Synonyymit & Anagrammeja | englanti sana SOLFEGE

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Esimerkkejä SOLFEGE käyttämisestä lauseessa

• In English the term Do is used interchangeably with C only in the context of fixed Do solfège; in the movable Do system Do refers to the tonic of the prevailing key.
• In the Movable do solfège, the hexatonic major blues scale is solmized as "do-re-me-mi-sol-la"; In the La-based minor movable do solfège, the hexatonic minor blues scale is solmized as "la-do-re-me-mi-sol".
• The chant is useful for teaching singing because of the way it uses successive notes of the scale: the first six musical phrases of each stanza begin on a successively higher notes of the hexachord, giving ut–re–mi–fa–so–la; though ut is replaced by do in modern solfège.
• There is a continual debate about the merits of this system as compared to solfege: it holds the advantage that when dealing with abstract concepts such as interval distance a student may easily recognize that the distance between 1 and 5 is larger than the distance between 1 and 4 because of the numerical values assigned (as compared to Solfege, where comparing Do to Sol and Do to Fa remain completely abstract until sung or played).
• In 1835, his father resolved that the time had come for wider audiences, and brought César-Auguste and his younger brother Joseph to Paris, to study privately: harmony and counterpoint with Anton Reicha, piano with Pierre Zimmerman, and solfège with Hippolyte-Raymond Colet.
• Wigman came to dance comparatively late after seeing three students of Émile Jaques-Dalcroze, who aimed to approach music through movement using three equally important elements: solfège, improvisation and his own system of movements—Dalcroze eurhythmics.
• She won a second prize in solfège in 1829, a first prize in vocalization (vocalisation) in 1830, and a first prize in singing (chant) in 1831.
• The Guidonian hand is closely linked with Guido's new ideas about how to learn music, including the use of hexachords, and the first known Western use of solfège.
• Three years after Greece's debut in the contest, the country achieved its first top-five result with the song "Mathima solfege" (Solfege Lesson) performed by Bessy, Paschalis, Marianna and Robert in 1977.
• The "conversation" between humans and the just-arrived aliens depicted towards the end of the Steven Spielberg motion picture Close Encounters of the Third Kind, which features the iconic five-tone aural motif from the film, uses hand signals which correspond to rey, me, doh, doh (again, but a full octave lower), and soh from Curwen's Solfège, as depicted in the chart Manual Signs of Tone and Key shown above.
• These include his Méthode complète de vocalisation, in editions for all categories of voice; solfège exercises in editions for solo voice, vocal ensembles, piano, and violin; vocalises; and other specialized exercises.
• These included Marinella's "Krasi, thalassa ke t'agori mou" (1974), Paschalis, Marianna, Robert and Bessy's "Mathima solfege" (1977), Tania Tsanaklidou's "Charlie Chaplin" (1978), Elpida's "Sokrati" (1979), Anna Vissi and the Epikouri's "Autostop" (1980), Bang's "Stop" (1987) and Antique's "Die for You" (2001).
• During the voting phase, video clips of previous Greek Eurovision entrants were shown, including Marinella's "Krasi, thalassa ke t'agori mou" (1974), Paschalis, Marianna, Robert and Bessy's "Mathima solfege" (1977), Tania Tsanaklidou's "Charlie Chaplin" (1978), Elpida's "Sokrati" (1979), Anna Vissi and the Epikouri's "Autostop" (1980), Bang's "Stop" (1987), Sophia Vossou's "I anixi" (1991), Cleopatra's "Olou tou kosmou i Elpida" (1992) and Katy Garbi's "Ellada, hora tou fotos" (1993).
• In Egypt he studied composition under Gamal Abdel-Rahim, music history under Samha El-Kholy, harmony under Awatef Abdel Karim, counterpoint under Laiela El-Saiyad, instrumentation under Gihad Dawoud, orchestration under Youssef Elsisi, score reading under Gamal Salama, Schenkerian analysis under Ahmed El-Saedi, music education under Ikram Matter and solfege under Aiyda Danial.

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