The Kodály approach is very different to the Orff approach as it focuses heavily on how to read music, through assosciation of clapping or stamping. Phillips conceptualizes this as "music literacy, a sequential approach of singing which leads to the understanding of musical concepts, including notation" (2013). Children are asked to explore 'pulse' through finding a beat, by stamping or clapping, this gradually leading children to learn musical terms and ultimately notations. In Phillips, (2013), a table is provided to show the appropriate assosciation of suggesting clapping and the notation it is demonstrated. For a teacher to understand this table, it could then be adapted to such a classroom of children and their interests by providing one and two syllable words to begin learning. 

To appropriately use Kodály, a range of songs need to be formed, Dobszay (1972) provides a list of music that is suitable when using Kodály, 
 

• Authentic children’s musical literature: nursery rhymes and songs; counting out rhymes; jump-rope game songs and chants; ring games; and singing games.

• Authentic music of the child’s culture (reflecting the ethnic backgrounds in a given community), e.g., folk songs; singing games; play parties; ballads; lullabies and folk dances. 

• Authentic folk music of other cultures. 

• Reading examples and exercises based on music of oral/aural traditions. 

• The best art music written by master composers.

By using this music, Children may already have prior knowlege of the songs provided to them, the songs will also provide basic beats and rhythms as well as simple words for the children to understand. 

Music introduction is based on Kodály's guiding principle "“A thorough knowledge of the material must precede everything, for anything else can be built only upon this knowledge.  Any efforts to achieve aesthetic results which either precede or discard knowledge are equivalent to building castles in Spain.” (Kodály, in Eösze, p. 18).