Council for Research in Music Education

The Kodaly Method for Choral Training

Author(s): Arpad Darazs
Source: Bulletin of the Council for Research in Music Education, No. 8 (Fall, 1966), pp. 59-
69
Published by: University of Illinois Press on behalf of the Council for Research in Music
Education
Stable URL: https://www.jstor.org/stable/40316918
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 -59-

THE KODALY METHOD

FOR CHORAL TRAINING

Arpad Darazs

During the past 50 years there has been a remarkable rise of choral
singing in the United States. One should be impressed and made proud by
the number of existing school and community choral groups. It has been an
arduous road since the first choral group, the "Sacred Singing School,11
was organized in 1774 at Stoughton, Massachusetts, and since the first formal
choral rehearsal was put in curriculum by the Boston School Board in 1915.
The new emphasis on choral singing is due largely to the rapid growth of
music activities in our public schools. There has also been a remarkable
increase in choral activities in the musical life of our colleges, communities,
and churches- People who participate in these groups feel that the choral
experience helps to mold personal, social and spiritual values. Upon
examining the state of our choral development quantitatively and socially,
we should not overlook the qualitative and artistic progress-r-a strong
reflection of musical and aesthetic growth.

In discussions on choral training, there are ample suggestions on

how to organize a chorus as an effective social group, on what kind of music
should be selected to exploit the group's potential, on how to perform
artistically; but few recommendations can be found as to methodical training
in musical skill tending towards progress in a choral group.

Many choral directors think that they cannot afford to spare any time
for training their group in music reading during rehearsals because they
have to prepare the group for performances. They fail to recognize that
the musical growth of any group is not based solely upon the number of its
performances (in fact, performance might be considered merely a worth adjunct)

Also printed in the American Choral Review

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 -60-

but rather on such objectives as are suggested by Charles Leonhard in the

"Basic Concepts in Music Education. "^ The musically educated person:
1. Recognizes the factors essential for effective musical
performances .

2. Recalls historical information pertinent to the music he

enjoys.

3. Sings in tune, accurately and expressively.

4. Reads music sufficiently to pursue it independently.

5. Apprehends the melody of music he hears.

6. Is responsive to quality in musical performance.

7. Is responsive to the expressive value of different types

of music.

8. Responds favorably to constructive criticism of his

musical efforts.

9. Strives to improve his musical competence.

Obviously, the first of these aspects of musicianship to be considered

by choral groups are the third, fourth and fifth points which cover reading,
intonation and listening. !lMusic reading depends on being able to sing in
tune--i.e., to reproduce certain fundamental intervals with exactness, and
to recognize the various signs, in respect to pitch and rhythm which define
the relationships between sounds."^ Music reading relies mostly on the
memory of the singer because he recalls certain groupings of sounds he has
previously learned and recognizes familiar arrangements of notes on the
staff. Present teaching methods were examined by numerous studies^ in order
to determine points of reference for future improvement. Data based on
questionnaires analyzed by several studies reported the following conclusions:

1. Music reading instruction has long been a matter of concern

and is the subject of renewed interest to music educators.

2. Overemphasis on performance is a major factor in the

limitation of a continuous music reading program.

3. There has been considerable neglect in not using new

approaches and materials as a basis for future improvement.

4. The teaching of sight-singing has been suggested as an

integral part of rehearsal.

The creator of what is doubtless a unique choral method is Zoltan Kodaly,

the great Hungarian composer and educator. Born 1882, he enrolled as a
student of the University of Budapest where he studied German and Hungarian
literature while he also began to attend the Academy of Music. In 1905,

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 -61-

along with Bela Bartok, he undertook the laborious task of travelling to

the country villages, sometimes riding on horse-drawn wagon, collecting
systematically the music sung by the peasantry. In his doctoral thesis he
urged that folk music should be used as the basis of national expression
in music. As a composer he used the elements of folk idiom and transmitted
them to a contemporary style.

As an educator he was dissatisfied with the methods and materials

used in schools. "Trying to discover where something could be done and
needed to be done, I was led to younger and younger children until I
finally came to the nursery.11 Thus Kodaly, the composer and researcher,
accomplished a revolution in musical education in Hungary. Musical
illiteracy was eliminated-a first and all- important step towards the
understanding and enjoyment of music.

The Choral Method

The 15 volumes of the Choral Method' are a practical guide which

may be used from the primary school stage on, through secondary school and
further education, as well as for the training of amateur choral groups.
Its concepts parallel several principles applied by recent American educators.
Mursell states: "A program which is to achieve human aims and to realize
human values must be oriented, planned, and organized throughout for the
promotion of musical growth."** Kodaly has labored incessantly so that
children should be brought up to understand that in musical activity,
particularly in singing together, lies one of the secrets of human
understanding and sympathy. His love toward the youngest generation was
given a particular expression in his Fifty Nursery Songs . "Nobody is too
great to write for the little ones; in fact he should strive to be great
enough for it," Kodaly says, "I recommend to my youthful symphony- compos ing
colleagues that they take a look occasionally into the kindergarten too.
That is where it will be decided whether there will be anyone to understand
their works 20 years from now."

Kodaly recommends that the foundations of musical training should be:

a. unaccompanied singing
b. pentatonic and modal principles
c. rhythmic vitality derived from folk music
d. the use of "movable do"

To these points we might add the following remarks:

a. Most choral directors and voice teachers take exception to this

procedure because they believe that they can keep the singing
on pitch with the piano. But singing must follow the acoustically
correct, natural, or "pure" intervals as do melodic instruments
and not those tuned in a tempered scale. "The beginners1 first
steps in the endless realm of notes should be supported not by
any instrument of tempered tuning and dissimilar tone color, but
by another voice. "^

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 -62-

b. Most of the melodies used by Kodaly are pentatonic - five tone

scale in which the diatonic half steps are avoided- it is easier
for the beginner to develop his reading skill from the simple
"pillar-structured" tunes toward the diatonic melodies.

c. The rhythmic aspect is of primary importance in order to ensure a

sensitivity and freedom of response. "A live feeling for rhythm
facilitates music reading."1

d. Singing, according to Kodaly fs method, should be done with the

aid of solmization labeling the various melodic steps ("do11
corresponds to the starting tone of the major scale, while the
first tone of the minor mode is "la"- -"do" remaining the tonic
of the relative major scale).

Musical Symbols

There is still considerable opposition to the use of the "movable do"

system due to misunderstanding of the meaning and purpose of its symbols.

"Movable do" syllables are the best and clearest help towards
recognizing tonality or key relationships. The relationship of each tone
to the keytone and to the other tones of the key are readily clarified
through the use of this system. "Key relationship or tonal tendency is
an extremely important factor in the expressiveness of almost all music.
It is an important factor even in the most extreme of 'modernistic1 music.
In such music, tonal tendencies are not eliminated. They are only used
in strange and unfamiliar ways."12 The "movable do" system is especially
helpful in making the average singer realize the crucial fact that music
is composed not of individual notes but of series of notes related to a
central key.

Hand Signals

The combined use of gestures and symbols is very common to indicate

the progression, tempo, character and expression of the melody. They can
convey musical meanings and if used with young children, can help them to
"read," to visualize things which need to be realized in a piece of music.
Such symbols cannot indicate the melody to the same extent as the standard
notation, but they have the advantage of being simple, meaningful, and
practical in relating visual to aural perception.

John Curwen, the originator of the "movable do" hand gestures, used
seven different signs for the tones do, re, mi, fa, sol, la, ti in order
to show the relative position of these tones in the scale. Curwen attached
to the hand signs a "mental effect" establishing "quick correspondence"
between syllables and the organized melody structure-in fact, a realization
of tonal relationships. Mursell considers the "movable do" signs "....quite
excellent gesture-symbols for important musical effects. There is no logica
reason why they could not be used to good purpose today." U While, as
Mursell points out, there were limitations to the effectiveness of the

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 -63-

"movable do" in reading music with modulations and alterations, the Kodaly
method has been sufficiently expanded for such harmonic scope: by adding
the three most frequently used chromatic tones--flfilf (raised flfaff), ffsin
(raised "so11), and "talf (lowered flti")--we are in a position to designate
any chromatic scale; and hand signals are provided for these chromatic tones.

In dealing with normal diatonic modulation, however, these additions

to the "movable do" system will not be needed. Let us take an example of
the most common modulation from the tonic to the dominant:

Example 1

s- o' r1 r s - o r o

Here jf sharp, serving as a leading tone to ¿9 establishes a new tonic.

The tone ¿ serves as a pivot tone between the previous and the new tonality.
In practicing the modulation with hand signals, the teacher places his
free hand indicating the new designation of the tone, at the same level
next to the hand showing the old tone designation and then continues with
the hand showing the new tonality. But if a raised "fa11 or "so" occurs in
a melody as a lower neighboring tone or as a chromatic passing tone, there is
no need _ for the change of hands; rather we can express the pitch modification
with a modified _ shape of hand signs. ^

Examp le 2

so 7; To. fe

Using the above mentioned syllables for chromatically altered tones, our
singers should not have any difficulty singing any similar nonharmonic tones,
for instance:

Example 3

f Q 1 1
A i f r i# t J
CD y ixj f r i# J- t 4-
4-; J#i
J#ij -n * j -n *
(>0

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 -64-

The "re-di-re" semitone will be easily grasped if we call attention

to the similarity of the semitone progressions involving "so-fa-so" or
"la-si-la" which designate diatonic neighboring tone patterns.

Let us remember that the use of syllables and hand signs is merely a
device for making the learning experience more meaningful to the learner.
It should not become an end in itself, and the students should be encouraged
to repeat the exercises with neutral syllables or with open vowels "imagining"
the melodic and tonal relationship. MAt the beginning the symbol is a
visualization of tonal meanings already experienced by ear. As the asso-
ciation is strengthened, the symbols come to convey tonal meanings, and
through long experience the learner becomes able to look at the symbols and
hear in his mind the music they represent.

"Movable Do" and Minor Tonalities

There is much argument as to how to approach the minor tonalities

with the "movable do" system. This point deserves some clarification.

The use of relative solmization is recommended because the successions

of syllables are easier and more reliably memorized than letters; in addition
"the syllable indicates at the same time the tonal function and, by memorizing
the interval, we develop our sense of the tonal function. It is a common
experience that singing is more correct in countries and schools where
solmization is practiced."

In the Choral Method there are included many melodies in which the final
note is not "do" but some other tone of the five-tone scale in order to
stimulate the sensibility to different modes: melodies ending on "do"
represent the major tonality; those ending on "ren represent the Dorian
mode; those ending on "mi" represent the Phrygian mode; those ending on "so"
represent Mixolydian; and those ending on "la" represent Aeolian - the mode
of our natural minor scale.

If we accept the fact that any syllable could serve for a starting tone
of a scale, be it modal or tonal in structure, we will readily adopt a pattern
by which in a melody of major tonality "do" is used for the first tone and
"re" for the second; in a melody of minor tonality "la" is used for the first
tone and "ti" for the second; and so on. For instance, to sing the minor
third a - c in the scale of A Minor, there is no doubt it will be easier
to sing the already memorized "la-do" than "do-mi" or do-maw, !l or even the
numbers 1--3, as some books are recommending. "Ti-do"and "mi- fa"
designate always a semitone whether used in major or minor scales (although
the magnetic tendency of the half tone relationship is obviously stronger
in the major scale). Thus the role of syllables is reduced in this
particular case to disignating intervals without binding reference to
tonality.

The fundamental training towards a general musical as well as a

specific choral education should start at a very early age: in kindergarten.
The age period from three to seven years is more important than any subsequent

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 -65-

age period; anything missed or neglected during that period is very hard
to make up. In kindergarten, a child learns things easily, playfully.
The development of his creative faculty should start here. Speaking, singing,
playing and dancing are not separated activities in the child's world.
All are governed by the play instinct which every child possesses.

There is no effective method in any subject without well organized

material. The first volume of the Choral Method, a set of "Fifty Nursery
Songs," is arranged progressively. The melodies use at first two tones
(Nos. 1-6), then three (7-15), four (16-34), and finally five (35-50),
all tone progressions being taken from the pentatonic scale. The texts
for these tunes come from the pens of eminent Hungarian poets inspired by
Kodaly 's ideals. The English words are the contribution of Dr. Percy M.
Young, prominent English scholar, educator and composer, who also collaborated
with Zoltan Kodaly in the preparation and editing of the other volumes of
the Choral Method* The following melody represents an example of a pentatonic
melody ending on "do11:

Example 4
from Fifty Nursery Songs

Copyright 1962 by Zenemukiado Vallalat. Copyright assigned 1964 to Boosey

and Hawkes Music Publishers Ltd. English Edition c 1964 by Boosey and
Hawkes Music Publishers, Ltd. Used by permission.

This song could introduce several new concepts: the use of repetitive
rhythmic and melodic patterns, the suggestion of question and answer in
phrase endings, etc.

The 333 Elementary Exercises could be used by any age group for the
development of sight singing ability. Beginning with two-note melodies,
Kodaly guides the student through a sequence of patterns, gradually increasing
in difficulty, to gain skill in music reading. These exercies are to be
sung without accompaniment, using sol-fa syllables. The introductory
suggestions and notes by Dr. Young will be of considerable help to the
singers in using this manual. Dr. Young writes for instance: "In each

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 -66-

case (exercise) the rhythmic organization of the melody should be looked

at before any attempt is made to sing it....," and he points out that it
may help the pupil beat the pulse silently "....in reading the pupil should
try to feel the continuity of a melody."

Let Us Sing Correctly is designated as an introduction to two-part

singing. In this volume which is also progressively arranged, Kodaly
introduces the fundamentals of correct intonation. "Musical work in two
parts offers possibilities that unison work cannot provide. Only choirs
that sing correctly have color and brightness. The proof and reward of
correct singing is beauty of sound, caused by the appearance of combination
tones, and, in the higher register, by the increased brightness of the
overtones."18

In the opening exercises, only one part moves, adjusting itself to

the stationary second part:

Example 5

Rhythmic difficulties are avoided in order to f f>cus all concentration o

the correct intonation. If, at the beginning, simultaneous attack in
two parts is difficult, the second part may enter later:

Example 6

The Bicinia Hungarica» consisting of four volumes of 180 unaccompanied

two-part songs, are among the most interesting compositions written for
choral study. In these original songs and folksong settings, the singers
will find great enjoyment through vital rhythmic patterns and lively
counterpoint. The melody is frequently exchanged between parts or sung
above a melodic ostinato:

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 -67-

Example 7

Copyright 1941 by Zoltan Kodaly. Copyright assigned 1957 to Boosey and

Company, Ltd. English edition (5} 1962 by Boosey and Company, Ltd. Used
by permission.

In the subsequent volumes, Kodaly makes extensive use of melodies built

on the pentatonic scale. Special attention should be given to the
increasing flexibility of rhythmic patterns, especially syncopations and
the less commonly used meters, such as 5/4 and 7/4.

Example 8
from Bicinia Hungarica

Copyright 1941 by Zoltan Kodaly. Copyright assigned 1957 to Boosey and

Company, Ltd. English Edition c by Boosey and Company, Ltd. Used by
permission.

The Fifteen Two- Part Exercises constitute a more advanced course with
progressive and highly varied counterpoint designs. This volume will be
especially helpful in preparing the student for the more advanced portions
of the Choral Method. ^

An additional volume, entitled Epigrams , consists of nine vocal

exercises with piano accompaniment. They are all musical masterpieces and
particularly challenging to the singer: the vocal part maintains veritable
independence of the accompaniment which, enriched with evocative harmonies,
gives no more than a hint to the singer.

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 -68-

Example 9
from Epigrams ,

Copyright 1954 by Zenemukiado Vallalat. Copyright assigned 1963 to Boosey

and Havkes Music Publishers Ltd. English version ccD by Boosey and Hawkes
Music Publishers, Ltd. Used by permission.

There are as yet no reliable data available as to how many schools and
choral organizations have adopted the Kodaly Choral Method. The principal
reason is that it has been published only recently in this country, several
volumes still being in preparation. American educators returning from
visits in Hungary have witnessed the unparalleled achievements in the
development of music education there. fl0n our last visit to the Hungarian
capital we were introduced to the series of two- and three-part vocal
exercises which Kodaly has written as part of his training course for the
elementary schools. The most difficult of these were incorporated in
. . . .Tricinia, 28 Three-Part Exercises. . .The music is a fabulous mixture of
Pa les trina, Geó ua Ido and the harsh dissonant austerity so characteristic
of Kodaly fs later style, but the children sang the most advanced enharmonic
modulations in perfect pitch. "l^

To many music educators, this might still sound hard to believe and
nobody dreamed of such results in Hungary 25 years ago, except Zoltan
Kodaly. But present surveys of choral training show that the improvement
of music reading instruction has become a matter of concern to many choral
directors; the weakness of such programs lies still primarily in the use
of ineffective procedures and materials. In general, the improvement of
choral work will be founded on emphasis on early musical training with
sensitive and imaginative procedures and materials; Kodaly 's Choral Method
will remain one of the most significant contributions toward this aim.

Footnote References

1. Arthur Mees, Choirs and Choral Music, New York, 1910, p. 192.

2. Ibid., p. 194.

3. National Society for the Study of Education, Fifty-seventh Yearbook,

Part 1, Chicago, 1958, p. 317.

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 -69-

4. Percy M. Young, "Kodaly as Educationist,11 Tempo , Winter, 1962-63,

p. 38.

5. Bernell W. Hales, A Study of Music Reading Programs in High School

Choruses in the Rocky Mountain States ^unpublished Doctoral Dissertation,
University of Oregon, 1961) Abstract, Dissertation Abstracts XXII 4,
p. 2,416.

Donald J. Reagan, flChoral Music,11 Musart , 16:7, November- December , 1963.

6. Zoltan Kodaly, Zene vs Ovodabau, Budapest, 1958, p. 29.

7. Published by Boosey and Hawkes, Inc., New York.

8. James L. Mursell, Music Education Principles and Programs, New York

1956, p. 71.

9. Kodaly, op. cit., p. 29.

10. Zoltan Kodaly, Let Us Sing Correctly, p. 2.

11. Mursell, op. cit., p. 257.

12. Mursell, op. cit., p. 153.

13. Mursell, op. cit., p. 257.

14. The original and the revised hand signals are illustrated in Daraz^s-Jay
Sight and Sound, New York: Boosey and Hawkes, Inc., 1965, p. 14.

15. "Basic Concepts in Music Education" (cf. footnote 3), p. 281.

16. Zoltan Kodaly, Let Us Sing Correctly, p. 3.

17. Zoltan Kodaly, 333 Elementary Exercises.

18. Zoltan Kodaly, Let Us Sing Correctly, p. 3.

19. Percy M. Young, Zoltan Kodaly, New York, 1964, p. 134, quoting Tibor
Kozma of Indiana University.

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