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    Takadimi Solfege PDF

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    MYRTO MARIA NIZAMI
    The document discusses the use of takadimi and solfege for teaching musical literacy in K-12 music classes. Takadimi uses distinct syllables to label rhythms, such as "ta" for the beat and "di mi" for subdivisions. Solfège assigns syllables like "do re mi" to notes in a scale. The school uses these consistent, research-backed methods across grade levels to help students read and understand musical notation.

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    Takadimi Solfege PDF

    Uploaded by

    MYRTO MARIA NIZAMI
    416 views2 pages
    The document discusses the use of takadimi and solfege for teaching musical literacy in K-12 music classes. Takadimi uses distinct syllables to label rhythms, such as "ta" for the beat and "di mi" for subdivisions. Solfège assigns syllables like "do re mi" to notes in a scale. The school uses these consistent, research-backed methods across grade levels to help students read and understand musical notation.

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    The document discusses the use of takadimi and solfege for teaching musical literacy in K-12 music classes. Takadimi uses distinct syllables to label rhythms, such as "ta" for the beat and "di mi" for subdivisions. Solfège assigns syllables like "do re mi" to notes in a scale. The school uses these consistent, research-backed methods across grade levels to help students read and understand musical notation.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    416 views2 pages

    Takadimi Solfege PDF

    Uploaded by

    MYRTO MARIA NIZAMI
    The document discusses the use of takadimi and solfege for teaching musical literacy in K-12 music classes. Takadimi uses distinct syllables to label rhythms, such as "ta" for the beat and "di mi" for subdivisions. Solfège assigns syllables like "do re mi" to notes in a scale. The school uses these consistent, research-backed methods across grade levels to help students read and understand musical notation.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
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    16/9/2018 https://sites.google.com/a/staff.ankenyschools.org/achsbands/standards/takadimi-solfege?

    tmpl=%2Fsystem%2Fapp%2Ftemplates…

    Standards >

    Takadimi & Solfège


    As part of the curriculum review process our PLCs went through in 2011-2012, the K-12 Music PLC chose to speci cally
    use takadimi and solfège to teach rhythmic and tonal literacy in General, Vocal, and Instrumental music. Before
    delving in to the details of these tools, we want to emphasize that these are only tools. They are a means we use to
    teach to our power standards. They are not the only way to teach rhythm and pitch, but the consistency K-12 is key.
    Because students have received a consistent method of instruction on rhythmic and tonal literacy, they are better at
    decoding the musical symbols on the page.

    Takadimi
    The primary source for information is takadimi.net, the original website created by the inventors of the takadimi system.
    The Wikipedia article also has excellent information.

    Beat, Division, and Subdivision


    Regardless of time signature, the beat is always ta. In simple meter (beat divides into 2), the division of the beat is always
    di; the four subdivisions of the beat will be ta ka di mi. In compound meter (beat divides into 3), the three divisions of
    the beat are ta ki da, and the six subdivisions of the beat are ta va ki di da ma.

    The following example is linked from takadimi.net:

    This system creates a rhythmic vocabulary: distinct words for nearly every possible rhythm under the sun. Distinct
    words is the most important part. No two di erent rhythms will have the same “word” associated with it. Rhythms can be
    borrowed from simple meter into compound meter and vice-versa (triplets in simple meter are ta ki da, duplets in
    compound meter are ta di). Complex meters become combinations of simple and compound beats. If the division-
    subdivision does not fall into this 2-4 or 3-6, the syllable ti is added (ex: a quintuplet is ta ka di mi ti, a septuplet is ta va
    ki di da ma ti). Yes, there will be some rhythms that will not t the mold, but the vast majority of rhythms our students
    will encounter in K-12 Music can be described using takadimi.
    Μετάφραση
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    16/9/2018 https://sites.google.com/a/staff.ankenyschools.org/achsbands/standards/takadimi-solfege?tmpl=%2Fsystem%2Fapp%2Ftemplates…

    Solfège

    The solfège system applies syllables to each tone in a scale. With the movable do system we use, do moves as the
    tonal center/key signature move. Thus, the syllable pattern for notes in a major scale are always: do re mi fa so la ti
    do. We use guideposts like “the farthest at is fa” and “the last sharp is ti” to help students nd do.

    With the la-based minor system, students use the familiar syllable pattern for the major scale but change the starting
    pitch to la: la ti do re mi fa so la. We then incorporate si (raised so) for harmonic minor and (raised fa) for melodic
    minor. Because students are so successful at nding do, moving the starting pitch to la for minor is not very di cult.
    We have also found that students are successful because of their familiarity with pitch patterns using those seven
    syllables instead of the modi ed syllables for do-based minor (do re me fa so le te do).

    In General Music, students develop the skill of being able to nd do. In 5th Grade Band, they further that skill with
    nding do on their instrument and developing the understanding that do may be di erent on the di erent instruments
    in the band. The most important thing is that they can nd do on their instrument. In 6th Grade Band and beyond, we
    further that skill by helping them nd do from concert pitch. Because students are so well-versed in solfège at this
    point, we can typically relate their transposing instrument to a di erent solfège pitch: 

    Do for Concert Bb on… 

    C Instruments is Do
    Bb Instruments is Re
    F Instruments is So
    Eb Instruments is La

    Many of our strategies are based o Dr. John Fierabend’s Conversational Solfège, whose strategies work for solely
    rhythm, solely pitch, or both rhythm and pitch based patterns. There are twelve stages students move through: 

    1. Readiness - Rote: Teacher models on neutral syllable, students repeat on neutral syllable


    2. Conversational Solfège - Rote: Teacher models using takadimi/solfège, students repeat using takadimi/solfège
    3. Conversational Solfège - Decode Familiar: Teacher models familiar rhythm/tonal pattern using neutral syllable,
    students repeat using takadimi/solfège
    4. Conversational Solfège - Decode Unfamiliar: Teacher models unfamiliar rhythm/tonal pattern using neutral
    syllable, students repeat using takadimi/solfège
    5. Conversational Solfège - Create: Students create original rhythm or tonal patterns using takadimi/solfège
    6. Reading - Rote: Teacher reads notated rhythm/tonal pattern using takadimi/solfège while students read silently,
    students repeat using takadimi/solfège
    7. Reading - Decode Familiar: Teacher asks students to think through notated familiar rhythm/tonal pattern,
    students respond using takadimi/solfège
    8. Reading - Decode Unfamiliar: Teacher asks students to think through notated unfamiliar rhythm/tonal pattern,
    students respond using takadimi/solfège
    9. Writing - Rote: Students copy existing patterns using proper manuscript techniques
    10. Writing - Decode Familiar: Teacher models familiar rhythm/tonal pattern using a neutral syllable, students think
    the rhythm/tonal pattern (Step 3) then write using notation
    11. Writing - Decode Unfamiliar: Teacher models unfamiliar rhythm/tonal pattern using a neutral syllable, students
    think the rhythm/tonal pattern (Step 4) then write using notation
    12. Write - Create: Students write original rhythm/tonal patterns using notation

    Again, consistency is key. This system works for us because the students are receiving consistent instruction on this K-
    12. Pick a system that works for you and stick with it!

    https://sites.google.com/a/staff.ankenyschools.org/achsbands/standards/takadimi-solfege?tmpl=%2Fsystem%2Fapp%2Ftemplates%2Fprint%2F… 2/2

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