How a German 'Sound of Music' Replaced 'Do-Re-Mi' with a Stroke of Genius
A 2005 German production of 'The Sound of Music' cleverly replaced the iconic 'Do-Re-Mi' song. Instead of solfège, it used mnemonics to teach the notes C, D, E, F, G, A, H, making the musical lesson culturally relevant and understandable for a German-speaking audience.

Imagine the pivotal scene in “The Sound of Music”: Maria, guitar in hand, teaching the von Trapp children the basics of music on a picturesque Austrian hillside. The song that follows, “Do-Re-Mi,” is more than just a tune; it’s the foundation of their musical journey and a cornerstone of musical theater history. But what if the song wasn’t about does, deer, and drops of golden sun? For a 2005 German-language production in Vienna, this beloved classic underwent a fascinating and brilliant transformation that replaced the solfège syllables entirely.
A Problem of Cultural Translation
When adapting a musical for a new audience, a literal word-for-word translation often fails. This was precisely the case with “Do-Re-Mi.” The song’s entire premise relies on the audience’s familiarity with the solfège system (Do-Re-Mi-Fa-Sol-La-Ti), which is widely recognized in English-speaking countries. However, in Germany and Austria, this system is not the primary method for teaching music to children. Instead, they learn the letter names of the notes: C, D, E, F, G, A, and, uniquely, H for B natural (the note 'B' is used for B flat).
A direct translation of “Do-Re-Mi” would have left the audience confused. The song’s purpose as an educational tool would be lost. The lyricist, Michael Kunze, faced a challenge: how do you preserve the spirit and function of the song when its core concept is culturally irrelevant?
The Mnemonic Solution
Kunze’s solution was nothing short of genius. Instead of teaching solfège, he rewrote the lyrics to teach the German note names through a series of clever mnemonics. Each line corresponds to a note in the C major scale, and the first word (or a key word) of the phrase matches the note name.
The adapted lyrics are as follows:
- C: Cäsar, der ein Herrscher war (Caesar, who was a ruler)
- D: Déja-vu, das hat man schon geseh'n (Déja-vu, that has been seen before)
- E: Ehrenmann, der tut nur Gutes (Man of honour, who only does good)
- F: Farben machen's Leben bunt (Colours make life colourful)
- G: Geh mit mir durchs Wunderland (Walk with me through wonderland)
- A: Alles was dein Herz begehrt (Everything your heart desires)
- H: Harmonie ist, wenn wir uns gut versteh'n (Harmony is when we get along well)
This version perfectly captures the original's intent. It’s a fun, memorable song that serves as a genuine music lesson for its target audience. Maria is still teaching the children the building blocks of a scale, but in a language and system that makes immediate sense to them.
Localization Over Literalism
This clever adaptation is a masterclass in localization. It prioritizes the audience's experience and the story's intent over a rigid, literal translation. By understanding the cultural context of German music education, the creative team was able to craft something new that felt just as organic and purposeful as the original. It serves as a powerful reminder that the best translations don't just change the words; they translate the meaning, the feeling, and the function, ensuring a story can resonate deeply, no matter where it's told.