4/12/2024 0 Comments Chromatic solfege hand signs![]() ![]() I usually start with body signs with first grade and then move on to actual hand signs starting in second grade. Another tool for sequencing at different stages.We use them because they are physical ways to show the different pitch levels along with these reasons: There are two main types of solfege movements I like to use: body solfege and hand signs. This may help them buy into it a little more. Just treat it like it’s just something new, and you’ve been holding off on it until they’re old enough for it. Keep A Positive Attitudeįinally, never tell them they’re behind what they “should” be at. This whole body movement challenges them and helps associate the pitch levels. I like to use standing for mi, hover for re, and sitting for do. You can use stairs to show the movement of “high-middle-low.” And I would use those words while preparing the concept of MRD (more on that in part 2).Īnother way to prepare this is with whole body movements to represent those pitches. They’re also capable of a lot more, so I recommend using as much movement for the pitches as you can. Students in the older age groups (3rd-grade on up) need even more motion than the younger kids at times. Here are some songs which have easy isolated MRD parts, but other notes as well: “I’m interested in the part that goes…” And practice from there. When you sing these songs and play the games, you can later point out to the kids: Many songs will have easily isolated MRD parts even though the rest of the song will use other interesting patterns. Hot Cross Buns (cause everyone loves it!)Ĭhoose “Older” Songs With Isolated Solfege PartsĮven if you don’t feel inspired by a strictly mi-re-do song, you don’t have to choose songs which only use those pitches to teach!.Here are some songs which are mi-re-do based: John Feierabend also suggests this in his Conversation Solfege series.Ĭhoosing mi-re-do songs to start with gives you access to more “mature” material which can also be easily tied in playing instruments such as xylophones or recorders. Start With Mi-Re-DoĪs Lois Choksy suggested in The Kodaly Method I, mi-re-do may actually an ideal place to start with older beginners or a good place to start in general. So I came up with a few recommendations for these students based on my own experience and what I’ve learned talking with other music teachers. And many sol-mi focused songs are aimed more at a younger crowd. Older beginners (especially if they haven’t sung a lot) already don’t want to sing. ![]() While the traditional Kodaly sequence starts with sol-mi usually, using sol-mi with older beginners can cause a mess of problems. Interested in other solfege info? Check out my earlier post on teaching melodic composition with solfege. All kinds of music teachers use it, but what’s so fetch about solfege? Solfege…even the most quiet whisper of the word is enough to awaken our PTSD from undergrad and sight singing and ear training. This 3-part post was drawn from my presentation for the Michigan Kodaly Educators in September of 2019.
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