Takadimi & Solfege

As part of the curriculum review process our PLCs went through in 2011-2012, the K-12 Music PLC chose to specifically 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 different 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 fit the mold, but the vast majority of rhythms our students will encounter in K-12 Music can be described using takadimi.

Solfege

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 flat is fa” and “the last sharp is ti” to help students find 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 fi (raised fa) for melodic minor. Because students are so successful at finding do, moving the starting pitch to la for minor is not very difficult. We have also found that students are successful because of their familiarity with pitch patterns using those seven syllables instead of the modified syllables for do-based minor (do re me fa so le te do).

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

Readiness - Rote: Teacher models on neutral syllable, students repeat on neutral syllable
Conversational Solfège - Rote: Teacher models using takadimi/solfège, students repeat using takadimi/solfège
Conversational Solfège - Decode Familiar: Teacher models familiar rhythm/tonal pattern using neutral syllable, students repeat using takadimi/solfège
Conversational Solfège - Decode Unfamiliar: Teacher models unfamiliar rhythm/tonal pattern using neutral syllable, students repeat using takadimi/solfège
Conversational Solfège - Create: Students create original rhythm or tonal patterns using takadimi/solfège
Reading - Rote: Teacher reads notated rhythm/tonal pattern using takadimi/solfège while students read silently, students repeat using takadimi/solfège
Reading - Decode Familiar: Teacher asks students to think through notated familiar rhythm/tonal pattern, students respond using takadimi/solfège
Reading - Decode Unfamiliar: Teacher asks students to think through notated unfamiliar rhythm/tonal pattern, students respond using takadimi/solfège
Writing - Rote: Students copy existing patterns using proper manuscript techniques
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
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
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!

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