Lukas-Fabian Moser <l...@gmx.de> writes: > The problem is that there's really a large number of different > "solfege" methods, some being considered as "natural" in a couple of > countries or by a certain school of theoreticians, and in fact I have > to deal with the issue of finding a common ground for students from > many different backgrounds quite often, being a theory teacher at a > major European music university with a very international student > base. For example, I know
Musing about the historical correctness of absolute vs relative solfege is kind of an exercise in futility considering it had been invented in a frame of tonalities very much foregoing black keys. -- David Kastrup
