The intonation of diatonic musical scales as a pedagogical method in the development of advanced relative pitch in solfège instruction

Abstract

This study investigates the pedagogical impact of intoning diatonic musical scales, both in major and minor modalities on the development of relative pitch and advanced aural skills among music students within a professional educational framework. Relative pitch is a foundational aspect of musical literacy and performance, particularly in the discipline of Solfège, which focuses on accurate vocal intonation, sight-singing, and the dictation of tones, intervals, chords, and melodic-rhythmic patterns. In the absence of absolute pitch, the structured acquisition of relative pitch through methodical and repetitive practice becomes essential for cultivating internal aural awareness and musical fluency. The research is grounded in a qualitative-empirical methodology with elements of action research, and is based on systematic observation of student progress over the course of an academic year during Solfège instruction. Data were collected through periodic assessments and analytical reflection on technical exercises built upon diatonic scales in both tonalities. These exercises included progressive interval intonation, scale based melodic construction, and harmonic recognition tasks, performed both with and without instrumental support. The findings reveal a significant improvement in pitch accuracy and aural recognition of tones, intervals, and chords. Students also exhibited enhanced internalization of melodic and harmonic structures, leading to improved performance in sight-singing and musical dictation. Regular practice articularly when conducted independently of instrumental reference proved highly effective in developing refined pitch sensitivity and confidence in intonation, even in more complex musical contexts. This study offers practical implications for Solfège pedagogy by presenting a replicable methodology that strengthens core aural skills and supports the development of musical autonomy. It emphasizes that the conscious intonation of diatonic scales serves not only as a technical exercise but also as a strategic approach to building relative pitch proficiency. Ultimately, the research underscores the critical role of internal hearing in preparing students for the artistic and pedagogical demands of advanced musical practice.

Keywords

• Solfège
• relative pitch
• diatonic scale intonation
• major-minor
• pedagogy.

Supporting Institution

Faculty of business and technology UBT Prishtinë

Ethical Statement

This study is based on the observation and analysis of anonymized student exam results for the purpose of evaluating the effectiveness of pedagogical methods. No personal or sensitive data were collected, and no interventions involving students were conducted. Therefore, ethical approval was not required

Thanks

The author wishes to express her deepest gratitude to UBT – University for Business and Technology in Prishtina for its institutional support, full academic freedom, and ongoing opportunities for professional development throughout the completion of this study. Special thanks go to the students who participated in the observation process and demonstrated a high level of cooperation, contributing to the creation of a valuable foundation for pedagogical analysis and reflection

References

1. Benites, D. M., Lalitte, P., & Eyharabide, V. (2023). Ear training applications in music education: Exploring utilization, effectiveness, and adoption factors in France. In Proceedings of the 15th International Conference on Computer Supported Education (CSEDU 2023) (Vol. 1, pp. 447–453). SciTePress. https://doi.org/10.5220/0012054200003470
2. Beočanin, J., & Kaplarević, M. (2024). The development of musical hearing in solfeggio teaching through a multimodal treatment of atonal and extended-tonal musıc by serbıan composers. Teme, 723–743. https://doi.org/10.22190/TEME231005041B
3. Berisha, B. (2014). Fjalori enciklopedik muzikor (Musical encyclopedic dictionary). Koha. Blix, H. S. (2014). Learning strategies in ear training. Aural Perspectives On Musical Learning and Practice in Higher Music Education, 10, 97-115.
4. Buonviri, N. O. (2014). An exploration of undergraduate music majors’ melodic dictation strategies. Update: Applications of Research in Music Education, 33(1), 21–30. https://doi.org/10.1177/8755123314521036
5. Cain, T. (2011). How trainee music teachers learn about teaching by talking to each other: An action research study. International Journal of Music Education, 29(2), 141–154. https://doi.org/10.1177/0255761410396961
6. Carraturo, G., Pando-Naude, V., Costa, M., Vuust, P., Bonetti, L., & Brattico, E. (2024). The major–minor mode dichotomy in music perception: A neurocognitive perspective. Physics of Life Reviews, 40, 11–25. https://doi.org/10.1016/j.plrev.2024.11.017
7. Chenette, T. (2021). What are the truly aural skills? Music Theory Online, 27(2). https://mtosmt.org/issues/mto.21.27.2/mto.21.27.2.chenette.html
8. Cleland, K. D., & Dobrea-Grindahl, M. (2013). Developing musicianship through aural skills: A holistic approach to sight singing and ear training. Routledge.

9. Cleland, K.D., & Dobrea-Grindahl, M. (2010). Developing Musicianship Through Aural Skills: A Holistic Approach to Sight Singing and Ear Training (1st ed.). Routledge. https://doi.org/10.4324/9780203861561
10. de Clercq, T. (2021). The logic of six-based minor for harmonic analyses of popular music. Music Theory Online, 27(4). https://doi.org/10.30535/mto.27.4.4
11. Follet, D. (2013). The power of prediction: Ear training and the scientific method. Journal of Music Theory Pedagogy E-Journal, 2(1), 2-14. https://digitalcollections.lipscomb.edu/cgi/viewcontent.cgi?article=1006&context=jmtp_ejournal
12. Gao, C. & Li, G. (2023). Development of vocal exercises for training musical skills (Desarrollo de ejercicios vocales para entrenar las habilidades musicales). Cultura y Educación, 35(6), 1–37. https://doi.org/10.1080/11356405.2023.2249706
13. Gudmundsdottir, H. R. (2010). Advances in music-reading research. Music Education Research, 12(4), 331–338. https://doi.org/10.1080/14613808.2010.504809
14. Gunjawate, D. R., Ravi, R., & Bellur, R. (2018). Acoustic analysis of voice in singers: A systematic review. Journal of Speech, Language, and Hearing Research, 61(1), 40–51. http://dx.doi.org/10.1044/2017_JSLHR-S-17-0145
15. Hala, M., & Xhomara, N. (2022). Didactic-Artistic Tools and Artistic Works Demonstration Contribution to Students’ Artistic Skills Development. Pedagogika, 148(4), 229–247. https://doi.org/10.15823/p.2022.148.12
16. Huang, X. (2023). Research on solfeggio teaching method for piano performance teaching in colleges and universities. Applied & Educational Psychology, 4(4), 15–21. https://dx.doi.org/10.23977/appep.2023.040403
17. Iglesias, P., & Tejada, J. (2024). Practice as Research through Inquiry-Based Learning: A Pedagogical Intervention with Music Students in Higher Education. Education Sciences, 14(7), 738. https://doi.org/10.3390/educsci14070738
18. Kazemi, M. (2025). Integrating Theory and Practice in Music Education: Its Role in Enhancing Skills and Confidence of Conservatory Students. International Journal of Literature and Arts, 13(1), 13-16. https:// doi.org/10.11648/j.ijla.20251301.12
19. Laprise, R. (2017). Empowering the music educator through action research. Music Educators Journal, 104(1), 28–33. http://dx.doi.org/10.1177/0027432117708012
20. Loui P. (2018). Rapid and flexible creativity in musical improvisation: review and a model. Annals of the New York Academy of Sciences, 10.1111/nyas.13628. Advance online publication. https://doi.org/10.1111/nyas.13628
21. Loui, P. (2018). Rapid and flexible creativity in musical improvisation: Review and a model. Annals of the New York Academy of Sciences. https://doi.org/10.1111/nyas.13628
22. Miyazaki, K., Rakowski, A., Makomaska, S., Jiang, C., Tsuzaki, M., Oxenham, A. J., Ellis, G., & Lipscomb, S. D. (2018). Absolute pitch and relative pitch in music students in the East and the West: Implications for aural-skills education. Music Perception: An Interdisciplinary Journal, 36(2), 135–155. http://dx.doi.org/10.1525/mp.2018.36.2.135
23. National Research Council, Division on Earth and Life Studies, Board on Health Sciences Policy, & Committee on Assessing Integrity in Research Environments. (2002). Integrity in scientific research: Creating an environment that promotes responsible conduct. National Academies Press. https://doi.org/10.17226/10430
24. Paney, A. (2010). Dictation strategies of first-year university music students. Missouri Journal of Research in Music Education, 47(1), 23–30. https://www.researchgate.net/publication/299438333_Dictation_Strategies_ of_First-Year_University_of_Music_Students/citations
25. Paney, A. S., & Buonviri, N. O. (2014). Teaching melodic dictation in Advanced Placement music theory. Journal of Research in Music Education, 61(4), 396–414. https://doi.org/10.1177/0022429413508411
26. Patel, A. D. (2008). Music, language, and the brain. Oxford University Press.
27. Rasimi, A., & Xhoni, A. (2022). The right choice of choral repertoire - a weakness or good opportunity for encouraging students’ musical talent development. Rast Muzikoloji Dergisi, 10(4), 463-480. https://doi.org/10.12975/rastmd.20221042
28. Ristivojević, A., & Svalina, V. (2023). The Possibilities of Conducting Creative Musical Activities in Solfeggio Lessons in Primary level Music Schools. 95–95. https://www.researchgate.net/publication/389275384_The_Possibilities_of_Conducting_Creative_ Musical_Activities_in_Solfeggio_Lessons_in_Primary-level_Music_Schools
29. Ritchie, L., & Williamon, A. (2011). Measuring distinct types of musical self-efficacy. Psychology of Music, 39(3), 328–344. https://doi.org/10.1177/0305735610374895
30. Schellenberg, E. G. (2004). Music lessons enhance IQ. Psychological Science, 15(8), 511–514. https://doi.org/10.1111/j.0956-7976.2004.00711.x
31. Schüler, N. (2021). Modern approaches to teaching sight singing and ear training. Facta Universitatis, Series: Visual Arts and Music, 83–92. https://doi.org/10.22190/FUVAM2002083S
32. Turvey, G. (2021). If you can sing, you can play: Applying the legacies of solfeggio and third stream ear training to classical improvisation pedagogy. Master’s thesis. The University of Western Australia. https://doi.org/10.26182/zz7k-sz62
33. Zhao, L. (2024). Research on application of Orff teaching method in solfeggio ear training class. Journal of Education and Educational Research, 7(2), 218–220. https://doi.org/10.54097/b1x1vq53