The hand signal for a chromatic note will be at the level between the diatonic note that is before it and after it.Īdditionally, I include the tonal chromatic ladder to help you visualize the sequences and intervals between the tones in musical scales. The reverse shows a human figure illustrating the hand position. One side of the page shows the Kodaly hand sign together with note name and staff position. You can make the signs with one hand or both based on your and your students’ preference. This kinesthetic method of developing aural skills encourages inner hearing – hearing words, melodies, and sounds in our minds without the actual sounds being present. Kodaly’s modification allowed children to see the actual height and depth of the pitches. The solfege hand sign system was first developed by John Curwen and then modified by Kodály to add chromatic alterations together with upward and downward head movements. This e-book presents the full range of solfege hand signs, both diatonic and chromatic.ĭo, di, re, ri, me, mi, fa, fi, se, sol, si, le, la, li, te, ti, do A singer makes a specified shape with their hand to represent each tone of the seven-note solfege system. By associating hearing and reading of pitches with playing/singing, they establish a physical association between these elements. Solfege (or Sol-fa), Glover, Curwen, and Kodaly hand signs are used in music to represent the different pitches of a tonal scale. You can post these cut-outs on the wall and your children can understand and use them on their own. Each note here has its own page in the e-book. The size of the cut-out will be 8.5x11 inches (22x28 cm). For now, the easiest way to learn them is to just practice! Start with simple up-and-down scales ( do to do) and three-note arpeggios ( do-mi-sol-mi-do, re-fa-la-fa-re, etc.).Cut out the gestures charts and use them as a visual aid for yourself, your kids or your students. Thus, you have the hand signs going up when the pitch goes up. Later on, when we look at note tendencies and resolutions, we’ll examine why each note’s solfege hand sign looks the way it does. Each pitch is then above the previous one. The Kodaly method uses these solfege hand signs for a few important reasons, but for novice singers they can simply be helpful in learning the basics of solfege. Ti – Make a loose fist, but point the index finger upward at about a 45-degree angle with the ceiling. La – Curve the hand gently, with the palm and fingertips facing the floor. Sol – Straighten the fingers so that the hand has the same shape as in mi, but tilt it so that your palm is directly facing you. Title: handsign. Mi – Keep the same hand shape, but move your hand so that it is parallel with the ground.įa – Making a loose fist with four fingers (palm facing downward), extend your thumb and point it downward, almost perpendicular with the rest of the hand. Curwen Hand Signs re do ti la so fa mi do (c)2003 Kodaly Music Education Instiute of Australia. Re – Straighten your fingers (keeping them together), and bring your hand up to make a 45-degree angle with the ground. Begin with your hand at about the level of your sternum, and make the following shapes as you sing each note of the major scale:ĭo – Make a fist with your palm facing down. Using the solfege hand signs simply requires keeping one hand free while singing whichever one you like is fine. All of the hand signs can be produced using one hand, and can be helpful for singers who are new to the solfege system. The idea behind the solfege hand signs is simple: each tone of the seven-note solfege system is given a shape for the singer to make with his/her hand while singing. The solfege hand signs (also called the Kodaly hand signs or the Curwen hand signs) were originally developed by John Curwen, but popularized through their use in the Kodaly method. The Kodaly method uses movable- do solfege, which we’ve discussed before, and adds one fantastic tool to the system: the solfege hand signs. One theorist in particular, Englishman John Curwen, gave Kodaly his ideas about solfege. Kodaly borrowed many of his ideas about teaching music from other pedagogues, including theorists in Britain and Switzerland. The Kodaly Method involves many different educational aims and subjects, and was primarily designed to make music education in Hungary’s elementary schools more effective. One of the most popular and well-known music teaching methodologies is the Kodaly Method, developed in the mid-twentieth century by Hungarian composer and music teacher Zoltan Kodaly. The solfege system as we know it dates all the way back to the 1800’s, and makes its way into many different methods of teaching singing and aural skills.
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