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 1

333 ELEMENTARY EXERCISES

in Sight Singing
English edition with annotations by ZOLTN KODLY
PERCY M. YOUNG

0= J. @ f"~ ~:: m. t~J:$0\ [TI: li

SXCTION I (119)
The two sounds used are doh and ray. They are placed on the stave thus ~~
The interval between these notes is a tone, doh '''y

A crotchet, J or r' equals one beat, while ~ equals a silent beat and is called a resto

Two quavers, n or LI' equal one beat, and a single ]I equals half a beat;
., equals a half-beat resto

Four semiquavers, Jm, equal one beat, and a single jJ equals a quarter of a beato

A minim, J, equals two beats.

The time signatures used are t (two crotchets in each bar), and t (three crotchets
in each bar).
!

In conducting t the (r ight) hand follows this movement !l

1
while for t
-------.. I

e.
1

~
t ~
t ~ * I
6

~
t ~ ~
,I
Copyright 1941 by ZOltD Kodly
Copyright 1941 by Boosey & Co. Ltd., Copyright Renewed, for the World excluding Hungary,
Roumania, Czech Republic, Slovakia, Poland, Bulgaria and Albania. LCB-52 Printed in USA.
2

9 10
,

-------- "---------"
11 12

13
~-----~ ---------
~t~

14

15

16

18

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SECTION II (20-29)
In these exercises doh is placed on the second line. Doh may be set on any
line 01' in any space, this being a matter of convenience. Two sounds - lah , and
solz,- which lie below doh are used: "M'. . .
dois lah,$f)h,
I the intervals between the

notes being a rninor third, followed by a tone.

p and f (in 23) are short for the ltalian words piano (sof't) and forte <loud).
20

cl a. :5. S. J. cl I, 1.
21
, 1*1
22

23 11 112 1

24 - f f P f

25

26

27

28

29

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SECTION m (30)

1M'. q
the interval between the notes being a fourth followed by

30
snJ.. doh ~Gy
a tone.
\r A. 5.1
~~l'
--
5.5.A<1 ~d.51
.---"
d
~ --- -- :.-/

SECTION IV (31-47)
Doh is now placed in the first apace.

Some exercises begin 00 lah , some 00 doh aod some 00 ray.

10 number 33, t equals four crotchet beata in each bar- conducting pattern z+,

t

10 37, after four bars, there ia a crotchet rest, shown in a bar of l time:
observe this strict1y.

31
[AUl~4J jr J q
I, t:t to
32

33 34

35

~l ~ ~.~U

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 5

36

37
t
38

39

~t~t~tU
4:0

~t:~t~'1
'-.: --- '---.: .-/' '--- .-/

41

~~t~tl
42

43

~t~t~t~
44

45
'--------~ ~---------~ ~-------~
4:6

=il~
'---- ~
tU
47

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SECTION V (48-55)
ln these exe r cise s the first three notes of the major scale are shown , and the

~ i.sharp) is introduced: Wij). . . I the intervals between the notes being a

,
doh ,.oy nu
tone followed by a tone.

In 48 compare fi. . with

. from the preceding exercises ,
do;' mt' J k. doI.

The first interval, where the note shown in the first space is raised by a semi-
tone by the ~, is called a major th ird ; the second is a minor th ird , The
intervals are so called because the former is larger (by a semit one ) than the
latter. Having arrived at 55, it may be found helpful to revise the previous
material.

48
f.~lA51
c:l. L\ "cl" rr\t'PlJ.
49

50

'----------------~ '--------------------- '------------------~

51

62

53

'-------_.-/ '------------"
54

55

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SECTION VI (56-139)

the intervals between the notes being a tone, a minor tlcird

ff(N) tJ2J and a tone .
soh , Iah , doh ra y

Ia 56 there is a minim rest .. ia the Iast bar.

d
N.B. 2 b eat s 2 silent beats

In 59 from soh , to ray is the iaterval of a ftfth; from soh, to doh is a fourth .
The difference between these very common intervals should be carefully noted
so that they may be readily recognised from the sound and at sight.

In 61 the dot after the last crotchet in bars 1,3,5 and 7 lengthens that note

in each case by half .

J J
1 Z

r r
In 79 t':'I in the last bar signifies a pause. The final note should be held ou
beyond the two beats normally allowed to a minim. Th e actual duration of a
pause ia determined by the performer. As a rough guide it may b e fcund
effective often to allow about twice the normal duration- but there are no se t
rules in the matter.
120 is an exercise in alternation between : and~, such as ia familiar in much
music of today. The value of the crotchet should be constant throughout.

66 l(4u~J lfa. \.5.)

57

58

*3

69

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61

62

- -------_...---" ------------ ---------

63
t g

t t I
64

~t ti
65

66

67

68

69

'~ l~
I

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7~_ 9

71_
72 ~ij'jJ _

73

~t2'--------
74

75

76

77

78

EE]

80

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81

L~J

_c
.~t~t~
82 t AI

83

. I
84

.' t I~ li

86~f~tl

87i~:j~

a J J 00
90

. I
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91

92
tj]

93

94

95
J J

96

97

98

99
-------- --------_.-"
~l .
100

101

102 >

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103

104:

105

I 1\

106

,~

~~g
107

J. '~tH
108
,

109

3
110

'--------- ""-------_..-/
111

112

)'

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113

.J1~~
114

~*
115
"

116 ;ij I

117

118

119

120

121 [At!JtA jO J

123

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124

125

126
- -

--------
128

129
~.! ti

--,~. tO
130

- .

131

*:~*I
132

I U

133

134 11 112 1
, * O

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135 11 li 2
~~.~:~t ~t11

137

138
. ~.'

139
.....

SXCTION VII (140-171)

=t4(M).
lalo, dolo ray "'"
or ~Iii


lalo, dolo ray ""

At the concluaion.iof 171 it is suggested that exercises from 56 to 171, all be-
iog built 00 the same four-oote group, should be revised. At the same time, (this
applies in each section) supplemeotary work should be devised by the teacher using
the same material.
140
.
IAUL.A 1\{J

141 l'

~ ~I
142 1'1

143 1

'.
11
.
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16

144 d [t 11 2 [t II 2 I
~t:

1451 ~
Jt~t

t~*1
14

148 !li

~J~J

149 '"

* I
151_

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152 d

* TI

15

15

157 1

158 11I

~:J~.:

160 r

16

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16 t I

163 d

164 '"

165 1

16

167
.

168 r

16

170 d

~.~ tU
171 1

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SECTION VIII (172-214)
The pentatonic, or five-note scale, to which the previoua exercises have been
leading, is now introduced. This is the fundamental scale of folk-music and figures
prominent1y in the music of Kodly himself.

,<W). . ln 175, note the new interval of the major sixth between soh, I
$oll,/"",dol> ray e and me..:]
In 194 doh has been moved so that the note group, with soh and lah now above
ok reads ~. See also 196 and 199.
do" ray "'. $0" Ia"

In 202 ~ is a time- signature which has survived from the system of notation
used in the Middle Ages: the"broken" circle (with a line through u) symbolised
"broken" or"imperfect" time- that was 2- time. This time signature could a lso
be state? as ~ (i.e. tw--minim~er bar). _

17
f-lJLA 14J \ }vn r ~ 1,50
----=-- ----

174
t

175

176

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179~J~
18r~~JmJl

18~
185VJ@~~~

186 S,

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189~~lU
5,

J~
190 -- --
SI

_I
191

192
d
B

-~ B

193 s, -

~
19.~ d ~La~J rnS Q
~l:1
195
s,

196
---
d
--- -- -
--- -- ----------
19~t=~

198

~l
199

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20_
22

202 d

~l

t O

203 1

204

205 tA uLA 2J.."$kf> a

206

. l 1 U
207

208

~l~ll~~

. 1 l U

209

210

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21

21~t~ID

214_
1

-
* See

5ECTION
Introduction

IX (215- 238)
~lJLA-~ J -r/+C; ~
:MIl
- .
.. -= Compare numbers 194, 196 and 199.
tloh roy "' . soh
15 O") reLI

216

------------
219
--------
t~lU
220
-- --
--- ---

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24

222
.

223

224

225
Fle D.e. al Fi?le

226

227 ~ lAl/LA 4] ..1" A-S ~

228

229
, J J
P f P f P f
230

~l:
231

232

--- --- ~ --- -

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 25

237~
. .

5XCTION X (239-270)
~AVLA 5 1 --1'S s,
t J<I>
"0/0 ~.:Ye '0/0 1./0 1\ c;~r.g
239~ 1iJ~~

~o

. F4
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26

.-
242

243

~l~t

,; t U

24-4

245
'.

JJ~
246

t~t:1

,~t~tU
247

248

, t U
249
,

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 IAwL~- 11h ~ 27

250

iJF4~
--- ---
. t

~T? ---- -----

251_
252

253~

255_
256
.

257_
258_
----------

"S~e lntroduction
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28

262

263

.~ l~ll~ t~tl

l l U
264

265

~f
266

267

~ Jl~~~ J l I

r:J l ~~~ J l D

269

~-
~~I~
270
~
~~l~ll
- - --

l O

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 29

SECTION XI (271-274)

Dok is pitched a semitone higher and the flut symbol Ishown here on the middle
and first lines and in the second space) is introduced.

Revise exercises 172 to 274.

271 -

272~

273~

27~

,~
SECTION XII (275- 299)

. . . ..
':10,4010 '1I'j ~ solo ',,10

in this case are l ah, and lah,

By the addition of lall to the group used in the preceding
exercises the following exercisee are made to lie within
the compus of the octave (8 note st retch}, the extremes

In 278, 290, 295 and 296 the notes are arranged

291 and 299 -.~ .. ~,I... . . in 282,

In 299 compare the alternating time signatures with those of 120.

275

276
--- --

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30

277

~t~td

t 9
278

~r
279

2RO

281

l l U
282

r
2S3

D=g1r*r ~~
284
J. J l J

1 O

285

~~ tU
286

..

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 lA'v~3i-n!>~ 31

2R7

2R8

2R9

290

291

292

293

~r~t~r~l

~l~lU
294

295

296

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32

297
.'

298

299

~'

SECTION XIII (300-333)

I n 300 - 309 the arrangment of notes is ~(.,.

'''y _e sol. /,,10
lal.,llolo

In 301 note soh, to soh is a leap of an octave.

In 310-324 either '(M) .. . . or

soh,loh,<lolo .oy Me solo I,," so/',/_h, <lo" '''y Me solo /,,10

In 324 the time signature isl which should be compared with that of 202.

The remaining exercises show various 6, 7 and 8- note groupings constructed

out of smaller sect ions that have been encountered earlier. In 328 the interval
between the second and third notes is a minar seventh. Ia 331 the time signature
alternates ~ and 1;
in 332 this leads to a new time signature of (The 8 + -I Z.
is indicated).

300
lfwll 10J -' ...

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 33

301

302

l~l

t l O

303
'
O

304

305

306
i

307

,J ll~
308

.: l O
309

, t t I
, 1 I 1 U

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34

310

~l~ll

ll~lO

311 11 112

~l~l:

312_ ~~l~t~lU

313
,

315 ..-_

316

~ Jl~~F;;J Jll

jZl

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 [A'UL-~llj- 1)ltS 1-. -, 35

318

~'~l~.,~ l

l l O

3f9~l~1

l t O

320

J
11 "2

321

~l lO
322

~r!~ . lt~ . J U
323

324_
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36

327_

~t8
~

t U

329 t:'\ t:'\

330

j O
331

332

~.l~~.~

. l~. g
3<13_
1

l I
12.63. E B. & H. 19157