Development of polyphonic skills and part-singing based on the
Kodály - Ádám
Énekes könyv (Singing Books) series
Book 4 (age 9-10)
Summary of musical concepts learnt through the folksong repertory Kodály-Ádám Singing Books, Book 4.
Rhythmic elements, metre:
- 4/4 metre
- quaver rest
Melodic elements and scales:
- from “d” pentatony to the major scale
- from “l” pentatony to the aeolian scale
- modes: dorian (re-scale)
Two-part “knocking” and other rhythm exercises
Rhythm exercises in 2/4 metre
Example 42
Example 43
Remarks:
At this level “knocking exercises” are constructed from more independently moving parts.
At this level “knocking exercises” are constructed from more independently moving parts.
Example 44
Teaching tips:
Sing the lower part on “doh”, the upper part on “soh.”
Replace the solfa name with rhythm syllables or neutral singing syllables (la- la).
Sing the lower part on “doh”, the upper part on “soh.”
Replace the solfa name with rhythm syllables or neutral singing syllables (la- la).
Example 45
Example 46
Rhythm exercises for practising 4/4 metre
Example 47
Teaching tips:
Sing the lower part on “doh”, the upper part on “soh.”
Replace the solfa name with rhythm syllables or neutral singing syllables (la- la).
Sing the lower part on “doh”, the upper part on “soh.”
Replace the solfa name with rhythm syllables or neutral singing syllables (la- la).
Example 48
Example 49
Example 50
Example 51
Example 52
Example 53
Remarks:
Simple rhythm activity incorporating singing
Simple rhythm activity incorporating singing
Example 54
Rhythm canon
Example 55
Teaching tips:
“Initiative and canon-like measures should be included among the exercises, establishing the bases, and the foundation of two-part singing. Begin with the simplest exercises and work toward more difficult ones.” (Jenő Ádám: Growing in Music with Movable Do, p. 182.)
“The tempo should always be slow at first. In future exercises, we may increase the tempo, but do only as many exercises as will interest and stimulate the child. The diversity of our percussion instruments almost insures interest. The parts should, of course, be interchanged regularly.” (Jenő Ádám: Growing in Music with Movable Do, p. 182.)
“Initiative and canon-like measures should be included among the exercises, establishing the bases, and the foundation of two-part singing. Begin with the simplest exercises and work toward more difficult ones.” (Jenő Ádám: Growing in Music with Movable Do, p. 182.)
“The tempo should always be slow at first. In future exercises, we may increase the tempo, but do only as many exercises as will interest and stimulate the child. The diversity of our percussion instruments almost insures interest. The parts should, of course, be interchanged regularly.” (Jenő Ádám: Growing in Music with Movable Do, p. 182.)
Example 56-57
Teaching tips:
Change parts!
Change parts!
Rhythm exercises for practising quaver rest in 2/4 metre
Example 58
Example 59
Example 60
Example 61
Example 62
Example 63
Example 64
Rhythm exercises for practising quaver rest in 4/4 metre
Example 65
Example 66
Three-part rhythmic exercises
Example 67
Example 68
Simple two-part intonation exercises
Example 69-71
Remarks:
This form of two-part singing is one of the most rudimentary forms of polyphonic development: one group sustains a note while the other group sings a slowly moving melodic line.
This form of two-part singing is one of the most rudimentary forms of polyphonic development: one group sustains a note while the other group sings a slowly moving melodic line.
Example 72-74
Example 75
Example 76
Example 77
Remarks:
Simple melodic line accompanied by a melodic ostinato.
Simple melodic line accompanied by a melodic ostinato.
Further suggestion:
Kodály, Zoltán: Bicinia Hungarica No. 3.
Kodály, Zoltán: Bicinia Hungarica No. 3.
Example 78
Example 79
Example 80
Remarks:
In this exercise both parts move.
In this exercise both parts move.
Teaching tips:
“In the interest of saving time learn to use double hand signals. However, do not neglect written notation. Initially, as a springboard, it is best to begin with the same note.” (Jenő Ádám: Growing in Music with Movable Do, p. 185.)
“In the interest of saving time learn to use double hand signals. However, do not neglect written notation. Initially, as a springboard, it is best to begin with the same note.” (Jenő Ádám: Growing in Music with Movable Do, p. 185.)
Example 81-86
Example 87-91
Example 92
Example 93-95
Canon singing
Example 96 (“Szélről legeljetek...” Hungarian folksong)
Example 97
Example 98
Example 99
Example 100
Two-part folksong arrangements
Example 101
Example 102
Example 103
Two-part material, imitative counterpoint
Example 104
