In traditional notation the solfege name for C#/Db for example, can be named with two methods:ġ) do "sharp" or re "flat" (where the English word for "sharp" or "flat" is replaced by the equivalent in whatever language you're speaking.)Ģ) di or ra where the vowel sound for do has been changed to di to reflect that the note has been made sharp, or the vowel sound for re has been changed to ra to show that it's flat.īoth of these examples reflect the fact that traditional notation predates our 12 chromatic notes and was truly designed for 7 note scales only. To cast thy wandering eyes on every stale, Seize thee that list: if once I find thee ranging, Hortensio will be quit with thee by changing.The only difference between the chromatic notation solfege names and the traditional solfege names is on the 5 "black key" notes which require accidentals (#/b) in traditional notation. Mistress, your father prays you leave your books And help to dress your sister's chamber up:įarewell, sweet masters both I must be gone.įaith, mistress, then I have no cause to stay.īut I have cause to pry into this pedant: Methinks he looks as though he were in love: Yet if thy thoughts, Bianca, be so humble Old fashions please me best I am not so nice, To change true rules for old inventions. 'C fa ut,' that loves with all affection: ''Gamut' I am, the ground of all accord, 'A re,' to Plead Hortensio's passion Than hath been taught by any of my trade:Īnd there it is in writing, fairly drawn. You may go walk, and give me leave a while: My lessons make no music in three parts.Īre you so formal, sir? well, I must wait,Īnd watch withal for, but I be deceived, That I have been thus pleasant with you both. Good masters, take it not unkindly, pray, I should be arguing still upon that doubt:
I must believe my master else, I promise you, Was Ajax, call'd so from his grandfather. Now, for my life, the knave doth court my love: Pedascule, I'll watch you better yet. The base is right 'tis the base knave that jars. He hear us not, 'regia,' presume not, 'celsa senis,' despair not. Now let me see if I can construe it: 'Hic ibat Simois,' I know you not, 'hic est Sigeia tellus,' I trust you not 'Hic steterat Priami,' take heed
'Hic ibat,' as I told you before, 'Simois,' I am Lucentio, 'hic est,' son unto Vincentio of Pisa, 'Sigeia tellus,' disguised thus to get your love 'Hic steterat,' and that Lucentio that comesĪ-wooing, 'Priami,' is my man Tranio, 'regia,' bearing my port, 'celsa senis,' that we might beguile the old pantaloon. That will be never: tune your instrument. You'll leave his lecture when I am in tune? I'll not be tied to hours nor 'pointed times,Īnd, to cut off all strife, here sit we down: Take you your instrument, play you the whiles His lecture will be done ere you have tuned. I am no breeching scholar in the schools To strive for that which resteth in my choice: Sirrah, I will not bear these braves of thine. To know the cause why music was ordain'd! Was it not to refresh the mind of manĪnd while I pause, serve in your harmony. Fiddler, forbear you grow too forward, sir: Have you so soon forgot the entertainment Her sister Katharina welcomed you withal?Īnd when in music we have spent an hour, Your lecture shall have leisure for as much.
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