The Kodály Method: a useful way to study music?

In the last blog post I examined the importance and value of the famous Suzuki Method. Today I am continuing my exploration of various music educational systems by highlighting the Kodály Method. Unlike the Suzuki, this Method focuses on studying singing, pitch and musical notation rather than learning an instrument however, these elements are crucial to musical development.

Zoltan Kodály (1882-1967) was an important Hungarian composer and music educator. He worked closely with fellow Hungarian Béla Bartók (one of the most influential composers of the twentieth century) collecting, assimilating and transcribing folk music.

Kodály started developing his own method of musical learning after he became disenchanted with the general level of music education in schools. This system is quite different in approach to the Suzuki Method because it focuses on singing. By interesting children in singing from the outset, Kodály encourages them to develop a sense of pitch and notation before instrumental playing is even introduced.

Kodály’s Method is really very simple. He reasoned that singing was the most natural vehicle to communicate music and indeed it can produce many favourable feelings and emotions in humans potentially having a profound effect on intellectual development.

With this in mind, Kodály introduced three key learning stages which are the unconscious experience, the making conscious and reinforcement. Another explanation for this particular sequence of music study is the preparation, presentation and practice.  Pupils start off by imitating songs and rhymes which are sung in class (or groups) developing more and more sophisticated vocabulary to describe their experiences then finally they learn to recognise the particular written figure that symbolizes each experience. This system draws on many musical elements such as rhythmic movement, rhythm syllables, rhythmic sequence and notation, melodic sequence and hand signs.  Students taught in this way quickly become confident performers and are imbued with secure sense of pitch and pulse.

The musical material for this method is derived mainly from folk music and Kodály’s own compositions. He collected, composed and arranged a large number of pieces for pedagogical use and alongside Bartók (and other musicians), and published six volumes of Hungarian Folk Music which included over a thousand songs for children, many of which feature in his method. The Kodály Method has been proved to significantly improve all areas of musical study as well as academic performance especially in subjects like reading and maths.

 Extract from So You Want To Play The Piano? published by Alfred Music


My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.


Help I can’t sing! – Aural Tests

As the music exam period is almost upon us I thought I would look at one of the most neglected areas of any piano exam – Aural Tests. It’s easy to go along to your lesson every week and focus on your pieces, scales and sight reading (although sight reading is another neglected area too) and completely forget about aural tests.

This is an oversight because aural ability should ideally be developed over time; it takes practise to learn how to listen to ear tests and to repsond swiftly under the pressure of an exam. So do try to suggest this to your teacher and perhaps spend 5 minutes of your lesson every week practising aural.

Here are a few ways that you can help yourself;

1. Most grades involve some kind of singing and the  usual complaint from candidates is that they can’t sing! You don’t need to be able to sing properly, you just need to be able to pitch  notes. The best way to practise this is by playing a single note on the piano and singing it back to yourself at the correct pitch. Try this with many different notes. Once you have done that (it might take a while at first as you do need to really listen to what you are singing) then string 2 or 3 notes together and sing those too. Eventually you will get the hang of it and be able to sing, hum or whistle (these are options too!) a whole tune at pitch.

2. Clapping and recognizing the pulse or number of beats in a bar are popular tests. Try to listen to excerpts on the radio or TV – by listening carefully you will eventually work out where the strong beat falls and be able to ‘feel’ how many beats each bar contains. Similarly with clapping, start off with a small section of music – possibly 1 or 2 bars and practise listening – the more you listen the easier it will be to tap the rhythmic pattern.

3. Chordal progressions and cadential points are other common tests in graded exams. You need to be able to spot what chord is being played in relation to the key. Again, it is possible to do some preparation for this yourself. Choose a key and then play the most common chords in that key, i.e chords I, IV and V (1, 4 & 5). These are the chords with either the tonic in the bass, or the fourth or fifth note of the scale in the bass (your teacher will explain this to you). Listen to the bass so that you can decifer the differences in the sound of each chord (chords are easier to spot when listening to the stepwise movements going on in the lowest part ie the bass) and notice the sounds of each cadence whether it’s perfect (V-I) or plagal (IV-I) etc. It’s quite easy for your ears to spot the differences after a while. It’s all about getting ‘used’ to the sound.

4. The last test asks you to comment on a piece from a particular period. The only way to prepare for this is to listen to music from all different periods so that you are aware of the style differences and also of which possible composer/s could have written the piece. Start with the Baroque period (1685 – 1750) and listen to 2 or 3 pieces a week noting stylistic traits like counterpoint and ornaments. Then listen to Classical pieces (1750 – 1850) and work your way forward through all the musical periods. Other possible questions include dynamics (loud and soft sounds), tempo markings, articulation and speeds so make sure you are familiar with all these points then listen out for them.

There are many facets of the ear or aural tests you can work on yourself so it’s not just up to your teacher! If you want to succeed in this portion of your exam then start preparing today – Good luck!


My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.