Uniting Orff and Kodály:

Best of Both Worlds

Dr. Pattye Casarow
Clearwater Christian College
The complete packet of resources may be downloaded from
www.clearwater.edu
Click on Academics/Majors/Fine Arts – Music/Dr. Pattye Casarow

PHILOSOPHIES

KODÁLY ORFF
A. Everyone has the right to music A. Music is learned by child-friendly
literacy and it is meant to be enjoyed! activities such as singing, chanting
B. Singing can and should provide the rhymes, clapping, moving, and playing.
foundation for all types of music. B. Music is learned by hearing and
C. Music education should begin at the making music first, then reading and
earliest possible age. writing it later.
D. A  child’s  own  culture  provides  his/her   C. Music is enjoyed in a non-competitive
musical  “mother  tongue.”    Folk  music   atmosphere where one of the rewards
I. is  the  “musical  mother  tongue”  of  the   is the pleasure of making good music
child. Folk songs provide ideal with others.
materials for music education. D. Improvisation and composition start
E. Music learning should be experiential students on a lifetime of knowledge
and  feel  like  “playing”  for  the  child. and pleasure through personal musical
F. Only music that clearly demonstrates experience.
artistic merit (folk or composed) E. Orff  Schulwerk  (“schooling  in  music  
should be used in teaching. through  working”=  LEARNING  BY  
G. Only the finest musicians should teach DOING) is total, active involvement in
music. The lessons should be child- music making that incorporates
centered with a discovery approach. speech, singing, movement, and
The teacher creates a stimulating, instrument playing in a creative
joyful, and invigorating atmosphere in environment.
the classroom. This is the essence of F. Orff Schulwerk develops the whole
Kodály. child with a balance of emotional and
intellectual stimulation.
BASIC TOOLS

KODÁLY ORFF
A. Rhymes and singing 1. Rhythmic speech and singing
B. Solfège (moveable do) and Curwen hand 2. Folk songs
signs 3. Playing Instruments: body percussion,
C. Rhythm syllables non-pitched percussion, barred
I. D. Folk songs instruments, and recorder
E. Movement activities 4. Movement activities
F. Prepare, Present, Practice 5. Emphasis on process
G. Instruments: recorders , pitched and non- 6. Improvisation
pitched percussion

H.
PEDAGOGY

A. Kodály Approach
1. Scope and Sequence
a. Long range plans
b. The converse relationship of rote to reading
c. Spiral curriculum
2. Principles of Planning
a. Prepare (pre-conscious)
1. Musical experiences
2. Rote learning
3. Iconic representation
b. Present (identification or introduction - conscious)
1. Guided discovery
2. Use of symbolic representation (labeling)
c. Practice (addition of reading and writing)
1. Application to new situations (transfer)
2. Creativity
3. Reading and writing
3. Song Selection
a. For Preparing: Any song with element anytime
b. For Presenting:
1. New element the only unknown thing in the song
2. New element preferably in the middle of the song
3. New element preferably happens only once
4. Melodic pattern descending better than ascending
c. For Practice:
1. All elements are known
2. Reading and writing in some form

2
 4. The Lesson Plan
a. Beginning or Opening (establish beat, in-tune singing)
1. Greeting (use pitches that are to be prepared or practiced.)
2. Rhyme (establish attention to beat using speaking voice.)
b. Primary Focus (major task)
1. A specific concept is introduced or practiced. This is the focal point of the
lesson and requires the most intense concentration from the students.
2. Always use a known song to introduce a new concept.
c. Change of pace (movement activity, singing game or Orff-inspired activity)
1. This is an ideal place to prepare new musical concepts.
2. An opportunity for fun.
d. Secondary Focus
1. This portion of the lesson is flexible. It could involve a new song, flashcards,
a story, improvisation, listening, review, or any number of other possibilities.
2. Often this section functions as a time for practice or preparation for future
lessons.
3. More importantly to the classroom teacher, this is a time to calm the class
down after a rollicking singing game, and re-focus their attention on a
specific concept.
e. Closing
1. Similar to the greeting, this part of the lesson again uses pitches or rhythms
that are being prepared or practiced.
2. It could also involve a quick review of any new pitch or rhythmic patterns
introduced in the lesson.
5. Solfège and Curwen Hand Signs
a. Solfège. Why?
1. Proven record of success
2. Pure vowels
3. All single syllables
b. Moveable do
1. Easily transfers from key to key
2. Easy to teach minor and other modes
3. Function of intervals remains the same from key to key
c. Handsigns. Why?
1. Visual learners
2. Kinesthetic learners

B. Orff Approach
1. Process
a. The ultimate aspiration is NOT a performance.
b. The overall goal is the learning, joy, and fulfillment that comes along in the process
of making music.
2. Procedures of Process
a. Process is one that breaks down the component parts into small, manageable
segments, beginning with singing and solfège or rhythmic chant.
b. Process continues by putting the rhythms into body percussion.
c. Then rhythms are transferred to instruments.
3
 d. Often some form of movement is added.
e. Finally, the piece is performed informally for the teacher and classmates or formally
for an audience.
C. Rhythm Mnemonics Compared
1. Orff: word-chant (pear = q, apple = sd)
2. Kodály: ta ti-ti ( qsd)
3. Gordon: du du-de ( qsd)
4. Pierre Perron: ti-ka-ti-ka ( xxxc)
5. Ta Ka Di Mi: ta ta-di ta-ka-di-mi ( qsdxxxc)

D. Creating: Improvisation and Composition

1. Rhythmic
2. Melodic
3. Textual

E. Planning for Grades 4-8

1. When planning lessons for grades four through eight, the same structure may be used.
2. Substitute an opening and closing song and/or rhythmic/pitch activity in place of the
greeting and rhyme.
3. Find age-appropriate songs and activities.
4. Attention span increases with age.
5. Writing skills are more advanced.
6. Pace of sequence can be faster.

“A  well-conducted  lesson  is  not  a  burden,  but  a  recreation:  the  source  of  joy  and  cheer.”
Zoltán Kodály.

4
Lesson Examples
OPENING
1. Greeting

5
2. Rhyme/Rhythmic Chant

6
7
Process:
1. Learn poem by rote over pulse.
2. Clap rhythm of poem over pulse.
3. Learn ostinato by rote over pulse. Add ostinato to poem. Speak in two parts.
4. Transfer ostinato to patsch; perform both parts with body percussion.
5. Transfer to unpitched instruments and perform.
Form:
Intro – Ostinato played 2 times
A – Poem said over ostinato played
A1 – Poem played over spoken ostinato
A2 – Poem and ostinato spoken together
A3 – Poem and ostinato performed on body percussion
Coda – All say ostinato 1 time

8
9
10
PRIMARY FOCUS: Prepare, Present, or Practice 3$ meter, high do, or t
Hook:
 Before Teacher (T) sings “See  All  the  Stars”  for the first time he/she says: Boys and girls, will you
close your eyes for a moment? I want you to pretend you are outside on a lovely Florida evening.
The sun has already gone down and it’s very dark just like what you’re seeing right now with your
eyes closed. Now I want you to pretend to see the bright stars in the sky. The song we’re going to
sing today is about those stars and it is also something of a riddle. Can you listen and tell me what
the person in the song wishes for?
 Instruct the class to open their eyes and lead in discussion of what the wish and the light is.
 T: Please keep a steady beat on your lap while I sing the song again. See if you can feel the strong
beat.

Practice 3$meter:
 T: Can anyone tell me what meter this song is in?
 Review 3/4 meter – strong-weak-weak pulses. Class gets up and moves to song – STEP, snap, snap
(repeat) as T sings the song. What’s  another  way  we  can  show  strong-weak-weak in our bodies?
 T sings; class moves. Another way? T sings and class moves. After several repetitions, class sings
with T when they are ready.
 End movement activity with STEP, flick star dust, flick star dust (repeat)

11
Present or Practice High Do
 Students learn song well then sing with solfège. When they get to measures 3 and 7 they will
notice that the pitch is higher than la, their highest known pitch. Introduce high do and its hand
sign. What is the same with low do? What is different?

Present or Practice t
 After students know the song well, one student taps the steady beat on the hand drum while the
class taps the rhythm of the words with two fingers in their palms.
 Proceed to having students write the rhythm of the song on the white board. Use the following
chart:

3$ _____ _____ _____ \_____ _____ _____ \_____ _____ _____ \_____ _____ _____ \

_____ _____ _____ \_____ _____ _____ \_____ _____ _____ \_____ _____ _____ |

 When they get to measures 4 and 8, they will notice that the note gets 3 steady pulses. At this
point review or present the dotted half note.

1. Present gc

Hook or Opening:
 Lead in echo clapping the rhythms of each measure (separately) of Hey, Ho, Nobody Home. Strive
for 100% ensemble accuracy. Write the following on the board:

Mystery Rhythm 1 Mystery Rhythm 2 Mystery Rhythm 3

Presentation of gc
 While one student taps steady beat on the hand drum, ask the class to clap the rhythm patterns
while  saying  ta’s,  ti-ti’s,  etc.
 Guide students in identifying the rhythmic notation of the 3 rhythm patterns. Have a student write
the first two patterns on the board. For the third pattern, the gc (tim-ri ) will be new, so
discovery and presentation of gc should ensue. They will notice that they are clapping twice per
beat. What rhythm patterns do we know that has 2 in a beat? (Answer: only sd) But does sd
sound like the rhythm we clapped for Rhythm 3? (Answer: No) At this point, you will introduce gc
and show how the beat is divided ¾ and ¼ . They already know xxxc sxc and xcd so they are
familiar with dividing the beat into 4 parts.

Mystery Rhythm 1 Mystery Rhythm 2 Mystery Rhythm 3

12
 Teach the words and tune of Hey, Ho, Nobody Home by rote. Before the first presentation of the
song,  ask  the  students  to  listen  for  the  answer  to  the  question,  “What  don’t  I  have?”  [Answer:
meant, not drink, nor money] If students become quickly comfortable with the song, have them
sing it in a two- or three-part round.
 Have the students match the Mystery Rhythms to the phrases (rhythm of the words) in the song.

 Choose 2 or 3 students to play their recorders with the following ostinato as the class sings Hey,
Ho, Nobody Home. This could also be played on Orff instruments.

13
2. Prepare, Present, or Practice octave, ritardando and a tempo

14
 3. Prepare, Present, or Practice Mixolydian or 7/8 meter

Hook or Opening:
 It  rains  a  lot  in  Florida,  doesn’t  it?    Well,  I  have  this  car  that  has  the  most  unusual  windshield  
wipers. They go like this: Slip-Slip-Slip, Slap, Slap (with this movement)
Slip
Slip Slap
Slip
Slap
 Do  what  I’m  doing. [All students conduct the pattern. Have a few students do the pattern with
maracas.]

Presentation/Practice of 7/8 Meter:

 Have several students clap the micro beat while the Long-Short-Short pattern continues.
 Lead the students in discovering that the micro beats are divided 3 + 2 + 2. Introduce 7/8 meter.
 T  sings  “Windshield  Wiper”  while  student  continue  macro/micro  beats.
 T teaches measures 5 and 6 to students. As they sing, they brush palms 3 times, then slap palms
twice (as words indicate). T sings all other measures. Students sing only measures 5-6.
 As students get more comfortable with the song, divide class into 2 groups. Group 1 asks the
question (phrases 1-2); Group 2 answers (phrases 3-4).

Presentation/Practice of Mixolydian Mode:

 Lead class in singing diatonic major scale with Curwen hand signs. Proceed to sing scale from G (so)
to G (so,) and back up. Introduce Mixolydian mode.
 Lead class in discussing the differences between major (Ionian mode) and Mixolydian (lowered
7th/leading tone).
 Have students  discover  Mixolydian  in  “Windshield  Wiper.”

15
16
CHANGE OF PACE
 Change of Pace can be as simple as going from singing, discussion, board work (Primary Focus) to the
instruments to play.
 For the younger grades, getting up and moving to the steady beat is always profitable.

20 WAYS TO MOVE TO THE STEADY BEAT

snap click heels windshield wipers wink

scissors march clap shrug shoulders
chicken wings click tongue knee slap hula hoop
tap shoulders pat lap swim robot
hammer jump nod head chop

Make large flash cards of each word above. Using recordings of instrumental works, have the students
move to the beat according to the card they see. Change the cards at phrase or section endings.

Musical suggestions:
Mozart’s  “Allegro”  from  Eine Kleine Nachtmusik
Leroy  Anderson’s  “The  Syncopated  Clock”  or  “The  Typewriter”  
“Russian  Dance”  from  The Nutcracker by Tchaikovsky
Copland’s  “Hoedown”  from  Rodeo
“Parade  of  the  Wooden  Soldiers”  by  Leon  Jessel

 There are many wonderful resources for folk song and dance.

Amidon, Peter and Mary Alice. Chimes of Dunkirk, Down in the Valley, Jump Jim Joe, Sashay the Donut, The
Mocking Bird. Brattleboro, VT: New England Dancing Masters.

Choksy, Lois and David Brummitt. 120 Singing Games and Dances for Elementary Schools. Englewood Cliffs,
NJ: Prentice-Hall, Inc., 1987.

Feierabend, John. Move It! Expressive Movements to Classical Music (DVD and CD). Chicago, IL: GIA
Publications, 2003.

Solomon, Jim. The Body Rondo Book: 12 Body Percussion Rondos, Elementary to Advanced. Lakeland, TN:
Memphis Musicraft Publications, 1997.

Trinka, Jill. Bought Me a Cat, John, the Rabbit, My Little Rooster, The Little Black Bull. Dripping Springs, TX: Jill
Trinka, Ph. D.

Weikart, Phyllis S. Teaching Movement and Dance: A Sequential Approach to Rhythmic Movement. Ypsilanti,
MI: High/Scope Press, 2006. Nine Rhythmically Moving CD’s  go  with  this book.

Weikart, Phyllis S. and Elizabeth B. Carlton. Eighty-Five Engaging Movement Activities. Ypsilanti, MI:
High/Scope Press, 2002.

17
  Improvising A Rhythm on One Level of Body Percussion
1. As a class, create an ostinato for 8 measures of 6/8 using 2 to 4 levels of body percussion.
2. Practice the ostinato.
3. All practice improvising with one level of body percussion over the ostinato.
4. Divide class into 3 groups and play in Rondo form. A B A C A D A

A = created ostinato – example below

B = Group 1 improvises, Groups 2 and 3 do ostinato

C = Group 2 improvises, Groups 1 and 3 do ostinato
D = Group 3 improvises, Groups 1 and 2 do ostinato

 Use this time to have students hear and move to great pieces of music.

“Viennese  Musical  Clock”

Zoltan Kodály

Form Introduction, A B A C A D A Coda (Rondo)

Introduction Like a clock face, begin with both arms at 12:00, move right arm clockwise with the
beat from there back around to 12:00, making a full circle.
A Section March in place to the beat using stiff arms and legs like the mechanical movements of
figures moving on a clock.
B Section With arms at sides, rock left and right on the accented beat.
C Section Tap a pretend watch on the beat, first on one arm, then on the other, changing
arms/watches as you wish.
D Section Clasp hands in front and swing them left and right like a pendulum on the accented
beat.
Coda Like a clock face, begin with both arms at 12:00, move right arm clockwise with the
beat from there back around to 12:00, making a full circle.

18
 Many Orff arrangements lend themselves to incorporating creative or structured movement.

19
20
Stick Dance for Sheep Shearing
Developed by Vivian Murray
Formation: Circle of partners facing each other; everyone has a pair of sticks in their hands.
A SECTION
 Measure 1: Partners step toward each other with right foot and raise right arms as they click each
other’s  sticks  on  beat  1;  each  step  back  and  in  place  while  they  click  their  own  sticks  together  on  beats  
2 and 3 (two clicks).
 Measure  2:  Partners  step  toward  each  other  with  left  foot  and  raise  left  arms  as  they  click  each  other’s  
sticks on beat 1; each step back and in place while they click their own sticks together on beats 2 and 3
(two clicks).
 Continue this alternating pattern through Section A.

B SECTION
 Measures 9 – 10: Partners cross right sticks and hold them high while they circle clockwise.
 (First Ending) Measure 11: Standing still, each click their own sticks together on beats 1 and 2 and then
click  each  other’s  right sticks together (high) on beat 3.
 Measure 12: Standing still, each click their own sticks together on beats 1 and 2 and then click each
other’s  left  sticks  together  (high)  on  beat  3.
 Repeated Measures 9 – 10: Partners cross left sticks and hold them high while they circle
counterclockwise.
 (Second Ending) Measure 13: Standing still, each click their own sticks together on beats 1 and 2 and
then  click  each  other’s  right  sticks  together  (high)  on  beat  3.
 Measures 14: Standing still, each click their own sticks together on beats 1 and 2 and then click each
other’s  left  sticks  together  (high)  on  beat  3.

21
SECONDARY FOCUS
 This calming time is a wonderful opportunity to integrate literacy into your curriculum. If a child
cannot read, he/she cannot do music or any other subject well. There are many great illustrated
children’s  books that have musical connections. Here are a few suggestions:

All God's Critters Got a Place in the Choir Bill Staines

All the Pretty Little Horses Traditional
Amazing Grace: The Story of the Hymn Linda Granfield
Barnyard Boogie Jim & Janet Post
Barnyard Song Rhonda G. Greene
Ben's Trumpet Rachel Isadora
By the Dawn's Early Light: The Story of the Star-Spangled Banner Steven Kroll
Carnival of the Animals Saint Saens
Cows in the Kitchen June Crebbin
Dem Bones Bob Barner
Do Re Mi If You Can Read Music, Thank Guido d'Arezzo Susan Roth
Erie Canal, The Traditional
Farewell Symphony, The Anna Harwell Celenza
Fiddlin' Sam Marianna Dengler
Follow the Drinking Gourd Jeanette Winter
Front-Porch Old-Time Songs, Jokes, and Stories Wayne Erbsen
Grandpa's Song Tony Johnston
Heroic Symphony, The Anna Harwell Celenza
He's Got the Whole World in His Hands Kadir Nelson
How Sweet the Sound Wade & Cheryl Hudson
I Hear America Singing Kathleen Krull
I Know an Old Lady Who Swallowed a Fly Nadine Bernard Westcott
I See a Song Eric Carle
I See the Rhythm Toyomi Igus
Kaleidonotes and the Mixed-Up Orchestra, The Matthew S. Bronson
Little Cricket's Song Joanne Barkam
Mole Music David McPhail
My Aunt Came Back Pat Cummings
My Favorite Things Richard Rodgers
Name the Instrument: Riddles in Rhyme Joel Rothman
Old MacDonald's Funny Farm Rozanne Lanczak Williams
Old Man Who Loved to Sing, The John Winch
Over the River and Through the Wood Lydia Maria Child
Peter and the Wolf Sergei Prokofiev
Peter's Song Carol P. Saul
Pictures at an Exhibition Anna Harwell Celenza
Purple Mountain Majesties Barbara Younger
Singing Man, The Angela Shelf Medearis
Singing Sam Clyde Robert Bulla

22
 Stephanie's Ponytail Robert Munsch
Stopping by Woods on a Snowy Evening Robert Frost
Summertime George Gershwin
This Land Is Your Land Woody Guthrie
Today Is Monday Traditional
What Charlie Heard Mordicai Gerstein
Woody Guthrie: Poet of the People Bonnie Christensen
Yellow Umbrella Jae Soo Liu

 Play Instruments/Orff arrangements as Secondary Focus

“See  All  the  Stars”
o Teach BX part by patschen; transfer to instruments
o Teach AX part with claps; transfer to instruments
o Teach SG/SX with snaps; transfer to instrument
o Teach hand drum part
o Perform piece with all instrumental parts, singing, and dancers
o Form:
Intro Hand drum pattern alone then hand drum + BX pattern
A All play
1
A Sing and play
2
A Play + movement
A3 Sing, play, and move
Coda Hand drum + BX patterns then hand drum alone

CLOSING
 Wrapping up should include a brief review of the primary focus of the lesson. It might also include the
children lining up to meet their teacher. This section should leave the children with a smile on their
faces and an excitement to come back to music next time.
 While  playing  a  steady  beat:  “As we line up at the door, everyone wearing blue today please put ti-ti
notes in your feet. Everyone wearing red please put ta notes in your  feet.”
 You might like to have an uplifting song for the children to sing at the end of the class time.

23
24
25
26
 KODALY SCOPE AND SEQUENCE: KINDERGARTEN
RHYTHM  Steady beat
 Fast-slow
 Long-short
 Strong-weak
 Rhythm of the words
 Rhythm echoes
 Improvisation with familiar patterns
 Ostinati by rote
MELODY & EAR  Vocal Exploration – singing, peaking, shouting, whispering
TRAINING  Singing voice vs. speaking voice
 Match pitch
 Sing in tune
 Tone quality – head voice
 High-low
 Ascending – descending
 Loud-soft
 Melodic and rhythmic echoes
 Recognition of familiar melodies
 Improvise melodies related to above concepts
 Aural recognition of octave, P5, m3
 Inner singing of known songs
 Aural recognition of known songs from melody and/or rhythm
HARMONY  Monophonic (unison) singing
 Songs and chant accompanied by beat, games, movement
 Preparation: teacher accompany songs with piano
 Preparation: body percussion (demonstrating beat or rhythm)
 Preparation: non-pitched and pitched percussion
 Preparation: alternate singing (shared melody songs; chain-singing by phrase, call and response)
 Preparation: alternate beat and rhythm (with and without singing)
 Preparation: sing and demonstrate beat or rhythm
READING &  Preparation: perform parts of songs pointing to pictorial diagrams (rhythm and pitch)
WRITING  Name, read, and draw steady beat
FORM  Sing question and answer songs; divide class for each part
 Improvise question and answer
 Recognize aurally the same rhythmic or melodic pattern in known songs
LISTENING  Live and recorded performance music supporting movement vocabulary
 Solo and ensemble examples (vocal and instrumental)
 Body percussion – instrument sounds to songs without singing
 Use of recorder, mallet instruments, and simple percussion
MOVEMENT  Showing steady beat with bilateral hand movement
 Singing games
 Acting out songs
 Spatial exploration and vocabulary (up-down, sideway, backward-forward, fast-slow, heavy-light, etc.)
 Long (sustained) and short
INSTRUMENTS  Body percussion to rhymes and songs
(Orff and Recorder)  Non-pitched and pitched percussion to rhymes and songs
 Recorder modeled for pitch and style

27
 KODALY SCOPE AND SEQUENCE: FIRST GRADE
RHYTHM  qsdQ
 Strong-weak, short-long beats
 Accent
 2$meter
 Bar lines
 Ostinati by rote (known and unknown elements in preparation)
 Improvise missing rhythms
 2 to 4-bar accompaniment on percussion
MELODY & EAR  In-tune singing
TRAINING  So, mi, la (Tritonic)
 Improvise  a  melody  on  “loo”
 Improvise missing melody
 Aural recognition: octave, P5, m3, and known songs from melody and rhythm
 Singing with known melodic syllables (s, m, l)
 Melodic and rhythmic echoes (4-beat lengths)
 Inner singing from hand signs and notation
 Aural dictation using known rhythm syllables
HARMONY  Monophonic (unison) singing
 Dialogue songs with a rhythmic ostinato
 Rhymes and songs with ostinati (body percussion or percussion instruments)
 Songs with teacher accompaniment
 2-part speech rounds
 Simple songs which can be sung as a round
 Rhythm against beat
READING &  Read and write qsd (Stick notation: qsdQ)
WRITING  Clap and say rhythms using syllables (ta, ti-ti)
 Read, write, take dictation of 4-beat rhythms (manipulatives and stick notation; later full notes)
 Compose and clap 4 to 8-beat rhythms using known notes and rests
 Read solfège from letters (s, m, l)
 Read and write known pitches and rhythms from 2-line staff (stick notation; later full notes)
 Place bar lines in 2$
FORM  Recognize same and different phrases in songs (AA, AB), repeat sign, rounds
 Improvise Q & A phrases
 Repeat sign
LISTENING  Performances of vocal, folk music, folk instruments, and orchestral instruments
 Follow simple listening charts
MOVEMENT  Steady beat with bilateral movement
 Stretch movements
 Act out concepts (tall, wide, light, heavy, etc.) to music
 Singing games; move to beat
 Continue spatial exploration
 Easy folk dances
INSTRUMENTS  Body percussion to rhymes and songs
(Orff and Recorder)  Non-pitched and pitched to rhymes and songs; mostly beat but also simple ostinati
 Recorder modeled for pitch

28
 KODALY SCOPE AND SEQUENCE: SECOND GRADE
RHYTHM  wW
 Tied notes qq= w
 Ostinati by rote
 4/4 and 2/4 meter
 Improvise Q & A and rhythmic variations
MELODY & EAR  In-tune singing
TRAINING  Do and re (Pentatonic scale: d, r, m, s, l)
 Singing with known melodic syllables (adding do and re)
 Improvise  melody  on  “loo”
 Inner hearing and singing from hand signs and using hand signs
 Aural dictation using known rhythms or pitches
 Inner hearing from rhythmic notation or solfège
 Melodic and rhythmic echoes (4 to 8-beat lengths)
 Canons, rounds by rote (2 part)
 Aural recognition of known songs from melody and rhythm
HARMONY  Polyphonic (2-part canons or rounds)
 Two-part rhythmic exercises
 Songs with rhythmic ostinati by rote; later by reading
 Pitched ostinati often at P5 or octave
READING &  Read and write wW
WRITING  Read and write rhythmic patterns from dictation or memory (4 to 8 beats)
 Read known and new melodic syllables (stick and staff notation)
 Visual memorization of known songs from notation
 Sing songs from octavo style scores; relate words to notes, repeats, etc.
 3-line staff; identify s, m, l, d, r on staff using do clef
FORM  Recognize same, similar, and different
 Terms: variation, motive

st nd
1 and 2 endings, repeat
 ABA

st
LISTENING Expansion of 1 grade listening experiences
MOVEMENT  Singing games, play parties
 Easy American and international folk dances
 Expand movement vocabulary
 Partner and group work
 Short choreographed motifs expressing style and form
INSTRUMENTS  Increase complexity and variety in Orff arrangements; use contrasting ostinati
(Orff and Recorder)  Use body percussion, non-pitched, and pitched percussion with many songs; always include a beat
source

29
 KODALY SCOPE AND SEQUENCE: THIRD GRADE
RHYTHM  0 Eww= 0
 Expand length and complexity of rhythmic accompaniments on percussion instruments
 Conduct in 2/ 4 meter
MELODY & EAR  In-tune singing
TRAINING  Low la, low so, high do (Pentatonic scale)
 Treble (G) clef and 5-line staff
 Letter names on ladder (up and down octave) then on treble staff
 Do, la, and so pentatonic scales
 Forte, piano dynamics
 Canons and rounds (2 parts)
 Bicinia
 Find solfa from do clef; use any line or space as do (moveable do)
 Inner singing from hand signs (known pitches)
 Melodic and rhythmic echoes (8 beat lengths)
 Aural dictation using known melodic and rhythmic syllables
 Use octavo and find solfa when given do; also indentify note names
HARMONY  Singing and reading many 2-part songs
 Simple rounds and canons
 Simple partner songs
 Singing with rhythmic and melodic ostinati (some 2-part ostinati)
 Many Orff arrangements (increase variety in accompaniment)
READING &  0 E
WRITING  Read and write rhythms and take dictation using all known symbols (8 beat lengths)
 Penmanship of musical notation
 Read and write melodic syllables and letter names on the 5-line staff
 Transpose solfa to absolute pitch
 Read easy 2-part melodies and rhythmic exercises
 Read and play recorder BAG; later C and D
FORM  Rounds and canons
 Recognize form in songs (A, A1, B, B1, AA, BB, ABA, 4-bar phrases, etc.)
LISTENING  Instruments (recorded and live) of band and orchestra
 Recorded  performances  of  children’s  choirs
 Listening charts
 Recorder performances
 Art songs
 Variety of styles of music
 Biographies of composers
MOVEMENT  Singing games (feet and hands to beat)
 Dances, play parties
 Continued movement vocabulary: individual, partner, group
 Conduct in 2$as they sing
 Short improvised and student choreographed motifs expressing style and form
INSTRUMENTS  Alternating hands on ostinati
(Orff and Recorder)  Increase complexity, frequency , and variety of Orff arrangements
 Improvise on percussion
 Play recorder by rote
 Play recorder by note: BAG

30
 KODALY SCOPE AND SEQUENCE: FOURTH GRADE
RHYTHM  xxxc xcd sxc Z aA aqa
 Anacrusis (pick up notes)
 Repertoire for 3/4 meter
 Continued conducting, dictation, and clapping
 Conducting 4/4
MELODY & EAR  In-tune singing
TRAINING  Fa
 La pentatonic scale
 Improvise pentatonic Q & A
 Canons, rounds, bicinia
 2-part solfa from hand signs
 Melodic and rhythmic echoes (8 to 16-beat lengths)
 Aural recognition of meter: 2$4$3$
HARMONY  Increased part songs and rounds (2-4 parts), partner songs
 Instrumental accompaniments (using known elements)
 I, V songs using Orff
 Countermelodies
 3-part ostinati
READING &  Read and write rhythms and take dictation using all symbols including xxxc xcd sxc Z aA aqa
WRITING  Read and write known songs with do and la pentatonic scales
 Compose melody to given rhythm or to rhythm student has composed
 Score reading
FORM  D.C. al fine and D.S. al coda
 More songs in ABA
 Find form in recordings
 Rondo
 Theme and Variations
LISTENING  Find form in recordings
 Find meter in recordings (2$3$4$)
 More listening charts
 Variety styles of music; include historic insight and composer biographies
 Identify instruments from recordings
 Recordings of choirs: unchanged and mixed voices
MOVEMENT  More complex folk dances, singing games, play parties
 Continue beat in hands and feet
 Continue movement vocabulary
 Continue conducting
 More student improvised and choreographed movement
INSTRUMENTS  Continue expanding Orff complexity
(Orff and Recorder)  Focus on precision of Orff accompaniment performances
 Improvise and compose on Orff instruments
 Play recorder: BAGCD

31
 KODALY SCOPE AND SEQUENCE: FIFTH GRADE
RHYTHM  ra art6*ssdrtqa aq
 Conduct 3/4
 Ritardando, a tempo, fermata, accelerando
 6*and 3*meter
 Conducting 6*meter in 6; later in 2
MELODY & EAR  In-tune singing
TRAINING  Ti
 Bb, F#
 Diction and breathing
 Sharp, flat, natural, half step (m2), and whole step (M2), 8va
 Pentachord (d, r, m, f, s) and hexachord (d, r, m, f, s, l) on C, F, and G
 Major scale (Diatonic)
 Aural recognition of meter 2$3$4$6*
HARMONY  Sing songs with rhythmic ostinati by rote
 Sing and read 2-part songs
 Rounds up to 4 parts; partner songs
 Continued use of instrumental accompaniments
 Do two things at once: sing song and clap rhythm in canon
 Chords: I, IV, V songs using Orff instruments
 Teacher uses hand signs to cue harmonic changes
READING &  Read and write rhythms and take dictation to all known elements
WRITING  Read and write known songs to major scale (absolute pitch names)
 Staccato, legato
 Read and play most percussion accompaniments
 Compose to given specifications
 Introduction of Bb and F# in reading and writing
 Write bicinia in pentatonic
 Read simple open score
FORM  Recognize and identify forms when sung and heard
 Students create movement to represent form of song
LISTENING  Expand from other grades
 Listen technically for diction, rhythm, etc.
 Listen structurally for form, balance, contrast, texture, color
 Listen aesthetically for musical impact and why
 Vocal excerpts from opera and operetta
MOVEMENT  Conduct known meters
 Theatre movement
 Advanced folk dance
 Explore movement to reflect aesthetic of music
 Explore movement to reflect parts within the music
INSTRUMENTS  Students create Orff arrangements
(Orff and Recorder)  Orff arrangements with I, IV, V and modes
 Play recorder both hands and over break
 Read, improvise, Q & A on recorder and Orff instruments

32
 KODALY SCOPE AND SEQUENCE: SIXTH GRADE
RHYTHM  gc vh ssd vsb
 Rhythmic augmentation and diminution
MELODY & EAR  In-tune singing
TRAINING  Low ti
 Major scale, minor pentachord
 Key signatures: C, F, G majors; a, d, e minors
 Aeolian (minor, la diatonic), mixolydian, dorian modes
 Modes from hand signs and notation up and down
 Major and minor triads (root position)
 Visual recognition of intervals: m2, M2, m3, M3, P5, octave (P8)
HARMONY  Passing tones
 Dissonance, consonance
 Sing major and minor triads: root position
 i, iv, V chords in minor
 Sing and read 2 part songs
 Sing and read rounds (2 to 4-part)
 Continued use of instrumental accompaniments
READING &  Read and write rhythms and dictation to all known elements
WRITING  Write accompaniments to selected songs; teach score to enable multiple percussion instruments
(both pitched and non-pitched)
 Recorder Middle C to high G with F# and Bb
 Key signatures and writing CM, am, FM, dm, and GM, em
 Simple open score

th
FORM Continue from 5 grade
 Identify form in music sung and heard
 Improvisation within given form: rhythmic and melodic
LISTENING  Expand from other grades
 Listen technically for diction, rhythm, etc.
 Listen structurally for form, balance, contrast, texture, color
 Listen aesthetically for musical impact and why
 Recorded performance of fugue
 Baroque suite
 An excerpt from sonata allegro form
 American Musical Theatre
MOVEMENT  Conduct known meters
 Theatre movement
 Advanced folk and international dance
 Explore movement to reflect aesthetic of music
 Explore movement to reflect parts within the music
INSTRUMENTS  Students create Orff arrangements
(Orff and Recorder)  Orff arrangements with I, IV, V and modes
 Play recorder both hands and over break
 Read, improvise, Q & A on recorder and Orff instruments

33
 KODALY SCOPE AND SEQUENCE: SEVENTH & EIGHTH GRADES
RHYTHM  Review rhythms from previous grades
 3*6*9*5$6$7*3@meters
 Grand pause
 Alle breve (cut time; 2@)
 Changing and asymmetric meters
 Improvise rhythmic accompaniments to known songs
MELODY & EAR  In-tune singing
TRAINING  Review all upbeats
 Review melodic skills
 Sharp, flat (altered) scale tones
 Triads in root position (major, minor, diminished)
 Changing voice
 Scale (theory)
 Bass (F) clef
 Solfège  in  2#’s (D) and  2b’s (Bb)
 Introduce P4, M6, m6
 First and second inversions
 Inversions of I, IV, and V chords
HARMONY  Sing and read 2 and 3 part songs
 I, IV, and V in major
 Intervals within major and minor scales
 Inversions of I, IV, V (both major and minor)
READING &  Read and write known rhythmic and melodic elements from previous grades
WRITING  Read and write in 2#’s  and  2b’s
 Read and write in Bass clef
 Read and write P4, M6, m6
FORM  Sonata allegro form
 Forms in vocal music
 Balance/contrast (continue)
 Texture/color (continue)
 Forms in vocal music (continue)
LISTENING  Balance/contrast
 Texture/color
 Jazz
 Tone poem (programmatic music)
MOVEMENT  Conduct known meters
 Conduct changing and asymmetric meters
 Theatre movement
 Advanced folk song and international dances
INSTRUMENTS  Continue recorder or begin band instrument
(Orff and Recorder)

34
35
36
Teaching Rhythm the Kodály Way
QUARTERS AND EIGHTHS
Many,  many  simple  folk  tunes  from  which  to  choose.    Here’s  an  example.

Another 16th notes song:

SIXTEENTH NOTES
 “Pumpkin,  Pumpkin”

37
HALF NOTE
 Before teaching half note, teach the TIE.

“Here  Comes  a Blue  Bird”

Other songs for half note:
 “Button  You  Must  Wander”
qsdqq  “I’ve  Been  to  Harlem”
 “Page’s  Train”
qsdqq  “Bye-bye  Baby”
 “Angels  Watchin’  Over  Me”
qqsdsd
qqqQ

 Replace qqwith w( qquses too much ink!)

38
 SYN-CO-PA aqa
 Present as a 2-beat unit
 Off-beat accent

“Lil’  Liza  Jane”

sdsdsdq\___ ___ w\
I’ve   a girl & you have none, Lil’  Li- za Jane

 ASK: How many times did you clap here? (Circled area; rhythm of the words)
 ANSWER: 3
 ASK: What possibilities for 3 notes in 2 beats do we have?
 ANSWER: sdq qsd
 ASK: Do either of these match the rhythm of the song here?
 ANSWER: No
Songs to practice Syn-co-pa:
 STATE:  Let’s  make  these  2  beats  eighth  notes.
 “Alabama  Gal”
 ASK: Where do you hear the words?
 “Do  Lord”
sd sd w  “Tap  on  Your  Drum”
 “Land  of  the  Silver  Birch”
Lil’   Li- za Jane
 “Five  Green  and  Speckled  Frogs”
 ASK: So would this work? sdsd  “Johnny’s  My  Boy”
 ANSWER? Yes
 ASK: Did you know you can break the bar of two ti-ti notes and draw them separately like this? aa
(When you cut the bar in the middle it falls down.)
 STATE: So now our rhythm looks like this: aaaa which can also be written as aqa
 ASK: Feel how the accent happens off the beat (before the main beat)?
 STATE: We call this SYNCOPATION. We label our notes like this: aqa
Syn-co-pa
 Sing the song again and replace “Lil’  Liza  Jane”  with  “syn-co-pa ta-a.”    (  aqaw)

39
 Another dotted half note song:
DOTTED HALF NOTE
 “Land  of  the  Silver  Birch”

40
WHOLE NOTE Another whole note song:

 “I  Got  a  Letter  This  Morning”

41
EIGHTHS, SIXTEENTHS xcd sxc

Other 8th, 16th songs:

 “Hop  Old  Squirrel”      xcd

 “Jim-a-long”
 “Fed  My  Horse”
 “Flies  in  the  Buttermilk”
 “Skip  to  My  Lou”      sxc
 “Up  the  Hickory”

42
UP BEAT (PICK UP)
Internal:  “Ring  Around  the  Rosey”  or  “The  Old  Sow”

External:  “A  Tisket,  A  Tasket”  or  “Bingo”  or  “John  Kanaka”

 STATE:  Phrases  don’t  always  being  on  the  beat.    Conduct  the  rhyme.
 ASK: Where are the accented beats?
 ASK: Which phrases begin when our hand goes down?
 ASK: Which phrases begin when our hand goes up?
 STATE: The note that starts ahead of the strong beat is called an UPBEAT or PICKUP.

43
44
DOTTED QUARTER, EIGHTH ra Other songs with ra :

 Teach as 2-beat unit  “Al  Citron”

 “America”
“Lil’  Liza  Jane”  “Chairs  to  Mend”
 “Nobody  Knows  the  Trouble  I’ve  
qsdqq Seen”
 “Somebody’s  Knockin’  at  My  
O E- li- za Door”

 We can save ink by making the qsd into ra

 We label it like this: ta-i ti

45
EIGHTH, DOTTED QUARTER ar ti-ta-i or ti-tam
 Teach opposite of ra or aqa (syn-co-pa)
Other 8th, dotted quarter songs:

 “Mister  Rabbit”
 “Fish  Pole?”
 “My  Good  Old  Man”

46
DOTTED EIGHTH, SIXTEENTHS

gb vh vh xxxc
Other songs with dotted 8th and 16th:
tim-ri ri-tim ti-kum ti-ka-ti-ka
 “Do  Lord”
 “Little  Black  Bull”
 “Old  Woman,  Old  Woman”
 “Battle  Hymn  of  the  Republic”

47
vh ri-tim Other songs with 16th, dotted 8th notes:

 “Get  Out  the  Way,  Old  Dan  

Tucker”
 “Gospel  Train  Is  Coming
 “Colorado  Trail”

TRIPLET

48
6/8 METER Other 6/8 meter songs:

 “Oliver  Cromwell”
 “Push  the  Business  On”
 “Wishy  Washy”    (also  fermata)
 “Viva  La  Company”
 “When  Johnny  Comes  Marching  
Home”
 “Paddy  Works  on  the  Railroad”

ssd sdd ti-ti-ti ti-ti-ti

 Notate sdd sdd\sdd r

 Add dot to last note to make this beat equal to the other beats.
 We usually feel 2 big beats rather than 6 little ones
 LISTEN:  “Grand  Canyon  Suite”  by  Groffe,  “Nutcracker  Suite”  by  Tchaikovsky
 6/8 Gallop = qaqa
 2/4 Skip = gbgb
 Games:  “Here  Comes  Two  Dukes  A-Riding,”  “The  Noble  Duke  of  York”

49
OTHER RHYTHMIC PRACTICE ACTIVITIES:
1. Walking to the note values
 Walk  half  notes  to:  “Half  please  with  cheese”
 Walk  quarter  notes  to:  “A  quarter  pie  is  all  I’ll  try”
 Walk  eighth  notes  to:  “An  eighth  is  good  enough  for  me.”
2. Flash cards
 Give  each  child  a  flashcard  (with  ta’s  and  ti-ti’s).    Have  them  arrange  and  rearrange  themselves  
to improvise and sight-read new rhythms.
 With 4-beat flashcards, students read them one at a time. Hide the card halfway through so
they’ll  practice  reading ahead. For more challenge, hide the card after the first beat.
3. Popsicle Sticks
 Practice rhythmic dictation using popsicle sticks as manipulatives.
4. Rondo Rhythms
 A section – teacher provides or class writes an A rhythm.
 Each class member writes his/her own 2-bar rhythm pattern for the other sections.
 Perform in Rondo form: A B A C A D A E A F, etc.
5. Composition
 Review rhythms that the students already know.
 Have students suggest four bars of rhythms; add pitches.
 Use Orff instruments to orchestrate and improvise.
6. Rhythmic Improv
 Bean Bag Game
□ Level 1: Teacher throws beanbag (bb) to student and gives (taps, claps, etc.) a 4-
beat rhythm pattern.
Student catches bb, throws it back to teacher and repeats the same
pattern.
□ Level 2: Teacher throws bb and gives 4-beat rhythm pattern.
Student catches bb and gives NEW 4-beat pattern.
□ Level 3: Teacher throws bb and gives 4-beat rhythm pattern.
Student catches bb, repeats pattern except making one change to it.
7. Dictation

qsdqq\sdsdqQ\___ ___ ___ ___ \sdsdqQ

 Students individually fill in blanks (with syllable help – ta ti-ti ta ti-ti, eg.). Keep a steady beat.
 Students individually fill in blanks without syllable help
 Remind them of the rhythms they know
8. The Chain
 Start with four quarter notes. Next student taps pattern, changing one beat to sd. Continue
process until all beats are sdsdsdsd. Next student changes one sdpattern to xxxc, and the
process continues until all beats are xxxc. Next student then changes one xxxcpattern to sd. Each
student must repeat pattern exactly with only one change. Once the pattern is back to
sdsdsdsd, then the next student changes one beat back to a quarter note and eventually
you’re  back  full  circle  to  all  quarter  notes.
 Individual students can challenge each other with this game.

50
 6. Apple Tree
Teaching Pitch the 7. Doggy, Doggy
8. Ring Around the Rosy
Kodály Way 9. A Tisket, a Tasket
10. Sally Water
11. Bobby Shafto
Kodály insisted that only the best music is good 12. Bounce High
enough for children. Therefore, he cautioned that Presenting La
song materials be chosen wisely. 1. Blue Bells
2. Rain, Rain
Teaching New Songs 3. See, Saw
4. Goodnight
 Emphasize the words of the song because 5. Wee, Willie Winky
they are either especially interesting or 6. Snail, Snail
beautiful. 7. Teddy Bear
o Historical 8. Star Light, Star Bright
o Tells a story 9. Lemonade
o Riddle songs Practicing La
o Nonsense songs 1. Icha Backa
 Emphasize the melody because it is 2. Lucy Locket
unusually beautiful. 3. The Mill Wheel
 Emphasize the rhythm if the song contains 4. Bye Baby Bunting
interesting rhythms. 5. We Are Dancing
o Echo clap Do
o Read from stick notation Use songs in which do is not at the beginning.
 Emphasize  the  song’s  movement Use songs in which do is in the descending pattern.
o Game Presenting Do
o Associated gestures 1. Apple Tree
2. Ring Around the Rosies
3. Johnny Caught a Flee
Teaching Specific Pitches
4. Mother, Mother
Song Suggestions 5. I See the Moon
Kindergarten – Second Grade 6. Rocky Mountain
Re
Sol-mi Preparing Re
1. Welcome/Roll-Call songs 1. Farmer in the Dell
2. Coo-Coo clock 2. Old Mac Donald
3. Star Light, Star Bright 3. Blue Bird
4. Rain, Rain Presenting Re
5. Hey, Hey, Look at Me 1. This-A-Way, That-A-Way
La 2. Bow Wow Wow
Preparing La Practicing Re
1. Icha Bacha 1. Hot Cross Buns
2. Lucy Locket 2. Rocky Mountain
3. The Mill Wheel 3. Farmer in the Dell
4. Bye Baby Bunting 4. Old MacDonald
5. Naughty kitty Cat 5. Blue Bird
51
 Do-Sol Songs
Third – Fifth Grade 1. Draw a Bucket of Water
2. May Had a Baby
3. Sunshine Merry Sunshine
Low La
4. Shanghai Chicken
Begin by teaching from the context of do
Low Sol in Other Contexts
pentatonic, not la pentatonic
1. Hush  Little  Baby,  Don’t  Say  a  Word
Preparing Low La
2. Old Roger
1. Cedar Swamp
3. Green Grows the Willow Tree
2. Poor Little Kitty Cat
High Do
3. I Got a Letter
Preparing/Presenting/Practicing High Do
4. Cumberland Gap
1. Cedar Swamp
5. The Bell Cow
2. Tideo
6. Phoebe in Her Petticoat
3. Train Is Coming
7. Canoe Song
4. Why  Shouldn’t  My  Goose
8. Old Mr. Rabbit
5. Riding in the Buggy
9. Rattlesnake
6. Blood on the Saddle
Presenting Low La
7. Cut the Cake
1. Phoebe in Her Petticoat
8. Chippewa Stone Pass Game
2. Choctaw Raccoon Game
Fa
Low La Based on La Pentatonic
Always present fa in downward pattern first
1. Land of the Silver Birch
1. Fish Pole
2. Zudio
2. Here Comes Sally Down the Alley
Low So
3. Naughty Kitty Cat
Approach from low la first, then introduce low
4. Coffee Grows
so to do.
5. John Kanaka
1. Mary Had a Baby
6. Who Stole My Chickens
2. Froggy  Went  a  Courtin’
7. Twinkle, Twinkle
3. I’ve  Been  to  Harlem
Low Ti and High Ti
4. Alabama Gal
1. Possum Up a ‘Simmon Tree
5. Chicken on a Fence Post
2. All through the Night
6. Old Brass Wagon
3. Happy Birthday
7. Fish Pole
4. When I First Came to this Land
8. Sailing on the Ocean
5. Hey Betty Martin
9. Hold My Mule
6. Johnny Get Your Haircut
10. Golden Ring Around Susan
7. Joy to the World
11. Shake Them Simmons Down
8. The Scale Song (French Folk Song)
12. There’s  a  Hole  in  the  Bucket
9. Laughing, Singing Canon
Sol-Do Songs
10. Oh, Claire De La Luna
1. Push the Business On
11. Birch Tree
2. Scotland’s  Burning
Major Scale
3. There Was a Man and He Was Mad
Make sure you use a song with all the pitches.
4. Old King Glory on a Mountain
1. Joy to the World
5. Ezekiel Saw the Wheel
2. Oh, Claire De La Luna
6. Al Citron
7. The Farmer in the Dell

52
 Practicing Pitch
 Flash Cards
 Large staff on floor – students walk the pitches from a melody on the floor
 Carpet squares – each person picks a pitch (e.g., so stands, mi bends at waist, do on floor)
 Students write a song, given a rhythm pattern and certain pitches
 Use a pitch set (e.g., m, r, d, l) and compose a melody
 Visually represent motives from known songs
 Simple ostinati to read (use Orff instruments)
 Write 2 patterns on the board (e.g., m, s, d and m, r, d) – students sing ostinati with song
 Improvise question and answer phrases
 Mystery tunes
 Mystery story with fill-in words (definite pitch letters)
 Play Tic, Tac, Toe – Students have to sing pattern correctly to get X or O

mmrmddd smdmsls mrdmssm

s  l  s  l  s  s  d’ smllsmdd lslsmrd

ssllsmm mrdrmsls s  l  d’  l  s  m  r  d

53