Music Lib, By the methods used today children first learn — "Only teachers who have tried beginning to teach the symbols (the notes) and only later, if ever, their meaning. But the singer first understands the meaning of the sound and learns the symbols later, which he then understands much better. The child should not touch an instrument before he can at least sing from rhythmical solmization symbols. The musical imagination is more stimulated if two part canons are played from one stave. If the melody is written on two staves, the child often does not even realize that both hands are playing the same tune, since the simultaneous action pre- dominates. It is of great value if one melody is sung and the other played. Although the canons using letter notation can be played in any key, it is nevertheless advisable to remain on the black keys. The pentatonic scale needs no explanation on the black keys. Intro- duced later it can only appear as a defective and incomplete formula. on the black keys, and who have used this method over a considerable period of time, are in a position totalk aboutits results. According tomy experience it is much more useful than the usual prolonged stay on the white keys. The mental advantages are, however, invaluable. Every thinking music teacher realizes the faults of the old methods, but still continues to use them. If music is to become common property and not only the privilege of the few, we shall have to look for new ways. Budapest, June 1945 ZOLTAN KODALY Publisher’s Note. Kodaly uses the word ‘solmization” because this is the usual term on the Continent. For the purposes of this book it can be exactly inter- preted ‘tonic sol-fa’.‘ 24 Little Canons on the Black Keys 4. ZOLTAN KODALY Padddeledige ted teats gtae tes teeta teed ene pegs Waele suet gad do dom 1 os m e a m m Fr 2. Pl dsldds li ddldds ta sdtes dst dled fore ban rr mar @orrmith a@mil.sd@ mrd 3. PLilda ded ler deste ged tee ied idee | ee me @ 1 1 m soldat ated led tse Wildside sis s 8 7 a Re rem ee de signed 1957 to Boo ar poco B.& H. 18383 BH.BK.5505 fi Ma WT lee ee ee TT a drmdi, rok Rodel eon sige iwi Lt drms Loe me smrm mr dae, a 5. MIA WIA I i 134 slm oo. d rmd mil, dl 4, aq 1], % 80a basea 6. ik tI simi JIT. WIT yada Heo a open mdmr dal, ara, 1, . 7. Sea FAT als la FJ ledt J leldsldi ds idslsat sat de Kmirdo sm 1 rd 8 mr Im rmoem d mi rad somrok B.& He 18383fi SAU Mdt odd testagtaaiaal dl Lat roer m dh rf 3s mr dr mr | 9. ce AHluw ins Ws ain wa I atm ol ie mdr maiodrm 1 ie lmdr lk ls ft f] % 8 va bara an 10. % 80a Bd IS lessee dtd dle JilddJd Lolo dl mrdrm il smdroim iil Q. @ rr 2 yr a@rl 1, = ossia $ Bra basen 11. Andante J. 00 Md dds Sid ddsd Siesaa isa diJi 134 drem eo ee ee de ee ar m 3 8 va bassa 4 12. 4ndante J OUT 24 dsdtiduats J 11d Oddi dd dlescas lie - fon dred serd rom erhg Ldrmev7 mar melms @ (4) % 800 dassa aa 3. H. 183837 48. Andante J.76 EB Udddld d ldddsld 2dlddddld Jdlddddld rdidssdid ddl 2! demd og drms m r dism @ml omr eodrmmra % 8 va bassa 44. Andante cantabile J. 2 PIT dlldd Wd TT dls Ls hdrml elm omrdr md@l agdrmolos m rd re m i] - 9], % 8 va bassa grasioso dun 15. Allegretto P FAs eld dd ddd = WJ d ld bd ddI dda be Qo @aeel m rd est] m sdddr mil odd Sea ceeaa 4m, % 8 0a basse 16.Deciso J .104 RQ TD SITTIN bs ld TO SITTIN Lowhommremr dh) moe ey le te ee % 80 bassa 2 SUL MITT TI ls IFT ldo dI TA mmmd@éd@éiirdil «eommr misom der memr a dad ‘ B.& H. 183838 To be played a semitone higher 47. Allegretto 18.Vivace B.& H. 1838349. Allegretto J.08 B.& H, 1938321. > legro deneB.& H, 18383