This idea is not new and it is certainly not confined to Kodály teaching. In fact systems like this have been in use for many hundreds of years in Indian music (where it is called Bol) in Japan (where it is called kuchi shoga) and in African music. The Hungarian system was adapted from the work of the French musician and teacher, Emile-Joseph Chevé (1804-1864).

As a teaching tool, rhythm syllables are effective because they represent real sound with language offering the teacher a method to isolate the study of rhythm from that of pitch. However, music teachers sometimes reject rhythm syllables under the mistaken belief that the syllables impose a different or babyish name in place of proper theoretical names. This idea is false. Rhythm syllables are not really names, but expressions of duration. They are spoken/chanted and not written down as words. Their written form is the actual musical notes themselves.

The use of rhythm syllables does not excuse students from learning real theoretical names. Older students and those experienced with the syllables should be encouraged to learn both theoretical and rhythm names as both naming conventions operate in different domains. Theoretical names help in identifying, classifying and discussing rhythm. However, being able to name or identify something is not the same as internalising something as sound. Theoretical names do not help students understand what the rhythms sound like.

One-beat patterns (in simple time):

Two beat patterns (in simple time):

Compound time patterns: