Doe, a Deer, a Female Deer Teaching Music: a guide for instructors” which needs no reference save the jingle I remember as a kid for ‘do, re, me, fa. so, la, te, do’ – the major scale. As an aid to teaching theory and learning to play instruments.
I.
Music is a powerful memory aid, why else do advertisers seek out a catchy jingle to associate with a brand? Everyone likely has had a tune stuck in their head at one time. You are not hearing anything, your mind remembers and plays the melody internally.
Few people know the title of the 1955 Warner Brother’s cartoon is “Another Froggy Evening”, perhaps some remember the dancing and singing frog episode. But hum the melody to “Hello ma Baby” and most people who have seen it will remember what you refer to.
Perhaps this material is out of date, yet such does not render the concept invalid. It means we should teach it again if it has been allowed to slide.
II.
I recall as a kid learning the major scale by the little jingle for do, re, me, fa, so, la, te, do. The one that starts with the root note “do a deer, a female deer”, remember? And the other notes are likewise covered. If you learned it, it sticks in your head, even decades later.
This is a guide on using that jingle to teach music to kids especially. It assumes the instructor is familiar with the basic theory concepts presented. It is presented as a means for you, the instructor, to use creatively where needed. I will begin with an explanation of how important the major scale is. Then present some examples how the jingle can be employed. Be aware that this is not meant to substitute for an understanding of half steps, whole steps, and the rest of traditional theory. It is an aid to helping students understand those concepts.
III.
Western music is based on the major scale. do, re, me, fa, so, la, te, do. Sharps and flats in the context of scales and chords are based on that note relative to the major scale reference. A flat 3rd is the 3rd note of the major scale down one half step. A flat 7th is the seventh note of the major scale down one half step. A #5 is the fifth note of the major scale up one half step.
Chords are based on the notes of the major scale, modes are the notes of the major scale played from a non root position up one octave. Of course this is a simplified description but it is a fundamental concept that should be understood before explaining the superlocrian scale is the 7th mode of the melodic minor scale. Once this basic principle is grasped thoroughly, then one can use the same principles to explain the superlocrian scale is a root, b2, #2, 3, #4, b6, b7. Even if you don’t know what this is, that notation makes it easy to play, the major scale, flat the 2, #the 2, major 3rd as normal, # the 4, flat the 6, flat the 7th. Notice how there is no 5 shown. Does it matter? Perhaps if you wish to be technical; but in playing just think major scale and alter the notes as shown.
Jazz, the most complex form of western musical fusion is still based on the major scale. A standard “IIm V7 I” progression is the harmonized 2nd note of the major scale, harmonized 5th note of the major scale, back to the harmonized root note of the major scale. Soloing over a II V I you start with the Dorian mode on the II, the Mixolydian mode over the V, and the Ionian or major scale over the I. But you are just playing the major scale each time, emphasizing a different tonal center: the 2 the 5 and back to 1.
I hope that was enough to convince you how important the major scale is as a fundamental building block required for learning more complex aspects of music.
IV.
I shall present some examples that should be seen as ideas to draw upon rather than entrenched principles.
It is convenient that there is a catchy jingle, do, re, me, fa, so, la, te, do – for the major scale. It used to be widely taught.
If someone looks at you questioningly when you say the 6th, ‘la’, do re me fa so la, aids understanding what you refer to.
So, using one of the words along with the correct theory term: the 6th ‘la’ can be a useful tool in both getting your point across and in the student’s long term recall. Now that the 6th is associated with ‘la’ and remembering the jingle in your head,
“when it sounds like ‘la’ it means i’ve found or am playing correctly the 6th”
V.
This jingle references position and sound. If someone plays the 3rd by mistake instead of the second,
‘re’ not ‘me’
‘do re’
‘not do re me’
helps the student learn the second is a whole step down from the third. Once the jingle is stuck in your head, you have a reference for the entire major scale.
Vi.
What is minor? We all know it’s a flat 3rd. But that means we know what a 3rd is beforehand. When you are starting out, you don’t know this. So minor can be explained as “go do re me, then play me one fret or one key down”
It’s a flat me.
do re flat me
one two minor third.
do re me,
one two major third.
Let’s take a closer look. By counting you are showing what note it is,
do re me,
1,2,3
from the jingle, it’s easy to remember what the note is and sounds like
me is associated with the 3rd note of the major scale,
and now flat me means down one half step from normal me.
Which is a minor 3rd. There are countless ways to use this creatively as a teaching aid.
Minor is a sad sound
Major is a happy sound
me, the major 3rd is happy
flat me, the minor third is sad
Remember ‘me a name I call myself’
me the note is associated with a tone referenced to the root
me the word can be used in it’s original context to emphasize the concept of minor
- flat (unhappy, not smiling) me is sad and minor sounding
the jingle puts all of these in the same context.
VII
Remember it is your job as an instructor to get to know each student personally and figure out what works best for each. So again I point out these examples are meant to serve as ideas to play with in helping individual students with different learning styles. They are not fixed in stone. If you are jazz trained, you understand how to improvise. This is improvising with the meaning of words which the jingle has defined, and finding out how to relate to a student’s needs by combining all the contexts in a way the student can relate to easily.
This tool gives you the power of the entire english language, as stories, or fairy tales, or the student personal experiences or whatever you can come up with to help teach music. It lets you reach out to the student in a more personal way. The goal is to help teach everyone in a way that works best for that student.
This tool lets you combine something common,
the jingle, (that relates the major scale with counting, position of note, a word, and a description of the word)
+
a personally meaningful idea to the student (which is something you, the instructor must determine by getting to know your students)
and lets you use the entire spectrum of language (along with your imagination) to bridge language as the communication of ideas with music adapted to the individual learning style of the student.
VIII (or 8 or octave) which could be written as 8do
(before reading the end, I suggest going back and re-reading this from the start and pay attention to details, you may see the little ‘musical pun’)
Taps, (lights out at the end of the day
do do fa
do fa la
do fa la, do fa la, do fa la
fa la 8do, la fa do
do do fa
(something like that)
Fin.
I guess I should include this reference, even though I believe what is presented is (assuming you know the jingle) able to stand by itself.
http://en.wikipedia.org/wiki/Solfège#Movable_do_solf.C3.A8ge
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Tags: indie musician, k-12, meme propagation, music, music in classroom, mythology, new ideas, oral history, philanthropy, serving musician community