ntrance by each different part is achieved. Finally, the teacher notates the rhythmic pattern and shows how each part of the pattern works with the other parts. Orff's approach to Music Education notes that speech, chant, and song are all points along the same line. That is to say that one leads directly to the next. Children's experiences with singing follow directly from speech. This means that melody is actually an extension or an outgrowth of rhythm. When children begin to learn to use their voices as musical instruments, they enter another pre-planned part of Orff's method. There is a very specific order in which students learn to use solfege. As with most other theories that involve singing, the descending minor third, sol-mi, is the first interval that is taught. Other tones follow in succession in this order: la, re, do, to complete the pentatonic scale, and then finally fa and ti. The Orff method uses the pentatonic scale because Orff believed it to be the native tonality of children. This is cohesive with Orff's belief that music history is relived in the development of each individual because he considered the pentatonic mode appropriate to the development of each child. The use of the pentatonic scale also gave the students confidence. After all, it's very difficult to improvise and sound bad when the only notes available are those in the pentatonic scale. This kind of constant affirmation is crucial to a child's development. The last part of Orff's elemental music is elemental movement. As stated earlier, the word elemental in this sense refers to the kind of action, in this case movement, in which the child participates with no prior training or instruction. Orff said that this kind of activity made it easier for children to become expressive. This is because children are more able to express their thoughts and feelings through movement and painting than through words. Allowing children to express themselves in this way al...
