This system aids in musical analysis, sight-singing and aural comprehension.

Sol-fa is a system that uses syllables to represent the notes of the diatonic scale. Les through their immortalization in the Rogers and Hammerstein Musical, The Sound of Music. However, in modern times, many have become familiar with sol-fa syllab Sol-fa was first developed as a teaching tool by Benedictine monk, Guido of Arezzo, who adapted it from a Latin hymn written around 770 A.D. Theoretical names do not help students understand what the rhythms sound like. However, being able to name or identify something is not the same as internalising something as sound. Theoretical names help in identifying, classifying and discussing rhythm. Older students and those experienced with the syllables should be encouraged to learn both theoretical and rhythm names as both naming conventions operate in different domains. The use of rhythm syllables does not excuse students from learning real theoretical names. Their written form is the actual musical notes themselves. They are spoken/chanted and not written down as words. Rhythm syllables are not really names, but expressions of duration. However, music teachers sometimes reject rhythm syllables under the mistaken belief that the syllables impose a different or babyish name in place of proper theoretical names. The Hungarian system was adapted from the work of the French musician and teacher, Emile-Joseph ChevГ© (1804-1864).ДЄs a teaching tool, rhythm syllables are effective because they represent real sound with language offering the teacher a method to isolate the study of rhythm from that of pitch. In fact systems like this have been in use for many hundreds of years in Indian music (where it is called Bol) in Japan (where it is called kuchi shoga) and in African music. This idea is not new and it is certainly not confined to KodГЎly teaching. When used consistently, students develop the ability to aurally decode complex rhythmic patterns with ease and to sight-read rhythm patterns quickly. Using the rhythm syllable method, rhythmic patterns commonly occurring in Western European music are given a particular name that aids in their reading, writing. Rhythm syllables are a tool for teaching and internalising rhythm. With older students it is often a good idea to try a variety of ways and let them decide which is most comfortable for them. Sometimes, older students can also benefit from using both hands in the early stages, later reverting to single hands. With smaller children, it may be best to have them use both hands, particularly if they are lacking in motor co-ordination. One hand or both hands (mirror image) may perform the hand signs. Hand signs are performed in front of the body and in line with the centre of the body. Hand signs are also extremely useful for advanced work вЂ“ particularly when building harmonic awareness. Hand signs have time and again been shown to improve student intonation and pitch accuracy, particularly in the early stages of instruction. Hand signs allow the teacher to see what the student is thinking especially when the classroom sound might be masking this. Hand signs are effective as a musical teaching tool because they visually and kinesthetically reinforce the high/low sounds and the intervallic relationships between the pitches being sung. They were used effectively for many years in England and then later adopted by Hungarian teachers with a few minor changes. KodГЎly Australia В» The KodГЎly Concept В» Musicianship ToolsДЄlthough generally credited to John Curwen, hand signs, as a form of musical notation, have been traced back as far as the ancient Hebrews and Egyptians.

Chromatic solfege hand signs