ZOLTAN KODALY “ip BOOSEY & HAWKES Joo READING EXERCISES‘Our growing pedagowieal literature has up to now (1943) not included sight-reading exercises. As | have shown elsewhere, we hardly know how to read music although sight-reading contributes more (othe better understanding of musie than do opera subscriptions or popular music appreciation, Our instrumental teachers are beginning to realise thatthe ability (o ead musie does not arse of iseif uring lessons as was believed hitherto. Whilst every singer and instrumental musician has €0 make it 4 special study, it ean be taught to cach and every normal child, “The small number of sight reading exercises found in ext books are not sullicient I is necessary always to have plenty cof new material in order to present fresh and unfamiliar music “Merely to get the main intervals somehow right does not amount to sight-reading; itis merely spelling. Reading. must bbe done comprehensively, taking in at a glance ist a single word, then more, and eventually whole sentences, taking in the whole before examining the details. We should try t0 make a habit of understanding a tune by glancing through it quickly From beginning to end, as with a map, and not by building it from the separate notes. We should feel it as a whole before starting to sing it. This will give better resus For reading tests a pupil should always be given an exercise well within his capabilities, thus ensuring a possibly faultless result. There is not much value in his having to strugele with music. “These exercises can be used at the beginner's level in any teaching programme, in the following stages: (1) concentrate ‘on the rhythm only: by tapping, drumming and clapping with the pupils repeating i (a) in exactly the same way, and (b) singing the rhythm on a monotone to various ssllables (lah, 00, tee, ete); (2) having practised its rhythm, you then sing. the tune (to lah-lah) and the pupils sing it in instation; () they then sing it from solfa leters written above the chythm symbols; (4) sing the tune to lah-lah, with the pupil is! identifying the sof-fa names for each note and then singing the tune in sofa; (5) only afterall these stages should you put the music in front of them, when, having identified the sofa letiers, they sing it through in sola. Later you can leave out more and more of the five stages one by one so as to achieve real sight= reading’. Earlier exercises should be returned to whenever necessary. Initially sof-fa letters may be written into the music. ‘This book of exercises has no purpose other than that of being an aid in overcoming teething troubles ~ itis therefore restricted to the beginner's level. I contains ao dotted eight notes (quavers). ts variety of ehythm and tempo is, however, tsreater than might be expected in tunes of this level of complexity. This is because of the character of our musie and the talent of our children for rhythm, Furthermore, bad reading is mainly caused by rhythmie clumsiness and hesitation. Thus rhythm is always ofthe greatest importance “The melodies contain & noticeably large number of downwaed leaps, This is necessary since these have been neglected uptonow. We are used to practising only ascending intervals, but descending onesare more difficult and demand a different imental process. This isthe reason forthe sudden pauses by our students who read quite well -and even certificated teachers ‘whenever faced with a descending leap of more than a third. Alternatively they make a mistake but still continue ~ yet, hot having grasped the Ariadne’s thread of sof, fal to realise that they have landed one note too high oF too low. ‘The tunes are written in the children’s best chest-register (the D ~ Bhexachord), although this does not mean that their pitch is absolutely fixed. In fact itis advisable to try the same tune in another range, accompanied by demonstration, Uietation of sob-fa letters oF from hand:-signs ~ but of course only if this is possible within the voice register, When reading {rom staff notation one must stick to the correct pitch ~ especialy i the pupils read the music using fixed-pitch letter names, otherwise his internal hearing will become confused. It is not advisable to start in C major as many children find the treble Ca strain or even cannot reach it. The printed copy doesnot indicate the elements of the melodic structure. This sets a minorprablem: the phrases must be identified, On the other hand three-bar phrases are marked. In some places repeals are given in fullso that the eye becomes iccustomed 10 recognising ientical musical phrases quickly. We depend on the fascinating effect of small differences — ‘Similar but not the sare": the child's attention should be captured by either a formula in the tune which is repeated ‘with a slight difference, or by a reference to a well-known tune, To begin with there are no key signatures as, in any case, the dois given. A tune consisting of merely two notes can bear diferent onal intexpretations. We have chosen the easiest; the nearest to pentatonic completeness, Later on key signatures are introduced which have no effect on the tune but assis in the identification of the do. To identify the do within the five-note system (pentatone), anyone not familiar with key signatures should look out for the three adjacent notes or tritone, Again, there are no fempo indications. Generally a quarter note (crotchel) should equal a normal walking step. At firs reading this could be slower, but always in rhythm! Most of the tunes are not tied to one terapo, so later on they can be taken at a faster pace Foursfifihs ofthe tunes do not go outside the six-note compass. Pentatonic tunes usually cover a wider compass - there are some of two octaves. Ours (the Hungarian) vary between a nine and twelve note compass and are therefore not suitable for children. In many cases the rhythm is also very difficult, In Nourishing pentatonic systems one finds many tunes of limited compass and simple rhythm. In our country this type of tune has almost disappeared. It was driven out by the appearance of Indo-Germanic children's songs and by “artificial children’s songs of foreign inspiration, ether homemade or imported via the schools. If we want our heritage of folksong to regain its old attraction, shining out over the whole nation, we have to prepare ‘our children for it with tunes of limited compass and easy chythm, bul ones with the spirit and structure of the old folksongs. ‘The alternative is that, having studied the fashionable music text books, they will find the nation’s oldest music unfamiliar — as many of them do now. The reason is that itis a wrong method to start from the diatonic system and then return to the pentatonic one as though it were an exceptional oddity, not to mention the fact that there are still school music books that pay no attention to the pentatonic system, though this alone could be our natural foundation-stone. It is one of the axioms of sound education to move from the simple towards the complex. It may be difficult for slaves to a foreign and out-of-date seventy year-oldsysiem to get accustomed to it, but we hope that every conscientious teacher will do his utmost to make the chaotic transition period as bref as possible. “Those who have already started with the C major method will find a bridge toward the pentatonic system at around exercise 215, The proper thing to do is then to look out for the diatonic system from there onwards. ‘We still have a long way to go from our small tunes to the "Solfége de concours” of the Paris Conservatoire. Only an expert ean do it, But both expert and music lover start equal if they start well. Up to now I have wanted to help the youngest But adults can also be pupils as “there is no royal road to learning”. Zoltan Kodily. September 1943 1943 ~ it was not the proper time for basic reforms. Fotlowing al the world-shaking events there was still a great deal happening that hampered development. ‘But finaly the seeds were sprouting. The “singing schools” came into existence, with singing lessons every day, yielding excellent results not only in singing but in all subjects, When all the schools become “singing” ones we shall have real fducation for everyone. At present there are a hundred of them working under the auspices of the (Hungarian) Ministry of Education, ‘The "333" became the modest beginning of a respectable literature. Many people used it to learn to read music. Many ‘more could have done so had more professors realised the advantages of the so/-fa edition and used both in parallel. 1 do rnot know of a better exercise than the transposition of notes into leters and vice-versa, both in writing and orally. The present edition aims to facilitate this, The children should sing the music in staff notation to so-fa, and the music in sol-fa {o the fixed pitch letter-names (A-B-C) always in different but predetermined keys and invariably at the actual pitch level; if we say C it should really be C. “This is the way towards acquiring the sense of absolute pitch. Only lively musical activity can produce a musical expert. Listening to music is by itself insuficient. T hope that in its new form this book of exercises will contribute to our aim of making music available to everybody. Zoltan Kodéily, March 1961 N.B. There a minor differences in this edition in 193, 195, 196, 198 and 198. 333 READING EXERCISES ' Revised English Edition ZOLTAN KODALY taken from 1966 Hungarian Edition (1882-1967) 1 far This sign indicates a three-bar phrase Copyright 1941 by Zoltan Kodaly Copyright assigned 1057 to Bousey & Co. Ltd, for the World excluding Poland, Bulgaria, the German People's Repablic and Albanis English edition ©1963 by Boosey, & Cu. Lad. All rights reserved Revised ‘edition © Copyright 1922 by Boosey & Co. Ltd. B. & H.19977 Printed ia Eagland Hungary, Roumania, Czechoslovakia,sede e adel Phan AE ddlrrdrlard ¢ é el ralrr rare rrildrdr a \ 12,5 ‘ ified fide ide Joel i eels basse ite 4 43/4 1 dradlrar orale ta ‘lee ah Teele 2 |t Fz le ¢lé dra lds Gsrlar boast F \2e d \2 | Pedy alee Pape a\eoe23 4 ——— # au ee Ph a|Bo alg £10 £1eb> ol FRI we fFarle slaved ey Pe eles zea ae zeae | : Viaas _ gaa aaa aaa SaaS 19 Saas a aa Ss 20 = See EA B. & H19974 4, is] THF FAA! AAG AAG: | e043] 1 if faieed (eek td eres fidaifid ta 73\2% ile eelee eee \f2? leteels \o¢ ‘] sae oy Ta 4). [> ai AAAs | Liss a Iie? slddldls anine| 1) Ap san IB ‘je 4 | ees 3.5, 3, a . Hdl td s,s, Liss, ina. dk 77 \f2¢ |: : |? ffte |! | ssddlrds, Id dddd sad 5 B, & H.199776 va oi teryieie (773 | a foTs|f9¢ [fF 732 ‘| Ma a ti! 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