What Are the Solfège Hand Signs? (And What Are They Good For?)

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Plus, helpful tips for teaching and practicing solfège hand signs
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If you’ve ever taken a music class (or watched The Sound of Music ), chances are you’re familiar with your do re mi’s. But did you know that these musical learning syllables have hand signs attached to them? These hand signs were introduced by leading music educators to make learning the fundamentals of music easier for children (and musicians of all ages). In this article, we’ll show you each sign and how it relates to its solfège syllable, plus explain where the signs (and their syllables) came from anyway. Plus, we’ve got tips on how to teach or learn solfège and the hand signs yourself. Read on to learn more!

Solfege Hand Signs Chart

  • Do: A closed fist
  • Re: An open palm with fingers together, angling upward
  • Mi: An open palm facing down with fingers straight
  • Fa: A loose fist with the thumb pointing down
  • Sol: An open palm facing you with fingers straight
  • La: A gently curved hand and fingers with the palm facing down
  • Ti: A loose fist with the index finger angling upward
Section 1 of 5:

The 7 Solfège Hand Signs, Explained

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  1. 1
    Do (closed fist) The solfège hand sign for do is a closed fist with your palm facing down. [1] In solfège, do represents the first note of the scale or the tonic of the key signature you’re working with (the “home” note of a key). Similarly, a closed fist feels like a firm foundation or rock to build a scale upon.
  2. 2
    Re (straight fingers angling upward) For re , straighten your fingers (keeping them together) and bend your wrist at a 45-degree angle so your entire hand is angled upward from the ground. [2] As the second note of the scale, re steps upward, represented by the rising motion in your hand.
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  3. 3
    Mi (open palm facing down) For the 3rd note of the scale, mi , keep your hand in the same position as re but straighten your wrist so your palm is parallel to the ground (still keeping your fingers together). [3] The flat hand shape feels stable, similar to the do fist, with the re hand sign leading up to it. This helps reinforce that do and mi both belong to the tonic or I chord (made of do, mi, and sol ) and that re is a step between them. [4]
  4. 4
    Fa (thumbs down) Form a loose fist and point your thumb down toward the ground for the 4th note of the scale, fa . [5] The interval (musical distance) between mi and fa is only a half step, while the intervals between do , re , and mi are all whole steps. The thumbs down is a reminder that the step up to fa is not as big as the previous steps.
    • The thumbs down also reflects how fa sounds like it wants to resolve downward to mi to form a stable I chord.​​ [6] In music theory, this is called a plagal cadence .
  5. 5
    Sol (open palm facing you) The hand sign for the 5th note of the scale, sol , is the same as mi except your palm is facing toward you (not the ground). [7] This note, called the dominant, is the second-strongest note of the scale and sounds very stable since it’s the 5th of the tonic (I) chord and the root of the dominant (V) chord. The open palm sign helps reinforce that it belongs in a chord with do and mi . [8]
  6. 6
    La (curved hand facing down) For the 6th note of the scale, let your hand and fingers curve gently with your palm facing the floor. [9] This shape represents the “lift” or step upward from sol , but also shows how la sounds like it just wants to “hang” there—it doesn’t have a tendency to resolve up or down.
    • This static note is also the root of the relative minor scale (a minor scale sharing the same key signature as a corresponding major scale). The droopy, lethargic shape of the la symbol also reflects the melancholy sound of minor keys. [10]
  7. 7
    Ti (pointer finger angling upward) Make a loose fist and point your index finger upward at about 45 degrees to make the hand sign for the 7th note of the scale, ti . [11] Ti is known as the “leading tone” because it’s only a half step beneath do (the tonic) and sounds like it desperately wants to resolve upward to finish the scale. This is reflected by your index finger pointing upward. [12]
    • After ti comes another do to complete the scale. The music interval from one do to the next is called an octave .
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Section 2 of 5:

What is solfège?

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  1. 1
    Solfège is an ear training practice that assigns syllables to notes of a scale. In classical music, “ear training” refers to developing your ability to identify and understand pitches and the relationships between them without relying on printed music. By removing the note names from a scale and using solfège syllables, students learn the sounds and tendencies of pitches in terms of their function within a key signature without attaching these concepts to specific notes or letters. [13]
    • For example, a C major scale—C, D, E, F, G, A, B, C—becomes do, re, mi, fa, sol, la, ti, do in solfege.
    • With these syllables, you could say “ ti resolves upward to do ” and have it apply to any major scale. However, if you were to say “B resolves upward to C,” you would only be talking about the C major scale specifically.
  2. 2
    There are 2 types of solfège—fixed do and movable do . Fixed do designates the note C as do , no matter which key signature you’re in. For example: Even if you’re in F major, where F is the tonic, the note C would be do even though it’s the 5th note of the scale. F would remain fa because it’s the 4th note of a C major scale. [14]
    • Movable do , on the other hand, assigns the tonic note as do , no matter which key you’re in. For example: In F major, F would become do because it’s the tonic note. C would become sol since it’s the 5th note of the scale.
    • Fixed do helps develop a sense of absolute pitch—you can hear and identify a note no matter what key or context it’s in. Movable do emphasizes the relationships between notes in any key and helps develop relative pitch—you can identify a note by comparing it to another.
    • Fixed do is more common in Europe and Asia while movable do is popular in North America.
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Section 3 of 5:

Where do solfège hand signs come from?

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  1. 1
    Solfège syllables were created by the monk Guido d’Arezzo (ca. 991–1050). The original 6 syllables— ut, re, mi, fa, sol, la —were a mnemonic device for a chant called Ut queant laxis , with the first syllable of each line of the chant becoming a solfège syllable. When sung, each line begins one step higher than the last, forming the basis of what we think of as a major scale today. [15]
    • Ut became do in the 17th century because the open “oh” syllable is easier to sing.
    • Shortly after, a seventh syllable was added called si (an abbreviation from the first 2 words of the chant line Sancte Iohannes ) to form a 7-note scale like we use today.
    • In the 19th century, English music educator Sarah Glover changed si to ti so that each syllable begins on a different letter (and to distinguish it from the note name “C”). [16]
  2. 2
    English educator John Curwen invented solfège hand signs in the 1800s. Also a minister, Curwen was inspired by the work Sarah Glover was doing to teach her Sunday school classes how to sing a cappella in the 19th century. After she changed the solfège syllable si to ti , Curwen thought to create a hand sign for each syllable as well. He taught his system to other Sunday school teachers, helping his method gain popularity. [17]
    • Fun fact: Curwen was not the first to try and use hands to explain solfège. Guido d’Arezzo himself used knuckles to represent his 6 syllables on the “Guidonian hand,” but this proved a bit too complex and challenging to survive the millennia.
  3. 3
    Zoltán Kodály (1882–1967) integrated the signs into his music education method. Kodály, a Hungarian composer, ethnomusicologist, and music pedagogue, pioneered a new music education system for children based on singing. His method uses song-based learning, nicknames for notes and rhythms, hand signs, and more as a kinesthetic approach to help young kids develop their musicianship. [18]
    • The hand signs provide a visual and physical aid to help remember pitches and the intervals between them.
    • In the Kodály method, the hand sign for do is made at the waist, and each successive sign moves gradually higher up the body so that la is at eye level.
    • Today, Kodály’s name is more associated with the solfège hand signs than Curwen’s because of the popularity of his teaching method.
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Section 4 of 5:

Benefits of Solfège & Hand Signs

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  1. 1
    Solfège hand signs are a kinesthetic way to learn. Kinesthetic learning uses the sensory perception of movement to reinforce concepts or information. It’s a great educational method for students who struggle to learn in more traditional ways and helps them stay engaged in a hands-on activity. Studies also show that 75% of information is retained from active participation in learning, compared to only 10% from passive participation (like listening to a lecture or reading). [19]
  2. 2
    They help develop your inner ear. Solfège helps you recognize recurring pitch patterns in music and learn relative pitch (the ability to identify a pitch in relation to a reference pitch or pitches). These concepts lead to a greater understanding of melody, chord progressions, and song structures and are the foundation of general musicianship. [20]
  3. 3
    They improve your sight-reading and sight-singing abilities. Sight-singing or sight-reading is the ability to look at written music and sing or play it without hearing it first and without using other instruments for reference. When you understand solfège well, you can “hear” music from the page without having to literally hear it. This makes tackling new music easier and more intuitive. [21]
  4. 4
    Solfège also helps improve your composing abilities. Good solfègers can easily recall melodies without fumbling around to find the notes, transcribe music that they hear, and write out melodies or harmonies without needing to hear them first to know what they’ll sound like. Basically, solfège makes it easy and convenient to communicate your musical ideas to other musicians! [22]
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Section 5 of 5:

Tips for Teaching or Learning Solfège Hand Signs

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  1. 1
    Start by speaking the syllables in order first, then singing them. If your students (or you) are new to solfège, a great way to jump in is just to learn the basic 7 syllables in order (going up the scale and down the scale). If you have a piano or keyboard handy, you can play a major scale while you or your students speak the syllables.
    • Once everyone is comfortable with the spoken syllables, transition into singing them (along with the piano or keyboard). After a few scales, sing them without the piano.
    • Wait to introduce hand signs until everyone is able to speak and sing the syllables in order.
    • Looking for more creative ways to teach solfège? Check out this page of solfège games from the National Association for Music Education (NAfME) for inspiration!
  2. 2
    Introduce the hand signs (spoken first, and then with singing). Go back to plain speaking (no pitches) and repeat the syllables in order, now accompanied by the hand signs. When that feels comfortable to everyone, begin singing the syllables along with the hand signs. Use a piano or keyboard (if one is available) to reference pitches if needed.
    • Tip: Lots of teachers with classrooms find posters of the hand signs helpful. Consider hanging one in your room to help students remember them.
  3. 3
    Practice using syllables and hand signs on simple sight-reading tunes. Choose a fairly simple and harmonically uncomplicated melody, like from a hymn or folk tune, to use for practice. Identify the correct solfège syllables for each note (writing them in for reference if you need to), then try singing the syllables while making the hand signs.
    • Try not to listen to the melody or check your pitches until after you’ve made your first attempt at singing the whole thing. (However, if you want to play the very first note on an instrument for reference, that’s OK.)
    • If you don’t have any simple tunes lying around, use a sight reading practice app like Notevision or a sight reading generator site like Open Sheet Music Education .
  4. 4
    Consider joining a choir to apply solfège to more complex music. Many choir teachers and directors use solfège to rehearse and train their singers. Practicing solfège alone is helpful from a learning standpoint, but putting it into practice in a performance or rehearsal context (and being able to nail your part because of your training) shows you the why of learning it all!
    • Not a singer? Not a problem! An understanding of solfège is helpful for instrumentalists as well—knowing how your part is supposed to sound and fit into the rest of the ensemble is a valuable skill for every musician.
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      References

      1. ↑ https://www.musictheorytutor.org/2013/03/25/solfege-hand-signs/
      2. ↑ https://www.musictheorytutor.org/2013/03/25/solfege-hand-signs/
      3. ↑ https://www.musictheorytutor.org/2013/03/25/solfege-hand-signs/
      4. ↑ https://www.letsplaymusicsite.com/post/solfège-part-iii-learning-the-why-of-the-hand-shapes
      5. ↑ https://www.musictheorytutor.org/2013/03/25/solfege-hand-signs/
      6. ↑ https://www.letsplaymusicsite.com/post/solfège-part-iii-learning-the-why-of-the-hand-shapes
      7. ↑ https://www.musictheorytutor.org/2013/03/25/solfege-hand-signs/
      8. ↑ https://www.letsplaymusicsite.com/post/solfège-part-iii-learning-the-why-of-the-hand-shapes
      9. ↑ https://www.musictheorytutor.org/2013/03/25/solfege-hand-signs/
      1. ↑ https://www.letsplaymusicsite.com/post/solfège-part-iii-learning-the-why-of-the-hand-shapes
      2. ↑ https://www.musictheorytutor.org/2013/03/25/solfege-hand-signs/
      3. ↑ https://www.letsplaymusicsite.com/post/solfège-part-iii-learning-the-why-of-the-hand-shapes
      4. ↑ https://www.musical-u.com/learn/solfege-isnt-childs-play/
      5. ↑ https://www.musictheorytutor.org/2013/03/18/what-is-solfege/
      6. ↑ https://www.wqxr.org/story/whats-deal-with-do-re-mi-story-solfege/
      7. ↑ https://www.wqxr.org/story/whats-deal-with-do-re-mi-story-solfege/
      8. ↑ https://colourfulkeys.ie/curwen-hand-signs/
      9. ↑ https://www.musical-u.com/learn/what-is-kodaly-and-how-does-it-relate-to-ear-training/
      10. ↑ https://www.musical-u.com/learn/solfege-isnt-childs-play/
      11. ↑ https://www.musical-u.com/learn/solfege-isnt-childs-play/
      12. ↑ https://www.musical-u.com/learn/solfege-isnt-childs-play/
      13. ↑ https://www.musical-u.com/learn/solfege-isnt-childs-play/

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