The word solfege comes from the combination of the syllables “sol” and “fa,” meaning singing with syllables, derived from the word “sol-falama” (Gazimihal, 1961, p. 234). Solfege also means reading and is defined as reading notes by their names, durations, and sounds (frequency values) (Sun, 2019, p. 1). In other words, it is the name given to ear training and reading exercises in which the student sings while also saying the name of each note (Say, 2005, p. 1131). The word “decipher” entered our language from the French “dechiffrer” and its dictionary meaning is to solve, open, or break (a code). In a musical sense, deciphering can be described as reading and vocalizing notes (Say, 2002). Deciphering is the ability to read or perform the notes of a piece of music at first glance (Sözer, 1998:216). According to another definition, deciphering is playing and performing a piece that has not yet been studied at first sight (Fenmen, 1991, p. 31). Whether at an amateur or professional level, learning the alphabet of music, i.e., notes and note reading, and therefore solfège reading, will enable everyone involved in music, whether vocal or instrumental performance, to approach music education from a scientific perspective. The progress they make in solfège reading will lay the groundwork for advancing their vocal and instrumental performance quickly, efficiently, systematically, and within an international framework. One stage of these solfège studies, as described above, is deciphering, or in other words, playing to decipher a musical structure they encounter for the first time. At this point, in order to reach the desired level in solfege studies and perform new pieces and musical structures with fewer mistakes at first sight, there is a need for many new sight-reading pieces to work on. This work was done to meet this need. The work consists of four series of books, comprising 444 original solfège sight-reading exercises prepared according to the principles of progressing from easy to difficult and from simple to complex. At the beginning of each book, before moving on to the solfège decoding exercises, the scales corresponding to the keys in that book, the range of the pieces, the largest interval used in the melodies, the note values used in the pieces, and the rhythmic patterns are given in detail. In this way, a kind of basic information index has been created for each book. When working on the reading pieces in these books, the following steps should be followed:

The piece to be read should be studied for a certain period of time to gain an understanding of its tonality, style, rhythm patterns used, and any altered (modified) notes within the piece. Then, in order to enter the tonality, the scale or cadence of that tonality should be played, and reading should begin with the starting note. If a wrong note is thought to have been played, one should try to play the correct one. If the correct note still cannot be played, as a last resort, the correct note should be obtained with the help of an instrument and the reading should continue. Once read, the piece will no longer be a sight-reading exercise but will become a solfège reading exercise. In the Solfege Deciphering Exercises II book, 2-note, 4-note, and 8-note values, as well as 4-note rests and the note to its right, which is extended by half the note value with a dot sign. Melodies are limited to 10 notes, with a major 3rd above 1 octave, and solfege transcription exercises are written at a basic level, preferably consisting of sequential notes. Furthermore, major and minor keys without any accidentals and with a single accidental in their key signature have been used. The preferred time signatures are 2/4, 3/4, and 4/4. All of the above is also provided in the table below. We hope this will be useful to all music educators, students, and music lovers who want to practice solfège and solfège transcription but have difficulty finding resources.