative pitch names. And when it comes to singing, even numerals are too lengthy.

It’s barely possible in such a slow rhythm. Real melodies are much more rhythmic so it’s virtually unfeasible to sing with numbers. We have to find something even better…