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Development of polyphonic skills and part-singing based on the
Kodály - Ádám
Énekes könyv (Singing Books) series

Book 7 (age 12-13)


Summary of musical concepts learnt through the folksong repertory Kodály-Ádám Singing Books, Book 7.

Rhythmic elements, metre:

  • triplet
  • 3/2, 2/2 (psalm melodies)
  • 7/4, 5/4 meter
  • changing meter (3/4+2/4, 4/4+5/4)

Melodic elements and scales:

  • pentatony, pentachord, hexachord
  • modes: dorian, mixolydian, phrygian
  • mixed modes:
    • major + minor
    • mixolydian + aeolian,
    • melodic minor + dorian major
  • minor scales (natural, harmonic, melodic)
  • special scales: l,-t,-d-r-ma, l,-t,-d-ri, di-r-m-f-s,
  • chromatic notes “si”, “fi”, “ri” within the same tune alternation of “s”+“si”, “d”+“di”or “t”+“ta”


Two-part rhythmic exercises


Rhythm exercises for practising triplets

Example 185


Three-part rhythmic exercises


Rhythm exercises for practising triplets

Example 186

Teaching tips:

recite this three-part rhythm exercise to the notes of either the major triad (d-m-s) or those of the minor triad (l,-d-m)

Example 187


Two-part material short excerpts from the music literature


Example 188 (Johann Adolph Hasse: Air)

Example 189 (Bicinium by Michael Praetorius)

Example 190 (Old Hungarian dance tune)

Example 191 (Old Hungarian dance tune)

Example 192 (Old Hungarian dance tune)

Example 193 (Old Hungarian dance tune)

Example 194 (Old Hungarian dance tune)

Example 195 (Old Hungarian dance tune)

Example 196 (Duet by Georg Friedrich Händel)

Example 197 (Duet by Georg Friedrich Händel)


Two- and three-part material, imitative counterpoint


Example 198 (Béla Bartók: Mikrokosmos vol. I.)

Example 199 (Béla Bartók: Mikrokosmos vol. I.)

Example 200 (G. P. Da Palestrina: Surrexit pastor bonus)


Suggested further material:

Zoltán Kodály: Bicinia Hungarica No. 83. - “Réten, réten, sej, a kassai réten...”

Zoltán Kodály: Bicinia Hungarica II. No. 59. - “Mostan kedvem kerekedik...”


Three-part exercises


Example 202

Example 203

Example 204

Teaching tips:

use this and other similarly short three-part exercises for the development of intonation, make sure that the octave is sensitively balanced and the moving middle part is nicely adjusted to the long-held notes


Example 205-210

Example 211-214

Example 215

Example 216-219

Example 220-222




Example 223

Example 224

Example 225

Example 226

Example 227


Excerpts form choral pieces


Example 228 (excerpt from a Renaissance canzonetta by Johann Hermann Schein)

Example 229 (canzonetta by Johann Neuwach)

Example 230 (Afro-American spiritual)

Example 231 (excerpt from a motet by Giuseppe Tartini)

Example 232 (excerpt from Georg Friedrich Händel’s Judas Maccabaeus)