a holistic, integrated, multi-sensory approach

to teaching music to children aged 2 to 9,

devised by Nikhil Dally and

inspired by the philosophies and methods

of Kodály, Jaques-Dalcroze and Géza Szilvay

 TABLE OF CONTENTS

Introduction

Chapter 1: Process and Product
Chapter 2: Listening and Singing
Chapter 3: Body Movement
Chapter 4: Imagination, and Putting It All Together

Instrumental Interlude

Chapter 5: Some Songs Which Exemplify the Principles Discussed So Far

Pedagogical Propaedeutics

Chapter 6: Pulse
Chapter 7: Rhythm
Chapter 8: Metre
Chapter 9: Phrasing
Chapter 10: Pitch, Melody and Scale
Chapter 11: Harmony

Chapter 12: Lesson Planning
Chapter 13: Curriculum Planning

Appendix: Song Sources
Appendix: Sources of Material and Training

Introduction

What is Stepping Notes?

Stepping Notes is a music curriculum for children aged 2 to 9, developed by Nikhil Dally and implemented in his Music School since 2000. It is based upon the methods and concepts of Zoltán Kodály (music education through singing), Emile Jaques-Dalcroze (teaching music through body movement) and Géza Szilvay (originator of the Colourstrings method).

Chapter 1: Process and Product

What is music teaching?

What exactly do we mean by “teaching music”? It is important that we address this question before all else, for unless we are clear about our answer to it, we can be led up any number of interesting, but nevertheless irrelevant, cul-de-sacs.

Chapter 2: Listening and Singing

 Listening 

Developing the ear is the most important thing of all... Your pieces must not be in your ten fingers only: you must also be able to hum them... Train your imagination... Do not play a piece without hearing it very clearly in your mind. 

- Zoltan Kodály [1]

Chapter 3: Body Movement

I look forward to a system of musical education in which the body itself shall play the role of the intermediary between sounds and thought. 

- Emile Jaques-Dalcroze [1]

Chapter 4: Imagination, and Putting It All Together

This burning quality… should be there in every human being, really. In order to live a full life, you have to burn about something… Let’s not pretend that this is a nicely air-conditioned room. This is a furnace at times, and so it should be, because you’re dealing with things which are at the absolute heart of what it means to live a meaningful life. 

- Stephen Hough [1] 

Instrumental Interlude

We have talked at length, during the preceding chapters, about the primacy of the body and the voice in music education. We saw in Chapter One how children learn the roots of musicality not principally by playing things, but by moving, by singing, and by imagining – all activities which proceed from the centre rather than the extremities. Therefore, our music classes should emphasise these things above all else. 

And yet, children love to play instruments. So how do we allow them to do so in such as way as to support, not interfere with, the development of musicality?

Chapter 5: Some Songs Which Exemplify the Principles Discussed So Far

 Itsy Bitsy Spider / Hunky Chunky Spider
Rat Tat Tat, Here Comes the Postman
Be as Thin as a Pin
Let’s All Go Walking
Everybody Sing With Me
Magic Fingers
A Ring a Ring o’ Rosies
Roly Poly Up Up Up
Down the Road
Thread Follows the Needle
Round and Round the Village
Two Little Dicky Birds
Jelly on a Plate
Mice, Mice
Cats in the Cupboard
Bananas
Way Up High
Zum Gali Gali 

Song Sources

Sources of Material and Training