Solfege Teaching Guide

News articles in The French School of Music archives report that Sergey Rachmaninoff sent a formal letter to the US State Department advising them that Mlle. Yvonne Combe should be allowed to emigrate from Montreux, Switzerland to the US to bring solfege to this country. She founded the French School of Music in Plainfield, NJ in 1927.

As a former student of Mlle. Combe who is close to her last generation of students and witnesses to her methodology, I have tried to capture her methodology so that future generations of music students have what was once available to us. Solfege is a surprisingly approachable system for understanding music involving singing on-pitch, sightreading, conducting time, ear training, and music dictation.

PDF Version - TBD

Contents

Introduction
Chapter 1 - Preparatory Work
    Dannhäuser Solfege
    Accompaniment Book
    Dictation Book
    Whiteboard
    Seating
    Two Pianos
    Supplies
Chapter 2 - Structure of Classes
    Student Growth
    Teacher Growth
    Solfege Process Growth
Chapter 3 - Spreading the Word
    Online Options
    Word-of-Mouth
    Demonstrations / Concerts
Chapter 4 - Launching a New Class
    First Solfege Class
    First Dictation Class
    New Students Joining an Existing Class
    Teenage / Adult Students
    Taking a Step Back
    Administrative Considerations
    New Solfege Instructors
Chapter 5 - Mozart Effect DIY Kit
Chapter 6 - Foundation - Details
    Singing / Solfegiating
    Sight-reading
    Conducting Time
    Ear Training
    Music Dictation
Chapter 7 - Adding to French School
    Church Modes
    Meter Lesson
    Beaming Notes
    Lead Sheets
    ABRSM
Chapter 8: Using Solfege as a Tool
    Improvisation
    Composition
Chapter 9: Music-Related Apps/Software
    Music Notation
Chapter 10: Advanced Students
    Mentoring Beginner Students
    Accompanying
    Advanced Exercises
Chapter 11: Performance Anxiety
    Slaying the Performance Anxiety Beast (Part 1)
    Slaying the Performance Anxiety Beast (Part 2)
    Slaying the Performance Anxiety Beast (Part 3)