However, some Kodály-inspired teachers use Takadimi, Gordon, or other systems instead of the traditional syl- lables.


Many Kodály-based lessons include manipulatives and pictures to teach concept(s). For example, popsicle sticks are often used in conjunction with stick notation in the early stages of reading and writing quarter notes, eighth notes, and quarter rests. Students might arrange pictures of characters from a related song into high and low pitches or rhythmic patterns. These activities have changed with Smartboard technology, as traditional manipulatives and visuals are converted into more modern, relatable examples for the students.


Kodály lessons also contain games, movement activities, action songs, and folk dances that allow students to physi- cally engage with music concepts. For instance, students might pass a ball or rhythm stick on the steady beat as they sing a song. They could learn a dance or game that ac- companies a song, sing a song with accompanying actions, or do a larger-scale folk dance. These activities create an enjoyable learning environment, while reinforcing skills the students eventually label.


The Sequence


Because the Kodály Approach is developmental in nature, concepts are presented in a logical sequence. The basic rhythmic sequence progresses in the following way, with some differences of opinion in the more advanced concepts: steady beat; fast and slow sounds; quarter note and rest; paired eighth notes; half note and rest; whole note and rest; dotted half note; single eighth note; dotted quarter-eighth; eighth-quarter-eighth; sixteenth notes; sixteenth-eighth patterns; and so forth. In terms of melodic sequence, most Kodály sequences begin with high and low sounds, move to sol-mi, then add la, the low and high do, re, then extended pentatonic, diatonic, and modal tonalities. There are also sequences for harmony, form, and the expressive elements. The sequence is relatively fixed, meaning the Kodály resources organize repertoire based on a few specific se- quence plans. However, the needs of the selected repertoire should shape the nuances of the sequence that the teacher chooses to implement.


The Ins and Outs of the ‘Doing’


The Kodály Approach uses a three-step process to layer concepts and move from the unknown to the known. Dur- ing the Prepare phase, students experience the concept in multiple ways so that they feel it, see pictures of it, audiate it, perform it correctly, and learn the concept in context of musical examples. Once they hear and demonstrate the new


skill correctly and have developed a grouping of repertoire containing it, the teacher tells the students the label and symbol associated with it. This step or series of steps is called Present or Make Conscious, and it is only present in the lesson when the students are ready to learn the label and/or symbol for a new skill. The students then begin to manipulate the newly learned concept in the Practice phase. They read, notate, decode, create, improvise, compose, play, and apply the skill in new ways. These steps coex- ist in each lesson; for example, students are practicing one concept, while they are preparing the next.


Example of Kodály Lessons Grade: First


Concept: present S-M, prepare L Objectives: 1. The students will sing S-M patterns with correct solfege syllables and hand signs.


2. The students will sing “See Saw”, using correct solfege syllables and hand signs.


Procedure: 1. Greet students by singing “Hello Class” in S-M, S-L-S, S-L-S-M patterns and having the students echo them back.


2. Use the last pattern to transition to “Busy Buzzy Busy Bee”.


3. Sing “Busy Buzzy Busy Bee” and play game. 4. Transition by singing “See Saw” on ‘loo’ as a mystery song.


5. Sing and play “See Saw”. 6. Slow the tempo of “See Saw” and have the stu- dents sing the song using ‘high’ for S and ‘low’ for M. Repeat and have the students put their hands on their head on ‘high’ and shoulders for ‘low’.


7. Tell students that we have two new notes on Mu- sic Street, and show them neighbors Mr. Sol and Ms. Mi.


8. Use Music Street to echo S-M patterns. Have the students move their hands up and down from S to M during patterns.


9. Teach the students the hand signs for S and M. Repeat echo patterns from Music Street using cor- rect hand signs and solfege syllables.


10. Sing “See Saw” using solfege syllables and hand signs.


11. Use “See Saw” to transition to “Bluebird, Blue- bird”.


12. Help the students decode the first measure of “Bluebird, Bluebird”.


13. Sing and play “Bluebird, Bluebird”. 14. Ask students to identify which hand sign belongs to S, and which belongs to M.


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