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Many Lennon-McCartney songs make use of a simple pentatonic pattern mi-re-do-la-so or its variants — the most important variant being do-ti-la-fa-mi. The pattern itself is considered here as a cognitive schema and the individual tones are considered as cognitive reference points belonging to this schema. In the Hungarian solmization system the first five tones to be learned are the same as in the mi-re-do-la-so pattern. The remaining diatonic tones — fa, ti — and all the chromatic tones are learned in relation to these five tones. It is proposed here that many Beatles' songs referred to in this paper may also work as useful solmization excercises, especially when learning the remaining diatonic tones and the chromatic tones. This is because these songs make considerable use of the familiar mi-re-do-la-so pattern to which the new tones are easy to relate. Moreover, the most important variant — do-ti-la-fa-mi — contains both of the remaining diatonic notes, ti and fa. Finally, it is assumed that the fixed order in which the tones appear in the schema makes it easier to recall these reference points and keep them in mind. |
