From the proposed article, you will find out why some music students do not like solfeggio and harmony, why it is so important to love these teachings and study them regularly, and what results do those who prudently with patience and with humility approach to studying these disciplines.
Many musicians admit that during their years they didn’t like theoretical disciplines, simply considering them superfluous, unnecessary subjects in the program. As a rule, in a music school, such a crown is assumed by solfeggio: due to the saturation of the school course of solfeggio, students of the music school (especially truants) often do not have time for this subject.
At school, the situation is changing: solfeggio here appears in a "transformed" form and is liked by most students, and all past indignations bring down harmony - a subject not understandable to those who did not cope with elementary theory in the first year. Of course, one cannot say that such statistics is accurate and characterizes the attitude to the studies of the majority of students, but one thing is for sure: the situation of underestimating the music-theoretical disciplines is extremely common.
Why it happens? The main reason is laziness, well, or, to call it more decently, laboriousness. Courses of elementary theory of music and harmony are based on a very rich program that you need to master in an extremely small number of hours. From here comes the intense nature of the training and a large load on each lesson. None of the topics can not be left without elaboration, otherwise you will not understand all of the following, which certainly happens to those who allow themselves to skip classes or not to do homework.
The accumulation of gaps in knowledge and the constant postponement of solving urgent problems for then leads to complete confusion, which only the most desperate student will rake (and will benefit a lot as a result). Thus, laziness leads to blocking the professional growth of a student or student due to the inclusion of inhibitory principles, for example, of the following type: “Why dismantle what is not clear - it’s better to reject” or “Harmony is complete nonsense and no one needs it except mad people ".
Meanwhile, the study of the theory of music in its various forms plays a huge role in the development of a musician. So, the solfeggio classes are focused on the formation and training of the most important professional instrument of the musician - his musical ear. The two main components of the solfeggio component - singing by notes and learning by ear - help to master two main skills:
- see the notes and understand what kind of music is recorded in them;
- Hear the music and know how to write it notes.
Elementary theory could be called the alphabet of music, and harmony - its physics. If knowledge of the theory allows us to identify and analyze any particles that make up music, then harmony reveals the principles of the relationship of all these particles, talks about how the music is organized from the inside, how it is organized in space and time.
Look at a few biographies of any composers of the past, you will definitely find references to those people who taught them to general bass (harmony) and counterpoint (polyphony). In the matter of teaching composers, precisely these teachings were considered the most important and necessary. Now this knowledge provides a solid foundation for a musician in his daily work: he knows exactly how to pick up chords for songs, how to harmonize any melody, how to arrange your musical thoughts, how not to play, or not to sing a fake note, how to memorize a very musical text fast etc
Now you know why it is so important with full dedication to engage in harmony and solfege, if you decide to become a real musician. It remains to add that learning solfeggio and harmony is pleasant, exciting and interesting.
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