Results on Video: Reports

Test Report Group 7 - Recorded 10 February 2015

5 students, BA1, Aural Skills and Analysis 1, Instrumentalists

Average age = 22 (20,3)

Average age of starting solfège lessons = 13 (14,0)

Average number of years of solfège lessons = 5,6 (5,3)

Average number of years of playing / singing = 10,8 (10,0)

Exercise 1a: Sing ‘The bird that soars on highest wing’ from stick notation with fixed-do names. Page 77. (starting pitch Mib)

Result: they sing the melody on the fixed-do names. Intonation is unstable on the first notes, no unity in the pitches.

Exercise 1b: Sing ‘The bird that soars on highest wing’ from stick notation with relative solfa names. Page 75. (starting pitch D = do).

Result: they sing the melody on the relative solfa names. Intonation is unstable, but there seems to be a bit more unity in the sound (this is the second time they sing the melody).

Question: did you notice a difference? Dou you see an instrument?

Comments:

·      Yes, sometimes I see an instrument

·      Not really a difference between the two versions

Exercise 2a: Sing the 1^st line of ‘Under this stone’ from stick notation with fixed-do names. Page 74. (starting pitch Sol). Or sing from stick notation with letter names. Page 73. (starting pitch G)

Result: first they take time to read trough the exercise. They can sing the melody in the minor key right away, but some intervals take time to think.

Exercise 2b: Sing the 2^nd line of ‘Under this stone’ from stick notation with relative solfa names Page 72. (starting pitch E = la). Continue singing the 3^rd line.

Result: they can sing the melody but there seem to problems with the larger intervals.

Exercise 2c: Sing the 3^rd line of ‘Under this stone’ from stick notation with fixed-do names. Page 74. (starting pitch Si)

Question: did you notice a difference?

Comments:

·      Yes, for me it is much easier to sing the moveable-do version, because I have to think intervals when I sing with the fixed-do names and with the relative note names the sounds come really fast to my mind.

·      For me it is exactly the opposite. I don’t have perfect pitch, but when singing the relative note names on certain pitches (E = la) , I just know that the sounding pitch does not fit the fixed-do name (it would be Mi). And then it is difficult to find the distances.

·      Singing ‘Fa’ and reading ‘Fa#’ is very confusing for me.

Exercise 3a: Sing lower part of Nr.7 from staff notation with fixed-do or letter names. Page 56. (starting pitch D or Re)

Result: they sing the melody, and the intonation drops immediately in the first four notes.

Exercise 3b: Sing upper part of Nr. 7 from staff notation with relative solfa names. Page 56. (starting pitch A = mi)

Result: they sing the melody (in 3 octaves). Now the pitch drops a little bit.

Comments:

·      This is difficult, because I have to think what the note names are: I see them differently. I see a ‘La’ which I have to call ‘mi’.

·      This is easier: I see it as a minor key, I think the notes in the key.

Exercise 3c: Sing lower part of Nr. 6 from staff notation with do-clef on relative solfa. Page 54. (starting pitch F = do)

Result: they sing the melody, there are problems with the octave jump down (what note is this, what is the name?). The pitch drops almost a half tone in the first 3 measures.

Comments:

·      I read as if in the treble clef, in F major and then translate the note names (letter names) to the relative names.

Exercise 3d: sing two parts of Nr. 6 from staff notation with do-clef on relative solfa. Page 54. (starting pitch F = do)

Result: they sing the two parts without problems and the intonation does not drop this time.

Conclusion: here we can hear a verification of the Kodály quote: “Those who always sing in unison never learn to sing in correct pitch.” – From: Let Us Sing Correctly.

Exercise 3e: sing lower part of Nr.5 from staff notation with C-clef on letter names or fixed-do names. Page 58. (starting pitch C or Do)

Result: they sing the right note names, but they have to sing very slow and intonation drops.

Exercise 3f: sing upper part of Nr 5 from staff notation with do-clef on solfa names. Page 58. (Starting pitch G =re)

Result: they sing the melody, some of them can find the seventh jump.

Comments:

·      I was looking for a key or tonality, both in sound and in names… I was lost.

·      I just read in a bass clef, so the notes fitted the fixed-do names (more of them did this).

·      I read transposed: a third up (?)

They imagined the visual information in a different way (transposed, different clef) to match the pitch-names.

Exercise 3g: sing two parts of Nr 5 from staff notation with do-clef on solfa names. Page 54. (starting pitch G =re)

Result: their first try is too confusing, “What are we doing?” “Can we sing it without names?” Let’s try.

Result: they sing the two parts on noe-noe-noe. Only the girls can sing it, intonation drops and the men were lost at the first intervals.

“We just sang a kind of melodic contour.”

Exercise 3h: sing lower part of Nr 5 from staff notation with do-clef on solfa names. Page 54. (starting pitch C = sol)

Result: they can sing the melody on the relative solfa names (sometimes they miss a name) and the intonation does not drop.

Question: did the solfa names help?

Comments:

·      No, I have never used the solfa names before, they just get in the way.

·      Yes, they give a relation between the notes.

·      This was the second time we sang the melody, it got a bit better now.

Exercise 4a: sing bass part of ‘Pinsesalme’ (bar 1-7) from staff notation on letter names or fixed-do names. Page 36. (starting pitch A or La)

Result: this goes wrong at the first interval. They sing A-F (the tonality of the previous exercise).

Question: what did you expect?

Result: there seems to be no control over the pitches (especially with the interval down to G) and intonation drops.

Exercise 4b: sing soprano part of ‘Pinsesalme’ (bar 1-7) from staff notation on letter names or fixed-do names. Page 36. (starting pitch A or La)

Result: the girls can sing it right. Intonation is OK after a shaky beginning.

Exercise 4c: sing alto part of ‘Pinsesalme’ (bar 1-7) from staff notation on letter names or fixed-do names. Page 36. (starting pitch A or La)

Result: the altos sing the melody, but intonation drops.

Exercise 4d: sing tenor part of ‘Pinsesalme’ (bar 1-7) from staff notation on letter names or fixed-do names. Page 36. (starting pitch A or La)

Result: the solo tenor can sing the melody.

Exercise 4e: sing four parts of ‘Pinsesalme’(bar 1-7) from staff notation on letter names or fixed-do names. Page 36. (starting pitch A or La)

Exercise 4f: sing soprano part of ‘Pinsesalme’ (bar 8-14) from staff notation with do-clef on relative solfa names. Page 35. (starting pitch A = sol)

Result: they sing this quite good.

Exercise 4g: sing soprano and alto part of ‘Pinsesalme’ (bar 8-14) from staff notation with do-clef on relative solfa names. Page 35. (starting pitch A = sol)

Result: they sing this quite good, sopranos keeping the altos in tune.

Exercise 4h: sing tenor and bass part of ‘Pinsesalme’ (bar 8-14) from staff notation with do-clef on relative solfa names. Page 35. (starting pitch A = sol)

Result: they sing it, intonation does not drop.

Exercise 4i: sing four parts of ‘Pinsesalme’ (bar 8-14) from staff notation with do-clef on relative solfa names. Page 35. (starting pitch A = sol)

Result: they sing the notes, the sopranos try to keep the right pitches, but are dragged down. Intonation drops.

The group is divided in a fixed-do quartet and a relative quartet. Both sing the whole piece.

Exercise 4j: sing four parts of ‘Pinsesalme’ from staff notation on letter names or fixed-do names. Page 36. (starting pitch A or La)

Result: they sing hesitantly and intonation drops half a tone. No connection between the voices.

Exercise 4k: sing four parts of ‘Pinsesalme’ from staff notation with do-clef on relative solfa names. Page 35. (starting pitch A = sol)

Result: lots of note names go wrong, except for one soprano (she is used to relative solfa). Intonation also drops.

Extra:

Question from student: can we sing the Brahms? OK, what notation would you choose?

Let’s try page 38… and then page 40, and choose your own system.

Exercise 1a: Sing ‘The bird that soars on highest wing’ from stick notation with pitch names (letter names). Page 76. (starting pitch Eb)

Result: they can sing the melody on the letter names, no problems and the intonation does not drop.

Exercise 1b: Sing ‘The bird that soars on highest wing’ from stick notation with relative solfa names. Page 75. (starting pitch Eb = do)

Result: they can sing the melody on the relative solfa names, no problems and the intonation does not drop.

Comments: 

·      Second time was easier, because we always sing on the relative note names.

·      I began learning with letter names, this is easier for me, and I have perfect pitch.

Exercise 2a: Sing the 1^st line of ‘Under this stone’ from stick notation with relative solfa names. Page 72. (starting pitch G = do)

No introduction

Result: they can sing the 1^st line without problems, they need some time to think about the jump down to fa, and about the jump from re’ to ti. Intonation does not drop.

Exercise 2b: Sing the 2^nd line of ‘Under this stone’ from stick notation with letter names. Page 73. (starting pitch E)

Result: this is more difficult, they need more time to find the notes, especially with the larger intervals (up or down). Intonation does not drop.

Questions: what notation would you choose for singing the 3^rd line?

Answer: 7 x Page 72 (relative solfa names), 3 x Page 73 (letter names)

Exercise 2c: Sing the 3^rd line of ‘Under this stone’ from stick notation with letter names or with relative note names. Page 73. (starting pitch B and B = mi)

Result: they sing the 3^rd line on the names they have chosen. They can sing without problems. Intonation does not drop.

The three students that did choose to sing on letter names sing the 3^rd line.

After that the seven students who did choose the relative solfa notation sing the 3^rd line.

One student of the first group decides that singing on the relative solfa names is easier after trying both systems. She can’t really explain why.

Question: Can you tell me why you choose for relative solfa names or for letter names? And did you see an instrument while singing?

Comments:

·      Page 72: I can place the notes in a key or scale with the relative solfa names and I noticed that in singing from letter names I was singing loose pitches instead of singing in a key.

·      Yes, I did see the piano keyboard or the horn, but only with the letter names.

·      In the relative solfa notation I sort of know how it will sound, I don’t need to imagine the instrument.

·      We mostly sing on relative solfa names.

·      I have perfect pitch and I did not learn to think in a key, so for me it is easier to associate intervals with note names.

They look at Page 74 (fixed-do) and find this very confusing. They have never used this before, except for one of them. But she also thinks these names are not easy.

They sing the piece in canon.

Exercise 3a: Sing lower part of Nr.6 from staff notation with letter names. Page 56. (starting pitch F)

Result: they sing the melody without problems; overall intonation does not drop.

Exercise 3b: Sing upper part of Nr.6 from staff notation with relative solfa names. Page 56. (starting pitch A = mi)

Result: they sing the melody without problems; intonation does drop a little bit.

Comments:

·      Note names give more security and association with the instrument.

·      I see an A and I sing an A.

·      Relative solfa is easier, because we practice this more often.

Exercise 3c: upper part of Nr. 21 from staff notation with do-clef on relative solfa names. Page 55. (starting pitch F# = mi)

Result: they can sing it, but it requires more time to think about the names.

Comments:

·      This is confusing: it is not what is written.

·      I takes a lot of thinking, maybe it would be easier to sing on lalala in situations like this.

·      The visual information does not match the names we give to the notes.

Exercise 3d: Sing lower part of Nr. 21 from staff notation with do-clef on relative solfa names.  Page 55. (starting pitch F# = mi)

Result: they can sing it, but it again requires more time to think about the names.

Exercise 4a: sing four parts of ‘If Ye Love Me’ from staff notation with do-clef on relative solfa names. Page 10. (starting pitch F =  do).

Result: this is difficult for them. They get lost around bar 16.

Exercise 4a: sing four parts of ‘If Ye Love Me’ from staff notation on letter names. Page 12. (starting pitch F).

Result: they sing the notes, they don’t loose their part.

Exercise 4b: sing four parts of ‘If Ye Love Me’ from staff notation on relative solfa names. Page 13. (starting pitch F = do). Second half of the piece.

Comments:

·      The last version was the best!

·      Page 10 has no key; I can’t see a key.

·      There are no absolute note names… and the sound does not fit with the notation.

·      You don’t see what you sing.

Could you play page 10 on an instrument?

·    No… only when I would start in C.

And if you would have to play it in a transposed key?

Comments:

·      I don’t know, maybe it would be easier then to read from do-clef notation.

·      In normal clef notation I see harmonies, but I can’t see it in the do-clef notation.

Test Report Group 6 - Recorded 6 March 2015

5 students, Practicum Musicae 1, Elementary Music Theory 1, Instrumentalists

Average age = 20 (20,3)

Average age of starting solfège lessons = 15,6 (14,0)

Average number of years of solfège lessons = 2,8 (5,3)

Average number of years of playing / singing = 12,6 (10,0)

Test Report Group 1 - Recorded 21 January 2015

5 students, Bachelor 1, Aural Skills and Analysis 1, Instrumentalists

Average age = 18 (20,3)

Average age of starting solfège lessons = 11,8 (14,0)

Average number of years of solfège lessons = 6,3 (5,3)

Average number of years of playing / singing = 12,2 (10,0)

Exercise 1a: Sing ‘The bird that soars on highest wing’ from stick notation with pitch names (letter names). Page 76. (starting pitch Eb)

Exercise 1b: Sing ‘The bird that soars on highest wing’ from stick notation with relative solfa names on the same pitch. Page 75. (starting pitch Eb = do)

Exercise 1c: Sing ‘The bird that soars on highest wing’ from stick notation with pitch names (fixed-do names). Page 77. (starting pitch Mib)

Question: did you notice a difference in singing the melody with different names?

Comments:

·       I have never seen stick notation before.

·      By singing the melody for the 3^rd time I knew the melody and I was just reading a new text to the melody.

·      I have never used the do-re-mi names (fixed or relative), it just feels like a text (lyrics).

·      For me it feels easier to sing it on relative solfa (do-scale) than on fixed-do (Mi-scale), because I do not see the notes on the stave.

·      The three versions feel the same.

Introduction to the next exercise: sing a minor scale on noe-noe-noe.

Exercise 2a: Sing the 1^st line of ‘Under this stone’ from stick notation with relative solfa names. Page 72. (starting pitch G = do)

Introduction: the melody starts with d-t,-l, (sung as example from starting pitch G = do).

Confused looks first, and then: “…Oh, now I get it…” (one student)

Result: after getting the octave jump in bar 4 they sing the melody. Relative fa is quite low.

Exercise 2b: Sing the 2^nd line of ‘Under this stone’ from stick notation with letter names. Page 73. (starting pitch E)

Comments before singing: “This is much easier!” “Now I understand what I am doing.”

Result: after getting the fifth jump up from bar 1 to 2 they sing the melody. One of the students moves his fingers as if pressing keys on the instrument. There are more problems than in line 1 with the larger intervals.

Exercise 2c: Sing the 2^nd line of ‘Under this stone’ from stick notation with relative solfa names Page 72. (starting pitch E = la)

Result: a little bit better, one of them sings this quite good (the student who said “oh, now I get it”).

Exercise 2d: Sing 3^rd line of ‘Under this stone’ from stick notation with fixed-do names. Page 74. (starting pitch Si)

To be sung only by the two students who know the fixed-do names.

Result: only one of them can sing the melody.

Question: did you notice a difference in singing this more difficult melody with different systems?

Comments:

·      Singing on the letter names is easier, because I am not used to do-re-mi.

·      But it is still difficult to sing this melody by just seeing the letter names and not stave.

·      I never used letter names, only solfa names. Now it is a bit confusing, using the two systems for the same melody, because I learned to use them fixed (as pitch names) and relative. The fixed-do version has the whole name (Sol-Fa#-Mi) instead of just one letter d-t-l in the relative version.

·      I never used the solfa names relatively (only fixed), but I think now that this is easier than using them in the fixed way.

·      If I (I never used solfa names, only letter names) had to choose between relative use of solfa names or fixed-do names, I think I would choose fixed-do, because then at least you know the exact note names. C is always Do. Some agree.

Exercise 3a: Sing lower part of Nr.6 from staff notation with letter names. Page 56. (starting pitch F)

Result: F-G-A is not in tune. G is to low, A is Ab with one of them.

Exercise 3b: Sing upper part of Nr.6 from staff notation with letter names or fixed-do syllables. Page 56. (starting pitch F or Fa)

Result: intonation drops a bit.

Exercise 3c: Sing lower part of Nr.7 from staff notation with do-clef on relative solfa. Page 54. (starting pitch E = la)

Comments: Ah, F = do!  No… it is not F… it is just do… I don’t get it!

Pitch G’ is given for do. (Not F’ in treble clef)

Result: One of them tries, at the jump from mi to sol it goes wrong and the pitch for do becomes F (as if in treble clef notation). After that they all try. This goes quite well. The intonation does not drop this time.

Exercise 3d: sing two parts of nr.7 from staff notation with do-clef on relative solfa. Page 54. (starting pitch E = la)

Result: quite stable singing and intonation. 

Question: what did you experience in singing this in two different forms of staff notation?

Comments:

·      I could sing pitches, but then transposed (perfect pitch), but then it was confusing to sing the solfa names.

·      I sing the melody but I feel the names as a not connected text when singing the relative names.

·      I can imagine that this way of relative reading can help, sometimes you experience a ‘do’

·      The names are confusing, because when I see a pitch D I want to say ‘do’.

Question: Did you see pitch names and then translate them in the do-clef notation?

Most of them did, only one of them did not see pitch names before singing the solfa name.

Exercise 3e: sing lower part of Nr.21 from staff notation with C-clef on letter names. Page 59. (starting pitch D)

Result: quite good, though it sounds like singing individual pitches, no relations.

Exercise 3f: sing upper part of Nr.21 from staff notation with do-clef on solfa names. Page 55. (Starting pitch A = mi)

Result: they can’t find the names sometimes and they seem to sing intervals. There seems to be more connection between the sounds.

Comments:

·      I was reading the treble clef on page 55, because the pitch matched the treble clef pitch notation, but then I had to think of different names.

·      I transposed the notation a fourth down with the do-clef to match the name la to the visual ‘pitch-notation-la’.

·      The notation gives information about the distances (intervals), but then I don’t know the relative note names.

Exercise 4a: sing soprano part and bass part of ‘If Ye Love Me’ from staff notation with do-clef on solfa names. Page 10. (starting pitch F = do)

Result: quite good, intonation does not drop.

Exercise 4b: sing soprano part and bass part of ‘If Ye Love Me’ from staff notation with treble and bass clef on letter names. Page 13. (starting pitch F).

Result: they can also sing the notes this way.

They think reading and singing from the treble and bass clef notation is easier. In the do-clef they were still reading pitch names and then the solfa names were confusing.

Extra:

Exercise 4c: sing four parts of ‘If Ye Love Me’ from staff notation with do-clef on solfa names. Page 10. (Starting pitch F = do)

Result: this is too difficult, but they start to notice when the sound does not match the relative note name. Intonation does not drop, but is not stable on certain notes.

Exercise 4c: sing four parts of ‘If Ye Love Me’ from staff notation with treble and bass clef on letter names. Page 13. (Starting pitch F)

Result: they can sing through the first page. Intonation drops and is unstable.

Question: when you are sight singing, do you see an instrument?

Comments:

·      I see the piano keyboard (3 times).

·      I don’t see an instrument (1 time).

·      I think intervals, and in the do-clef notation I can’t really see the intervals, because there are no sharps and flats. The places on the staff do not match the whole and half steps that are normal in the treble clef, when there is a different do-position than C = do.

·      I think that the system can help getting an overview of the sound of scales and it may be easier for transposing. If you can sing it, you can play it…. But still I would not know how to do this on my instrument.

·      The relative solfa system is easier for aural analysis, if you do not see notation.

Test Report Group 2 - Recorded 21 January 2015

4 students, Bachelor 1, Aural Skills and Analysis 1, Singers

Average age = 20,6 (20,3)

Average age of starting solfège lessons = 17,5 (14,0)

Average number of years of solfège lessons = 2,7 (5,3)

Average number of years of playing / singing = 5 (10,0)

Exercise 1a: Sing ‘The bird that soars on highest wing’ from stick notation with pitch names (letter names). Page 76. (starting pitch Eb)

Result: they sing the intervals larger than a second wrong and intonation is unstable. They can’t sing the melody.

Exercise 1b: Sing ‘The bird that soars on highest wing’ from stick notation with relative solfa names on the same pitch). Page 75. (starting pitch Eb = do)

Result: the girls sing it right and the boy sings behind. The octave jump do’-do becomes do’-sol,. Intonation does not drop. [3’] They also sing the melody in canon. Intonation does not drop, but is not very stable.

Exercise 1c: Sing ‘The bird that soars on highest wing’ from stick notation with pitch names (fixed-do names). Page 77. (starting pitch Mib)

Result: they have sung the melody now three times already, but intonation drops half a tone.

Question: did you notice a difference in singing the melody with different names?

Comments:

·      I read a new text to the melody I remembered the last time we were singing.

Exercise 3a: Sing lower part of Nr.6 from staff notation with letter names. Page 56. (starting pitch F)

Preparation: sing the minor-pentatonic scale (D=la) from handsigns on relative solfa.

Result: this is too difficult to sight-sing; wherever there is an interval larger than a second they loose the pitch.

Exercise 3b: Sing lower part of Nr.6 from staff notation with relative solfa names. Page 56. (starting pitch F = do)

Result: this goes a little bit better; they can find low mi. Intonation is unstable.

Exercise 3c: Sing upper part of Nr.6 from staff notation with do-clef on relative solfa. Page 54. (starting pitch A = mi)

No comments; they have seen this notation before in the lesson.

Result: intonation does not drop, but was taken too low at the beginning of this exercise.

Exercise 3d: sing two parts of Nr.6 from staff notation with do-clef on relative solfa. Page 54. (starting pitch F = do)

Result: they can sing the exercise. 

Question: what did you experience in singing this in two different forms of staff notation?

Comments:

·      The do-clef gives enough information to sing, but normally you have to check yourself which note is do.

Exercise 3e: Sing lower part of Nr.7 from staff notation on letter names. Page 56. (starting pitch D)

Result: they can’t sing the melody, they can’t find A, it is a sort of Bb.

Exercise 3f: Sing lower part of Nr.7 from staff notation with do-clef on solfa names. Page 54. (starting pitch D = la)

Result: same mistake, they can’t find mi. After finding mi, they can sing the melody, but jumps are difficult. The can however find the tones by their names. Intonation drops.

Exercise 3g: Sing lower part of Nr.7 from staff notation with c-clef on letter names. Page 58. (starting pitch D)

Result: they can’t sing the melody, same mistake: they can’t find A, it is a sort of Bb.

Exercise 3f: Sing lower part of Nr.7 from staff notation with c-clef on solfa names. Page 58. (starting pitch D = la)

Result: they can sing the melody, but not fluently.

Question: did you use absolute note names and translate them to relative names in the last exercise?

Comments: no, just positions, relative names and intervals.

Exercise 4a: sing soprano part and bass part of ‘If Ye Love Me’ from staff notation with do-clef on relative solfa names. Page 10. (starting pitch F).

Result: they sing the notes, but intonation drops half a tone.

Exercise 4b: sing soprano part and bass part of ‘If Ye Love Me’ from staff notation with bass and treble clef on letter names. Page 13. (starting pitch F). Second half of the piece.

Comments: is it now in another key? Is it now a third lower? No, we were singing the first time on F = do. Question: were you reading in pitch names in the key of A? Comment: not really…

Result: intonation is very bad. They seem to sing not-connected pitches. The tempo slows down extremely.

Comment: “very confusing: I am seeing pitch names in letters, translating them in my mind to solfa (for the sound) and then singing the letter names again.” There is too much thinking going on.

Exercise 4c: sing soprano part and bass part of ‘If Ye Love Me’ from staff notation with bass and treble clef on relative solfa names. Page 13. (starting pitch F = do). Second half of the piece.

Result: there seems to be more connection between the notes of the melodies, but not between the two voices. Intonation unstable.

Extra:

Exercise 4d: sing four parts of ‘If Ye Love Me’ from staff notation with do-clef on solfa names. Page 10-11. (Starting pitch F = do)

Question: what differences did you notice in singing from the different forms of notation?

Comments:

·      Relative solfa is OK, but the letter name reading is impossible for me.

·      When I have to sing on letter names I see piano keys in my mind, these letter names are more a visual thing. When I sing on relative solfa names it is more about hearing.

·      It is confusing, because I have learned before to sing on letter names and now I have switched to relative solfa, I can’t go back to letter names. With relative solfa I don’t need to sing intervals from note to note anymore, but I start to feel the position of the notes in the scale.

·      Do-clef notation could be useful, but then someone has to tell you were do is. You have to learn the normal notation, because music is written like that.

·    

Exercise 1a: Sing ‘The bird that soars on highest wing’ from stick notation with pitch names (letter names). Page 76. (starting pitch Eb)

Result: They can sing the melody on letter names the second time (first time they get stuck above the Bb), but intonation is very unstable and drops almost a half tone.

Exercise 1b: Sing ‘The bird that soars on highest wing’ from stick notation with relative solfa names on the same pitch (starting pitch D = do). Page 75.

Result: They can sing the melody more confidently and the pitch does not drop.

Comments:

·      This is much more easy! We are used to this.

·      In the letter name notation I was thinking about the size of the intervals and I was not sure how big the intervals were, major or minor, whole or half step.

·      In the letter notation the flats are confusing.

·      You can make a scale out of the letter names, but with do-re-mi this is easier.

·      For me the letter names were easier, because I am used to these.

Exercise 1c: Sing ‘The bird that soars on highest wing’ from stick notation with fixed-do names. Page 77. (starting pitch Mib)

Result: they sing the melody, but the intonation drops.

Question: how did this feel? Did you see piano keys?

Comments:

·      Yes, sometimes I did see piano keys with the letter name notation.

·      I did sing the melody from memory with a new text the third time.

·      It did feel most uncommon.

Exercise 2a: Sing the 1^st line of ‘Under this stone’ from stick notation with relative solfa names. Page 72. (starting pitch G = do)

Introduction: mind the octave jump in bar 4.

Result: they don’t get the d-t,-l, in the beginning of the melody. This is practised. They take the starting pitch a bit too low. They have problems singing the melody. Intonation is unstable. They can sing the 1^st line after three times trying.

Exercise 2b: Sing the 2^nd line of ‘Under this stone’ from stick notation with letter names. Page 73. (starting pitch Eb)

Result: they seem to guess the tones on melodic and tonal intuition.

Exercise 2c: Sing the 3^rd line of ‘Under this stone’ from stick notation with fixed-do names. Page 74. (starting pitch Sib, second time Si)

Result: they can’t sing the jumps and loose the key altogether in the second half of the line.

Question: which version would you choose?

Comments:

·      Page 72 relative solfa names: three students (including one student who trained with fixed-do)

·      Page 74 fixed-do names: one student, but then singing on lalala

·      Page 73 letter names: one student

Exercise 2e: Sing ‘Under this stone’ from stick notation in relative solfa, letter names or fixed do. They can choose themselves. (starting pitch G = do)

Result: intonation drops, but they can sing the melody without stopping.

After that they sing ‘Under this stone’ in canon. This is too difficult.

Exercise 3a: Sing lower part of Nr.6 from staff notation with letter names. Page 56. (starting pitch F)

Result: they can sing the beginning of the melody, but the octave jump a-a, was wrong and then they loose the key. They sing hesitantly and wait for each other. Intonation drops.

Comments: 

·      Did we not sing an octave…?

·      I did see a piano keyboard.

·      I would like to sing fixed-do names here, because I see the notation on the stave.

Exercise 3b: Sing upper part of Nr.6 from staff notation with relative solfa names. Page 56. (starting pitch A = mi)

Result: Two of them sing on noe-noe-noe (the students which are used to fixed-do). One student that sings in relative solfa sounds the most ‘secure’. Intonation drops.

Comments:

·      This was much easier, we know the distances in our head.

·      But it is strange that there are no sharps or flats. The first note looks like a la.

·      I sing on noe-noe-noe. I have the scale in my head and I read the intervals. I don’t think of the names of the notes. I have the positions in my head.

·      It is very confusing to say a different solfa syllable to the written note, which I learned in the fixed-do system.

·      On noe-noe-noe it is easier, because singing on names is an extra thing.

Exercise 3c: Sing lower part of Nr.7 from staff notation on noe-noe-noe. Page 56. (starting pitch D)

Result: they can’t sing the interval down from a to c. They can’t sing the melody, also not the second time. They loose their first note. Intonation drops. An interesting discussion follows.

Comments:

·      I have no clue what I am doing now. How can you teach children solfège just singing on noe-noe-noe?! How do you know where you are if you do not have the scale or a name?

·      Even when I sing on noe-noe-noe, I think about the scale. (but this was not leading to the right notes)

·      Yes, but how can someone who did not learn a system just sight sing on noe-noe-noe?

Exercise 3d: Sing lower part of Nr.7 from staff notation on relative solfa names. Page 56. (starting pitch D = la)

Result: they can sing the exercise. Intonation does not drop

Exercise 3e: Sing upper part of Nr.7 from staff notation on letter names or fixed-do names. Page 56. (starting pitch A)

Result: they can sing the melody, the intonation does not drop.

Question: did you notice a difference?

Comments:

·      It is easy because we already know the melody (it is just transposed).

·      It is easier because I recognize the name of every note (fixed- do, visually), but I feel more ‘naked’, because I don’t have something to be based on, it feels likes searching for every note.

Exercise 3f: Sing upper part of Nr.5 from staff notation with do-clef on solfa names. Page 54. (starting pitch G = re)

Result: they can sing the melody. They can also sing the interval from la to sol (a seventh).

Comments:

·      It is nice that you can see where do is. This is actually all you need.

·      I was not thinking intervals, but had a feeling for the tonic note.

·      I did not need to think of pitch names, you can see the distances of the notes to the do on the stave.

Exercise 4a: sing soprano part and bass part of ‘If Ye Love Me’ from staff notation with do-clef on relative solfa names. Page 10. (starting pitch F)

Result: sopranos sometimes miss a few notes, but they can find their part again.

Comment:

·      It feels good! It is not visually confusing know.

·      The solfa makes the piece a bit more new, because I know the piece already on text.

Exercise 4b: sing soprano part and bass part of ‘If Ye Love Me’ from staff notation with bass and treble clef on letter names or fixed-do names. Page 13. (starting pitch F). Second half of the piece.

Result: sopranos can’t sing their part. There is nothing to tell the ears what to sing… not even when the basses sing the same note name, they do not seem to listen to that.

Comment:

·      I was changing from bass to treble clef sometimes.

Exercise 4b: sing soprano part and bass part of ‘If Ye Love Me’ from staff notation with bass and treble clef on relative solfa names. Page 13. (starting pitch F). Second half of the piece.

Result: they can sing the two-parts together. Intonation is sometimes unstable, but does not drop.

Comment:

·      This was much easier.

Question: would it make a difference to sing this from page 11?

Comments:

·      Page 13 with treble and bass clef looks more familiar.

·      But it could work with do-clef notation, because you know the sounds.

·      It is weird… the bass part on page 10 looks lower than the bass part on page 12… but that is not really the case.

Exercise 1a: Sing ‘The bird that soars on highest wing’ from stick notation with letter names. Page 76. (starting pitch = Eb)

Exercise 1b: Sing ‘The bird that soars on highest wing’ from stick notation with relative solfa names on the same pitch. Page 75. (starting pitch Eb = do)

Result: they sing it both times quite good. Intonation does not drop.

Question: did you notice a difference in singing the melody with different names?

Comments:

·      It is difficult not seeing the notes on the stave.

Exercise 2a: Sing the 1^st line of ‘Under this stone’ from stick notation with relative solfa names. Page 72. (starting pitch G = do)

They read through the 1^st line silently.

Result: they get stuck in the second half of the line and the jump down from do to la, becomes do to mi,. The syllables take them to the right notes after they realised they made mistakes.

Exercise 2b: Sing the 2^nd line of ‘Under this stone’ from stick notation with letter names. Page 73. (starting pitch E)

They read through the 2^nd line silently.

Result: they can’t sing the melody this way at all. There seems to be no connection between the pitch names and the sound. They ‘improvise’ a melody and modulate to c. With a bit of help on the interval e’-b’ they get through the 2^nd line. But the jumps are too difficult and they sing hesitatingly.

Exercise 2c: Sing 3^rd line of ‘Under this stone’ from stick notation with relative solfa names. Page 72. (starting pitch B = Mi)

Result: they need help on the jump down from la to re, but the beginning sounds more safe.

Question: what system did you prefer? What differences did you notice?

Comments:

·      We are used to singing in solfa names now, that is easier.

·      I was used to singing on letter names, now I changed to solfa names, and I can’t do both really well now, but the solfa is getting better.

·      With letter names I know better if I sing a wrong note (“this is not a B”). But this only works in the violin register.

·      I think of the intervals when I sing with the fixed-do names names, I have never learned the letter names, that is difficult.

Exercise 3a: Sing the lower part of Nr.6 from staff notation with letter names. Page 56. (starting pitch F)

Result: F-G-A is not in tune. They all have different interpretations of the notes. One student suggests that it will be easier to sing on la-la-la.

Exercise 3b: Sing the lower part of Nr.6 from staff notation with la-la-la syllables. Page 56. (starting pitch F)

Result: this makes it worse.

Exercise 3c: Sing the lower part of Nr.6 from staff notation with relative solfa. Page 56. (starting pitch F = do)

Result: jumps are difficult. But there is more unity in the sound and intonation of the notes. Halfway through the melody they forget the solfa syllables. At the end they use the syllables again.

Exercise 3d: Sing the lower part of Nr.7 from staff notation on letter names. Page 56. (starting pitch D)

Result: they can sing the beginning, but sing the descending interval a-c wrong.

Exercise 3e: Sing lower part of Nr.7 from staff notation on la-la-la. Page 56. (starting pitch D)

Result: this is not possible. They try to find the tones, but they can’t.

Question: what happens in your mind?

Comments:

·      We have no grip on what we are singing.

Exercise 3f: Sing the lower part of Nr.7 from staff notation on relative solfa. Page 56. (starting pitch D = la)

Result: the beginning is a bit better, but they get stuck in the second line. Second time singing on solfa names: it still takes a lot of time to ‘translate’ the visual information to the relative solfa names.

Question: what happens in your mind?

Comments:

·      I have more control over on what I am singing.

·      I recognise the intervals better, I have an image of the sound.

·      I can’t find the names quick enough with the bigger intervals, la-la-la is is maybe easier then.

·      I relate the fifth intervals to the violin.

Exercise 3g: Sing the lower part of nr.5 from staff notation with do-clef on relative solfa. Page 54. (starting pitch D = la)

Result: they can sing it after getting the feeling of do. Intonation goes up?

Exercise 3h: Sing the upper part of nr.5 from staff notation on la-la-la. Page 56. (starting pitch G).

Result: the beginning is good, but they loose the key after the jump from D to C’.

Exercise 3i: Sing the upper part of nr.5 from staff notation with do-clef on relative solfa. Page 54. (starting pitch G = re)

Result: they can find the notes at the jumps, but make some mistakes.

Question: did you think of pitch names reading this notation?

Comments:

·      Yes.

·      No, but I am not sure if it would fit with pitch names on my instrument if there would be a clef, this is confusing.

·      No, I have never really learned to read note names well.

Exercise 4a: sing soprano part and bass part of ‘If Ye Love Me’ from staff notation with do-clef on solfa names. Page 10. (starting pitch F = do)

Result: they can sing the soprano line, but intonation is unstable and they make mistakes at the end of the first page (jump do-fa, becomes do-la: to the pitch d).

Exercise 4b: sing soprano part and bass part of ‘If Ye Love Me’ from staff notation with treble and bass clef on letter names. Page 12. (starting pitch F).

Result: they sing the right notes now and intonation does not drop.

Comments:

·      This is easier: I relate the name to what is written very easy now.

·      This is how I read when I play the violin.

Extra:

Exercise 4c: sing four parts of ‘If Ye Love Me’ from staff notation with do-clef on solfa names. Page 10. (Starting pitch F = do)

Result: this is too difficult. They make up something, guessing for the tones to sing.

Comments:

·      I can accept the bass line in Do and I see it as a C (although the pitch is F)

·      It takes time to think of the name and then I am too late.

·      I try not to think of a clef, because then it is even more confusing.

Exercise 1a: Sing ‘The bird that soars on highest wing’ from stick notation with fixed-do names. Page 77. (starting pitch Mib or Eb)

Result: they sing very hesitatingly and insecure. There is no unity in the pitches of the scale. Intonation drops.

Exercise 1b: Sing ‘The bird that soars on highest wing’ from stick notation with relative solfa names on the same pitch (starting pitch Eb = do). Page 75.

Result: they sing it a bit better this second time. There is more unity in the pitches, but intonation still drops. Three of the students put a finger in their ear while singing.

Question: did you notice a difference in singing the melody with different names?

Comments:

·      The second time was easier, because it was the second time.

·      Fixed-do notation was more comfortable, it helps with the intervals.

·      I thought the first notation (letter names) was more comfortable, but I noticed that we were more close to correct singing it the second time (relative note names).

·      I did not recognize it as the same melody, because the notations were so different.

·      The second time (relative solfa) was easier, although the notation was a bit strange (d is not D but do). The melody feels more logical in the do-scale than in the Mib-scale.

Exercise 2a: Sing the 1^st line of ‘Under this stone’ from stick notation with fixed-do names or letter names. Page 74 or Page 73. (starting pitch Sol or G)

Result: they sing the first notes Sol-Fa#-Mi as Sol-Fa-Mib and end up on Bb and they know that they are wrong. They seem to use the sounds (Eb major scale) from the previous exercise.

After correcting the first interval to a minor second they sing the beginning of the melody as: Sol-Fa#-Mi-Re (not really a leading note Re#). They seem to have no clue of the tonal relations and the Fa# stays Fa. They seem to guess pitches. The notation does not seem to give them any information about the sounds to sing.

Exercise 2b: Sing the 1^st line of ‘Under this stone’ from stick notation with relative note names. Page 72. (starting pitch G = do)

Result: they can’t sing it and an introduction of singing the scale on relative solfa is necessary. There is confusion about the ‘si’ which is a raised sol. They try again, they now can sing to the end of the first line.

Then they read it in silence and sing it once more. One of the girls is more safe in singing and the others sing after her.

Exercise 2c: Sing the 2^nd line of ‘Under this stone’ from stick notation with fixed-do names Page 74 or page 73. (starting pitch Mi or E)

Result: They sing the first notes Mi-Fa#-Sol as Mi-Fa#-Sol#. The Fa# sounds ‘forced up’ and then the Sol becomes too high as well. No aural imagination of the key or the scale still.

After a bit of help in singing the first four notes, they sing the rest of the 2^nd line. Intonation drops and there seem to be still no tonal relations.

Exercise 2d: Sing 3^rd line of ‘Under this stone’ from stick notation with relative solfa names. Page 72. (starting pitch B = Mi)

Result: they can sing the melody slowly with some help on the jumps to re and sol. They stay in the key and the intonation does not drop.

Question: did you notice a difference in singing this more difficult melody with different systems? Did you imagine an instrument?

Comments:

·      For me there is confusion between the Si (in fixed-do) and the Si (relative is Sol#)

·      I did imagine the viola only in the fixed-do notation.

·      The fixed-do names are more familiar. The shorter solfa names are less clear.

·      It is difficult that you do not see the melody going up or down.

The teacher asks if they felt tonal functions, like tonic and dominant when singing the melody? Answer from students: No, not really.

Exercise 3a: Sing lower part of Nr.6 from staff notation with fixed-do names or letter names. Page 56. (starting pitch Fa or F)

Result: F-G-A is not in tune, intonation drops. G is to low, A is Ab with one of them (same as in group 1). Do is wrong and then they loose the scale.

Result: they can’t find low La and Do.

Exercise 3b: Sing lower part of Nr.7 from staff notation on relative solfa. Page 56. (starting pitch D = la)

This is confusing for the students.

Result: They sing the beginning la,-do-la,-re as la,-do-la,-mi

Comments:

·      I can’t even think of the sound, I am just thinking of the name from the visual signs.

Exercise 3c: sing lower part of nr.7 from staff notation with do-clef on relative solfa. Page 54. (starting pitch D = la)

Result: they sing the melody with lots of mistakes and insecure intonation. The second time they can find the pitches, but jumps are difficult.

Question: are you transposing or translating note names from pitch names?

Comments:

·      No not really.

The teacher asks again if the tonal functions tonic and dominant were in their minds. Answer: yes, the La felt as a tonic and we did not know what note to sing so I just guessed and jumped to the mi (dominant).

Exercise 3d: sing lower part of nr.7 from staff notation fixed-do names or letter names. Page 56. (starting pitch D or Re)

Result: they sing the beginning Re-Fa-Re-Sol as Re-Fa-Re-Fa.

Comments:

·      This is much more comfortable.

·      I see piano keys.

·      I imagine positions on my instrument.

Exercise 3e: sing lower part of nr.5 from staff notation with do-clef on relative solfa. Page 54. (starting pitch C = sol)

Result: they can sing it with one or two mistakes.

Exercise 3f: sing upper part of nr.5 from staff notation on fixed-do names or letter names. Page 56. (starting pitch G or Sol)

Result: they can’t find the high C or Do. And they can not sing the jumps.

Comments:

·      It helps a bit to think of your instrument, but when we miss a note it does not help to get the right notes back, then we are lost.

Exercise 3g: sing upper part of nr.5 from staff notation with do-clef on relative solfa. Page 54. (starting pitch G =re)

Result: it is still difficult to jump to and from the high sol.

Comments:

·      It was just thinking intervals now, because I could not see what the key was.

Exercise 4a: sing soprano part and bass part of ‘If Ye Love Me’ from staff notation on fixed-do or letter names. Page 12. (starting pitch F or Fa)

Result: they sing the first phrase, intonation drops

Exercise 4b: sing soprano part and bass part of ‘If Ye Love Me’ from staff notation with do-clef on solfa names. Page 10. (starting pitch F=do).

Result: they sing the first half of the piece, intonation drops

Exercise 4c: sing soprano part and bass part of the second page of ‘If Ye Love Me’ from staff notation on fixed-do or letter names. Page 13. (starting pitch F or Fa).

Result: they can’t sing it. This is too difficult.

Exercise 4d: sing soprano part and bass part of the second page of ‘If Ye Love Me’ from staff notation with do-clef on solfa names. Page 11. (starting pitch F=do).

Result: Only the girls can sing it a bit. No stable intonation. Intonation does not drop overall, but is not stable on certain notes.

Exercise 4e: again sing soprano part and bass part of the second page of ‘If Ye Love Me’ from staff notation on fixed-do or letter names. Page 13. (starting pitch F or Fa).

Result: Intonation drops and the notes do not seem to mean anything in relation to each other.

Question: what did you experience in singing the different versions? Did you notice a difference singing in the do-tonality or singing in the Fa-scale?

Comments:

·      It is vocally too difficult for me, I am scared of singing in the higher register. In the do-clef notation the notes look ‘lower’ and then it is less scary to sing, because you don’t see a high note.

·      It was confusing: I did see treble clef notation and then had to translate.

·      Most energy goes into the reading and thinking of the names, sound comes later.

·      We read page 11 in bass clef: then the names matches the places of the notes on the staff.

·      The Do-scale feels more safe in sound, but reading is always on the fixed-names.

Test Report Group 3 - Recorded 26 January 2015

5 students, Bachelor 2, Aural Skills and Analysis 2, Singers

Average age = 23,8 (20,3)

Average age of starting solfège lessons = 19,8 (14,0)

Average number of years of solfège lessons = 2,8 (5,3)

Average number of years of playing / singing = 5,2 (10,0)

Test Report Group 4- Recorded 26 January 2015

10 students, School voor Jong talent, Aural Skills, Instrumentalists (all Dutch)

Average age = 16,3 (20,3)

Average age of starting solfège lessons = 10,9 (14,0)

Average number of years of solfège lessons = 5,6 (5,3)

Average number of years of playing / singing = 9,1 (10,0)

Test Report Group 8 - Recorded 11 March 2015

3 students, BA1, Aural Skills and Analysis 1, Instrumentalists

Average age = 19,3 (20,3)

Average age of starting solfège lessons = 16,0 (14,0)

Average number of years of solfège lessons = 2,8 (5,3)

Average number of years of playing / singing = 7,7 (10,0)

Exercise 1a: Sing ‘The bird that soars on highest wing’ from stick notation with fixed-do or letter names. Page 76 or Page 77. (starting pitch Mib or Eb)

Result: they can sing the melody. Intonation does not drop.

Exercise 1b: Sing ‘The bird that soars on highest wing’ from stick notation with relative solfa names. Page 75. (starting pitch Eb = do).

Result: they can sing it as well. Intonation does not drop.

Question: did you notice a difference in singing the melody with different names?

Comments:

·      It is confusing to sing another note name and hearing a different tone (perfect pitch).

·      For me it was not strange, but singing it on Mib-Fa-Sol felt more ‘right’ because of the range of my voice.

·      No difference for me, I have not really learned these systems.

Exercise 2a: Sing the 1^st line of ‘Under this stone’ from stick notation with fixed-do or letter names. Page 74 or Page 73. (starting pitch Sol or G)

Result: they can sing the melody. Intonation does not drop.

Exercise 2b: Sing the 2nd line of ‘Under this stone’ from stick notation with relative note names. Page 72. (starting pitch G = do)

Result: the student with perfect pitch looks very confused. But another the student can sing it really well, the others sing after him. There is some confusion about ti and Si and the English letter name D (= Re) is written here as d and it means Do.

Exercise 2c: Sing the 3^rd line of ‘Under this stone’ from stick notation with fixed-do names or with relative solfa names. Page 74 or Page 72. (starting pitch G = do)

They can choose what note names to sing for the 3^rd line. The two students with fixed-do choose the fixed-do version. The third student has no preference.

Result: they can sing it, but it’s a bit difficult.

Exercise 2d: Sing the 3^rd line of ‘Under this stone’ from stick notation relative solfa names. Page 72. (starting pitch G = do)

Result: they can sing it. The student without having perfect pitch, but used to fixed-do, sings this the second time more fluently.

Comments:

·      I am transposing every sound name to the real pitch name.

·      For me this is easier, I don’t transpose. There is not really a difference between fixed-do reading and using the note names relatively.

·      I am not used to singing on names, but I can follow a bit now.

Question from the teacher: do you feel a different energy in the notes of the scale? Is that connected to the names of the notes? Do you hear functions?

Comments:

·      Student with perfect pitch and fixed-do: not really, all the notes are equal.

·      Student without perfect pitch: yes, I do feel a difference between the notes sometimes when I play music on my instrument.

Exercise 3a: Sing lower part of Nr.6 from staff notation without note names (la-la-la). Page 56. (starting pitch F)

Result: they sing the melody, but make more mistakes than before with the stick notation. It sounds like loose pitches and intonation is unstable.

Exercise 3b: Sing upper part of Nr.6 from staff notation with fixed-do names or letter names. Page 56. (starting pitch La or A)

Result: many mistakes. Intonation is unstable, but corrected at the end by perfect pitch.

Comments:

·      It is easier with names than on la-la-la. When I have to sing a sound I always imagine a name.

·      I don’t know, but I think with names is easier, but I don’t feel a lot of difference.

·      The name gives a stronger image of the sound.

·      No difference really.

Exercise 3c: Sing lower part of Nr.7 from staff notation on relative solfa. Page 56. (starting pitch D = la)

Result: they can’t do this. The reading and transposing seems to block the hearing and understanding of the notes.

Comments:

·      I have to transpose. I see a Re and I have to call it La.

·      I try to think really quickly what name to sing.

Exercise 3d: Sing lower part of nr.7 from staff notation with do-clef on relative solfa. Page 54. (starting pitch D = la)

Result: after thinking about how to read this (there is no Re!), they can sing the melody, but still very hesitatingly and intonation drops. Sometimes the note names seem to take them to the right tones (with jumps).

Question: is there a difference to the previous exercise?

Comments:

·      This is a bit easier, because now I look for the intervals between the notes. But I also still transpose from the fixed pitch note names as if there was a treble clef.

·      I still transpose, that is the problem.

·      I could sing more safe now, because I could remember the sound of re or do to find the tone to sing.

Exercise 4a: sing soprano part and bass part of ‘If Ye Love Me’ from staff notation with do-clef on relative solfa names. Page 10. (starting pitch F = do)

Result: they sing the first page, intonation drops.

Comments:

·      I was singing the bass part in bass clef, where the first note is Do. No problem that it sounds as pitch Fa.

·      I was reading in treble clef, I was even trying to transpose the notes on the lines a third down to match the sound: as if in treble clef there was a Fa and then I had to call it Do. Very confusing.

·      It was fine for me.

Exercise 4b: sing soprano part and bass part of the second page of ‘If Ye Love Me’ from staff notation on fixed-do or relative solfa. Page 13. (starting pitch E or E=do).

Result: they sing it, but do not seem to listen.

Exercise 4c: sing four parts of the second page of ‘If Ye Love Me’ from staff notation on fixed-do or relative solfa. Page 13. (starting pitch E or E=do).

Result: jumps are difficult, especially when going down. Then the note names can not be found quick enough. The teacher explains that when you know the name, the sound feels more safe.

Question: did you feel a difference in the different forms of notation? Is it useful?

Comments:

·      Yes, it is useful to be able to use the notation more flexible, for transposing.

Test Report Group 5 - Recorded 16 February 2015

10 students, BA2, Aural Skills and Analysis 2, Instrumentalists (all non Dutch)

Average age = 22,9 (20,3)

Average age of starting solfège lessons = 12,9 (14,0)

Average number of years of solfège lessons = 8,5 (5,3)

Average number of years of playing / singing = 13,4 (10,0)

Please scroll down for the complete report