Tonic Solfa is a system of using syllables to represent the different pitches of notes of the scale. Any major scale could be represented as:
In some countries the exact pitch of Doh is fixed, however, with the system used in this country the note Doh can be any pitch, but is always the first note of a major scale. This is Known as movable Doh and is of far greater use as it can be applied to any key. This is particularly relevant when teaching young children as the have a limited vocal range and the syllable can be sung a pitch appropriate for the children.
The use of syllables has its roots in the 11th century when the monk, Guido d'Arezzo, used the initial tones of a "Hymn to St.John" as a device to train singers. The syllables were worked out on the different joints of the fingers as seen below.
In England, Tonic Solfa was developed through the work of Sarah Glover (1785 - 1867) and Reverend John Curwen (1816 - 1880).
Sarah Glover was responsible for a music teaching system known as Norwich solfa. Her method used movable syllables as an aid to sight reading and a solfa notation which she had devised as a stepping stone to reading music from the five lined staff we generally use today.
Curwen made several modifications to Glover's solfa notation, in addition, using different hand-signs to each of the tones of the scale. It is these hand signs that are in use today in what is know as the Kodaly system and Colourstrings.
Hand signs are effective as a teaching tool as they visually and aurally reinforce the high/low and interval relationship between the different pitches of the scale.
Along side these pitch syllables are rhythmic syllables that were first developed in France. These have been developed by Curwen and Zoltan Kodaly (1882 - 1967) and are still very much in use.
Above as devised by John Curwen.
| TAA -AA | becomes | TA-A |
| TAA | TA | |
| TA TAI | TE TE | |
| TA FE TAI FE | TE RE TE RE |
Kodaly altered these as follows:
Kodaly based his system of teaching on tonic solfa. He is known to have come to this country to find out about the work done by John Curwen and then to greatly develop on it back in Hungary. It is said that he had the dedication in his book "I now give back to the English what they gave to me." Apparently, due to political reasons in Hungary, this dedication was removed at the time of printing.
One very important contribution Zoltan Kodaly made was the development music education for young children up to the age of seven. At this early stage, Kodaly focuses on teaching the children a large repertoire of enjoyable songs and games. These should always be within the child's capabilities, developing rhythmic and pitch skills relevant to the next stage. Folk songs and nursery rhymes from the child's own country with a strong emphasis on the pentatonic scale ( Doh - Ray - Me - Soh - Lah ).
The notes of the scale are introduced in a certain order starting from the minor third Soh - Me. This, Kodaly claimed is the interval young children are universally sing accurately in tune. It is also the interval on which many children's playground games are based.
The intervals are introduced as follows:
Soh - Me
Lah - Soh - Me and Soh - Me - Doh
(i.e. three notes at a time, but Lah and Doh are introduced around the same time.)
Doh - Ray - Me - Soh - Lah
(Pentatonic scale)
Doh - Ray - Me - Fah - Soh - Lah - Te - Doh
(Major scale)
In England Fah can be introduced much earlier than many other countries as our folk songs and nursery rhymes make common use of this fourth note in the major scale and young children are very familiar with the sound. Pentatonic music is used in the early stages as any of the sounds can be final making it easier to hear the shape of the song.
The main goals at the early stage are:
to awaken the child's interest in music
to lay good foundations at the unconscious level and develop practical skills such as pulse, rhythm and pitch
to stimulate creativity and to proved the child with opportunites to explore and develop different moods feelings through music.