SECTION I-19) ‘The two sounds used are doh and ray. They are placed on the stave thus ‘The interval between these notes is ton lent beat and is called a ress. A.crotchet, J oF p, equals one beat, while | equals a Two quavers, 2 or pp, equal one beat, and a single J oquals half a beat: 7 equals a half-boat rent. Four semiquavere, 47d, equal one beat, and a single } equals a quarter of a beat. A minim, J, equals two beats. ‘The time signatures used are J (two crotchets in each bar), and § (three crotchets in each bar). 7 In conducting 2 the (right) hand follows this movement [) while for? = ft fe, nresenting the note-group from which any of the melodies i built the teacher showld rely on (@) Solfa syllables should be employed throughout (@) In cach case the rhythmic organisation ef the melody should be looked at before any attempt is made Co sing it. The thythms are simple, but some patterns, being derived from Hungarian idiom, are ‘rst unusual to an English-speaking singer. For the pupil, who may be accustomed to the seasalon, ‘ayncopation’, this should prove an attraction and will certainly help to keep him wide-awake (@) Ie is imperative that pitch accuracy should be achieved together with thythmie accuracy. The one (3) It may help the pupil silently to beat the pulse. (0) In seading whe peplt should try to fest the Continulty Ott melody ang co realise tne way in when. separate notes are formed into phrase units. (Note that Kodaly sven writes bar phrasess which are marked by slurs.) (7) In 229 and 259 Kodaly suggests dynamics. For the rest the teacher should use his diseretion, remembering that expressioniess singing t* at all times to be avoided. sof group work. which may be extended as the teacher determines () The book should be used regularly and there should be datly practice in sight reading. Since the longest melody in the book requires na more than 30 seconds ia leisurely performance tt cam hardly be maintained that time ts lacking for the operation. ‘To derive the maximum benefit from this course pupils should be encouraged to compose their own, melodics from the material given in Kodaly's. Such melodies {and there composed by the teacher) inay also be used as supplementary exercises. ‘The assurance gained from regular practice in sight-reading will quickly enable the pupil to under take s wide range of mutieat activity. and it Will be found that the quality of singing will improve Kodaly wrote these pieces as also the many others that comprise the complete Choral Method —~ Bethe sthocis'ot Hungary, Sines they have been in use there for more than a decade the results may be'examined. These have astounded many foreign vistors ss well as teachers Of a previous generation, fort iz common to find school choirs ready and able to sing at sight, and without accompaniment, orks by Palestrina on the one hand and by Kodaly and Bartok on the other No-one understands more than Kodaly that the musical heritage of the English-speaking world is ich, and available 10 all those who can master the art of singing at sight, to which this collection is Convenient and intelligible approach. Te these exerciaes doh in placed on the second line. Dok may be ect on any tine‘ in any space, thn being a matier of convenience. Two suuade~ leh, std sok which ie below doh are used: ese the intervals between the sotes being 4 minor third, followed by « tne (pian G20) ace short forthe Kinien words plano (aft) aad forte Goudability ta rend and interpret the aymbcis in which mune ie written down, Fo this there maghi rest Beladded the ability iso to write, a point to be touched om later Music-reading depends on being able to sing In tune — ie. to reproduce certain fundamental intrvals with exactrest and to fecognive the various signs, im respect of pitch and rhythm, which define the relationships between sounds. Io's large extent succeseful muste-rescine Fe the singer repeats groupings of sounds which he has previously learned (perhaps in sther contents) recognises sn due course fa-iliar arrangements of notes on paper” Ilia corfect stare i= made there Is regular, progressive, and purposeful practice there fe ho reason why satisfactory weneral standard saay not be attained ima relatively short time. This is a basic book. founded on the logical principles that underlie the processes of common musical speech as thown mort readily, But Byne means exclusively, in foll-song The opening exererres fre built On two notes only, the one w fone higher than the other Gdoh-ray). When the two sounds Have Ben memorised and the pictorial principle (co far find in the long Tun all of ow" alone tx teachable: appreciation i Nat way finds owt the secret OPappreciauion and mastery of material. For ths thers cam be no substitu Musical appreciation ie enhanced: Technique, the The pupil however, who learns to use music in = pr Geveloye in understanding in his own way. SECTION IV (31-47) Dok is now placed in the first space. Th, doh ray Some exercises begin on /ak, some on dok and some on ray, In number 33, 4 equals four crotchet beats in each bar— conducting pattern ~ In 37, after four bars, there is a crotchet rest, shown in a bar of j time: observe this strictly. SECTION V (48-55) In these exercises the fi 1 three notes of the major scale are shown, and the 4 (sharp) is introduced: $#==—==SI the intervala betwoen the notes being a tone followed by a tone. tn 48 compare $F====] with $====W trom the preceding exercises. ach me Tasco d by a semi The first interval, where the note chown in the first space is rai fone by the #, is called a major third; the second is a minor third. The intervals are so called because the former is larger (by a semitone) than the latter. Having arrived at 55, it may be found helpful to revise the previous material