Monday, August 31, 2020

The A.B.C. of Solfa & Staff Notation - MSGR. PROF. J. B. AKAM


Solfa Notation's A.B.C. has been published as the companion of choirmasters and choristers. I have tried to provide the answer to one of the problems that many choirmasters and choristers, as well as composers and music lovers face as far as possible.

"Sing after me, and be sure to sing exactly what I'm doing. If your ears aren't open enough to hear what I'm saying, then leave the chorus. Bad Chancellor!! He taught the Choir for an hour and a half a piece of music consisting of four stanzas, but there was no headway. He tried to teach the vocabulary explicitly in Solfa Notation, but the music couldn't rhyme. Hence its anger!

A music enthusiast once said: "I wrote seven hymns but in Solfa I can't write them." What a deplorable obstacle to progress! The airs he has for those seven hymns are still in the "land of ideas," thus inhibiting his unique and native ability!

It is to help overcome those difficulties that I set out to write Solfa Notation's A.B.C. Thus in this work I have dealt with the key points of Solfa and Staff Notation reading in sight within limits. That I did by giving some preliminary words meanings and explanations.

Treatment is provided in Solfa Notation to Punctuation, Accent and Time and to accidentals.In addition, the booklet privileges several Solfa Reading Drills and exercises, and the use of the Tuning Fork.

Some of the pages are punctuated with the meaning of such words that can put off in public an amateur musician.

Indeed, this little job is "a kind of scratch on a bite of a mosquito that constantly demands a second scratch." (Cf. Music's A.B.C., Part One, p.(i).

My readers, I wish you careful and assiduous reading, theoretical grasp and practical application.

The longevity of a book of this kind in print for almost ten years will appear to the reader as flattering for the "vanity" of the author and beneficial to his wallet.

But it poses some problems when he is faced with the demand for yet another edition, at the span of time from the original release. Without a certain pain, no one whose mind has not fully atrophied can read what he wrote ten years before.

Indeed, I described the First Edition as "a kind of scratch on a bite of a mosquito that endlessly demands a second scratch" (cf. Solfa Notation A.B.C., 1st Ed., 1979 p.iv). And here I am on the "second scratch," after the first edition has been retouched, re-modelled and extended.The second edition came from a series of lectures I gave from 1977 to 1980 at All Hallows' Seminary, Onitsha, my music classes in Louvain, Belgium, and from private study. 

The distinctive feature of this edition is the introduction of staff notation sight-reading. This I found worth the while because notation of staff seems to be the easiest and simplest form of writing music. More significant is the fact that everywhere in all of the countries I visited in Europe and America, from the moment I left Nigeria in 1980, until my return in 1986. The most common form of writing Music is staff notation!I tried to put this work into practice – no matter how much theory one memorizes, he's still not a musician if he can't put the theory into effect. 

Since the book deals more with the practical than with the theoretical aspect of music, I leave the reader to put what he finds in the few pages ahead into effect. Should the reader bear in mind that the only way to identify the one who has "understood" the substance of this work is the sight singing of solfa and staff notation.

In Chapter Four, I gave the blind twin hate, some prominent care. This reads better than published. All I know is that "if you look at yourself from who and what you are, and believe that the ideal can only be you and no other, then you can not exist in the entire world, precisely because you will become the only unreasonable exception." Suffice it to say that through extortion, false accusation, injustice, someone who is an instigator of hate towards another person is a tool of hate. And a hate vehicle is a "demonophane"

The Blind Twins have family-jealously and jealousy-and also have a way to endure Sycophancy. Where sycophancy blossoms the blind twins flourish. People in high-ranking offices have to keep up with Truman who said: "I want people around me to tell me the truth, to tell me the truth as they see it. If you have people around you on the pedestal, who tell you everything you do is right, you can't work and handle affectively, because in reality it can't be true.

I have been engaged for years in a deep study of Mother Earth in which I spent the sixty-four and a half years I served as a Catholic Priest for thirty-six years.

I was able to pin down Blind Twin tasks. Both battle day in and day out, for dominance of men's and women 's hearts. The two are in some cases cohabiting.

Times without counting, not only have I been able to referee matches between the blind twins, I have also been able to participate in fights between the two. Both the highly placed in society and the poorly placed have been twin victims. In the hands of their masters, because of the influential roles performed by one or both of the twins, many servants have suffered terrible persecutions. Think of husbands and wives who started their married life with blind love and were forced to end their married life with blind hatred.


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