When teaching solfege with the Kodály method, which one do you start with?
Why do some people get so worked up about this topic and argue over what to start with?
Even before finishing my three levels of Kodály certification, I knew that music teachers debate (sometimes hotly) over what a music teacher should start with when it comes to teaching solfege and pitch.
The controversy surprised me (and still does), but it’s still argued today.
I’m here to help you take an objective look at the controversy behind the Kodály method first interval.
In the traditional sequence, the Kodály method first interval is Sol-Mi starting in first grade. There is a growing segment of music teachers that delay solfege until second grade and start with Do-Re-Mi. Both approaches have their pros and cons, and it’s really up to the teacher which way they go.
Let’s dig into the reasons below.
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Kodály Method Sol-Mi
The more traditional way to start intervals is with Sol-Mi.
There are several reasons why the original method of Kodály started with this.
It’s the building block of many folk songs.
As Kodály and his graduate students analyzed the folk songs of Hungary (where they came from), they noticed many of their most simple songs used the Sol-Mi interval.
Even when the song used more intervals, Sol-Mi was prevalent.
Therefore, it followed that they should start with it as it was the most common interval in their music.
It follows the natural children’s chant.
Kodály and other music teachers throughout time have noticed that students and children often sing to themselves and each other.
When they do, it often starts using the simple up and down sol and mi.
This is the stereotypical, “Neener, neener, neener.”
It’s also seen in how children call to each other when they say their names.
Whether this is learned behavior or not, there’s no denying how common the interval is, though some argue since it’s more often tied into Sol-Sol-Mi-La-Sol-Mi, it’s wrong to isolate it without the La.
It’s the most common two-note interval.
Teachers should start with the most simple concept and move on to more complicated ones.
This is the same reason teachers start with counting before moving onto addition.
To get an interval, you need two notes, so the most simple way to start is with two notes.
In music, there is no more common two-note interval in songs, especially children’s songs, than Sol-Mi.
Depending on your song list and culture, Do-Re-Mi may be more common, but you need three notes to get the full effect.
Kodály Method First Interval Do-Re-Mi
Less common but growing is starting on Do-Re-Mi for the first intervals.
This idea was mentioned by American Kodály pedagogues since the first time Kodály came over and taught his method at Interlochen in Michigan.
But it didn’t gain as much traction until Dr. John Feierabend pushed his Conversational Solfege sequence, which is based on the Kodály method in many ways.
Here are the reasons many music teachers prefer this.
Check out my explanation of the Kodály solfege syllables.
It’s more common with traditional American music.
If you look at traditional “American” (usually Anglo-Saxon) folk songs like Kodály looked at Hungarian music, you’ll find Do-Re-Mi as the most common group of notes.
Many songs use these three notes or end using these.
Think Hot Cross Buns or Mary Had A Little Lamb. They only use Do-Re-Mi.
Sol-Mi is almost as common but almost-always attached to La.
Waiting until second grade to start solfege means they can handle three pitches right off the bat.
Some music teachers advocate waiting to teach intervals until second grade.
In many ways, waiting makes sense, as it gives more time for students to solidify their ability to match pitch and keep a steady beat.
Waiting until second grade, you’ll often use different songs than first grade.
The most common songs used at that grade level use Do-Re-Mi.
Being a little older, they can also handle using three notes at one time, something first graders struggle with right off the bat.
Some even wait until third grade.
As a bonus, Do-Re-Mi also applies well to the recorder.
Songs with Do-Re-Mi feel more complete.
Singing a song with only Do-Re-Mi still feels like a complete song.
You get more notes and have the compelling Re-Do motion, which indicates a V-I cadence.
Sol-Mi, on their own, is purely pentatonic and don’t always feel resolved.
A number of teachers choose Do-Re-Mi for the reason of musical resolution alone, and there’s nothing wrong with that.
However, it is worth noting that a “stereotype” of the Kodály method is that when using Sol-Mi, the only songs you sing are Sol-Mi songs.
This couldn’t be further from the truth, and you’d go crazy if that’s all you did.
When isolating and teaching Sol-Mi, yes, you’d use Sol-Mi songs, but the rest of the class would use songs with more pitches.
Which First Interval Should You Use?
I’ve seen music teachers get into literal arguments over which to start with.
These people have gotten insanely worked up over it; it’d be funny if it weren’t so sad.
Here’s my take on it:
Just pick one and stick with it.
If you’re consistent and intentional, your students will learn either way.
Look at the songs you teach.
Are there more Sol-Mi or Do-Re-Mi? Start with that one.
Do you prefer to start solfege with first or second+? If it’s the older kids, start with Do-Re-Mi.
Every situation is unique, so do what’s best for your students and you. Don’t let anyone make you feel bad for choosing one way or another.
Here’s an example.
Earlier in my career, I taught at a school where I saw Kindergarten and First grade three times per week.
They were more than ready to start reading and singing with rhythms and solfege.
Now, I see students once per week, and I don’t see Kindergarten at all.
I’m waiting until second grade before starting intervals.
There is no hard and fast rule. Take where you kids are at and do what’s best for them.
You may want to check out the Kodály hand sign ladder article I wrote.
Final Thoughts
Now you a little about the Kodály method first interval controversy and how to make the decision for yourself.
Sol-Mi and Do-Re-Mi are both fine starting points; just do what’s best for you and your students.