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FROM SINGING TO PLAYING
SHARING IDEAS ON TEACHING VIOLIN FROM A
KODALY BASED PERSPECTIVE

When I was asked to write an article on teaching violin from a Kodaly perspective, I started writing madly,
wanting to share all I had learned over many years of teaching both Kodaly classes and beginning violin. Before
I knew it I had amassed far too many! As I really wanted to provide practical and concrete information, I found
it hard to edit the many pages. So I decided to keep writing. A rather lengthy “treatise” is the result. I offer it
for free download at my website www.tunetravels.net and my store
www.teacherspayteachers.com/Store/Jo-Yawney.
As over the years I have published the teaching materials I used, I will quote them here not as a “sales pitch”
but what I have found works with the students I have taught. I fully recognize that these materials form only a
small part of the vast amount of resource material published by many other authors. .

INTRODUCTION
I was fortunate to have had access to training in three internationally recognized methods of childhood
education: Montessori, Kodaly and Suzuki.
Finding common pedagogical ground among these three greatly respected methods of childhood education was
not hard.
The basic tenant of Kodaly based music education, (Prepare-Present-Practice), is shared with the Suzuki Talent
Education and the Montessori Method of Childhood Education. All three educational innovators, at virtually the
same time, came to very similar conclusions regarding an organic way of creating a nurturing and success based
environment for learning, founded on the natural development of a child. For the purpose of this article I will
not include Maria Montessori’s contribution, although I feel it is considerable.

MUSIC EDUCATION – KODALY AND SUZUKI

Kodaly and Suzuki had similar thoughts on music education:
 Music is a natural expression, accessible to all human beings.
 Music education is best begun at an early age.
 Students learn through carefully chosen songs and games, not dry technical exercises. Thus
learning = fun! Parents often comment, “When did he/she learn that?”
 Students regularly perform - for each other, in group classes and for parents in concerts. This is
essential in developing self-confidence (in life as well as in music).
 Repetition, refining and review are key factors in establishing a secure music foundation.
 Most important is adherence to a sequential learning program.

KODALY’S SEQUENTIAL PROGRAM - The Musical Progression (Prepare-Present-Practice) as

applied to teaching beginning violin.
Prepare – sing and play
- Hearing: listen to a song or watch a game.
- Singing and playing: learn a song or game by rote.
- Internalizing: Sing and play the song many times, learning the main concepts (beat, rhythm, solfa, technical
issues etc.) and use these concepts in related songs and games for re-enforcement. Lots of rhythmic and
melodic “echoes”. Much time should be spent internalizing. The concept is still not shown to the students.
Present – read and recognize
- Recognize the concepts (rhythms, solfa etc.) in the song when written on the blackboard or worksheets.
Observe the music in detail for visual study of rhythmic and melodic patterns, notes on the staff, clefs, time and
key signatures, dynamics and tempo markings.
Practice – writing and creating
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- write a known song on the board or worksheet.
- Compose a song based on the concept learned.
Ideally before introducing the violin, students should be fully conversant in the rhythm syllables and the solfa
hand signs and syllables used in a Kodaly music program. These will form the foundation upon which a
student’s musical knowledge will develop.

MUSIC BUILDING BLOCKS TAUGHT SEQUENTIALLY

When adopting a Kodaly based approach to teaching violin using this sequential learning program, a
teacher should also observe the sequential nature of the music building blocks:
1. Beat: begin with 2/4, then 4/4, then 3/4, then 6/8. Later introduce time signatures.
2. Rhythm: teaching order – ta, ti-ti, sh, tika-tika, to-o, ti-tika, tika-ti and triola.
3. Solfa: teaching order – s m, s l m, m r d, d r m l s, s l m r d, low s d. (for violin d r m may be taught first
putting fingers on the strings in consecutive order) Students should recognize solfa patterns when played by the
teacher, play them, learn to recognize them from hand signs and flash cards. Eventually recognize them when
written on 3, then 5 line staff, changing d.
4. Notes on the Staff: gradually introduce the notes in treble clef and relate them to the violin fingerboard.
5. Form and Phrasing: rhythmic and melodic patterns studied aurally and visually.
6. Dynamics and Tempo: practise with known songs.

MY TEACHING EXPERIENCE & EXAMPLES

I long ago realized how my violin students can benefit from the musical knowledge gained in Kodaly
classes and from the repertoire of Kodaly based songs. Music skills such as rhythm comprehension, the ability
to memorize, a sense of pitch, development of inner hearing, understanding of form, dynamics, and tempo are
already developing before adding the challenges of an instrument. Also the transition from rote to reading
music can be made much smoother as the students are very familiar with the songs they are learning to read and
play. Using Kodaly principles for teaching beginning violin, I have taught my students how to recognize and
play the rhythm syllables, to sing and play from solfa hand signs and recognize solfa patterns on the music staff,
to play scales from the solfa modulator and to find notes using solfa on the violin fingerboard.

ALL AROUND THE FINGERBOARD – 29 Kodaly based songs and Canadian folk songs for beginning
violin
In my resource book, All Around The Fingerboard, I have used many Kodaly inspired songs, as they
readily lend themselves to introducing such concepts as rhythmic and melodic patterns, inner hearing, pitch
recognition, bowing techniques (staccato, string crossings etc.), study of intervals (5ths, 8ves etc.) and scales.
Students always sing the songs first, reinforcing their inner hearing and music memory.
I have followed the Kodaly musical progression:
- rhythm from ta to trio-la;
- solfa from s m to s l m r d and a few examples of low s – d.
The topics covered are rhythm, inner hearing, hand signs, solfa syllables, treble clef note recognition, form,
dynamics, tempos, by memory, aural skills, violin technique.

RHYTHM
The use of rhythm syllables is invaluable tool for solid rhythmic comprehension. After students are
familiar with these syllables, they learn to play them on each open string.
Before playing songs on the violin, students practice the rhythms using rhythm cards quoted below, first on one
string, then on adjacent strings changing with every beat, addressing the ever present challenge of string
crossings.
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These rhythm cards are very useful for teachers of beginning violin students, individually, in pairs or in groups.
Use as a card game with single students or small groups, putting them face down and having students chose and
play. With a class, put cards around the classroom. Play a card and have students find it and stand beside it. As
students become confident, have them play the cards for the group.
Introducing rhythms in Kodaly based songs.
The finger exercises (see example) in the first few pages of the book are useful and can be used in combination
with the rhythm exercises.

Rhythm Cards Finger Exercises on one string

All Around The Fingerboard p.11, p.51, p.17

Here are the rhythms used in the book and a synopsis of a few common songs used in Kodaly programs:

All Around The Fingerboard p7

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These are only suggestions – a few among many. Some of these rhythms are also introduced in the Twinkle
Variations of Suzuki Violin Book One.

ta & ti-ti: See Saw*, Bounce High*, Lucy Locket*, Mouse Mousie*, Knock the Cymbals*
sh: Hot Cross Buns*, Tick Tock*, Cut the Cake*, All around the Buttercup*
tika-tika: Tideo*, Dinah*, Pumpkin, Song of the Clocks *, Vive la Canadienne*
tika-ti: Ida Red*, Wallflowers*
ti-tika: Ida Red*, Babylon*, Wallflowers*, Vive la Canadienne*
to-o: Who’s That*, Frere Jacques, Lisa Jane*
tum-ti: John Kanaka, Toodala, Green Grows The Willow Tree, Viva La Musica, Shady Grove, Little Sally
Water
tim-ka: Itsy Bitsy Spider*, Vive la Canadienne*, London Bridge, The Muffin Man, Donkey Riding
syn-co-pa: Weevily Wheat*, My Paddle*,
Land of the Silver Birch*
anacrusis: A Sailor went to Sea*, O Come Little Children*, Lukey’s Boat*, Itsy Bitsy Spider*
tri-o-la: Frog In The Bog, Rabbit Hash
6/8 : I’se the B’y*, Charlie over the Ocean*,The Mulberry Bush

* indicates the song is included in All Around The Fingerboard

INNER HEARING
I have used a “Star & Cloud” to reinforce inner hearing, also to define phrasing. Starting with Twinkle, then
moving on to other songs, students sing when they see the star. When the star goes behind the cloud they sing
silently “inside their heads” until the star reappears.

HAND SIGNS
The hand signs used in Kodaly programs are an invaluable tool to convey pitch visually and develop inner
hearing. After students can sing accurately from hand signs they can learn to transfer that knowledge to the
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violin starting with a simple song like Hot Cross Buns, changing d for each open string (keys of E, A, D, G).
Later they can experiment with d=3rd finger to find the necessary string crossing from m to d (upper octave,
keys of D, G & C), and d=1st finger involving high 3rd finger and d=low 2nd finger (ex. keys of B flat and F)
Making a game of playing scales from hand signs works well. After deciding what note is d, with students in a
circle, teacher makes hand signs in order of the scale, students in turn play the note to a given rhythm. Later
they play from scales in 3rds (d-m, r-f etc.) and still later random turns and random notes. A song that is fun to
work with is Elevator and Candle which uses the ascending and descending scale.
The same game can also be played with arpeggios from hand signs d-m-s, r-f-l etc.
To introduce a review of the hand signs, I have often used the hand sign card game. Printed on card stock and
cut out, students must match the solfa card with the hand sign card. There are lots of ways to make a game – an
easy one is to put the cards all out and have students, in turn pull out the matching cards.

All Around The Fingerboard .123

SOLFA SYLLABLES
Use of solfa syllables, written and on the violin fingerboard, follows from facility with the hand signs to
beginning fingering drmf on the violin.
introducing f
Beginning Kodaly inspired songs are based on the pentatonic scale, which excludes f thus I have not included
songs containing it in my Kodaly based publications. However, as songs in Suzuki Violin Book One do
incorporate f, I feel it very important to include it in singing and playing by ear to imprint the relationship
between m and f both for inner hearing and for kinesthetic touch on the fingerboard. The “feel” of a semitone on
the fingerboard will ensure good intonation and facilitate the introduction of t to d when scales are begun. I use
songs such as Tinker Tailor, Oranges and Lemons, Oats Peas Bean and Barley Grow, Frere Jacques and Hot
Potato which include f.
When beginners start to use their fingers, the d r m f solfa patterns on each string 0 1 2 3 fingering, first by ear
and later with fingerboard games and worksheets make a good transition.
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All the Kodaly based songs in All Around The Fingerboard are in keys which follow the above pattern 0 1 23
4. After students are confident in the above d r m f fingering they can begin simple songs with s-m 3-1 such as
See Saw* and with m r d 2 1 0 as Hot Cross Buns*. Later they can play s l m songs such as Lucy Locket* and
Bounce High* involving either 4th finger or crossing to the next string.

SONGS
...a few chosen from many options! Any song followed by * is included in All Around The Fingerboard. (for
page references: AF=All Around The Fingerboard; S&S= See Saw & Solfa; FT= Follow A Tune;
Sfa&Sc=Solfa & Scales

Before playing on the violin students should know each song well, have played the game, clapped the rhythm,
used the hand signs, sung the solfa syllables, observed the rhythm, solfa and pitch names in the music on the
staff. They are then musically ready to start playing the song on the violin. The same songs in See Saw & Solfa
offer the music on the staff in large print, worksheets and puzzles. There is also a simple sight singing exercise
playable using any d (S&Spp118-119) and worksheets identifying solfa patterns on the 3 and 5 line staff
(S&Spp110-113). Students particularly enjoy putting the cut out song puzzle pieces together then playing them
(the puzzle for Dinah is quoted below).
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s-m
SEE SAW * S&S pp5-16; AF pp22-24; FT pp18-23
ta ti-ti; s-m = 3-1fingering
1. play rhythm on open strings.
2. introduce 3-1 fingering (AF p20) and complete written rhythm exercise (AF p24) then play from
fingering/rhythm/solfa sheet.
3. complete written ex. rhythm and solfa (S&Sp7).
4.introduce reading notes in solfa to play See Saw on 3 line staff (S&Sp8-11) s-m in lines and in spaces.
5. introduce 5 line staff, writing solfa and fingering above and below the notes. (S&Sp13,15) Only play 3-1
fingering pattern as 2-0 has a low 2nd finger which is harder to play in tune at the beginning.
6. Play from reading notes on D and then on A strings.
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Follow A Tune p.18

-other songs: Star Light*, Hill Dill, Tick Tock*, Lemonade

slm
LUCY LOCKET * S&S pp23-29;AF pp34-43;
FT pp29-33
ta ti-ti; s l m = 3-4-1 or 3-0-1 crossing to next string
1. rote; later experiment with different d.
2. rhythm on all open strings.
3. play from fingering/rhythm/solfa sheet using open string for l; play on each string using 4th finger.
4. solfa on 3 line staff.
5. pitch names on staff - notes on D & A first (treble clef games) written exercises.
6. play from notes.
-other songs: Snowman*, Bounce High*, Juba, Snail, Doggie Doggie*

d r m (f)
Itsy Bitsy Spider* Frere Jacques, Old Mister Rabbit, The Boatman, Long Legged Sailor

mrd
HOT CROSS BUNS* S&S pp30-40; AF pp29-33;
FT pp34-43
ta ti-ti rest: m r d = 2-1- 0
1. play on all strings (on E = little buns & on G = great big buns!).
2. retake (lift) the bow on the rests.
3. later change d - find new fingering.
-other songs: Bow wow wow, All Around the Buttercup*, Fais Do-do, Closet Key, Hop Old Squirrel
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All Around The Fingerboard pp.20-21

This example can be adapted for any songs reinforcing rhythm, solfa, hearing the notes and finding them on the
violin.

d m s (r,l)
KNOCK THE CYMBALS* S&S pp47-52;
AF pp55-58; FT pp52-53
ta ti-ti rest; d r m s l
1. learn concepts from previous songs.
2. first phrase (d m s m) is a good opportunity to teach an ascending arpeggio on the violin, first with open string
d, changing d; the last phrase (s m d) the descending arpeggio.
3. read and play from music in keys of D, A and G, noting change in key signatures, fingering (especially where
the semi-tone occur) and use of ledger lines.
-other songs with d m s: Dinah*, Rocky Mountain*

smd
MOUSE MOUSIE* S&S pp41-46; AF pp52-54;
FT pp44-45
ta ti-ti; s m d s-d
1. the first phrase is an open–2–open finger pattern valuable for the string crossings when played in D and A
major.
2. the perfect fifth interval s – d occurs twice.
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3. bowing as it comes means that some bars will start up bow causing the stressed beat to “feel funny” as most
stressed beats are down bow.
4. a fun song to play with the emotion and contrast cards.
other songs: Wallflowers*

drms
DINAH* S&S pp80-85; AF pp62-63; FT p68
ta ti-ti tika-tika; d r m s (d m s arpeggio)
1. each phrase begins with tika-tika, a good bowing exercise.
2. the 1st and 3rd phrase end s-m s-m which in the keys of D and A major involves quick 2nd finger and string
crossings; if played in G major (d=3rd finger) the quick finger pattern 3-1-3 can be reinforced. (Written in G
major in See Saw & Solfa to facilitate singing.)
3. bars 1-2 and 5-6 d m s arpeggio
4. a phrase game: have 4 students play one phrase each in the right order.
5. the song ends, as so many do, with m r d.

WHO’S THAT* S&S pp86-91; AF p89;

FT pp69-73
ta, ti-ti, to-o; d r m s d-s
1. both phrases begin with d – s followed by the descending perfect 4th s – r.
2. when played in G major (as written in See Saw & Solfa) a fast 3rd finger hop must be accommodated. Good
preparation for Song of the Wind in Suzuki Book One.
other songs: All around the Buttercup*, Cobbler*(d –s, m r d)
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drmls
TIDEO* S&S pp68-73; AF pp59-61; FT pp46-51
ta, ti-ti tika-tika; d r m s l
Notice: tiki-tika has ONE beat: in 2 teams (or teacher and student) 1 team play a scale using tika-tika for each
beat, other group play ta on each beat then 2 teams, one play melody other play only 1st beat = conducting
-play with ostinato.
-practice on G & D strings. Read AFp61 & name the notes.
-change d.
Knock the Cymbals* S&S pp47-52; AF pp55-58
FT pp52-54; ta, ti-ti, rest; d r m s l
Rocky Mountain* S&S pp53-61;AF pp74-77;
FT pp59-61; ta, ti-ti, to-o; d r m s l
other songs: Ida Red*, Wallflowers*, Great Big House*, Hey Betty Martin, Going Down to Cairo, Babylon.

d m s high d
Cut the Cake*, Vive la Canadienne*, Song of the Clocks*

natural minor scale

Land of the Silver Birch* ta ti-ti ti-ta-ti, ti-tika; l d r m s high l l-m
a good song to introduce the l pentatonic scale.
other songs: My Paddle*, Willum

Here is a synopsis of some very common songs used in Kodaly programs

Follow A Tune p14

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introducing f
As recognition of f is introduced later in Kodaly programs I have not included songs containing it in my Kodaly
based publications. However, songs in Suzuki Violin Book One do incorporate f so I feel it a good idea to
include it in singing and playing by ear.
I use many songs such Tinker Tailor, Oranges and Lemons, Oats Peas Bean and Barley Grow, Frere Jacques
and Hot Potato which include f.

MAJOR SCALES (introducing f and t)

I have found solfa absolutely invaluable in introducing scales, first major then minor.
Students should have good inner hearing of the intervals of a major scale before studying them on the violin.
Using hand signs and a modulator for singing and later for playing will establish a firm foundation. The hearing
the new semitones in their heads will lead the student to find them accurately. Singing then playing from big
solfa flashcards* placed around the room, and the solfa scale exercises* (Solfa&Scales p.5-6) Visual aids which
show the “grid” that all major and minor scales have will help them “feel” where the fingers create semitones
on the fingerboard.

See Saw & Solfa p`23 Solfa & Scales p5 Solfa & Scales p1

TREBLE CLEF NOTES ON STAFF

If students have not already learned the notes in treble clef, the booklet Your First Violin offers worksheets,
quizzes, and card games specifically designed to teach the notes required for playing in first position on the
violin. Particular attention should be paid to the reading of ledger lines.
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Your First Violin pp 11, 5 & 9

Relating the major scale solfa pattern to major scales on the music staff is a valuable step in reinforcing reading
and inner hearing. My students fill in and then play the worksheets in Any Scale Any Clef.

Any Scale Any Clef pp29 & 34

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SLIDE RULE MODULATOR AND MAJOR AND MINOR SCALE GRIDS

FINGERBOARD
Knowledge of the fingerboard is often a grey area for students. A good first step is to introduce the solfa scale
on the fingerboard. I have used the worksheets below successfully for many years. It has been my experience
that students definitely play better in tune when they can hear and accurately find m-f and t-d, play from the
hand signs and understand these worksheets.

Making the link between the fingerboard, fingering and the notes on the staff can be facilitated by playing the
fingerboard card games and with the worksheets for each string.
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All Around The Fingerboard pp132-144

Your First Violin pp10, 7

A number of the songs in All Around The Fingerboard are written on the staff with different sized print, from
large to more normal size, to facilitate learning to read. Also songs are often in different keys to offer additional
practise, especially on the E and G strings which involve reading ledger lines.

EXPLORING SOUND
SING THEN PLAY! My Kodaly students very much enjoy the emotion cards and contrast cards pictured
below. They readily sing their songs according to the card I hold up, waiting impatiently for the angry card! In
the same way, playing well known songs according to the instructions on the cards encourages students to think
about the sound they are making. The teacher can also demonstrate, for example, how to create an emotion by
using slow bows combined with soft and tired or sad cards, staccato bows for happy cards etc. Using these cards
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for teaching violin does not always produce a “pleasant” sound, but it does encourages the students to
experiment with the sounds a violin is capable of – maybe a preparation for contemporary classical music!

All Around The Fingerboard pp121, 122

VIOLIN TECHNIQUE
Many Kodaly based songs offer good opportunities to teach basic violin technique. I have included the
following in All Around the Fingerboard:
 finger exercises – pp14-15,16-19
 string crossings – pp10-11 changing string after each beat
 slur – Doggie*, Great Big House*, Charlie over the Ocean*
 fast slurs (down- down, up-up) – Itsy Bitsy Spider*, Vive la Canadienne*, Ah! Si Mon Moine Voulai
Danser*
 retakes – Hot Cross Buns*, Tideo*
 changing d - Hot Cross Buns,* See Saw*, Lucy Locket*, Dinah, Mouse Mousie etc.
 using 4th finger – Bounce High, Lucy Locket, Doggie,
 fast bows – Dinah, Song of the Clocks
 staccato – Great Big House,
 detache & legato bowing – Rocky Mountain
 legato bowing – Land of the Silver Birch
 anacrusis – A Sailor went to Sea, Itsy Bitsy Spider
 long bows – Who’s That?
 variety of bowings – Vive la Canadienne

KODALY & SUZUKI – a winning combination!

As the Suzuki Talent Education Program is a popular and widespread method of teaching violin I will
outline how the Kodaly Method can enhance and compliment a Suzuki beginning violin program. My
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book Seven Folk Songs offers ideas to supplement the Suzuki songs, helping to reinforce inner hearing
and reading music notation.

Seven Folk Songs from Suzuki Violin Book One.

There are many versions of the words for the seven songs used in the Suzuki Violin Book One songs for a
teacher to choose from. I have written new words or included traditional words. Whatever words are used, it is
most important that students sing the songs with accurate rhythm and pitch before playing them, reinforcing
inner hearing in accordance with Kodaly principles. Ideally students would be confident in singing the songs
with words and in solfa, using hand signs and recognizing the rhythmic and melodic patterns before learning
them on the violin. The book contains rhythm studies, solfa & pitch worksheets, rhythm and solfa puzzles and
quizzes for the following folk songs: Hot Cross Buns, Twinkle, Lightly Row, Song of the Wind, Go Tell Aunt
Rhody, O Come Little Children, and May Song.

The songs:

HOT CROSS BUNS* ta, rest; m r d

TWINKLE* ta, to-o; d r m f s l d-s
LIGHTLY ROW* ta,to-o; d r m s l
SONG OF THE WIND* ta, ti-ti, rest; d r m f s l
GO TELL AUNT RHODY* ta, ti-ti, to-o;d r m f s l
O COME LITTLE CHILDREN* ti-ti, tum-ti, ti, ts; d r m f s l
MAY SONG* ta, ti-ti, tum-ti, to-o; d r m f s l high d

Here is a synopsis for the 7 songs covered in the book:

The songs are written first in a sing able key to encourage singing with words, rhythm syllables and solfa. They
then appear as they are written in the Suzuki Book One. There are rhythm and solfa puzzles for each song used
in this book. There are also quiz cards to encourage reading of each song on the staff. Each song has a card with
the first phrase printed on it (AF p113). These can be used as a game for visual and aural recognition. The solfa
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hand signs card game is most useful for introducing the use of solfa in melodic study. The song cards, emotion
and contrast cards offer additional teaching opportunities. To reinforce inner hearing, students can play from the
“Star & Cloud” game quoted above. They can also put together the cut out pieces of the rhythm/solfa puzzle,
then play from the puzzle pieces on the violin.
As my students have learned the pitch names of the notes in my Kodaly classes, they can complete the
worksheets and quizzes which accompany the songs.

In accordance with Kodaly methodology, I would use the following sequence in teaching each song (assuming
that the students can clap from rhythm cards, sing solfa patterns such as d-m,r-f etc or d m s etc.)
Singing:1. learn words and sing
2. sing with hand signs, rhythm syllables and solfa
3. sing phrases in a circle, one phrase each 4. sing with “Star & Cloud” to reinforce the pitches, phrases and
form. Use dynamic and contrast cards quoted above to add musicality, variation and fun!
5. observe rhythm, solfa and pitch names in printed music noting any special features such as new rhythms and
notes or patterns and technical challenges.
Playing: Prepare any technical challenges such as string crossings, difficult fingering etc.
Follow steps 1.to 5. replacing words with playing rhythm on an open string, melody from teacher’s hand signs.
6. in a circle, have each student play one phrase.
7. play whole song using dynamic and contrast cards – having fun with variations!
8. play whole song, phrase by phrase, following the teacher, repeating many times, gradually working a song up
to by memory performance level.

Using Twinkle as an example:

TWINKLE* d r m f s l d-s ; ta, to-o
to-o = “slow bow”
Singing: steps 1 through 5
Playing:
Prepare:
-string crossings -the d-s interval at the beginning, and other bars of s-f involving a string crossing can be
easier for the students if they have played games with rhythms such as those in All Around The Fingerboard
pages 10 and 11 quoted below, alternating strings between each beat, playing both aurally and from printed
flash cards.
-fingering – to reinforce 3-2-1fingering practise fingering exercises such as those in All Around The
Fingerboard pages 14 and 15. Review Hot Cross Buns.
Follow steps 7-8.
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All Around The Fingerboard pp10,11

All Around The Fingerboard pp14 & 15

SOLFA, INTERVALS AND SCALES

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Using solfa to teach younger students intervals is, in my opinion, much easier and more successful than using
numbers – (the sound of s to m is easier to recognize than a minor 3rd) Once confident in singing intervals in
solfa, a student can more easily hear in their heads and then find a specific interval on his or her instrument.

The fact that the Kodaly Method starts with s-m, then s l m recognizes that they are the first intervals children
sing, thus well rooted in their minds. Calling the intervals by their solfa name is like learning words to a song –
much easier than using numbers to describe sound. Ultimately students do need to identify intervals using
numbers, but if they have grown up with solfa the transition is easy.

Any Scale Any Clef pp.15, 23 & 26

I can’t be more emphatic about how useful solfa is when teaching scales! Students play with better intonation
once they understand the “grid” solfa offers them – for example, semitones are better heard in their head and
felt by their fingers on the fingerboard. Transferring this knowledge to the fingerboard is crucial. When playing
scales t to d (si to l in the minor scales) is always higher and must be accounted for on the fingerboard or, for
that matter on any “untempered” instrument or when singing. Before singing or playing a piece, a student
should be made aware of and allow for the t-d (or si-l) of the key the piece is in.
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Below are some sample pages from the book.

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THE CONCLUSION
So there it is – 35 years of teaching – the very long version! I hope I have provided some useful ideas and
inspired teachers to seek out Kodaly Music Education and to benefit from it the way I have.

In this article I have used material I have published related to the use of the Kodaly Method itself and as it
applies to teaching beginning violin. It is not my intention to use this article to “promote and sell” but rather to
offer ideas which have worked well for me – nothing revolutionary - just practical board and card games,
puzzles, quizzes and worksheets to augment a music program. Hopefully the reader has found something to use
in his or her own teaching... I am so happy to share....

All is thanks to Montessori, Kodaly and Suzuki!

Jo Yawney
June 2017

My publications related to Kodaly and beginning violin playing :

See Saw & Solfa – Kodaly based songs, worksheets and puzzles for singing.
Follow A Tune – analysis of a few well known Kodaly based songs and ideas on how to teach them.
All Around The Fingerboard – using Kodaly principles to teach violin, a massive 144 pages long!
Seven Folks Songs from Suzuki Violin Book One – songs introduced from a Kodaly perspective..
A Good Start – a booklet for beginning violin students: reference pages, notes on each string, on staff, scales,
worksheets, quizzes, puzzles and games.
Violin Fingerboard Games – to reinforce confident knowledge of the fingerboard, its relation to the treble clef
and solfa scales.
Beginning Violin – a mini booklet containing exercise cards for use with individual students or with classes.
Music Signs for Violin – cards to use for various games to teach common signs used in violin music.
Solfa & Scales – to sing or play on any instrument.
Any Scale Any Clef – The Magic of Solfa - to sing or play on any instrument.
All are available for instant download atwww.tunetravels.net anwww.teacherspayteachers.com/Store/Jo-
Yawney