The Kecskemét Scale

Over the period of a week in October 2010 a group of 16 teachers and musicians visited Hungary to enjoy a mixture of lectures, observation sessions and Kodály musicianship workshops. It was an amazing learning experience -

Carole Allen wants to go back…

As we stood in the square and listened to the folksong that the carillon was playing from the town hall (a glistening confection of peach coloured stone that looked like a fairy tale illustration), we smiled, remembering the previous day’s lesson, when one of the teachers had told us about the unique, modal scale that this particular Hungarian folksong was based on – the Kecskemét scale apparently. 

We had arranged a study trip to Hungary following a meeting with the Director of the Kodály Institute, Dr László Nemes, who is keen to encourage visitors to the Zoltán Kodály Pedagogical Institute of Music to find out more about the Kodály approach to music education which, ironically, is perhaps growing more popular abroad whilst in decline in Hungary. 

The first three days were spent in Kecskemét, partly in the restored Franciscan monastery which is the Institute, and partly in the Kodály specialist music school, where we saw six classes in action.  We were knocked out with the abilities of the children, the meticulous lesson planning of the teachers, the discipline and the general air of calm.  The only criticisms our teachers had were the static nature of the lessons and the fact that it was “taught from the front”.  The children were however, almost without exception, fully engaged and enjoying singing on their own, even in front of all these strangers.  What was admirable was that nobody was made to feel uncomfortable even when, for example, a boy’s voice was changing. There was such a feeling of mutual respect between the pupils and teachers.

There were opportunities for our own personal musicianship to develop.

“The tuning fork wants to go a little higher” was the polite way that Klára Nemes pointed out to the group that perhaps the starting pitch had slipped down during our solfege class and that we should adjust it! At least a basic knowledge of solfa was desirable before going on this trip, but even the most experienced person found something to learn. Sarolta Platthy’s methodology class provided fresh ideas for teachers to take away and use at home.  The folk dancing class was hilarious, for more than one reason!  An extra session given by László Nemes on Kodály’s philosophy with the resident international students was an added bonus which we thoroughly appreciated.

On then to Budapest, where we visited the Kodály school for another set of demonstration lessons.  There are two streams within the school, one for “ordinary” children, and one for those members of the Hungarian Radio Children’s Choir.  Again, we were thrilled by the fantastic standard of the pupils in all the classes, and here there was more active participation.  Lovely games, which the children joined in with great gusto.  One of the many highlights was the introduction to Stravinsky’s Rite of Spring, where the girls beat us hands down at remembering the sequence of motifs, while clapping the off beat rhythms at the same time.  Talk about brain gym! We couldn’t see the whole of the choir rehearsal in the afternoon, but we were treated to a short impromptu concert by the Radio Choir, which was of course very inspiring and moving. 

Unfortunately the Kodály museum in Budapest was closed for restoration, but we had just enough time before we went to the Opera House for a fabulous performance of Prokofiev’s Romeo and Juliet, to tour the Liszt and the Bartok museums on opposite sides of the city.  On the Saturday we had time for some sight seeing in this beautiful city and to raid the music shops for some Kodály books and recordings that we didn’t have.

Are we going again? We certainly hope so, and think that word will spread about the fantastic opportunity to see Kodály’s principles in action. Everyone agreed that there was a good breadth of lectures and observation classes. There would be a couple of things we would like to add or change. A visit to a nursery would be good and a visit to a non-specialist school.  More time in the library and archive could be scheduled in – it was frustrating to see all this material but not have enough time to study it.  It would also be very interesting to sit in on a conducting class with students from the academy. One of the participants would have relished speaking to instrumental teachers about how much easier it was to teach children who had already developed their inner hearing. The feedback has been entirely positive…

A visit to the Institute at Kecskemét is something I\'ve wanted to do for over twenty years so it was for me, a dream come true!

I think the main thing is that I would thoroughly recommend it to anyone who was thinking of going – it ticks all the right boxes, in all the right ways.

Thanks for letting me be part of a life-changing week.

It was brilliant to see the classes in action, and to join in.

We were all taught by outstanding professionals.  I was impressed, not only by the depth of knowledge of the children, but also by their joy of singing.

I\'ve always known that a performing musician would be more rounded if equipped with a depth of knowledge of music history and harmony, but, now feel inspired to go and extend my own knowledge. 

Sadly, according to Laszlo Nemes, there is no such thing as the Kecskemét scale!  We didn’t manage to hear the Háry János carillon either, so will just have to go back again – I’m putting my name down now for the summer school!