Rhythm and tonal syllables speak to the musical mind, not to the thinking mind. It is the musical mind, not the thinking mind that we should address when introducing rhythm and tonal syllables. Capturing the musical imagination with the chosen meter or tonality without syllables sets the stage for delivering syllables in that meter or tonality as the continuation of the activity. Or, setting up the meter or tonality on neutral syllables and then repeating the prep with syllables, prepares the children for hearing the rhythm or tonal content on syllables. Children who are steeped in the various meters and tonalities readily accept the addition of syllables with deep interest and wide eyes, as syllables speak directly to children’s audiation.

Children need immersion before interaction with syllables in each meter or tonality, but rhythm syllables are so immediate for children who have the musical readiness for syllables, that the children will likely start chanting with you in syllables in Duple meter after hearing only a few bars of Duple meter with syllables. They might even deliver, with syllables, patterns they haven’t yet heard with syllables. The ease with syllables with Duple meter develops comfort and confidence with syllables, so that children then take on macro and micro beat patterns in Triple meter on syllables just as easily. Securing macro and micro beats with syllables through Rhythm Dialogue lays the foundation for dialogue with more difficult patterns.

Success with rhythm syllables provides the groundwork for tonal syllables with children who have the musical readiness for tonal syllables. The children aren’t so likely to jump in with tonal syllables as immediately as they do with rhythm, but children ready for tonal syllables will be mesmerized by the syllables in any tonality, and easily deliver the resting tone on the appropriate syllable—the beginning of Tonal Dialogue, needing only greater immersion in tonal syllables to move forward.

Introducing rhythm syllables with just one meter within one class period is advisable, giving the musical mind time and space to replay and digest the new dimension in the meter. For example, introduce Duple meter with syllables one week, followed by a Tonal Activity and/or song, followed by a Rhythm Activity in Triple meter without syllables. The following week, introduce Triple meter on syllables, followed by a Tonal Activity and/or song, followed by a Rhythm Activity in an unusual meter without syllables, rather than Duple meter with syllables. After a couple of weeks, children will comfortably switch from one meter to another with syllables.

Introducing tonal syllables with just one tonality within a class period is also advisable, again giving the musical mind time and space for the new dimension to replay and sink in. For example, introduce Dorian tonality in syllables one week, with any contrasting tonality later in the class without syllables, and separating tonalities with Rhythm Activities. Introduce Mixolydian tonality in syllables the next week, with any contrasting tonality other than Dorian later in the class without syllables, separated from the Mixolydian tonality by Rhythm Activities. After being introduced to four or five tonalities in this manner, the musical mind will generalize across tonalities and not only pick up syllables to tonalities not yet introduced, but will comfortably be able to switch from one tonality to another with syllables.

Engaging children with rhythm syllables for at least a couple of weeks before introducing tonal syllables secures syllables and confidence so that there is no confusion between rhythm and tonal syllables when tonal syllables are introduced. There is no need to rush. Children need time with the various meters and tonalities with syllables, just as they needed time with the various meters and tonalities on neutral syllables. Children who have had a semester of extensive experience in meters and tonalities without syllables through immersion and interactivity, can acquire rhythm and tonal syllables the following semester, leaving time for you to introduce music reading before the end of the term.

A puppet can serve as an effective vehicle for introducing syllables with most any age. Rigatoni, for example, who lives in Calamari, might visit to chant in the selected meter in his language. Babushka, who comes from Begonia, might visit to sing in the selected tonality in her language. Children are both enamored with the puppet and compelled by the syllables. They welcome repeat visits by the puppets, who present a different meter or tonality in their own language (syllables), with each visit, and the children are always happy to engage with a puppet in syllables.

Proper names of meters and tonalities can be used incidentally with the syllables. “Today, Rigatoni is going to sing in Duple meter in his language,” and on you go setting up the meter in syllables and moving into the Rhythm Activity. Or, “Today, Babushka is going to sing in Dorian tonality in her language,” followed by your setting up the tonality in syllables and moving into the Tonal Activity. No explanation is needed.  The proper name at this point is not for the purpose of identifying meters or tonalities, but rather, simply to signal that meters are different from each other, and that tonalities are different from each other.

The proper names of meters and tonalities are words that speak to the thinking mind rather than to the musical mind, further validating their incidental use at this time. Rhythm and tonal syllables speak directly to the musical mind, and therefore are always to be chanted or sung, not spoken. There is no need to talk to the thinking mind “about syllables.” The logic of rhythm and tonal syllables is far better understood by the musical mind, and the non-verbal immersion in meter or tonality prepares the musical mind for syllables far better than any verbal explanation.