6/1/2010

DALCROZE SCHOOL
OF THE

STUDENT HANDBOOK

ROCKIES
Designed for Students of the Professional Studies Division Dr. Jeremy Dittus, Diplme Suprieur

Student Handbook 2010

Table of Contents
General Information for Obtaining the Dalcroze License ............................................................................. 3 Mind Maps of the Dalcroze Subjects ............................................................................................................ 6 Licensure Program Outlines by Checkpoint Evaluations ............................................................................ 11 Eurhythmics Schedule ............................................................................................................................. 12 Notes on Eurhythmics Schedule: ........................................................................................................ 16 Improvisation Schedule .......................................................................................................................... 19 Notes on Improvisation Schedule: ...................................................................................................... 23 Solfge Schedule ..................................................................................................................................... 25 Notes on Solfge Schedule: ................................................................................................................ 27 Methods Schedule .................................................................................................................................. 32 Resources, Required Reading, and Bibliography ................................................................................ 34

Licensure Requirements ............................................................................................................................. 36 Information Regarding the Dalcroze Certificate ......................................................................................... 43

Student Handbook 2010

General Information for Obtaining the Dalcroze License

Student Handbook 2010

At the outset of the program, each student must map out a program with me to determine goals and trajectories. In an initial meeting I will give a short entrance exam to determine at what level each student will begin the program and what, if any, additional coursework may need to be completed, including any movement courses or summer programs. Students must have the skills necessary to successfully begin the program, if not we will outline a path to help the student enter into the program at a later date. These exam requirements will include: o The ability to play the piano at an early intermediate level (for example: Clementi Sonatinas, Schumanns Album for the Young) o Pre-requisite basic knowledge of Solfge and Music Theory o o Present a harmonic analysis of a Bach chorale Present a prepared melody with Solfge Present a prepared harmonization of a folk song Sight reading exercises in Solfge, Rhythm, and Keyboard Harmony

A rsum of teaching experience in music or movement A short essay of intention, goals, and objectives; in short, what do you expect to gain from the program?

A brief examination of basic movement skills

Eurhythmics is the cornerstone of the method Jaques-Dalcroze, so participation in weekly Adult Eurhythmics courses is mandatory unless extenuating circumstances will not allow. If this is the case, we will need to make provisions to ensure that appropriate standards are being met. A minimum of 60 class hours of eurhythmics study is required for Licensure (including summer study). For students with previous Dalcroze experience, equivalence must be documented. For students enrolling in long-distance studies, special arrangements will need to be made to ensure that these requirements are met. In Eurhythmics it is imperative that students have adequate time and experience in movement and music related activities. In this way, the skills they learn will be wellintegrated in the body and can be easily manifested.

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The program is divided into the three main branches of Dalcrozian study, Eurhythmics, Solfge, and Improvisation. In addition there is a fourth area: Methodology, which embraces pedagogy, history, and other studies associated with the philosophy Jaques-Dalcroze. On the following pages one can find general Mind Maps of each of these four areas. In addition, one can find a unit by unit schedule of these subject areas along with specific requirements for the Checkpoint Observations. At the end is a list of total requirements for Licensure, which should aid students in coordinating and planning their studies.

Solfge, Improvisation, and Methodology will most likely all take place privately or in pairs, depending on enrollment and ability. When possible, there will be group discussions scheduled for Methodology. The time requirement for these classes is entirely dependent on the students abilities coming into the program and his/her capacity to integrate the Dalcrozian component of the pedagogy required to teach these branches.

As the student moves through the program, we will work together to decide when we will meet for lessons and when Checkpoint Observations will be made. These Checkpoint Observations will be scheduled in advance at a mutually convenient time for the student and me. The benefit of the Checkpoint Observation is that the students will get individual feedback on their performance throughout their studies.

Students should refer to their schedule to be aware of the necessary requirements for Licensure. If they follow the plan closely, there should be no surprises or unfavorable Checkpoint Observation experiences.

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Mind Maps of the Dalcroze Subjects

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Types of Locomotion: Walk; Slide (Slow Walk); Skip/Gallop, Trot/Jog, Running Time, Space, Energy, and Weight Changes of direction Movement Technique; Dance Technique Warm-up Activities Spatial Exploration Plastique Anim Basic Elements of Theater Non-Verbal Communication. Movement Improvisation Solo Group Folk Dance Development. Expression (Nuances) Affect Dynamics Articulations Accent Melodic Dynamic Pathetic Agogic Harmonic Texture Tempo Accelerando & Ritardando Breathing Rhythm: accuracy and precision. Phrase: metaphor for phrase/preparation Tension and Release Phrase and Form Phrase Shape Anacrusis, Crusis, & Metacrusis Antecedent/Consequent Length/Proportion Canons Time Space & Energy Inhibition Incitation Association Dissociation Systemization Automations Improvisation Quick Reactions

Improvement of Knowledge of Music Literature Including Classical and Folk Genres

Polyrhythms Complementary Rhythm Divisions: quarters vs eighths, for example Patterns, Leitmotifs: quarter and two eighths vs. two eighths quarter, for example. Polymetrics: (two against three; three against four; three against five; four against five)

Eurhythmics
Beat type: Divisions of 2s and 3s Divisions, Subdivisions, and the Multiple

Silences (internalization of time/space in the absence of sound) Affect in Relation to Placement in a Measure or Phrase Duration

Meter: Simple, Compound, Composite (measures of unequal beats) Arm Beats (measures of 2 through 5) Measure Shape Anacrusis, Crusis, & Metacrusis Metric Transformation Division Equals Division (Divisions of 12 Eighths) Metric Modulation Beat equals Beat and Division Equals Division in Sequence

Augmentation and Diminution Leitmotifs Simple : 2 beats in length). Complex :4 beats in length, including dotted values and syncopations . Measures of 3 and 5 Beats. Hemiola Themes from Literature. Phrases (constructed from a series of augmentation and diminution of a single leitmotif).

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Melodic Shape and Structure Repetition, Contrast ,and Motivic Development Gestures/Motifs and Phrases Cadences Breath Right and Left Hand Development Improvising from Rhythmic Skeletons One and Two Voices Impact of Meter Twentieth Century Techniques Quartal Quintal Planing Modes Pentatonic Whole-tone Octatonic Church Modes Cluster Chords Atonal Chord Resolutions Diatonic and Chromatic Resolutions Applied Chords and the Neapolitan Augmented Sixth Chords Fully-Diminished Seventh Chords Augmented Triads

Percussion Improvisation

All Eurhythmics Subjects

Improvisation for Eurhythmics Exercises Basic Locomotor Skills: Walk (Tip-toe, Normal, and Heavy), Slide, Skip/Gallop, Trot/Jog, Running Accompaniment Patterns for Right and Left Hands Expression Elements

Composition Prosody

Piano Improvisation

Study of Large-Scale Form and Structure Classical Dance Forms: Gavotte, Sarabande, Gigue, and Minuet Theme and Variations Binary and Ternary Forms, Rondos
Harmonic Progressions Basic Functional Progressions Harmonic Rhythm Bach Chorales Figured Bass Transposition Modulations Neighboring Keys Non-Neighboring Keys Enharmonic use of the Neapolitan, Augmented Triads, Augmented Sixth Chords, and Fully-Diminished Seventh Chords to Facilitate Distant Modulations Sequences Diatonic and Modulating

Melodic Harmonization 2 voice 3rds , 6ths , 10ths Developing Independence of the Hands Homophonic/Chorale Different Styles to Inspire Movement

Creating an Appetite for Improvisation Playing for Images Duet and Group Improvisation

Scale Harmonizations in Three Voices Do to Do Scale Harmonizations Major and Harmonic Minor

Development of Knowledge of Folk Song Literature and Intermediate Classical Literature Spin-offs Adaptation for Use in the Eurhythmics Classroom

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Other Twentieth Century Technique Quartal Quintal Harmony Tall-tertian Harmony Planing Atonal

All Eurhythmics Musical Goals

Modulation Neighboring Keys Non-Neighboring Keys Advanced Chromaticism

Sightreading Exercises from the books of Jaques-Dalcroze Dichords and Trichords Development of Classical and Folk Song Literature Knowledge

Major and All Three Minor Scales Do to Do scales Function with Numbers Note names with Letter Names

Basic Vocal Technique Warm-up Techniques

Modes Pentatonic Whole-tone Octatonic Church Modes

Listening Analyzing Internalized Hearing Singing Playing

Solfge

Melodic Shape and Structure Repetition and Development Phrases and Phraselettes Cadences Breath

Intervals Up and Down Compound Intervals Melodic and Harmonic Vocal Improvisation

Corporal Representation of Aural Events

Triads and Seventh Chords and their inversions Major, Minor, Augmented, Diminished MM; Mm; mm; half-diminished; fully-diminished Resolution of chords in descending fifths and thirds Progressions Applied Chords

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Business Aspects How to Start a Program What to Look for in a Good Studio Space Developing Studio Policies Necessary Materials for start up How to Grow Your Program Educating Parents How to Advertise in Print How to Promote Yourself in Person How to Network How to Teach Songs What makes an an age-appropriate song Different techniques for teaching song literature

Assigned Reading from Required Texts Building Your Personal Dalcroze Library Methods Songs Literature Curriculum Development

Learning How to Watch Students from the Circle and from the Piano Giving Useful, Constructive Feedback

Methods

How to Create a Spectacle At the End of a Semester For a short-term summercamp Sets and Costumes Lighting

Philosophical Goals The Need for Discovery The Importance of Joy Stimulating Imagination Providing Outlets for Creativity Dalcroze Subjects and Approaches

Classroom Management Overcoming Fear Behavioral Issues Talking with Parents

How to Take Useful Notes after a Dalcroze Class

How to Teach Movement Technique

Lesson Structure Sequencing and Development of Lesson Subjects Incorporating Variety Different Learning Styles Use of Recorded Music How to Create Your Own Versions of Classical Repertoire Use of Other Instruments than Piano or Voice Use of Materials Use of Story-telling and Drama Use of Folk and Classical Literature How to Create Effective Handouts Maintaining Flexibility

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Licensure Program Outlines by Checkpoint Evaluations

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Eurhythmics Schedule page 1
Checkpoint Observations with proposed subjects for the given unit of study. Checkpoint Observation 1: Beat; Division; Multiple; Simple Time in meters of 2, 3, and 4; Complementary Rhythm Follows (Reactions of Changing Expression and Nuances) Step a simple pattern from the following list: q, iq, jjjq, h, h., w, and q. e In all Follows, one must conduct the measure using arm beats; using the body, the mover must show the changes in the music. Step a simple pattern from the following list: q., h., q e, eq, iiq, and ea. asez . Canons Phrase; Systemization of a Rhythmic Pattern Use one of the rhythmic patterns used in the follow and systematically work it through each beat of 3 or 4 time in a coherent phrase.

Step basic patterns in canon and conduct the measure using arm beats.

Checkpoint Observation 2: Beat; Division; Multiple Compound Time in meters of 2, 3, and 4; Complementary Rhythm Checkpoint Observation 3: Phrase; Anacrusis, Crusis, Metacrusis; Measure Shape; Breath

Step basic patterns in canon and conduct the measure using arm beats.

Use one of the rhythmic patterns used in the follow and systematically work it through each beat of 3 or 4 time in a coherent phrase.

Move or step a given anacrusic phrase (e iql q. e ql q ) .

Using the material from the previous exams, step a canon that contains anacrusic elements.

Improvise vocally while you move a series of consecutively growing anacrusic gestures in 3 or 4 time. (el e ; eel e; eeel e; etc.). Step an augmentation/diminution phrase of a given motif. (iq q iq ql jiq jiql jiq jiql iq ql iq ql q q l h l ) Conduct for the meter; conduct for the pattern (conducting pattern changes with each cell). Step the suite of 4 beat divisions and clap the complementary pulses. Change hands and feet at the end of the phrase.

Checkpoint Observation 4: Augmentation and Diminution; Silences; Syncopation

Move or step a given syncopation pattern (eq eq q).

Step or clap a canon at the measure. If the melody goes up, step the pattern twice as fast two times. If the melody goes down, step the pattern twice as slow. If the melody stays the same, step the same rhythm. Step or clap a pattern canon that corresponds to the 4 beat divisions of 12 eighths.

Checkpoint Observation 5: Changing Meter; Divisions of 12 eighths

Move or step a phrase of measures that change meters: beat equals beat (l iiq q el iq ql or division equals division l iqiql q.e ql jjjq iqh l ).

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Eurhythmics Schedule page 2 Checkpoint Observation Follows (Reactions of Changing Expression and Nuances) Step a measure of 3 or 4 time with various rhythms that uses unequal beats (iiq q e q). Canons Phrase; Systemization of a Rhythmic Pattern Take a given phrase and demonstrate how it can be used as an antecedent or a consequent. Also show variations in how it can be gesturally conceived (different groupings, elongated, truncated etc.). Take a rhythmic pattern and create a suite of polyrhythms out if its forms deriving from augmentation and diminution. Step an ostinato in divisions of 3, 4, or 5. Clap the following rhythm while improvising a melody on it: q iq epzz jjjq jjjq epzz iq q Feet step divisions, hands clap beats, and voice improvises a melody on the multiple. Every 8 beats, rotate the parts: Feet step the multiple, hands clap divisions, and voice improvises on the beats. Then, feet step the beats, hands clap the multiple, and voice improvises the divisions. Perform a series of metric modulations, stepping the beat and clapping the complement. Go from slow to medium to fast and then return.

Checkpoint Observation 6: Form; Composite Meter

Step a canon in a meter of 5.

Checkpoint Observation 7: Metric Transformation; Polyphony: Simple and Augmentation/Diminut ion of a single motif Checkpoint Observation 8: Polyrhythmy and Polymetrics

Step a given pattern in simple triple meter and transform it into compound duple (l ea. asez e ql turns into l ea. ase iq ql ). Step the composites for 3 against 4 or 3 against 5.

Step a canon that employs metric transformation.

Step an ostinato in divisions of 3, 4, or 5 while clapping a one beat canon that employs polyrhythms.

Checkpoint Observation 9: Polyphony Continued: Complex

Step a given pattern while clapping another. Change hands and feet with the music. (e q e vs. q iq).

Step a given ostinato in 2 time while clapping a canon at the measure.

Checkpoint Observation 10 and Juried Exit Exam: Metric Modulation; Canons in 2 and 3 voices

To be announced at the exam.

Perform a two beat canon. Hands are in canon with piano (two beats behind the piano) while the feet are in canon with hands (four beats behind the piano).

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Eurhythmics Schedule page 3 Dissociation and Association; Inhibition and Incitation Checkpoint Observation 1: Step the value of each Beat; Division; measure and while you clap Multiple; Simple Time in the beats; change hands and meters of 2, 3, and 4; feet. Or, do the same but Complementary with the beats as the Rhythm complement to the measure. Checkpoint Observation 2: Beat; Division; Multiple Compound Time in meters of 2, 3, and 4; Complementary Rhythm The piano plays q. and you step h. ; the piano plays q e and you step eq ; the piano plays iiq and you step ea. asez ; also the contraire for each (If the piano plays h. you step q. etc.) . Use arm beats to show the measure. Follow the piano as it plays phrases which change in length. Step the anacrusis; clap the crusis; gesture the metacrusis. Clap eq e while stepping q, iq, or jjjq . Change hands and feet. Walk and clap a series of 8 eighth notes; the teacher will call out two numbers between 1 and 8. The hands must rest on those numbers. Do the same thing but for the feet. Step l q q q l h. l while tossing a ball in the air for h. and catching it for the following h. . At HIP take away a beat from both (feet will do l qql hl and ball will do h ) At HOP add a beat to both (feet will do l qqqql wl and ball will do w ). Improvisation; Plastique Anime; Group Exercises With a partner or group and any material or your choice, creatively demonstrate 3 different meters using gestures or images that come from an amusement park. With a partner or group and any material or your choice, creatively demonstrate 3 different meters using gestures or images that come from the sea.

Checkpoint Observation 3: Phrase; Anacrusis, Crusis, Metacrusis; Measure Shape; Breath Checkpoint Observation 4: Augmentation and Diminution; Silences; Syncopation

Improvise a series of movements that demonstrates your knowledge of the Laban effort action drives. Plastique Anime solo based on literature of students choice (short: 2-3 minutes).

Checkpoint Observation 5: Changing Meter; Divisions of 12 eighths

Plastique Anime solo based on literature of teachers choice (short: 2-3 minutes).

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Eurhythmics Schedule page 4 Dissociation and Association; Inhibition and Incitation Using a triple composite meter, step the beats and clap the complementary divisions but alternate hands and feet. At first, change every measure and then change every beat. Step a pattern in simple triple meter while clapping in compound duple. Change hands and feet. Change meters (hands: beats in simple triple, feet: pattern in compound duple). Clap the beat. If the piano plays in divisions of 2, step in divisions of 3. If the piano plays in divisions of 3, step 4. If the piano plays in divisions of 4 step 5. Change hands and feet. Step an ostinato in 2 time while clapping a four measure phrase with varying rhythms. Change hands and feet. Canons at the measure. Prepare 3 simple canons to perform in 3 voices with the body: voice, hands, and feet. Improvisation; Plastique Anime; Group Exercises Plastique Anime in a group based on visual art of the teachers choice. Students choose the music that will suit the art.

Checkpoint Observation 6: Form; Composite Meter

Checkpoint Observation 7: Metric Transformation; Polyphony: Simple and Augmentation/Diminuti on of a single motif

Folk Dance. Create and teach a folk dance with multiple contrasting sections that corresponds to a ballade or folk song.

Checkpoint Observation 8: Polyrhythmy and Polymetrics

Independent study in Dance. Take an approved course in movement or dance, and present its applications to Dalcroze Eurhythmics.

Checkpoint Observation 9: Polyphony Continued: Complex

Final Plastique Anime Project: choose a more substantial work and begin creating a Plastique from it. Presentation of the final Plastique.

Checkpoint Observation and Juried Exit Exam 10: Metric Modulation; Canons in 2 and 3 voices

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Eurhythmics Schedule page 5 Notes on Eurhythmics Schedule: In all cases, the majority of the eurhythmics work will culminate from wide variety of composed musical examples. In this way, the connection between solfge, eurhythmics, and improvisation will be made concrete and applicable to music and corporal studies. In general, whatever subject is presented for a Checkpoint Observation, the student must be at ease with the subject material at the time of evaluation. Perfection is not the objective, but conviction is vital. Students must demonstrate a purposeful and imaginative use of the space while performing the exercises.

Students must show the dynamic relationship among time, space, and energy. Nuances, tempi, and dynamics, as well as rhythmic precision and accuracy must be visually represented in the body. In addition, Flow must also be addressed and/or demonstrated. In this aspect, the student must demonstrate a continuity and unity of the rhythm through the body that corresponds with the music. The use of weight is of the utmost importance. In general, students should move with the weight of their bodies on the forward part of their feet, except for expressive purposes and/or extremely slow music. There will explore many different ways of walking and running, along with the technique required to execute each one and transition from one type of movement to another. Naturally these different ways of moving will correspond directly to different types and styles of music. Arm beats will be used in place of conducting gestures, unless the music is too rapid. The gestures should be large, graceful, and expressive with the arms stretched fully at the apex of each beat. The fists should be closed at the debut of beat one. The specifics of these techniques will be discussed in the classes.

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Eurhythmics Schedule page 6 The skip, the gallop/chasse, and the leap are used at different times for different types of musical gestures. Here is a short list of typical uses. o The Gallop/Chasse is a ternary gesture that in direct contrast to the skip, is traditionally viewed as anacrusic. The musical information that will differentiate this gesture from the skip will be discussed in detail, but in general it is its anacrusic nature that makes it distinctive. In this step, the mover leaves the floor with one foot and lands with the other. The pattern is the same no matter what; always takes off with the same foot. For example, its always right, left, right, left, etc. The skip can be used in binary or ternary beats. Regardless, it consists of a step-hop gesture on each foot and is a crusic gesture. The feet constantly alternate leaving and landing, so no side of the body is dominate. Ternary skips are the most natural (ep r ); most Americans skip in a ternary fashion. The gesture should look easy, and the body should be in the air for the long note, and on the ground for the duration of the short note. As in binary skips, the pattern is right, right, left, left, right, right, left, left. The binary versions are more stylized (ea. ase ). These binary skips can be performed with most of the weight on the ground for the majority of the long note followed by a quick hop in the air before the short note, or it can be performed with a large leap in the air that for the long note and quick step on the ground for the short note. Regardless, the pattern remains the same: right, right, left, left, right, right, left, left, etc. o The leap happens in many cases, and is similar to the Gallop/Chass in that the mover leaves the floor with one foot and lands with the other. However, this gesture tends to be more of lifting movement than the Gallop/Chasse and can be found on the long note of the following rhythms at fast tempi: eseae, eaa aese, eaas aea x . Other examples exist, but this is a good basis for making judgments in the future. o Finally, in addition to the above locomotor skills, other movements and gestures involving other parts of the body will be explored along with the appropriate techniques required to execute these gestures with efficacy and musicality. For example, the different ways of conducting will be explored (large arm beats, just forearms, just wrists, or just fingers) or different ways of clapping (in different shapes or with different sonorities for example) will be examined in order to demonstrate the music in as many ways possible.

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Evaluation Form for Eurhythmics Checkpoint Observations and/or Exit Examinations Name:_____________________Checkpoint Observation Number:____
1. Follow

2. Canon

3. Phrase/Systemization

4. Association/Dissociation and Incitation/Inhibition

5. Improvisation; Plastique Anime; Group Exercises

Pass Redo Examiners Signature_____________________________Date______________ 18

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Improvisation Schedule page 1
Checkpoint Observations Harmonic Progression (In Major and Minor tonalities through 4 accidentals, unless otherwise noted) 7 1. I-IV-V -I 2. I-II6-V7-I 3. Modes: D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolean. Whole tone Scale. (Two chord ostinatos; no transpositions yet) 1. Cadences: Authentic (Perfect and Imperfect), Half, Deceptive, Phrygian, Plagal 2. Scale Harmonization using Fauxbourdone and parallel second inversion triads 1. Sequences of Descending 3rds and Descending 5ths both with Triads and Seventh Chords (root position, except for diminished chords) 2. Progressions similar to Pachebelles Canon. 1. Sequences of Descending 5ths in their various inversions (root to second inversion or first inversion to root). 2. Applied chords: V7/V; V7/IV 3. Scale Harmonization in Major keys (Scale in Bass or Soprano) 1. Sequences of Seventh Chords Descending 5ths in their inversions (second inversion to root or third inversion to first inversion) 2. Scale Harmonization in Harmonic Minor keys (Scale in Bass or Soprano) Melody Form and Structure

Checkpoint Observation 1

Checkpoint Observation 2

Checkpoint Observation 3

Checkpoint Observation 4

Checkpoint Observation 5

1. One voice improvisation (2, 3, and 4 time) a. Right Hand b. Left Hand c. Major /Minor Keys d. Modes 2. Rhythmic skeletons (one voice) 1. One voice improvisation based on various composed music selections (Spin-offs, prepared in advance) a. Folk Music b. Classical Music c. Popular music 2. Rhythmic skeletons 1. Song accompaniment: chords only, while pianist sings accompaniment. Pianist prepares a selection of 6 tunes that correspond to music and Movement 2. Rhythmic skeletons 3. Two piano improvisation 1. Repetition, Contrast, and Motivic development with one voice (Prepared in advance): a. Right Hand b. Left Hand c. Major/Minor Keys and Modes 2. Rhythmic Skeletons 1. Spin-offs with accompaniment 4 based on Folk Song Literature, and 2 based on Classical Literature; folk Songs must be prepared in 3 different keys

1. Question and Answer Phrases 2. Breath

1. 12 bar blues 2. Song Form: AAB

1. Playing for Images

1. Playing for Images 2. Playing for Stories

1. Binary Forms

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Improvisation Schedule page 2 Checkpoint Observations
Harmonic Progression (In Major and Minor tonalities through 4 accidentals, unless otherwise noted) 1. Modulation (only through 3 accidentals): a. to the Dominant b. to the Sub-Dominant c. to the Relative Major/Minor

Melody

Form and Structure

Checkpoint Observation 6

Checkpoint Observation 7

1.

2.

3. 4.

Checkpoint Observation 8

1. 2. 3.

4.

Checkpoint Observation 9

1. 2.

3. 4.

Checkpoint Observation 10 and Juried Exit Exam

1. 2. 3. 4.

5.

Applied chords for every other scale degree and their inversions Harmonization of Major Scales in all keys (3 voices, melody in the soprano) The Neapolitan Modulation to closely related keys up to 4 sharps/flats All varieties of Augmented Sixth Chords Quartal-Quintal Improvisation; Clusters Harmonization of Minor Scales in all keys (3 voices, melody in the bass) Mixture and substitution within a tonality Fully diminished seventh chords Mixture and substitution as a means to modulate to distantly related keys Harmonization of the C to C scales in Major 5-6 Technique and other sequences Augmented triads Planing Harmonizations of the C to C scales in Minor Other techniques for Modulation to distantly related keys, specifically median relationships. Chromatic sequences

1. Two-voice improvisation based on 3rds , 6ths , 10ths , and other contrapuntal techniques 2. Simple two voice Rhythmic Skeletons 3. Prosody and song composition 1. Transposition of melodies 2. Continued work on contrapuntal techniques 3. Simple two-voice Rhythmic Skeletons

1. Ternary Forms 2. Rounded Binary Forms

1. Repetition, Contrast, and Motivic development with two or more voices

1. Continued work on Prosody and song composition 2. Romantic Gesture and Chromaticism 3. More complicated Rhythmic skeletons

1. Continued work with Repetition, Contrast, and Motivic development with two or more voices

1. Like Exam 5, but with all new literature; spin-off portion should change keys 2. More complicated Rhythmic skeletons

1. Theme and Variations

1. Prepare 3 Canons in two voices, each in two keys 2. More complicated Rhythmic skeletons

1. Rondo Forms

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Improvisation Schedule page 3 Checkpoint Observations

Applications of Eurhythmics Coursework

Repertoire Music to be performed from memory. The collection should represent a diverse array of music suitable for the eurhythmics classroom
Intermediate Repertoire Piece 1

Playing for Movement Two or more voices unless otherwise stated In meters of 2, 3, or 4 unless otherwise stated
1. Walking, Trotting, Slow music; always with changes in affect, nuance, articulation (One voice, only) 2. Accompanying movement with a drum and other percussion 1. Walking, Trotting, Slow music. Always with changes in affect, nuance, articulation (Two or more voices) 1. Swaying Music

Checkpoint Observation 1

To Be Announced (TBA: based on extracts from Eurhythmics lesson subjects)

Checkpoint Observation 2

TBA

Intermediate Repertoire Pieces 1 and 2

Checkpoint Observation 3

TBA

Intermediate Repertoire Pieces 1, 2, and 3

Checkpoint Observation 4

TBA

Intermediate Repertoire Pieces 1, 2, 3, and 4

1. Skipping/Galloping music

Checkpoint Observation 5

TBA

Intermediate Repertoire Pieces 1, 2, 3, 4, and 5

1. Basic Dance types: Waltz, Minuet, Sarabande, Tango, Java, etc.

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Improvisation Schedule page 4 Checkpoint Observations

Applications of Eurhythmics Coursework

Repertoire Music to be performed from memory. The collection should represent a diverse array of music suitable for the eurhythmics classroom
Intermediate Repertoire Pieces 1-6

Playing for Movement Two or more voices unless otherwise stated In meters of 2, 3, or 4 unless otherwise stated
1. Running Music 2. Different derivatives of Anapest, Dactylic, and Syncope. 3. Augmentation and Diminution

Checkpoint Observation 6

TBA

Checkpoint Observation 7

TBA

Intermediate Repertoire Pieces 1-7

Checkpoint Observation 8

TBA

Intermediate Repertoire Pieces 1-8

Checkpoint Observation 9

TBA

Intermediate Repertoire Pieces 1-9

1. Unequal Beats 5/8 and 7/8 2. Hand/feet dissociation 3. More Difficult Dance types: Gavotte, Samba, Rhumba, Bossa 1. Unequal Beats 3+3+2, 3+2+3, 2+3+3, 3+3+2+2 etc.. 2. Augmentation and Diminution in Polyrhythm. 3. Hand/feet dissociation 1. Metric transformation 2. Hemiola 3. Polyrhythms 4. Hand/feet dissociation 1. Cross rhythms: 2/3, 2/5, 3/4, 3/5, 4/5 2. Hand/feet dissociation 3. Metric Modulation

Checkpoint Observation
10 and Juried Exit Exam

TBA

Intermediate Repertoire Pieces 1-10

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Improvisation Schedule page 5 Notes on Improvisation Schedule: In all cases, the majority of the improvisation examples work will be derived from wide variety of composed music; however the ways in which we will explore these examples will be using Dalcrozian pedagogic techniques. These techniques will be similar to those found in the eurhythmics and solfge classroom. In this way, the connection between solfge, eurhythmics, and improvisation will be made concrete and applicable to music and corporal studies. In general, whatever subject is presented for a Checkpoint Observation, the student must be at ease with the subject material at the time of evaluation. Perfection is not the objective, but conviction is vital. All improvisation for movement must invite and inspire the movement, not merely represent the movement in rhythm. Clear and organized phrase period structure is essential. Changes in nuance, expression, texture and/or register must be integrated into the students music. A diverse variety of soundscapes is imperative. Especially when improvising for Follows, Canons, and Melody, an assortment of modes, tonalities, scales, and styles is indispensible for a musically satisfying Dalcroze experience. As students progress through their studies, a wider range is expected.

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Evaluation Form for Improvisation Checkpoint Observations and/or Exit Examinations Name:____________________ Checkpoint Observation Number:____
1. Harmonic Progression

2. Melody

3. Form and Structure

4. Applications of Eurhythmics Exercises

5. Repertoire Piece

6. Playing for Movement

Pass Redo Examiners Signature______________________________Date______________

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Solfge Schedule page 1
Checkpoint Observations Scales: Students will be
expected to sing, analyze, hear, write, and improvise using the following scale types

Intervals/Polychords:
Based on the 3 volume solfge texts of Dalcroze, students use Dalcrozes techniques to utilize intervals harmonically and melodically

Harmony: Students will sing, analyze, hear write and improvise using the following chords Triads in root position as arpeggios within a Major or Minor scale: Major, Minor, diminished and augmented First and second inversion triads as arpeggios in Major and Minor

Improvisation And Melody:

Students will improvise using the voice, body, and/or an instrument

Checkpoint Observation 1

Major C to C scales through 3 sharps and 3 flats with note names and numbers

Dichords, Trichords, and Tetrachords and their corresponding intervals (Major: no Aug. 2nds)

1. Phrase: Question and Answer 2. Simple meters of 2, 3, and 4

Checkpoint Observation 2

Major C to C scales through 7 sharps and 7 flats with note names and numbers

Pentachords and their corresponding intervals (Major: no Aug. 2nds)

Checkpoint Observation 3

Minor C to C scales through 3 sharps and 3 flats with note names and numbers

Dichords through Pentachords and their corresponding intervals (Minor: with Aug. 2nds)

Seventh Chords in root position as arpeggios including the Dominant Seventh, its inversions, and their resolutions Applied chords: V7/V , V7/IV, and V7/III in minor (Major and Minor tonalities)

1. Phrase: Question and Answer 2. Compound meters of 2, 3, and 4 Singing from a rhythmic skeleton; phras

Checkpoint Observation 4

Minor C to C scales through 7 sharps and 7 flats with note names and numbers

Hexachords and their corresponding intervals. (Major: no Aug. 2nds)

1. Repetition, Contrast, and Motivic Development 2. Rhythmic skeletons 1. Chromatic alterations. More work with Repetition, Contrast, and Motivic development 2. Rhythmic skeletons

Checkpoint Observation 5

Whole-tone and Pentatonic Scales

Hexachords and their corresponding intervals (Major: no Aug. 2nds)

Seventh Chords and their resolutions Root to second inversion.

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Solfge Schedule page 2 Checkpoint Observations Checkpoint Observation 6 Scales Modulating C to C Scales to neighboring tonalities Intervals/Polychords Continued work with Hexachords and their corresponding intervals. (Major and Minor as inverted triads) Harmony Seventh Chords and their resolutions First inversion to third inversion Improvisation And Melody ABA forms: Modulations to the Dominant, SubDominant, and relative major/minor 1. Modulations to other neighboring keys. 2. Other styles and unequal beats: measures of 5 and 7. 3. Rhythmic skeletons 1. Mixture 2. Ostinatos 3. Series of Modulations in Rondo form (ABACA) 1. Polyrhythmy: improvise one voice and clap the other 2. Modulations to distantly related keys 1. Polyrhythmy: improvise one voice and clap the other 2. More Modulations to distantly related keys

Checkpoint Observation 7

More Modulating C to C Scales to neighboring tonalities

Heptachords and their corresponding intervals. (Major: no Aug. 2ndsMM, Mm, dim min)

1. The Neapolitan 2. Other applied chords

Checkpoint Observation 8

Modulating C to C Scales to distant tonalities

More work with heptachords (mm)

All varieties of Augmented 6th chords

Checkpoint Observation 9

More Modulating C to C Scales to distant tonalities

Hexachords as inverted seventh chords and their corresponding intervals. (MM, Mm, dim min)

1. FullyDiminished seventh chords 2. Other sequences

Checkpoint Observation 10 and Juried Exit Exam

Octatonic Scales and other exotic scales

More work with Hexachords as inverted seventh chords and their corresponding intervals (mm)

Twentieth Century techniques; modal and exotic harmony

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Solfge Schedule page 3 Notes on Solfge Schedule: In addition to the column headings, each checkpoint will contain some sort of sight reading exercise, prepared melody, or reaction exercise from Dalcrozes text Rythmique-Solfge Vocal. In addition, students will systematically study canons, folk literature, popular literature, and classical literature throughout their License work. In this way, the connection between solfge, eurhythmics, and improvisation will be made concrete and applicable to music and corporal studies.

In general, whatever subject is presented for a Checkpoint Observation, the student must be at ease with the subject material at the time of evaluation. Perfection is not the objective, but conviction is vital.

Clear phrase-period structure is necessary for all improvised exercises.

Good intonation and vocal modeling is required as well. Vibrato, belting, and vocal techniques that are not conducive for teaching children are not encouraged.

As a general policy, the C to C scales (also known as the Do to Do scales) will be sung using letter names and numbers. We will not use the French solfge syllables (fixed-do) for note names, but students are welcome to use moveable-do syllables when demonstrating function (Dobased minor or La-based minor is acceptable) at the Checkpoint Observations.

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Solfge Schedule page 4 For each column heading, many of the exercises will be derived using corporal, experiential, and discovery-based methods that inspire a spirit of play and creativity. The Dalcroze approach to Solfge aims to develop a keen sense of internal listening, facilitate rapid communication among the ear, eye, and voice, and above inform expressive musicianship. The examples that follow here give some insight as to the nature of the exercises and exam questions, but they do not constitute a comprehensive list of possibilities. 1. Scales a. For the C to C scales, Students will be expected to sing or hear the scales in a variety of ways. i. Given a C, the students must sing the specified scale up and down ii. Given a Dominant with C on top, the students must sing the implied scale up and down iii. Given a tri-chord based on C, the students must sing the implied scales up and down iv. The teacher plays a C to C scale, and the students must label the scale accordingly v. The teacher plays a C to C scale up in a given rhythm, and the students must sing the same rhythm going down b. For the pentatonic, octatonic, and whole-tone scales, students must be able to sing the scales in a variety of positions and inversions. 2. Intervals a. Using Dalcrozes 3 volumes of Les Gammes et Les Tonalits, Les Phrass et Les Nuances, students must be able to sing and analyze polychords and their corresponding intervals in a variety of contexts. These will relate to different manners of filling in intervals using arpeggios of different inversions and functions. In addition, it will relate to the students understanding of melodic shape and structure. i. From the same note, the student must sing all of the various trichord espces up and down along with their corresponding thirds

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Solfge Schedule page 5 ii. A student might be required to improvise a dialogue with another student using only tetrachords that function in a given key and maintain good phrase-period structure iii. For example, a student must sing a hexachord that outlines a minor-minor seventh chord in second inversion as a II chord in one tonality, but then sing it again as a III chord in a different tonality, and then sing it as a VI chord in a different tonality

3. Chords a. In regards to chords, students will be required to sing these chords melodically up and down as well as hear them harmonically. The majority of the focus will be on chord function and placement in a musical phrase or line, but sometimes chords will be extracted and studied, heard, sung in isolation. i. From the same note, the student must sing a diminished triad going up or down, followed by a minor triad up or down, followed by a major triad going up or down followed by an augmented triad going up or down ii. From a given note, the student must sing a particular chord and place it context of a tonality while improvising an antecedent or consequent phrase (for example, the student must sing a II chord up from r, and finish the phrase ending on the dominant) iii. The teacher plays a particular seventh chord in an inversion; using a sequence of falling fifths, the student must improvise arpeggios of seventh chords just until resolution to the tonic (for example, the teacher plays a III7 and the student must sing arpeggios of until he arrives at the tonic III7-VI4/3-II7-V4/3-I)

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Solfge Schedule page 6

4. Melody and Improvisation a. Students will be expected to learn how to construct phrases of varying lengths using compositional techniques from the common practice period and contemporary music. i. Given a particular rhythm, the student must improvise a period of phrases that clearly demonstrates antecedent and consequent relationships ii. Given a particular rhythm, the student must improvise a period of phrases that demonstrates elongation or truncation of the phrase relationships (irregular phrase lengths) iii. Given a particular melodic and/or rhythmic motif, the student must improvise a period of phrases that showcases the development of the motif through transposition, repetition, and contrast iv. Given a suite of key relationships, the student must improvise a series of phrases that demonstrates antecedent consequent relationships while modulating from key to key

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Evaluation Form for Solfge Checkpoint Observations and/or Exit Examinations Name:________________Checkpoint Observation Number_____
1. Scales

2. Intervals/Polychords

3. Harmony

4. Melody and Improvisation

5. Sight Reading or Prepared Melody

Pass Redo Examiners Signature_____________________________Date______________

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Methods Schedule page 1

Methodology Units
Each group represents a unit of study that will correspond to the various Checkpoint Observations with the other Dalcroze branches. Each unit will have specific written work to be collected and placed in the students personal Portfolio.

1. Basic Tenants of the Philosophy Jaques-Dalcroze a. Introductions (note-taking, history, etc.) b. The importance of joy: uniting the mind, body, and spirit c. The need for discovery (i.e. theory follows practice) d. The body as instrument e. Fun=meeting a challenge f. The specific approaches that make a lesson Dalcrozian

2. How to Plan and Construct a Lesson for Children a. Ways stimulate imagination b. Ways to address different learning styles c. Maintaining Flexibility d. Sequencing

3. Techniques of the Dalcroze Teacher a. How to watch students b. How to give imaginative, constructive feedback c. Speaking from the piano d. Basics of teaching and improving movement technique

4. Incorporating Visual Art, Dance, Theater, and Plastique Anime in the Classroom a. Imagery and visual art b. Folk dance c. Creative expression with the body d. Story-telling and drama e. Basic principles of Plastique Anime

5. Use of Materials a. Different types of materials and for whom b. How to use certain materials and for what purpose c. Use of recorded music in the classroom d. Use of other instruments

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Methods Schedule page 2 6. Classroom Management a. Dealing with fear b. Dealing with parents c. Behavioral issues

7. How to create a Spectacle a. Goals and objectives b. Applications for various venues and time frames c. Sets and costumes d. Lighting

8. How to Construct a Lesson for Adults a. Workshops b. Institutes c. Amateurs vs. Professionals d. Senior Citizens

9. Business Aspects a. How to start a program b. Educating parents c. Advertising d. Self-promotion e. Networking

10. Curriculum Development a. What is the purpose of a curriculum b. Various models c. How to keep flexibility and structure together

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Methods Schedule page 3 Resources, Required Reading, and Bibliography Each unit will be accompanied by assigned readings from the following list and other sources. o Works Specifically by Emile Jaques-Dalcroze Eurhythmics, Art, and Education Eurhythmics, Music, and Education Rhythmic Movement Volumes I and II Coordination et Discordination Des Mouvements Corporels Music Movement and Ear Training games and Exercises Dalcroze Action Songs Books I-II 164 Marches Rythmiques Pour Une Voix Cours Dimprovisation Mlodies Harmoniser Les Gammes et Les Tonalits, Les Phrass et Les Nuances Volumes I-III 30 Leons Mlodiques de Solfge Rhythmic Solfge Vocal (Translation by B. Abramson) Rhythmic Dances Volumes I-III 12 Petites Images pour Enfants 50 Etudes Miniatures de Mtrique et Rythmique Livres I-IV 50 Esquisses Rythmiques pour Piano Figurines, Portraits, et Caractres Volumes I et II Methodology, Philosophy, Pedagogy Move with the Music, F. Aronoff Music and Young Children, F. Aronoff Dalcroze Today, M. Bachmann The Rhythm Inside, J. Black and S. Moore The Unfolding Human Potential, M. Brice Discipline by Design, B. Churchward Comparing Dalcroze, Orff, and Kodaly, Comeau Lesson Plans for Fall/Winter/Spring, M. Dale Experience and Education, J. Dewey A Pathway to Dalcroze Eurhythmics, E. Driver Rhythm and Movement, E. Findlay Lesson Plans for 4-6 Year-Olds, H. Gell Music, Movement, and the Young Child, H. Gell The Eclectic Curriculum in American Music Education, B. Landis and P. Carder Discipline Without Stress Punishments or Rewards, M. Marshall Encountering the Fundamentals of Music, V. Mead Music in Todays Classroom, V. Mead Dalcroze Handbook, E. Vanderspar Mostly Movement Vol. I and II, E. Wax and S. Roth Yardsticks, C. Wood

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Methods Schedule page 4 o Music Resources and Song Collections Easy Classics to Moderns Volumes 17 and 27, D. Agay Americas All-Time Favorite Songs, A. Appleby The Library of Childrens Songs Classics, A. Appleby and P. Pickow For the Children Volumes I and II, B. Bartk The Monsterpieces, W. Bolcom Petite Suite, J. Ibert Songs North America Sings, R. Johnston Album of Childrens Pieces op. 27 and op. 39, D. Kabalevsky Essential Keyboard Repertoire Volumes I and II, L. F. Olson Pictures for Children, V. Rebikov Album for the Young, R. Schumann Album for the Young, P. Tchaikowsky

Solfge Resources 5 Livres de Solfge pour Les Annes lmentaires de FEGM Folk Song Solfge, E. Crowe, A. Lawton, and G. Whittaker Cent Dictes,N. Gallon Music for Sight Singing, R. Ottman Rhythm and Pitch, J. Stevenson and M. Porterfield

Movement Resources First Steps in Teaching Creative Movement for Children, M. Joyce Principles of Dance, B. Mettler Laban for All, J. Newlove and J. Dalby

Improvisation Resources In the Mode, J. Kane Sketches at the Keyboard, L. Campbell Harmony and Voice Leading, E. Aldwell and C. Schachter Potpourri of Music for Improvisation, J. Yelin Fresh Recipes for Improvisation Books I, II, and III, J. Yelin

Additional Resources

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Licensure Requirements

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Requirements for Licensure
Students must pass each of the Checkpoint Observations

During their studies students must attend and participate as a teacher assistant in at least two childrens classes of varying age levels for one semester each level. In these classes, the students will practice teach several times with feedback provided by the supervising teacher. At the end of the semester, they must record their observations in a short essay.

During their studies, students must attend and participate in adult eurhythmics classes as a teacher assistant for one semester. In these classes, the students will practice teach several times with feedback provided by the supervising teacher. At the end of the semester, they must record their observations in a short essay. (Students may substitute one of the childrens classes and practice teach an extra semester of adult eurhythmics, solfge, or improvisation classes if they choose.)

Students must teach one childrens class and one adult class and submit this videoed material to a juried panel before they take their final exit exams.

At the end of their studies, but before their exit exams, students must submit a portfolio with the following materials o o Observation Reports from both Adult and Childrens Classes 5 Short essays, each describing a different musical subject from the different branches of Dalcrozian study (The division of twelve eighths, the different espce of heptachords, principles improvisation for movement, etc.) o 5 Short essays, each describing a different approach Dalcrozian (Inhibition, Dissociation, etc.) o o o o o The collection of folk songs from improvisation exams The collection of piano literature from improvisation exams A collection of sequenced lesson plans taught (At least 3 for children and 3 for adults) Materials from the business and marketing component of the methods course Other written assignments from the methods course

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When all the portfolio and teaching videos have been received, the student can arrange to take the juried exit exams.

When students have completed all of their exit examinations in Eurhythmics, Solfge, and Improvisation, turned in their portfolios, and have successfully completed their teaching examinations, they will receive the internationally recognized Dalcroze License that, under the auspices of the Collge de lInstitut Jaques-Dalcroze, confers the right for them to teach the method Jaques-Dalcroze to children and adults and use the name Jaques-Dalcroze in their advertisements and course descriptions.

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Checklist of Licensure Requirements
Checkpoint Observations Checkpoint Observation 1 Checkpoint Observation 2 Checkpoint Observation 3 Checkpoint Observation 4 Checkpoint Observation 5 Checkpoint Observation 6 Checkpoint Observation 7 Checkpoint Observation 8 Checkpoint Observation 9 Checkpoint Observation 10 & Juried Exit Exams Eurhythmics Date Completed Solfge Date Completed Improvisation Date Completed

Methods Requirements Completed Portfolio Video of Childrens Eurhythmics Class Video of Adults Eurhythmics Class Exit Interview Attendance of an Authorized Dalcroze Summer Institute Institution:____________________________ Other Requirements:

Date Completed

Other Requirements:

Other Requirements:

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Teaching Evaluation Form Name_______________________________Class Level_____________
Commentary 1. Elements of Dalcrozian Philosophy/Pedagogy

a. Spirit of Play

b. Sense of Discovery (theory follows practice) c. The Body as an Instrument d. Arousal of Joy (uniting mind, body, and spirit) e. Use of Dalcrozian Approaches 2. Lesson Structure

a. Sequencing

b. Variety of Exercises (engagement of different learning styles) c. Imagination and Creativity

d. Adaptability to the Students e. Clarity of Directions

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Commentary 3. Musicianship

a. Improvisation and Pianism

i. Phrase

ii. Variety of Tonalities, Modes, Pianistic Styles etc. iii. Use of Nuance and Affect b. Vocal Quality (if appropriate)

i. Appropriate Range

ii. Intonation

iii. Appropriate Modeling c. Use of the Body

i. Appropriate Modeling ii. Rapport of the Gestures to the Music iii. Use of Partners and other Group Activities

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Commentary 4. General Pedagogical Considerations a. Ability to Watch Students During Movement Activities b. Use of Signals and Commands from Piano c. Use of Materials (if appropriate) d. Overall Musicality of the Lesson e. Relevance to Musical or Corporal Concepts

5. Other Comments:

Pass Redo Examiners Signature______________________________Date______________

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Information Regarding the Dalcroze Certificate

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The history regarding the Dalcroze Certificate is a long and complicated tale with many versions, changes, and rationale. A detailed discussion is beyond the scope of this handbook, though it is worthwhile to research and learn about the diverse and rich history of the Dalcroze work in Europe and the United States. As a result of the diversity in the Dalcroze method, there are virtually no two schools in the US who offer the same Dalcroze certificate degree requirements. This is further compounded by the fact that not every school offers the same level of Certificate. That is, some schools offer an internationally recognized Dalcroze Certificate which entitles the holder two important qualities: 1. to use the name Jaques-Dalcroze in his/her advertisements 2. to offer Dalcroze Eurhythmics coursework to children (though usually not adults). Other schools also offer an international Dalcroze Certificate which allows the holder to employ Dalcrozes techniques in his/her teaching, but it is forbidden to use the Dalcroze name in advertisements or offer coursework to children or adults specifically in Eurhythmics. There is no right or wrong in any of these proposals or practices. All of the schools and the Diploms who teach there are sanctioned and approved by the Collge of the Institut Jaques-Dalcroze. However, it is my opinion that this lack of consistency has caused and continues to cause problems throughout the Dalcroze community. Without the entire Dalcroze Society of America coming together to agree on national standards, it is my opinion that any individual interested in teaching Eurhythmics under the name Jaques-Dalcroze should work toward the License. Furthermore, in order to teach students who are not very young (over the age of 8, for example), it is necessary to have the skills and abilities of a Licentiate. For those individuals who are only looking to ameliorate their teaching skills through enrichment and who plan on using the philosophy of Jaques-Dalcroze in their own personal teaching, then I will offer the internationally recognized Dalcroze Certificate. However, they will not be able to use the name Jaques-Dalcroze in their advertisements and they may not teach classes called Dalcroze Eurhythmics. The certificate program will be constructed to suit the needs of those individuals who are interested, though a minimum proficiency of approximately level 4 in Eurhythmics, Improvisation, Solfge, and in Methodology will be required. Those who might be interested in the Dalcroze Certificate should contact the director to begin the process of building a program that will suit his/her needs.

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