ROFESSIONAL TUDIES ROGRAM AND HE ALCROZE …DSR+Student+Handbook.pdf · The DSR and DA Student Handbook 2017 2 Table of Contents General Information for Certification and Licensure

Dr.JeremyDittus,DiplômeSupérieurDirectorofPrograms

DALCROZESCHOOLOFTHEROCKIES

PROFESSIONALSTUDIESPROGRAMANDTHEDALCROZEACADEMYSTUDENTHANDBOOK,6THEDITION

TheDSRandDAStudentHandbook 2017

2

TableofContentsGeneralInformationforCertificationandLicensure...............................................................3

MindMapsoftheDalcrozeSubjects.......................................................................................9

ProgramOutlinesbyCheckpointEvaluations........................................................................14EurhythmicsSchedule..........................................................................................................................................................15NotesonEurhythmicsSchedule:.......................................................................................................................................19

SolfègeSchedule......................................................................................................................................................................24NotesonSolfègeSchedule:...................................................................................................................................................26

ImprovisationSchedule........................................................................................................................................................32NotesonImprovisationSchedule:.....................................................................................................................................36

PedagogySchedule.................................................................................................................................................................37Resources,RequiredReading,andBibliography........................................................................................................41

CertificationandLicensureRequirements.............................................................................43Certification...............................................................................................................................................................................44Licensure....................................................................................................................................................................................47ChecklistofRequirementsforCertificationand/orLicensure...........................................................................51TeachingEvaluationForm..................................................................................................................................................52

SolfègeSummaryChecklists.................................................................................................55SolfègeChecklistfor1A........................................................................................................................................................56SolfègeChecklistfor1B........................................................................................................................................................57SolfègeChecklistfor2A........................................................................................................................................................58SolfègeChecklistfor2B........................................................................................................................................................59SolfègeChecklistfor3A........................................................................................................................................................60SolfègeChecklistfor3B........................................................................................................................................................61SolfègeChecklistfor4A........................................................................................................................................................62SolfègeChecklistfor4B........................................................................................................................................................63SolfègeChecklistfor5A........................................................................................................................................................64SolfègeChecklistfor5B........................................................................................................................................................65

ImprovisationSummaryChecklists.......................................................................................66ImprovisationChecklistfor1A.........................................................................................................................................67ImprovisationChecklistfor1B.........................................................................................................................................68ImprovisationChecklistfor2A.........................................................................................................................................69ImprovisationChecklistfor2B.........................................................................................................................................70ImprovisationChecklistfor3A.........................................................................................................................................71ImprovisationChecklistfor3B.........................................................................................................................................71ImprovisationChecklistfor4A.........................................................................................................................................73ImprovisationChecklistfor4B.........................................................................................................................................74ImprovisationChecklistfor5A.........................................................................................................................................75ImprovisationChecklistfor5B.........................................................................................................................................76

©2017JeremyDittus,allrightsreserved.


3

GeneralInformationforCertificationandLicensure


4

Admission

v Attheoutsetoftheprogram,eachstudentmustmapoutaprogramwiththeDirectortodetermine

goalsandtrajectories.Inaninitialmeeting,theDirectorwillgiveashortentranceexamto

determineatwhatleveleachstudentwillbegintheprogramandwhat,ifany,additionalcoursework

mayneedtobecompleted,includinganymovementcoursesand/orsummerprograms.

v Studentsmusthavetheskillsnecessarytosuccessfullybegintheprogram.Ifnot,wewilloutlinea

pathtohelpthestudententerintotheprogramatalaterdate,orthefirstCheckpointmaytake

longerthanmoststudents.Theseexamrequirementsmayinclude:

o Theabilitytoplaythepianoatanearlyintermediatelevel(forexample:Kabalevsky’sOp.

27,ClementiSonatinas,orSchumann’sOp.68)

o Pre-requisitebasicknowledgeofSolfègeandMusicTheory.Candidatesshouldbeprepared

to:

§ PresentaharmonicanalysisofaBachchoraleofyourchoice

§ PresentapreparedmelodywithSolfège

§ Presentapreparedharmonizationofafolksong

§ SightreadingexercisesinSolfège,Rhythm,andKeyboardHarmony

o Arésuméofteachingexperienceinmusicormovement

o Ashortessaydescribingthecandidate’sintentions,goals,andobjectives(inshort,describe

whatthecandidateexpectstogainfromtheprogram?)

o Abriefexaminationofbasicmovementskills

CoursesandCheckpoints

v EurhythmicsisthecornerstoneofthemethodJaques-Dalcroze,soparticipationinweeklyAdult

Eurhythmicscoursesismandatoryunlessextenuatingcircumstanceswillnotallow.Ifthisisthe

case,wewillneedtomakeprovisionstoensurethatappropriatestandardsarebeingmet.A

minimumof45classhoursofeurhythmicsstudyisrequiredforCertification,and75classhoursof

eurhythmicsstudyisrequiredforLicensure.ForstudentswithpreviousDalcrozeexperience,

equivalencemustbedocumented.Forstudentsenrollinginlong-distancestudiesthroughoutthe

year,specialarrangementswillneedtobemadetoensurethattheserequirementsaremet.In

Eurhythmicsitisimperativethatstudentshaveadequatetimeandexperienceinmovementand


5

musicrelatedactivities.Inthisway,theskillstheylearnwillbefullyintegratedinthebodyand

canbeeasilymanifested.Tothisend,studentsshouldassumethatallinformationreceived

throughouttheprogramiscumulative.Anyworkbegunatthebeginningofone’sstudyisfair

gamefordemonstrationattheendoftheprogram.

v TheprogramisdividedintothethreemainbranchesofDalcrozianstudy,Eurhythmics,Solfège,and

Improvisation.Inadditionthereisafourtharea:Methodology,whichembracespedagogy,history,

andotherstudiesassociatedwiththephilosophyJaques-Dalcroze.Onthefollowingpagesonecan

findgeneralMindMapsofeachofthesefourareas.Inaddition,onecanfindaunit-by-unit

scheduleofthesesubjectareasalongwithspecificrequirementsfortheCheckpointObservations.

ThereareatotalofthreeCheckpoints(1,2and3)fortheCertificateandtwoCheckpoints(CandD)

fortheLicense.Eachcheckpointisdividedintotwoparts(1A,1B,2A,2B,etc.)foreaseofdiscussion

andseparationofsubjectmaterial.

o Checkpoint1

o Checkpoint2

o Checkpoint3(ThisistheexitexamfortheCertificate.)

o Checkpoint4

o Checkpoint5(ThisistheexitexamfortheLicense.)

Duringtheacademicyear,studentsmayopttotakeaportionofacheckpoint:Checkpoint1Aor1B,

forexample.DuringTheDalcrozeAcademywewouldliketoavoidsplittingtheCheckpointsinto

twoparts,asitcanmakeforcomplicatedexaminationsanddifficultrecordkeeping.Asageneral

rule,youmaynotomitaparticularsegmentofaCheckpoint.Forexample,youmusttakeall4

segmentsofeachSolfègeCheckpoint;youmaynotomittheSightReadingSegmentandtakeitata

laterdate.Ifyouhaveanyquestionsregardingthecontentorproceduresofthecheckpoints,please

contacttheDirectorwellinadvanceoftheCheckpoint.Again,theseCheckpointsshouldbepositive

events.IfyouandtheDirectorhonestlybelievethatyouareready,thenyoushouldhaveno

problemachievingsuccess!

AttheendofthishandbookisalistoftotalrequirementsforCertificationorLicensure,which

shouldaidstudentsincoordinatingandplanningtheirstudies.


6

TimeRequirements

v ThetimerequirementforobtainingCertificationorLicensureisentirelydependentonthestudent’s

abilitiescomingintotheprogramandhis/hercapacitytointegratetheDalcroziancomponentofthe

pedagogyrequiredtoteachthesebranches.IntheDalcrozianphilosophy,allsubjectsmustbe

demonstratedwiththebody,voice,and/orinstrument.Whenrequired,thesesubjectsmustbe

explainedinwriting.Additionallyitisassumedthatstudentswillspendtimebetweensummer

programsstudying,practicing,andworkingtowardstheircredential.Themoreoneparticipatesin

weekendintensivesandvideolessonsthroughouttheyear,themorequicklyhe/shewillmove

throughtheprogram.

v CheckpointobservationswillbeheldattheendofTheDalcrozeAcademyorscheduledprivately

throughouttheyear.Asthestudentmovesthroughtheprogram,wecanworktogethertodecide

whenwemightmeetforadditionallessonsand/orwhenadditionalCheckpointObservationswillbe

made.TheseCheckpointObservationswillbescheduledinadvanceatamutuallyconvenienttime

forthestudentandtheDirector.However,thelastcheckpointofthecredential(Checkpoint3for

theCertificateorCheckpoint5fortheLicense),mustbereviewedbyacommitteeof

Licentiates/Diplômés.ThebenefitoftheCheckpointObservationisthatthestudentswillget

individualfeedbackontheirperformancethroughouttheirstudies,anditwillallowthemtoplan

theirstudyinstages.

Communication

v StudentsshouldrefertotheirscheduletobeawareofthenecessaryrequirementsforCertification

andLicensurefoundinthisdocument.Ifonefollowstheplanclosely,thereshouldbenosurprises

orunfavorableCheckpointObservationexperiences.TheDirectorhaswrittenexamplesofmanyof

theImprovisationandSolfègeCheckpointsegments,sostudentsshouldnothesitatetorequestthis

informationtoaidintheirpersonalpractice.Still,itisimportanttobearinmindthatthe

descriptionsoftheCheckpointrequirementsaremerelytosuggestthetypesofactivitiesthe

studentwillperform.IntheactualCheckpoint,certainelementsmightbealteredorchangedin

ordertomaintaintheimprovisatoryandspontaneousnatureofDalcrozeeducation.Thisiswhyitis


7

importanttomaintainclearcommunicationwiththeDirectoraboutprogressandevaluation.

Often,itcanbeusefultowritedownthequestionsyouhave,orprovidewrittenexamplesofyour

workinordertofacilitateyourprogress.ItistheaimofthisprogramtomaketheDalcrozework

accessibleandatthesametime,servicetheneedsofindividualstudentswithoutsacrificingthe

qualityorbreadththatthiseducationcanoffer.Wewillcommittoworkingwithstudentsuntil

theyhaveachievedtheirgoals,butonlyinasmuchastheyaredemonstratingeffortandprogress

bothinsideandoutsidetheclassroom.

AccreditationbyDalcrozeSocietyofAmerica

v In2017,theDSRbecameanaccreditedDalcrozetrainingschoolbytheDalcrozeSocietyofAmerica.

InaccordancewiththerequirementsimplementedbyDSAaccreditation,theDSRrestructuredits

programstoreflecttheDSAProfessionalDevelopmentCommitteeT2Manual’sminimumstandard.

ThePDCT2ManualcanbefoundontheDSAwebsite(www.dalcrozeusa.org).Studentsarestrongly

encouragedtolookatandstudythismanualindetail.TheDSR’sprogramupholdstheentire

minimumstandardssetforthbytheDSA,plusseveraladditionalstandardsthatthedirectorfeels

areessentialtoaDalcrozeEducation.v ThepreviousversionoftheDSRtrainingprogramusedalettersystemforleveldesignations:A1/A2,

B1/B2,C1/C2,D1/D2,andE1/E2.Thenewprogramnowusesanumbersystem:1A/1B,2A/2B,

3A/3B,4A/4B,and5A/5B.Muchofthepreviousprogramtransferreddirectlytothenewprogram.

However,Checkpoints2and3haveshiftedmaterialaroundabittokeepinlinewithDSA

accreditation.Studentsshouldstudythismaterialcloselytonoticeanychanges.v Studentswhohavetrainedundertheoldprogramupto,butnotincludingCheckpointObservations

fortheprevious“B”levelwillberequiredtoadheretothenewprogram.Studentswhohavetaken

atleast1“B”levelsolfègeorimprovisationCheckpointObservationwillhavetheoptiontokeep

usingthestandardsthatwereinplaceinthe2015studenthandbook.Studentsshoulddiscuss

thesedetailswiththeirinstructorsand/orthedirectortoverifyallexaminationmaterials.

TransferStudents

v AttheDalcrozeSchooloftheRockiesandTheDalcrozeAcademy,wewillhonorworkobtainedat

authorizedDalcrozetrainingcentersintheUS.However,alltransferstudentswillbeassessed

basedontheirskillsinEurhythmics,Solfège,Improvisation,andMethodology.Thismayrequire


8

someadditionalstudysothatstudentsareallatthesamelevelforeachCheckpointwithinthe

program.

v IfstudentshavetakenexaminationsataDSA-accreditedinstitution,TheDalcrozeSchoolofthe

Rockieswillofcoursehonorthoselevelswithoutanexamination.However,thestudentmustadapt

tothestandardsinplaceattheDSR,whichhasadditionalrequirementsforstudyateachlevelof

training.


9

MindMapsoftheDalcrozeSubjects


10


11

Solfè

ge&&

Other&Twen

/eth&Cen

tury&Techn

ique

s&Quartal"Quintal"Harmon

y"Tall[terFan"Harmon

y"Planing"

Aton

al"Techn

ique

s"

Mod

ula/

on&

Neighb

oring"Ke

ys"

Distant"K

eys"

Advanced

"Chrom

aFcism

"

Melod

ic&Sha

pe&and

&Structure&

Repe

FFon

"and

"Develop

men

t"Ph

rases"a

nd"Phrasé"

Cade

nces"

Breath"

Intervals&U

p&an

d&Do

wn&

Compo

und"Intervals"

Melod

ic"and

"Harmon

ic"

Sight&reading&&&Con

duc/ng&&&&&

&&&&&&&&Scale"Degree"Nu

mbe

rs"

""""""""LeO

er"nam

es""

"""""""""

Exercises&from&th

e&Metho

d&&

Book

s&of&Jaq

uesSDa

lcroze&

"""""""""Dichords,"Tricho

rds,"""""""

""""""""""and

"other"Polycho

rds"

Basic

&Vocal&Techn

ique

&Warm[up"Techniqu

es"

Vocal&Improvisa

/on&

""""""Scat"Syllables"

""""""Scale"De

gree"Num

bers"

""""""LeOe

r"Nam

es""

""""""MoF

vic"D

evelop

men

t,""

""""""Re

peFF

on,"and

"Con

trast"

Aspe

cts&o

f&Solfège&Training&&

Listen

ing"

Analyzing"

Hearing"

Singing"

Playing"

Mod

es&

Pentaton

ic"

Who

le[to

ne"

Octaton

ic"

Church"M

odes"

Varie

d&Styles:&

""""""""Classical"Literature"

""""""""Folk"Literature"

""""""""Jazz"L

iterature"

""""""""Pop

ular"Literature"

Triads&and

&Seven

th&Cho

rds&a

nd&th

eir&inversio

ns&

"""""""""""""""Major,"M

inor,"A

ugmen

ted,"Dim

inish

ed"

MM;"M

m;"m

m;"h

alf[d

iminish

ed;"fully[dim

inish

ed"

ResoluFo

n"of"ch

ords"in"descend

ing"fig

hs"and

"third

s"Progressions"

Applied"Ch

ords"

Major&and

&All&Th

ree&Minor&Scales&

C"to"C"sc

ales"

FuncFo

n"via"Scale"De

gree"Num

bers"

Note"nam

es"via"Le

Oer"N

ames"

Corporal&Rep

resenta/

on&of&

Aural&Events&

""""""Moving"the"C"to"C"sc

ales"

""""""Em

bodying"Ha

rmon

y"""""""Em

bodying"Nu

ance"

All&Eurhythmics&M

usical&Goa

ls&


12

Pian

o&Im

provisa

/on&&

Melod

ic&Shap

e&an

d&Structure&

Repe

FFon

,"Con

trast",and"MoF

vic""

""""""De

velopm

ent"

Gestures/M

oFfs"and

"Phrases"

Cade

nces"

Breath"

Right"a

nd"Le

g"Ha

nd"Develop

men

t"Im

provising"from

"Rhythmic"Skeleton

s""""""O

ne"and

"Two"Vo

ices"

Impact"of"M

eter"

Chord&Re

solu/o

ns&

Diaton

ic"and"Ch

romaF

c"ResoluF

ons"

Applied"Ch

ords"and

"the"Ne

apolita

n""

Augm

ented"Sixth"Ch

ords"

Fully[Dim

inish

ed"Seven

th"Cho

rds"

Augm

ented"Triads"

Melod

ic&Ha

rmon

iza/o

n&2"voice

" 3rds","6t

hs","10

ths ""

Developing"Inde

pend

ence""

"""""of"the

"Hands"

Homop

honic/Ch

orale"

Diffe

rent"Styles"to"Inspire

"Movem

ent""

Stud

y&of&La

rgeSScale&Form

&and

&Structure&

Classic

al"Dance"Forms:"Saraband

e,""

"""""G

igue

,"and

"Minue

t,"etc."

Them

e"and"Va

riaFo

ns"

Binary"and

"Ternary"Forms,"Ro

ndos"

Developm

ent&o

f&Kno

wledge&of&

Folk&Son

g&Literature&and

&Interm

ediate&Classica

l&Lite

rature&

&&&&&&&&Spin[off

s"""""""""A

daptaF

on"of"Lite

rature"fo

r""""""

""""""""""""Us

e"in"th

e"Eu

rhythm

ics"Class"

Scale&Ha

rmon

iza/o

ns&in&Three&Voices&

C"to"C"Scale"Harmon

izaFo

ns"

Major"and

"Harmon

ic"Minor"

Harm

onic&Progressions&

Basic

"Fun

cFon

al"Progressio

ns"

Harm

onic"Rh

ythm

"Ba

ch"Cho

rales""

Figured"Ba

ss"

TransposiFon

"Mod

ulaF

ons""

""""""Ne

ighb

oring"Ke

ys"

""""""No

n[Ne

ighb

oring"Ke

ys"

""""""Distant"K

eys"v

ia"Enh

armon

ic"use"of:""

"""Ne

apolita

n,"Augmen

ted"Triads,""

"""Au

gmen

ted"Sixth"Ch

ords,"and

"""""Fully[Dim

inish

ed"7

th"Cho

rds"

Sequ

ences"

Diaton

ic"and"Mod

ulaF

ng""

Improvisa

/on&for&E

urhythmics

&Exercise

s&Ba

sic"Lo

comotor"Skills:"W

alk"(Tip[to

e,"Normal,"and

"Heavy),""

""""""""Slide,"Skip/Ga

llop,"Trot/Jog,"Run

ning""

Accompanimen

t"PaO

erns"fo

r"Right"and

"Leg"Ha

nds"

Expressio

n"Elem

ents"

Twen

/eth&Cen

tury&Techn

ique

s&Quartal"Quintal""

Planing"

Mod

es" Pe

ntaton

ic"Who

le[to

ne"

Octatonic"

Church"M

odes"

Cluster"C

hords"

Aton

al"

Melod

ic&Co

mpo

si/on

&"""""""""Prosod

y"

Percussio

n&Im

provisa

/on&

All&Eurhythmics

&Sub

jects&

Varie

d&Styles:""Classic

al,"Jazz,""

""""""""""""Blue

s,"Po

p,"etc.."

""""Playing"fo

r"Storie

s"""""Playing"fo

r"Images"

""""Due

t"and

"Group

"Improvisa

Fon"


13

Build

ing&Yo

ur&Persona

l&Dalcroze&Library&

""""""Assig

ned"Re

ading"from

"Req

uired"Texts"

"""""""""""M

etho

ds"

"""""""""""M

usic"Literature"

"""""""""""Ped

agogy"Literature"

How&to

&Create&a&Spectacle&

At"th

e"En

d"of"a"Sem

ester"

For"a

"short[term"su

mmer[

camp"

Sets"and

"Costumes"

"""""""""""""LighFn

g"

"""Lesson

&Structure&and

&Com

posi/

on&

Sequ

encing"and

"Develop

men

t"of"Lesson"Subjects"

Clear"D

irecFon

s"with

"Spe

cific"M

usical/M

ovem

ent"G

oals"

IncorporaF

ng"Variety"

Diffe

rent"Le

arning"Styles"

Use"of"Recorde

d"Music"

Mod

ifying"Re

cordings"of"C

lassical"Rep

ertoire

"Us

e"of"Other"Instrumen

ts"th

an"Piano

"or"V

oice"

Use"of"M

aterials"

Use"of"Story[te

lling"and

"Drama"

Use"of"Folk"and"Classic

al"Literature"

How"to

"Create"Eff

ecFve"Ha

ndou

ts"

Maintaining"Flexibility"

Curriculum

"Develop

men

t"

Busin

ess&A

spects&

How"to

"Start"a"Program

"What"to"Look"fo

r"in"a"Go

od"Studio"

Space"

Developing"Studio"Po

licies"

Necessary"Materials"for"start"up"

How"to

"Grow"You

r"Program

"Inform

ing"Parents,"MoF

vaFn

g"Ch

ildren"

How"to

"AdverFse"in"Prin

t"Ho

w"to

"Promote"Yo

urself"in"Person"

How"to

"Network"

Dalcrozia

n&Ph

ilosoph

ical&Goa

ls&The"Bo

dy"is"th

e"Instrumen

t"Discovery[based,"ExperienF

al"Le

arning"

Joyful;"the

"Spirit"of"P

lay"

Use"of"Tim

e[Space[En

ergy"

Use"of"Im

aginaF

on/Im

provisa

Fon"

Socially"InteracFve"

Music"is"th

e"SF

mulator,""MoF

vator,"and""

"""""""""Re

gulator"

Theo

ry"Follows"P

racFce"

Use"of"Dalcrozian"Ap

proaches"

Lesson

&Plan&

Analysis&&

Useful"Note"Taking"

How&to

&Teach&Son

g&Literature&

""""""What"m

akes"a"so

ng"age[app

ropriate"or"n

ot?"

"""""""Differen

t"Dalcrozian"techniqu

es"fo

r"teaching""

""""""""""""""and

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ng"literature"

Classroo

m&M

anagem

ent&

""""""De

aling"with

"Beh

avioral"Issue

s"""""""Ch

ildren"with

"Spe

cial"Needs"

""""""Parent"Edu

caFo

n"""""""Ho

w"to

"Watch"and

"Assess"S

tude

nts"

""""""Ho

w"to

"Offe

r"Con

strucFve"CriF

cism

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w"to

"Set"Up"Self[Co

rrecFn

g"AcFviFes"

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ds&&&

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gogy&

Movem

ent&T

echn

ique

&an

d&Pe

dagogy&

" " " Dalcrozia

n&Ap

proa

ches&

Quick"ReacFon

s"(Ve

rbal,"

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isual)"

AssociaF

ons/DissociaFo

ns"

InhibiFo

ns/In

citaFo

ns"

Cano

ns"

Follows"

System

izaFo

n/Ph

rase"

Time[Space[En

ergy:"

""""Orie

ntaF

on"of"the

"Space"

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Fon"

PlasFq

ue"Animée"

Social"InteracFon

/Group

"Exercises""

" """""""


14

ProgramOutlinesbyCheckpointEvaluations


15

EurhythmicsSchedulepage1

CheckpointObservationswithproposedsubjectsforthegivenunitofstudy.

Follows(ReactionsofChangingExpressionand

Nuances)Conductthemeasureusingarmbeats;maintainsteppingarhythmicpatternwhilemakingadjustmentsbasedon

changesinnuancecomingfromthepianoorothermusic.

Canons

CheckpointObservation1A:Beat;Division;Multiple;SimpleTimeinmetersof2,3,and4;ComplementaryRhythm

CheckpointObservation1B:

Beat;Division;MultipleCompoundTimeinmetersof2,3,and4;ComplementaryRhythm

Stepacrusicrhythmicpatternfromthefollowinglist:q iq jjjq h h. w and q. e .

Stepbasicpatternsfromtherhythmstotheleftincanonwiththepiano(withonebeatoronemeasuredelay)andconductthemeasureusingarmbeats.

Stepacrusicrhythmicpatternfromthe

followinglist:q. q e eq iiq ea. asez andh. .

Stepbasicpatternsfromtherhythmstotheleftincanonwiththepiano(withonebeatoronemeasuredelay)andconductthemeasureusingarmbeats.

CheckpointObservation2A:Phrase;Anacrusis,Crusis,Metacrusis;MeasureShape;Breath

CheckpointObservation2B:AugmentationandDiminution;Silences;Syncopation

Moveorstepagivenanacrusicphrase

(e iq�|iq q q. e |h ).Usingthematerialfromthepreviousexams,stepacanonthatcontainschanginganacrusicelementswhileconductingarmbeats.

Moveorstepagivensyncopationpattern(q eq e q).

Steporclapaninterruptedcanonat1measurewhileconductingarmbeatsin4.Ifthemelodygoesup,stepthepatterntwiceasfast,fourtimes.Ifthemelodygoesdown,stepthepatterntwiceasslow,onetime.Ifthemelodystaysthesame,stepthesamerhythm(thetheme),exactlyasplayed.

CheckpointObservation3AandExitExamfortheCertificate:

ChangingMeter;Divisionsof12eighths

Moveorstepaphraseofmeasuresthatchangesmeters:beatequalsbeat(q=q.):|iiq q e |iq q |ordivisionequalsdivision(e=e): |iqiq |q. eq |jjjq iqh |.

Steporclapapatterncanonthatcorrespondstothe4beatdivisionsof12eighths.


16


CheckpointObservations

Phrase;SystemizationofaRhythmicPattern

DissociationandAssociation;InhibitionandIncitation

Improvisation;PlastiqueAnimée;GroupExercises

CheckpointObservation1A:CheckpointObservation1B:

Useoneoftherhythmicpatternsusedinthefollowandsystematicallyworkitthrougheachbeatof3or4timeinacoherentphrase.

Stepthevalueofeachmeasureandwhileyouclapthebeats;changehandsandfeet.Or,dothesamebutwiththebeatsasthecomplementtothemeasure.

Withapartnerorgroupandanymaterialoryourchoice,creativelydemonstrate3differentsimplemetersusinggesturesorimagesthatcomefromanamusementpark.

Useoneoftherhythmicpatternsusedinthefollowandsystematicallyworkitthrougheachbeatof3or4timeinacoherentphrase.

Thepianoplaysq. andyousteph. ;thepianoplaysq eandyoustepeq;thepianoplaysiiq

andyoustepea. asez ;alsothecontraryforeach(Ifthepianoplaysh. youstepq.etc.).Usearmbeatstoshowthemeasure.

Withapartnerorgroupandanymaterialoryourchoice,creativelydemonstrate3differentcompoundmetersusinggesturesorimagesthatcomefromthesea.


Moveusingarmbeatswithsystematicallyadditiveorsubtractiveanacrusicgesturesin3or4time:e|e , ee|e , eee|e�etc.

Followthepianoasitplaysphrasesthatchangeinlength/duration.SteponlythepulsesoftheAnacrusis;claptheCrusis;gesturethepulsesoftheMetacrusis.

Improviseaseriesofmovementsthatdemonstratesyourknowledgeofthe8Labaneffortactiondrives.

Stepasystemizationinaugmentation/diminutionofagivenmotifwhileconductingarmbeats:|iq q iq q ||jiq jiq jiq jiq| |iq q iq q ||q q h �|

1. Clapeq ewhilesteppingq,iq,orjjjq.Changehandsandfeet.

2. Walkandclapaseriesof8eighthnotes;theteacherwillcallouttwonumbersbetween1and8.Thehandsmustrestonthosenumbers.Dothesamethingbutforthefeet.

FolkDanceI.Createandteachashortfolkdancewithcontrastingsectionsthatcorrespondstoaballade,folksong,orpieceofclassicalliterature.PresentyourFolkDanceinclass.Provideawrittenaccountofthemusical/movementgoals,howthedancewouldbeimplemented,andanyDalcrozianconceptsused.

CheckpointObservation3AandExitExamfortheCertificate:

Stepthesuiteof4beatvalues(h. , h , q. , q )associatedwiththe12eighthsandclapthecomplementarydivisions.Changehandsandfeetattheendofthephraseorattheendofeachgrouping.

Step|qqq |h. | whiletossingaballintheairfor|h.|andcatchingitforthefollowing|h. |.AtHIPtakeawayabeatfromboth(feetwillstep |qq|h |, andballwilldo|h |h|).AtHOPaddabeattoboth(feetwillstep|qqqq |w |,andballwilldo|w |w |).

BeginworkonaPlastiqueAniméesoloorgroupbasedonliteratureofthedirector’schoice(short:2-3minutes).


17


CheckpointObservation Follows(ReactionsofChangingExpressionand

Nuances)Conductthemeasureusingarmbeats;

maintainsteppingarhythmicpatternwhilemakingadjustmentsbasedonchangesinnuancecomingfromthepianoorother

music.

Canons

CheckpointObservation3BandExitExamfortheCertificate:

Form;CompositeMeter

Stepameasureof3or4timewithvariousrhythmsthatusesunequalbeats:|iiq iq q|.

Stepacanoninameterof5whileconductingarmbeatsin5.

CheckpointObservation4A:MetricTransformation;SimplePolyphony;SuperimpositionoftheAugmentationandDiminutionofasinglemotif

CheckpointObservation4B:PolyrhythmsandPolymetrics

Stepagivenpatterninsimpletriplemeterandtransformitintocompoundduple

meter:|ea. ase iq q |turnsinto |ea. asez e q |.

Stepacanonthatemployselementsofmetrictransformationwhileconductingthecorrespondingarmbeats.

Stepthecompositerhythmsfor3against4:|q. e q q eq |or3against5: |q. q e q. eq q. |.

Stepanostinatoindivisionsof3,4,or5whileclappingaonebeatcanonthatemploysbeats,duplets,triplets,quadruplets,orquintuplets.

CheckpointObservation5AandExitExamfortheLicense:

PolyphonyContinued

CheckpointObservation5BandExitExamfortheLicense:

MetricModulation;Canonsin2and3voices

Stepagivenpatternwhileclappinganother:|e q e | inthefeetand |q iq|inthehands.

Stepagivenostinatoin2timewhileclappingacanonatthemeasure.

Tobeannouncedattheexam. Improviseamelodywiththevoice;stepincanonatthemeasureinsimpleandcompoundmetersusingbasicrhythmpatterns.


18


Phrase;SystemizationofaRhythmicPattern

DissociationandAssociation;InhibitionandIncitation

Improvisation;PlastiqueAnimée;GroupExercises

CheckpointObservation3BandExitExamfortheCertificate:

Usingvisualstimulus(gestures/designs/artwork)asinspiration,createanantecedent/consequentphraseinmovementthatdemonstratesthevisualstimulus.Throughthecourseofthephrase,youmustdemonstrateasenseofmotifandrepetition.

Usingatriplecompositemeter,stepthebeatsandclapthecomplementarydivisions.AtCHANGE,alternatehandsandfeet.

PresentationofaPlastiqueAniméesoloorgroupprojectbasedonliteratureoftheteacher’schoice.Presentationwillincludeashortpaper(5-7pages,double-spaced)thatdescribestheprocessandfinaloutcomeofthePlastiqueAnimée


Takeagivenrhythmicpatternandcreateaphraseofpolyrhythmsfromitsvariousformsderivingfromtheactualmotif,themotifinaugmentation,andthemotifindiminution.

Stepbasicpatternsinsimpletriplemeterwhilebouncingaballinthesamemeter.Changehandsandfeet(Inventwaysofshowingtherhythmicpatternwiththeball.)Changemetersfromsimpletripletocompoundduple.

BeginworkingonaPlastiqueAniméesoloprojectbasedonliteratureofthestudent’schoice.(short:2-3minutes)

Stepanostinatoindivisionsof3,4,or5whileyouclapandsingthefollowingrhythmicphrase:q iq

epzz jjjq jjjq epzz iq q Improviseamelodythatusesclearphraseperiodstructurewhilemoving/singing/clappingthepolyrhythm.

Clapthebeat.Ifthepianoplaysindivisionsof2,stepindivisionsof3.Ifthepianoplaysindivisionsof3,step4.Ifthepianoplaysindivisionsof4step5.Changehandsandfeet.

PlastiqueAniméesolobasedonliteratureofstudent’schoice(short:2-3minutes).Presentationwillincludeabriefpaper(2-3pages,double-spaced)thatdescribestheprocessandfinaloutcomeofthePlastiqueAnimée.

CheckpointObservation5AandExitExamfortheLicense:

CheckpointObservation5BandExitExamfortheLicense:

Feetstepdivisions,handsclapbeats,andvoiceimprovisesamelodyonthemultiple.Every8beats,CHANGE:Feetstepthemultiple,handsclapdivisions,andvoiceimprovisesonthebeats.Then,feetstepthebeats,handsclapthemultiple,andvoiceimprovisesthedivisions.

Stepanostinatoin2timewhileclappingafourmeasurephrasewithvaryingrhythms.Changehandsandfeet.

FinalPlastiqueAniméeProject:chooseamoresubstantialwork(atleast3-4minutes)andbegincreatingaPlastiquefromit.

Performaseriesofmetricmodulations,steppingthebeatandclappingthecomplement.Gofromslowtomediumtofastandthenreturn.

Canonsatthemeasure.Prepare3simplecanonstoperformin3voiceswiththebody:voice,hands,andfeet.Examplesinclude:Scotland’sBurning,FrèreJacques,Row,Row,RowYourBoat,etc…

PresentationofthefinalPlastique.Presentationwillincludeashortpaper(5-7pages,double-spaced)thatdescribestheprocessandfinaloutcomeofthePlastiqueAnimée.


19


NotesonEurhythmicsSchedule:v Inallcases,themajorityoftheEurhythmicsworkwillculminatefromawidevarietyofcomposedmusical

examples.Inthisway,theconnectionbetweenSolfège,Eurhythmics,andImprovisationwillbemadeconcreteandapplicabletomusicandcorporalstudies.

v Ingeneral,whateversubjectispresentedforaCheckpointObservation,thestudentmustbeateasewith

thesubjectmaterialatthetimeofevaluation.Perfectionisnottheobjective,butconvictionandcomfortablefacilityisvital.

v Studentsmustdemonstrateapurposefulandimaginativeuseofthespacewhileperformingtheexercises.

Studentsmusttakecaretoavoidmovingincirclesoroverlyrepetitivepatterns.Atthesametime,studentsmustbeawareofothersmovinginthespaceaswell,notonlywiththeireyesandears,buttheirnon-verbalcommunication.

v Studentsmustshowthedynamicrelationshipamongtime,space,andenergy.Nuances,tempi,and

dynamics,aswellasrhythmicprecisionandaccuracymustbevisuallyrepresentedinthebody.Additionally,thesubjectofflowmustalsobeaddressedand/ordemonstrated.Inthisaspect,thestudentmustdemonstrateacontinuityandunityoftherhythmthroughthebodythatcorrespondstothemusic.Forexample,whenmovingslowmusicwegenerallyaskthestudentsdemonstratethelengthofthenoteswiththeirentirebodies:atoeglideinthepassivefoot,elongatedgestureswiththearms,andageneralforwarddirectionfromthebody’score.

v Apurposefulandadroituseofweightiscritical.Ingeneral,studentsshouldmovewiththeweightoftheir

bodiesontheforwardpartoftheirfeetsothatthefirstpointofcontactwiththefloorareballsofthefeetorthemid-step.WhilethemovementtechniquesoftheDalcrozeclassroomdonotrequirestudentstomoveenpointe,walkingwithaheel-toestepcanoftenberhythmicallyproblematicandcanalsoresultininjury.However,incertainmusicalcircumstances,thesteppingtechniquemightbemodified:forexample,certainexpressivegesturesand/orextremelyslowmusicmightrequiretheheelstomakecontactwiththegroundfirst.Wewillexploremanydifferentwaysofwalkingandrunning,alongwiththetechniquerequiredtoexecuteeachoneandtransitionfromonetypeofmovementtoanotherintheEurhythmicsclassroom.Naturallythesedifferentwaysofmovingwillcorresponddirectlytodifferenttypesandstylesofmusic.

v Armbeatswillbeusedinplaceofconductinggestures,unlessthemusicistoorapid.Thegesturesshouldbe

large,graceful,andexpressivewiththearmsstretchedfullyattheapexofeachbeat.ThefistsshouldbeclosedatthedebutofeachCrusis.Thespecificsofthesetechniqueswillbediscussedintheclasses.


20

EurhythmicsSchedulepage6v Theskip,thegallop/chassé,andtheleapareusedatdifferenttimesfordifferenttypesofmusicalgestures.

Hereisashortlistoftypicaluses.Ineachcase,theenergyofthebodyshoulddemonstratetheenergyoftherhythms.Thisincludespointedtoes(toinitiatelift),swingingarms,clearsenseofdirectionwithrespecttoenergyandflow.

o TheGallop/Chasséisaternarygesturethat,indirectcontrasttotheskip,istraditionallyviewedas

anacrusicandstemsfromarun.Themusicalinformationthatwilldifferentiatethisgesturefromtheskipwillbediscussedindetail,butingeneralitsanacrusicnaturemakesitdistinctive.Inthisstep,themoverleavesthefloorwithonefootandlandswiththeother.Thepatternisthesamenomatterwhat;themoveralwaystakesoffwiththesamefoot.Forexample,it’salwaysright,left,right,left,etc.

o Theskipcanbeusedinbinaryorternarybeats.Regardless,itconsistsofastep-hopgestureoneach

footandisacrusicgesturethatstemsfromawalk.Thefeetconstantlyalternateleavingandlanding,sonosideofthebodyisdominant.

§ Ternaryskipsarethemostnatural(ep r);mostAmericansskipinaternaryfashion.The

gestureshouldlookeasy,andformosttempi,thebodyshouldtakeoffandbeintheairforthelongnoteanditshouldlandonthegroundforthedurationoftheshortnote.Therearemanywaystoperformtheskip.Inslowtempi,itispossibletokeepcontactwiththefloorforthelongnote,andprovideaquickhopdirectlybeforetheshortnote.Still,thepatternremainsastep-hop,step-hoponeachfoot:right,right,left,left,right,right,left,left.

§ Thebinaryversionsaremorestylized(ea. ase).Thesebinaryskipscanbeperformedwithmost

oftheweightonthegroundforthemajorityofthelongnotefollowedbyaquickhopintheairbeforetheshortnote,oritcanbeperformedwithalargeleapintheairforthelongnoteandaquicksteponthegroundfortheshortnote.Regardless,thepatternremainsthesame:right,right,left,left,right,right,left,left.

o Theleaphappensinmanycases(includingbothbinaryandternarybeats),andissimilartothe

Gallop/Chasséinthatthemoverleavesthefloorwithonefootandlandswiththeother.However,thisgesturetendstobemoreofliftingmovementthantheGallop/Chasséandcanbefoundonthe

longnoteofthefollowingrhythmsatfasttempi:eseae, eaaa aese, eaaas aea x .Otherexamplesexist,butthisisa

goodbasisformakingjudgmentsinthefuture.Whenmusicallyappropriate,thebodyshoulddemonstratetheenergeticnatureofthelongnotewithpointedtoes(toinitiateliftandabsorbshockuponlanding),straightlegs,amplitudeinlegseparation,anduseofthearmstoaidinflowandbuoyance.

v Finally,inadditiontotheabovelocomotorskills,othermovementsandgesturesinvolvingdifferent

partsofthebodywillbeexploredalongwiththeappropriatetechniquesrequiredtoexecutethese


21

gestureswithefficacyandmusicality.Forexample,variouswaysofconductingwillbeexplored(largearmbeats,justforearms,justwrists,orjustfingers),distinctivewaysofclappingwillbeexamined(indifferentshapesorwithdifferentsonorities),orthediversetechniquestoaddressbreathinginrelationshiptomusicandmovementwillbeinvestigatedinordertodemonstratethemusicinasmanywayspossible.


22

EvaluationFormforEurhythmicsCheckpointObservationsand/orExitExaminationsName:____________________EurhythmicsLevel:____

5=Outstanding;4=Good;3=Fair;2=NeedsImprovement;1=Failv (Seesection3.1ofT2program,formoredetails.)

SuggestedElementsForEvaluation

Comments Score

FOLLOW

Time:MovementQuality/Precision

Space:Energy:Musicality/AdaptationtoChangesinNuanceSuggestionsforFuturePractice

CANON

Time:MovementQuality/Precision(ArmBeatQuality&Precision,ifApplicable)

Space:

Energy:Musicality/AdaptationtoChangesinNuanceSuggestionsforFuturePractice

SYSTEMIZATIONOR

PREPAREDACTIVITY


Space:



23

5=Outstanding;4=Good;3=Fair;2=NeedsImprovement;1=Fail

SuggestedElementsForEvaluation

Comments Score

ASSOCIATION&

DISSOCIATION


Space:


TotalScore:__________Astudentmustscorea15ormoretopasstheentireexam.Ifastudentearnsa2or1onanysectionoftheexam,thenthejuryreservestherighttorequirethatthestudentretakethatportionoftheexamatalaterdatebeforethestudentreceivesapassfortheentireexam.

Pass_____Redo_____�Examiner’sSignature__________________________________________Date______________


24

SolfègeSchedulepage1


Scales:Studentswillbeexpectedtosing,analyze,hear,write,and

improviseusingthefollowingscaletypesusingpitch

namesandfunction

identification.

Intervals/Polychords:Basedonthe3volumeSolfègetextsofDalcroze,studentswilluseDalcroze’stechniquestounderstandanddemonstrateintervals

harmonicallyandmelodically.

Harmony:Studentswillsing,analyze,hear,write

andimproviseusingthefollowingchordsusingpitchnamesandfunction

identificationinmajorandminorkeysthrough3accidentals.

ImprovisationAndMelody:

Studentswillimproviseusingthevoice,body,and/oran

instrument.Studentswillsightsinganddictatemelodiesusing

numbersandletters.

CheckpointObservation1ACheckpointObservation1B

MajorCtoCscalesthrough3sharpsand3flatswithnotenamesandnumbers

MajorandMinorDichordsandtheircorrespondingintervals

Triadssung/identifiedinrootpositionasarpeggioswithinaMajororMinorscale:Major,Minor,diminishedandaugmented

1. Phrase:QuestionandAnswer

2. Simplemetersof2,3,and4


Trichordsandtheircorrespondingintervals(Majorkeysonly:noAug.2nds)

1. ChordSambawithhandanalysisgestures.

2. FirstandsecondinversiontriadssingandidentifiedasarpeggiosinMajorandMinor.

1. Phrase:QuestionandAnswer

2. Compoundmetersof2,3,and4


MinorCtoCscalesthrough3sharpsand3flatswithnotenamesandnumbers

Tetrachordsandtheircorrespondingintervals(Majorkeysonly:noAug.2nds)

1. Sequencesofdescending5thsusingtriadsinvariousinversionpatterns.

2. Dictation

1. Singingfromarhythmicskeleton;phrasé


Pentachordsandtheircorrespondingintervals.(Majorkeysonly:noAug.2nds)

1. DominantSeventhChordsinallinversionstotonic.

2. Dictation

1. Repetition,Contrast,andMotivicDevelopmentthroughRhythmicSkeletons

CheckpointObservation3AandExitExamfortheCertificate

Whole-tone,Chromatic,andPentatonicScales(allstartingfromC)

DichordsthroughPentachordsandtheircorrespondingintervals(Minorkeysthrough3sharps/flats:includingAug.2nds)

1. Sequencesofdescending5thsusingseventhchordsinvariousinversionsstartingonanydiatonicseventhchord.

2. Appliedchordsandtheirresolutionstotonicviadescending5ths:V7/V,V7/IV,V7/iv,V7/vi,andV7/III

1. ContinuedworkwithRepetition,Contrast,andMotivicDevelopmentthroughRhythmicSkeletons


25



Scales Intervals/Polychords Harmony ImprovisationAndMelody

CheckpointObservation3BandExitExamfortheCertificate

ModulatingCtoCScalestoneighboringtonalitiesthrough3sharpsorflats

DichordsthroughPentachordsandtheircorrespondingintervals(Minorkeysthrough7sharps/flats:includingAug.2nds)

1. Dictation ABAforms:ModulationstotheDominant,Sub-Dominant,andrelativemajor/minor


MoreModulatingCtoCScalesinsequencesofdescendingandascending5ths

Heptachordsandtheircorrespondingintervals/arpeggios(Majorkeysonly:noAug.2nds…MM,Mm,dimmin)

1. TheNeapolitan2. Otherapplied

chords3. Dictation

1. Modulationstootherneighboringkeys.

2. Rhythmicskeletonsinunequalbeats:measuresof5,7,and8

ModulatingCtoCScalestodistanttonalitieswithin3accidentalsapart

Heptachordsandtheircorrespondingintervals/arpeggios(Minorkeys:includingAug.2nds…MM,Mm,dimmin,dimdim,mM,augM)

1. AllvarietiesofAugmented6thchordsandtheirresolutions.

2. Dictation

1. Mixture2. Seriesof

ModulationsinRondoform(ABACA)

CheckpointObservation5AandExitExamfortheLicenseCheckpointObservation5BandExitExamfortheLicense

MoreModulatingCtoCScalestodistanttonalitiesgreaterthan3accidentalsapart

Hexachordsandtheircorrespondingintervals/arpeggios(Majorkeysonly:noAug.2nds…MM,Mm,dimmin)

1. Fully-Diminishedseventhchordsandtheirresolutionswithinagivenkey.

2. Dictation

1. Polyrhythms:improviseonevoiceandclaptheother

2. MedialModulationsandChromaticMedialModulations

Octatonicscalesandotherexoticscales

Hexachordsasinvertedseventhchordsandtheircorrespondingintervals/arpeggios(Minorkeys:includingAug.2nds…MM,Mm,dimmin,dimdim,mM,augM)

1. ContinuedworkFully-Diminishedseventhchordsandtheirresolutionsasmodulations

2. Dictation

1. Polyrhythms:improviseonevoiceandclaptheother

2. MoreModulationstodistantlyrelatedkeys


26


NotesonSolfègeSchedule:v Inallcases,themajorityofSolfègeexampleswillbederivedfromawidevarietyofcomposedmusic;

howeverthewaysinwhichwewillexploretheseexampleswillincorporateDalcrozianpedagogicaltechniques.ThesetechniqueswillbesimilartothosefoundintheEurhythmicsandImprovisationclassroom.Inthisway,theconnectionbetweenSolfège,Eurhythmics,andImprovisationwillbemadeconcreteandapplicabletomusicandcorporalstudies.

v Inadditiontothecolumnheadings,studentswillstudyfolkliterature,popularliterature,andclassicalliteraturepluscanons,duets,andotherformsofsing/play(atthepiano)experiencesthroughouttheirDalcrozework.Eachcheckpointwillincludesomesortofsight-readingexampletobeperformedusingpitchnamesandfunctionidentificationwhileconducting.StudentsshouldconsidertheOttmanMusicForSightSinging1textasasuggestedguidetoappropriateliteratureforsight-reading(TrebleandBassclefsonly).

o Checkpoint1:MajorMelodies60-170o Checkpoint2:MinorMelodies171-450o Checkpoint3:AllMelodies451-717o Checkpoint4:AllMelodies717-899o Checkpoint5:AllMelodies925-1199

v Ingeneral,whateversubjectispresentedforaCheckpointObservation,thestudentmustbeatease

withthesubjectmaterialatthetimeofevaluation.Perfectionisnottheobjective,butconvictionandcomfortablefacilityisvital.

v Clearphrase-periodstructureisnecessaryforallimprovisedexercises.

v Goodintonationandvocalmodelingisrequiredaswell.Widevibrato,pushedsinging/belting,and/orvocaltechniquesthatarenotconduciveforteachingchildrenarenotencouraged.

v Asageneralpolicy,theCtoCscales(alsoknownastheDotoDoscales)willbesungusingletternamesandnumbers.ThoughwewillnotusetheFrenchSolfègesyllables(fixed-Do)fornotenamesormoveable-Dosyllableswhendemonstratingfunction(Do-basedminororLa-basedminor)inclass,studentsarewelcometousethesesystemsattheCheckpointObservationsprovidedthattheydemonstratebothpitchnamesandfunctionidentification.

v Formostexercises,studentsshouldbepreparedtosingusingnumbersfirstandthenletternames

second.Inthiswaytherelationshipbetweenfunctionandpitchisalwaysclear.Studentsarenotrequiredtosing“sharp”or“flat”whenimprovisingorsightsingingasthiscaninterferewiththemusicalflow.

1Ottman,Robert.MusicforSightSinging,6thed.(UpperSaddleRiver,NJ:PearsonPrenticeHall,2006).


27


Examples

Foreachcolumnheading,manyoftheexerciseswillbederivedusingcorporal,experiential,anddiscovery-basedmethodsthatinspireaspiritofplayandcreativity.TheDalcrozeapproachtoSolfègeaimstodevelopakeensenseofinternallistening,facilitaterapidcommunicationamongtheear,eye,andvoice,andaboveall,informexpressivemusicianship.Theexamplesthatfollowheregivesomeinsightastothenatureoftheexercisesandexamquestions,buttheydonotconstituteacomprehensivelistofpossibilities.

1. Scalesa. FortheCtoCscales,studentswillbeexpectedtosingorhearthescalesinavarietyofways.

i. GivenaC,thestudentsmustsingthespecifiedscaleupanddownii. GivenaDominantwithContop,thestudentsmustsingtheimpliedscaleupanddowniii. GivenatrichordorotherpolychordbasedonC,thestudentsmustsingtheimplied

scalesupanddowniv. TheteacherplaysaCtoCscale,andthestudentsmustlabelthescaleaccordinglyv. TheteacherplaysaCtoCscaleupinagivenrhythm,andthestudentsmustsingthe

samerhythmgoingdownwhileclappingforeachsharporflatsunginthegivenkeyb. Forthepentatonic,octatonic,andwhole-tonescales,studentsmustbeabletosingthescalesin

avarietyofpositionsandinversions.c. WhenmovingtheCtoCscalesinmajorandminor,thefollowingrhythmswillbeassignedto

eachscaledegree,andwillgenerallybedoneinameterof3.SeetheDirectorforspecificexamples.

i. Tonic:iq (performedasaTip-ToeorTrotting)

ii. Super-Tonic: q

iii. Mediant: epzz (performedasaGliding-And)

iv. Sub-Dominant: q

v. Dominant:ep r (performedasaSkip-And)

vi. Sub-Mediant: q

vii. Leading-Tone: ijq (performedasaLeap-Running)


28

SolfègeSchedulepage52. Intervals

a. UsingDalcroze’s3volumesofLesGammesetLesTonalités,LesPhrasésetLesNuances,studentsmustbeabletosingandanalyzePolychordsandtheircorrespondingintervalsinavarietyofcontexts.Thesewillrelatetodifferentmannersof‘fillingin’intervalsusingarpeggiosofdifferentinversionsandfunctions.Inaddition,itwillrelatetothestudent’sunderstandingofmelodicshapeandstructure.

i. Fromthesamenote,thestudentmustsingallofthevarioustrichordespècesupanddownalongwiththeircorrespondingthirds

ii. Astudentmightberequiredtoimproviseadialoguewithanotherstudentusingonlytetrachordsthatfunctioninagivenkeyandmaintaingoodphrase-periodstructure

iii. Forexample,astudentmustsingahexachordthatoutlinesaminor-minorseventhchordinsecondinversionasaIIchordinonetonality,butthensingitagainasaIIIchordinadifferenttonality,andthensingitasaVIchordinadifferenttonality

3. Harmonya. Inregardstoharmony,studentswillberequiredtosingchordsasarpeggiosupanddown

melodicallyaswellashearthemharmonically.Themajorityofthefocuswillbeonchordfunctionandplacementinamusicalphraseorline,butsometimeschordswillbestudied,heard,and/orsunginisolation.

i. Fromthesamenote,thestudentmustsingadiminishedtriadgoingupordown,followedbyaminortriadupordown,followedbyamajortriadgoingupordownfollowedbyanaugmentedtriadgoingupordown

ii. Fromagivennote,thestudentmustsingaparticularchordandplaceitincontextofatonalitywhileimprovisinganantecedentorconsequentphrase;forexample,thestudentmustsingaSuperTonicchordupfromthenote‘D’,andfinishthephraseendingonscaledegree5(theDominant)

iii. Theteacherplaysaparticularseventhchordinaninversion;usingasequenceoffallingfifths,thestudentmustimprovisearpeggiosofseventhchordsjustuntilresolutiontothetonic(forexample,theteacherplaysaIII7andthestudentmustsingarpeggiosofseventhchordsuntilhearrivingatthetonic:III7-VI4/3-II7-V4/3-I)

iv. Theteacherplayschordsinaprogression.Thestudentsmustshowthechordrootandinversionwithhandsignals.

1. Thenumberoffingersoutstretchedequalsthenumberofthechord’sroot.a. Triadsshowstraightfingers.b. Seventhchordsshowthefingersgentlycurved.

2. Ifthehand(s)ispositionedupright,thenthechordisinrootposition.3. Ifthehand(s)ispositionedsideways,thenthechordisinfirstinversion.4. Ifthehand(s)ispositionedupsidedown,thenthechordisinsecondinversion.5. Ifthehand(s)ispositionedhorizontallypointingdirectlytowardoneself,then

thechordisinthirdinversion.


29


4. MelodyandImprovisationa. Studentswillbeexpectedtolearnhowtoconstructphrasesofvaryinglengthsusing

compositionaltechniquesfromthecommonpracticeperiodandcontemporarymusic.Aswithallexamplespresentedthusfar,studentsshouldbepreparedtosingusingletternamesandscaledegreenumbers,especiallyinthelaterCheckpoints:C,D,andE.

i. Givenaparticularrhythm,thestudentmustimproviseaperiodofphrasesthatclearlydemonstratesantecedentandconsequentrelationships

ii. Givenaparticularrhythm,thestudentmustimproviseaperiodofphrasesthatdemonstrateselongationortruncationofthephraserelationships(irregularphraselengths)

iii. Givenaparticularmelodicand/orrhythmicmotif,thestudentmustimproviseaperiodofphrasesthatshowcasesthedevelopmentofthemotifthroughtransposition,repetition,andcontrast

iv. Givenasuiteofkeyrelationships,thestudentmustimproviseaseriesofphrasesthatdemonstratesantecedentconsequentrelationshipswhilemodulatingfromkeytokey


30

EvaluationFormforDSRSolfègeCheckpointObservationsand/orExitExaminationsName:______________________SolfègeLevel:_____


(Seesection3.1ofT2programformoredetails.)

SuggestedGuidelinesForEvaluation

Comments Score

SCALES

Embodiment,Gesture,&/orConducting

SingingAccuracy,Intonation,&/orVocalQualityMusicality&AdaptationtoChangesinNuance/EnergySuggestionsforFuturePractice

POLYCHORDS



HARMONY


SingingAccuracy,Intonation,&/orVocalQualityMusicality&AdaptationtoChangesinNuance/EnergyRecognition&IdentificationSuggestionsforFuturePractice


31

5=Outstanding;4=Good;3=Fair;2=NeedsImprovement;1=Fail SuggestedGuidelines

ForEvaluationComments Score

MELODY&

IMPROVISATION


SingingAccuracy,Intonation,&/orVocalQualityMusicality&AdaptationtoChangesinNuance/EnergyClarityofFormandStructureSuggestionsforFuturePractice

SIGHT

READING



TotalScore:__________Astudentmustscorea19ormoretopasstheentireexam.Ifastudentearnsa2or1onanysectionoftheexam,thenthejuryreservestherighttorequirethatthestudentretakethatportionoftheexamatalaterdatebeforethestudentreceivesapassfortheentireexam.

Pass_____Redo_____� Examiner’sSignature__________________________________________Date______________


32

ImprovisationSchedulepage1


HarmonicProgressionInmajorandminorkeysnotated.

MelodyandHarmonyPedagogyApplications

FormandStructurePedagogyApplications


1. I-IV-V7-Iinallinversions2. I-II7-V7-IinallinversionsPrepareinmajorandminorkeysthrough2accidentals.

1. Onevoiceimprovisation(2,3,and4time)

a. RightHandb. LeftHandc. Major/MinorKeysd. Modes

Melody,FormandStructure,andPlayingforMovementareallthesameinCheckpoint1A.

1. AntecedentandConsequentPhrasesusingonevoice.

2. BreathMelody,FormandStructure,andPlayingforMovementareallthesameinCheckpoint1A.

1. Cadences:Authentic(PerfectandImperfect),Half,Deceptive,Phrygian,Plagalwithinthecontextofharmonicprogressionusingfiguredbassand/ormelodicharmonization.

2. ProgressionsusinginvertedchordssimilartoPachelbel’sCanoninmajorandminorkeysthrough2accidentals.

1. Prepared,onevoiceimprovisationbasedonvariouscomposedmusicselections(Spin-off)internaryformbasedonafolktune.

1. AntecedentandConsequentPhrasesusingtwovoices.

2. Breath3. FormandStructure

andPlayingforMovementareboththesameinCheckpoint1B.


1. SequencesofDescending3rds

andDescending5thsbothwithTriadsandSeventhChords(rootposition,exceptfordiminishedchords).

1. Songaccompaniment:melodyandaccompaniment.Prepareaselectionof4tunesthatcorrespondtoavarietyofmovementstyles/meters/keysusing3rds,6ths,10ths,andothercontrapuntaltechniques.

1. PreparedMelodicHarmonizationusingFauxbourdoneandparallelsecondinversionchords

1. Sequencesofdescending5ths

invariousinversionswithtriads(roottosecondinversionorfirstinversiontoroot)andseventhchords(secondinversiontorootorthirdinversiontofirstinversion)

1. 12barblues:prepareanexampleofa12barbluesinbothamajorandaminorkey.

1. PlayingforImages:candidatepreparesanimageofhis/herchoice;anotherisproposedbythejury(24hoursnotice)


1. Appliedchords:V7/V;V7/IV;V7/viwithinthecontextofasequenceofDescending5thsusingseventhchords.

Prepareinmajorandminorkeysthrough3accidentals.

1. Spin-offswithaccompaniment:2examplesbasedonFolkSongLiteratureand1basedonClassicalorJazzLiterature.OneoftheFolkSongsmustbeaskipping/gallopingtune.

1. SystemizationofChangingAnacrusicPhrases


33

ImprovisationSchedulepage2CheckpointObservations

SystemizationsandApplicationsofEurhythmicsCoursework

• Twoormorevoicesunlessotherwisestated

• Prepareeachexamplein2differenttonalities;onemajorandoneminor.Donotrepeatatonalcenterwithinagivencheckpoint.

RepertoireMusictobeperformedfrom

memory.Thecollectionshouldrepresentadiverse

arrayofmusicsuitablefortheeurhythmicsclassroom.Be

preparedtodemonstratehowthepiecemightbeusedina

Dalcrozianclassroomwithclearandsimpledirections.Bringcopiesofthescoreplusbriefwrittenexplanationsofyouractivitiesforthecheckpoint.

PlayingforMovement• Twoormorevoicesunlessotherwisestated• Inmetersof2,3,or4unlessotherwisestated• Prepareeachexamplein2differenttonalities

(whereapplicable);onemajorandoneminor.Donotrepeatatonalcenterwithinagivencheckpoint.

• Besureyouruseofmotivicdevelopmentand/orcontrastinthephrase-periodstructureisclear.

• Ensuretherearechangesinaffect,nuance,andarticulation


OnevoiceSystemizationorToBeAnnounced(TBA):basedonextractsfromEurhythmicslessonsubjects

IntermediateRepertoirePiece1

1. Walking,Trotting,Slowmusic;alwayswithchangesinaffect,nuance,articulation(Onevoiceonly)

2. Accompanyingmovementwithadrumand/orotherpercussion

Melody,FormandStructure,andPlayingforMovementareallthesameinCheckpoint1A.

SystemizationofBeatvs.DivisioninCompoundmeterorTBA

IntermediateRepertoirePieces1and2

Walking,Trotting,Slowmusic.Alwayswithchangesinaffect,nuance,articulation.Two-voiceimprovisationbasedon3rds,6ths,10ths,andothercontrapuntaltechniques.FormandStructureandPlayingforMovementareboththesameinCheckpoint1B


BinaryandTernaryFormsusingwhitekeymodes:Dorian,Phrygian,Lydian,Mixolydian.Onemustincludeiamb/trochée;anothermustincludebeat/division/multipleincompoundmeter.

IntermediateRepertoirePieces1,2,and3

Swayingmusic.Alwayswithchangesinaffect,nuance,articulation.Two-voiceimprovisationbasedon3rds,6ths,10ths,andothercontrapuntaltechniques.Also,studentsshouldbepreparedtoplayforallpreviouslocomotormovementslearned.

SystemizationofAugmentationandDiminutionorTBA

IntermediateRepertoirePieces1,2,3,and4

SkippingandGallopingmusic.Also,studentsshouldbepreparedtoplayforallpreviouslocomotormovementslearned.


1. PlayingforbasicDalcrozeexercisesa. SimpleFollowsb. ChangingMeter

Exercise.

IntermediateRepertoirePieces1,2,3,4,and5

Runningmusic.Also,studentsshouldbepreparedtoplayforallpreviouslocomotormovementslearned.


34


HarmonicProgressionInmajorandminorkeys

throughatleast3accidentals.

MelodyandHarmonyPedagogyApplications

FormandStructurePedagogyApplications


1. Modulation(through3accidentals)preparedwith24hoursnotice:

a. totheDominant

b. totheSub-Dominant

c. totheRelativeMajor/Minor

Prosodyandsongcomposition(3songsthatrelatetotheTellingaStoryThroughMusicinFormandStructure)

TellingaStoryThroughMusic:Include3ofyourownsongcompositionstotellashortmusicalstoryfrommemorywithopportunitiesforDalcrozianPedagogy.Bringabriefoutlineofyourstoryplusyourcompositionstothecheckpoint.


1. Appliedchordstootherscaledegreesandtheirinversions

2. TheNeapolitan6th3. Planing

1. Harmonizationofmajorscales(3voices,melodyinthesoprano)

2. Simpleoneandtwo-voicerhythmicskeletons

3. UnfiguredBassLines

Modulationtoanycloselyrelatedkeyandbackagain.

1. AllvarietiesofAugmented6thChords

2. Quartal-Quintalharmony/clusters

3. Modemixtureandsubstitutionwithinatonality

1. HarmonizationofHarmonicMinorScales(3voices,melodyinthebass)

2. Simpleoneandtwo-voicerhythmicskeletons

3. UnfiguredBassLines(24hourspreparation)

ModulationtocloselyrelatedkeyswithinaRondoform:ABACA.(Preparedwith24hoursnotice)


20thCenturyHarmonicTechniques:AugmentedTriadsandWhole-ToneImprovisation

1. HarmonizationoftheCtoCscalesinMajorkeysthrough3#sand3bs

2. Morecomplicatedoneandtwo-voicerhythmicskeletons(15min.ofpreparation)


MixtureandsubstitutionasameanstomodulatetodistantlyrelatedkeyswithinTernaryForms(Preparedwith24hoursnotice)

Fullydiminishedseventhchordsasappliedchordsandtofacilitatemodulationtoremotekeys

1. HarmonizationoftheCtoCscalesinMajorkeysthrough3#sand3bs

2. Morecomplicatedoneandtwo-voicerhythmicskeletons(15min.ofpreparation)


ModulationtodistantlyrelatedkeyswithinaRondoform:ABACA(Preparedwith24hoursnotice)


35


SystemizationsandApplicationsofEurhythmicsCoursework

• Twoormorevoicesunlessotherwisestated

Prepareeachexamplein2differenttonalities(whereapplicable);onemajorandoneminor.Donotrepeatatonalcenterwithinagiven

checkpoint.

RepertoireMusictobeperformedfrommemory.Thecollectionshouldrepresentadiversearrayofmusicsuitablefortheeurhythmicsclassroom.BepreparedtodemonstratehowthepiecemightbeusedinaDalcrozianclassroomwithclearandsimple

directions.Bringcopiesofthescoreplusbriefwritten

explanationsofyouractivitiesforthecheckpoint.

PlayingforMovement• Twoormorevoicesunlessotherwisestated• Twoormorevoicesunlessotherwisestated• Inmetersof2,3,or4unlessotherwisestated• Prepareeachexamplein2differenttonalities

(whereapplicable);onemajorandoneminor.Donotrepeatatonalcenterwithinagivencheckpoint.

• Besureyouruseofmotivicdevelopmentand/orcontrastinthephrase-periodstructureisclear.

• Ensuretherearechangesinaffect,nuance,texture,figuration,andarticulation


ReactionExercise:createanactivityusingAnapest,Dactylic,Troche,Iamb,and/orAmphibrachinvariationsof“Theme,Augmentation,andDiminution”.

IntermediateRepertoirePieces1-6(TransferstudentsmustacquiretheirpiecesthroughouttheirLicenseandpresentthemattheendoftheirstudies.)

Followthemover:playforbasiclocomotormovementsandrhythmicpatternsgivenbyamover.Demonstrateavarietyofkeys,modes,andharmonicvariety(includinginversionsandappliedchords)


Reactionexercise:createanactivityusingAugmentationandDiminutionofasinglemotifinPolyrhythm

IntermediateRepertoirePieces1-7

Hand/feetdissociationofunequalBeatsin5or7usingbeatsvs.divisionsorbeatsvs.compliments.5scanbegroupedas3+2or2+3.7scanbegroupedas3+2+2or2+2+3.Continuethesamesubjectcreateafollowoutoftheexercisewhileofferingcorrectionsandcommentarytothemover.

Systemizationof12eighthsusingbeatsvs.divisionsorbeatsvs.compliments.


Hand/feetdissociationofunequalBeatsin8usingbeatsvs.divisionsorbeatsvs.compliments.8scanbegroupedas3+3+2,3+2+3,or2+3+3.Continuethesamesubjectcreateafollowoutoftheexercisewhileofferingcorrectionsandcommentarytothemover.


Systemizationof2rhythmicpatterns(anapestinhands,Iambinfeetforexample)using20thcenturyharmonictechniques


Metrictransformationofrhythmicpatterns:SimpleTriplevs.CompoundDupleorSimpleQuadruplevs.ComplexTriple.Continuethesamesubjectcreateafollowoutoftheexercisewhileofferingcorrectionsandcommentarytothemover.

Reactionexerciseusingarhythmicphraseagainstanostinato(followamover)


PolymeterandCross-rhythms=2:3;2:5;3:4;3:5;4:5. Continuethesamesubjectcreateafollowoutoftheexercisewhileofferingcorrectionsandcommentarytothemover.


36

ImprovisationSchedulepage5NotesonImprovisationSchedule:

v Inallcases,themajorityoftheImprovisationexampleswillbederivedfromawidevarietyofcomposed

music;howeverthewaysinwhichwewillexploretheseexampleswillincorporateDalcrozianpedagogicaltechniques.ThesetechniqueswillbesimilartothosefoundintheEurhythmicsandSolfègeclassroom.Inthisway,theconnectionbetweenSolfège,Eurhythmics,andImprovisationwillbemadeconcreteandapplicabletomusicandcorporalstudies.

v Ingeneral,whateversubjectispresentedforaCheckpointObservation,thestudentmustbeateasewiththesubjectmaterialatthetimeofevaluation.Perfectionisnottheobjective,butconvictionandcomfortablefacilityisvital.

v Studentsshouldworktoexploreawidevarietyoftonalities.WithinagivenCheckpoint,students

shouldavoidrepeatinganysegmentoftheCheckpointinthesametonalcenter.Forexample,inCheckpoint1,oneshouldtrynottopresentmarchingmusicinFminorandFLydian,trottingmusicinFmajorandFPhrygian,andslowmusicinFDorianandFMixolydian.

v Studentsshouldalsoworktoexploreawidevarietyofmeters.Trytoincludemetersof2,3,and4

equallythroughoutagivenCheckpoint,regardlessifthefocusisonsimplemeters,compoundmeters,orcompositemeters.

v Allimprovisationformovementmustinviteandinspirethemovement,notmerelyrepresentthe

rhythmandmelody.Theaffect,vitality,andcharacterofthemusicareasimportantastherhythmicprecision.

v Clearandorganizedphrase-periodstructureisessentialatalltimes.InthebeginningCheckpoints,

studentsshouldaimforphrase-periodstructureswheretheantecedentandconsequentphrasesarethesamelength.InlaterCheckpoints(CheckpointsC,DandE),commandofirregularphraselengthsisexpected.

v Changesinnuance,expression,textureand/orregistermustbeintegratedintothestudent’smusic.

v Adiversevarietyofsoundscapesisimperative.EspeciallywhenimprovisingforFollows,Canons,and

Melody,anassortmentofmodes,tonalities,scales,andstylesisindispensibleforamusicallysatisfyingDalcrozeexperience.Asstudentsprogressthroughtheirstudies,awiderrangeisexpected.


37

EvaluationFormforDSRImprovisationCheckpointObservationsand/orExitExaminationsName:___________________ImprovisationLevel:______


(Seesection3.3ofT2program,formoredetails.)

SuggestedGuidelinesForEvaluation

Comments Score

PLAYINGFOR

MOVEMENT

Clarity:Introduction,Phrasing,FormandStructure

RelationshipofMusictoMovement/GestureMusicality,VarietyofStyles,VarietyofNuancesAbilitytoWatch&AdapttoMoversSuggestionsforFuturePractice

EURHYTHMICS

APPLICATIONS


RelationshipofMusictoMovement/GestureMusicality,VarietyofStyles,VarietyofNuancesPedagogicalConsiderationsSuggestionsforFuturePractice

PEDAGOGY

APPLICATIONS


RelationshipofMusictoMovement/GestureMusicality,VarietyofStyles,VarietyofNuancesPedagogicalConsiderationsAbilitytoWatch&AdapttoMoversAbilitytoOfferCorrections/Commentary(Levels2and3only)SuggestionsforFuturePractice


38

5=Outstanding;4=Good;3=Fair;2=NeedsImprovement;1=Fail SuggestedGuidelines

ForEvaluationComments Score

HARMONIC

PROGRESSIONS

HarmonicAccuracy

AppropriateMelodyMusicality,VarietyofNuancesSuggestionsforFuturePractice

LLevel2ONLY:PlayingforImages;Level3ONLY:Compositions_________________IMAGESor

COMPOSITION

ClarityofIntroduction,Phrasing,FormandStructure

Musicality,VarietyofNuancesSuggestionsforFuturePractice

LLevel2and3ONLY:Harmonizations________________________________HARMONI

ZATIONS

HarmonicStructure MusicalityandNuancesSuggestionsforFuturePractice

TotalScore:__________ForLevel1,Astudentmustscorea15ormoretopasstheentireexam.ForLevel2and3,Astudentmustscorea23ormoretopasstheentireexam.Ifastudentearnsa2or1onanysectionoftheexam,thenthejuryreservestherighttorequirethatthestudentretakethatportionoftheexamatalaterdatebeforethestudentreceivesapassfortheentireexam.

Pass_____Redo_____� Examiner’sSignature__________________________________________Date______________


39

PedagogySchedulepage1

PedagogyEachgrouprepresentsanareaofstudythatwillcorrespondtothevariousCheckpointObservationswiththeotherDalcrozebranches.BecausetheDalcrozeworkisnotpreciselylinearbydesign,thepedagogywillnotbepreciselylineareither.Wewillexplorevariousaspectsofeachgroupatdifferenttimes,returningtopreviouslyexploredsubjectsasweencounternewonesandvice-versa.Eachgroupwillhavespecificwrittenworktobecollectedandplacedinthestudent’spersonalPortfolio.

1. BasicPrinciplesofaDalcrozeEducationinMusic;thePhilosophyandHistoryofLaMéthodeJaques-Dalcroze

a. Musicisthestimulator,themotivator,andtheregulatorb. Movementisthemodeforlearning;thebodyistheInstrumentc. Discovery-based,experientiallearningd. Experiencebeforeanalysis;theoryfollowspracticee. SpiritofPlay;joyfulf. RelationshipsofTime-Space-Energyinwaystohelpunderstandconceptsg. Useofimagination,improvisation,andinventionh. Socialinteractioni. ThespecifictechniquesandstrategiesthatmakealessonDalcrozian

i. QuickReactions:Studentsmustchangebehaviorbasedonasignalofsomekind1. Verbal(signalisspokenprose)2. Aural(signalismusical,andwovenintothemusicalfabricoftheexercise)3. Tactile(signalisstimulatedbyachangeintouch)4. Visual(signalispictorial,graphical,orillustrative)

ii. AssociationsandDissociationsiii. InhibitionsandIncitations(Excitations)iv. Canonsv. Followsvi. Series/Sequence/Systemizationvii. RelationshipsofTime-Space-Energyviii. SpatialOrientation/Explorationix. Improvisationx. PlastiqueAnimée(asprocess)xi. SocialInteraction/GroupExercises

2. HowtoPlanandConstructaLessonforChildren

a. Sequencinganddevelopmentb. Cleardirectionswithspecificmusical/movementgoalsc. WaystointegratetenantsandapproachesofthephilosophyJaques-Dalcrozed. Maintainingflexibilityduringalessone. Howtocreateeffectivehandoutsf. Waystousesongliteratureg. Waystostimulateimaginationh. Waystoaddressdifferentlearningstyles


40


3. CurriculumDevelopmenta. Whatisthepurposeofacurriculumb. Variousmodelsc. Howtokeepflexibilityandstructuretogether

4. Mechanicsa. Howtowatchandobservestudentswhileplayingthepiano,moving,and/orimprovisingb. Howtogivedirectionswhileplayingthepiano,moving,and/orimprovisingc. Howtogiveimaginative,constructivefeedbackd. Basicsofteaching,inspiring,andimprovingmovementtechnique

5. IncorporatingVisualArt,Dance,Theater,andPlastiqueAniméeintheClassrooma. Imageryandvisualartb. Folkdancec. Creativeexpressionwiththebodyd. Story-tellinganddramae. BasicprinciplesofPlastiqueAnimée

6. UseofMaterials

a. Differenttypesofmaterials;howtomakethemusefulb. Howtousecertainmaterialsandforwhatpurposec. Useofrecordedmusicintheclassroomd. Useofotherinstruments

7. ClassroomManagement

a. Behavioralissuesb. Childrenwithspecialneedsc. ParentEducation

8. HowtocreateaSpectaclea. Goalsandobjectivesb. Applicationsforvariousvenuesandtimeframesc. Setsandcostumesd. Lighting

9. HowtoConstructaLessonforAdultsa. Workshopsb. Institutesc. Amateursvs.Professionalsd. SeniorCitizens

10. BusinessAspectsa. Howtostartaprogramb. Educatingparentsc. Advertisingd. Self-promotione. Networking


41


Resources,RequiredReading,andBibliographyEachunitwillbeaccompaniedbyassignedreadingsfromthefollowinglistandothersources.

o WorksSpecificallybyEmileJaques-Dalcroze

§ Eurhythmics,Art,andEducation§ Eurhythmics,Music,andEducation§ RhythmicMovementVolumesIandII§ CoordinationetDiscordinationDesMouvementsCorporels§ MusicMovementandEarTrainingGamesandExercises§ DalcrozeActionSongsBooksI-II§ 164MarchesRythmiquesPourUneVoix§ CoursD’improvisationMélodiesàHarmoniser§ LesGammesetLesTonalités,LesPhrasésetLesNuancesVolumesI-III§ 30LeçonsMélodiquesdeSolfège§ RhythmicSolfègeVocal(TranslationbyB.Abramson)§ RhythmicDancesVolumesI-III§ 12PetitesImagespourEnfants§ 50EtudesMiniaturesdeMétriqueetRythmiqueLivresI-IV§ 50EsquissesRythmiquespourPiano§ Figurines,Portraits,etCaractèresVolumesIetII

o Methodology,Philosophy,Pedagogy

§ MovewiththeMusic,F.Aronoff§ MusicandYoungChildren,F.Aronoff§ DalcrozeToday,M.Bachmann§ TheRhythmInside,J.BlackandS.Moore§ TheUnfoldingHumanPotential,M.Brice§ DisciplinebyDesign,B.Churchward§ ComparingDalcroze,Orff,andKodaly,Comeau§ LessonPlansforFall/Winter/Spring,M.Dale§ ExperienceandEducation,J.Dewey§ APathwaytoDalcrozeEurhythmics,E.Driver§ RhythmandMovement,E.Findlay§ LessonPlansfor4-6Year-Olds,H.Gell§ Music,Movement,andtheYoungChild,H.Gell§ TheEclecticCurriculuminAmericanMusicEducation,B.LandisandP.Carder§ DisciplineWithoutStressPunishmentsorRewards,M.Marshall§ EncounteringtheFundamentalsofMusic,V.Mead§ MusicinToday’sClassroom,V.Mead§ DalcrozeHandbook,E.Vanderspar§ MostlyMovementVol.IandII,E.WaxandS.Roth§ Yardsticks,C.Wood


42


o MusicResourcesandSongCollections

§ EasyClassicstoModernsVolumes17and27,D.Agay§ FortheChildrenVolumesIandII,B.Bartók§ TheMonsterpieces,W.Bolcom§ AlbumofChildren’sPiecesop.27andop.39,D.Kabalevsky§ EssentialKeyboardRepertoireVolumesIandII,L.F.Olson§ PicturesforChildren,V.Rebikov§ AlbumfortheYoung,R.Schumann§ AlbumfortheYoung,P.Tchaikowsky§ PetiteSuite,J.Ibert§ AmericasAll-TimeFavoriteSongs,A.Appleby§ TheLibraryofChildren’sSongsClassics,A.ApplebyandP.Pickow§ SongsNorthAmericaSings,R.Johnston§ SailAway155AmericanFolkSongs,E.Locke§ 150Rounds,E.BolkovacandJ.Johnson§ 150AmericanFolkSongs,P.ErdeiandK.Komlos§ TheFolksongFakeBook,HalLeonard§ TheUltimateBroadwayFakeBook,HalLeonard§ TheBookofSongsandRhymes,Songtales,CallandResponse,J.Feierabend

o SolfègeResources

§ 5LivresdeSolfègepourLesAnnéesÉlémentairesdeFEGM§ FolkSongSolfège,E.Crowe,A.Lawton,andG.Whittaker§ HowCanIKeepfromSinging!,C.Waterhouse,L.Allen,E.Compton,andN.Hollins§ CentDictées,N.Gallon§ MusicforSightSinging,R.Ottman§ RhythmandPitch,J.StevensonandM.Porterfield

o MovementResources

§ FirstStepsinTeachingCreativeMovementforChildren,M.Joyce§ PrinciplesofDance,B.Mettler§ TheBookofMovementExploration,J.FeierabendandJ.Kahan§ LabanforAll,J.NewloveandJ.Dalby

o ImprovisationResources

§ IntheMode,J.Kane§ SketchesattheKeyboard,L.Campbell§ HarmonyandVoiceLeading,E.AldwellandC.Schachter§ PotpourriofMusicforImprovisation,J.Yelin§ FreshRecipesforImprovisationBooksI,II,andIII,J.Yelin§ PatternPlayBooksI,II,III,IVandV,A.KinneyandF.Kinney

o AdditionalResources(asneeded)


43

CertificationandLicensureRequirements


44

CertificationThemeaningoftheDalcrozeCertificateattheDalcrozeSchooloftheRockies

v TheinternationallyrenownedDalcrozeCertificateofferedbytheDalcrozeSchooloftheRockiesdoesnot

meanthesamethingtoallpeople.DifferentauthorizedDalcrozetrainingcentersandschoolsaroundthe

UnitedStateshavevariousunderstandingsoftheCertificate.However,attheDSR,theholderofthis

credentialisgrantedthefollowing:

o useofthenameJaques-DalcrozeandEurhythmicsinalladvertisements,promotionalmaterials,and

coursedescriptionsand

o theauthoritytoofferDalcrozecoursework(Eurhythmics,Solfège,andImprovisation)tobeginners.

BeginningDalcrozestudentsinclude:

§ youngchildren(uptoapproximatelyage9orso)

§ olderchildrenandadultswithlessthan1yearofDalcrozetraining.

v Itisexpectedthatifateacheriswishingtoteachbeyondthescopeoftheabovedescription,theywill

pursuetheDalcrozeLicensefirstbeforeofferingtheseclassesforcompensation.

v DalcrozeEducationislife-longlearning.Graduatesareencouragedtocontinuetheirstudywithavarietyof

differentteacherstolearnnewapproachesandstylestothisrichwork.

RequirementsforCertification

v StudentsmustpasseachoftheCheckpointObservationsA,B,andCortheequivalent.

v CertificatecandidatesmustobserveseveralDalcrozeclassesofchildrenandDalcrozeclassesofadults.They

mustwrite6observationreportsfortheseclasses(3forchildren’sclassesand3foradultclasses)includinga

detailedaccountofwhathappenedinthelesson,thegoalsandobjectivesoftheteacher,theDalcroze

strategiesandtechniquesused,andfinallythestudentspersonalobservationsandreactionstothelesson.

v ItisstronglyencouragedthatCertificatecandidatespractice-teachbothchildren’sclassesandadultclasses.

Certificatecandidatesarerequiredtofulfillone,ifnotboth,oftherequirementsbelow:

1. Duringtheirstudiesstudentsmustattendandparticipateasateacherassistantinthesame

children’sclass(youngchildren,ages4-9)eachweekforatleastonesemester.Intheseclasses,


45

thestudentswillpracticeteachseveraltimeswithfeedbackprovidedbythesupervisingteacher.If

itisnotpossibletoteachchildreninanon-goingDalcrozeclass,thestudentmustarrangefora

groupofchildrentoteachonhis/herownandsubmitvideosoftheseclassestothesupervising

teacherpriortotheteachingexam.

2. Duringtheirstudies,studentsmustattendandparticipateinadultenrichmenteurhythmicsclasses

andteachaportionoftheseclassesforatleastonesemester.Intheseclasses,thestudentswill

practiceteachseveraltimeswithfeedbackprovidedbythesupervisingteacher.Ifitisnotpossible

toteachadultsinanon-goingDalcrozeclass,thestudentmustarrangeforagroupofadultstoteach

onhis/herownandsubmitvideosoftheseclassestothesupervisingteacherpriortotheteaching

exam.

v Studentsmustteachonechildren’sclassoroneadultclassandsubmitthisvideoedmaterialviaaprivate

YouTubechanneltoajuriedpanel.The45-minutevideoshouldrepresentthecandidate’sverybestwork.It

shouldcontainawidevarietyofDalcrozestrategiesandtechniquesandmostalloftheprinciplesofa

DalcrozeEducation.Awrittenlessonplan,anda2-3pageself-critiqueoftheclasscitingpositivesand

elementsforimprovementshouldalsoaccompanythevideo.Studentsshouldensurethatthevideocamera

ispositionedtoincludeaviewofthecandidateplayingthepiano,interactingwiththestudentsintheclass,

andanywrittenworkdoneattheboard.

v Attheendoftheirstudiesstudentsmustsubmitaportfoliowiththefollowingmaterials

o 6ObservationReports(3Adultclassesand3Children’sClasses)

o 3Shortessays,eachdescribingamusicalsubjectfromthedifferentDalcrozebranches(Thedivision

oftwelveeighths,thedifferentespècesofpentachords,principlesofimprovisationformovement,

etc.)

§ Theseessaysshouldbe2-3pages,double-spaced;theyshouldprovideanoverviewofthe

topic,anexplanationofitsrelevanceorimportancetotheDalcrozework,andatleasttwo

cogentmusicalexamples.

o 3Shortessays,eachdescribingadifferentDalcrozianStrategy/Technique(Inhibition,Dissociation,

Systemizationetc.)oradifferentPrincipleofDalcrozeEducation(TheoryFollowsPractice,Time

SpaceEnergy,etc.


46



cogentmusicalexamplesthathelpexplainyourpoints.

o Thecollectionofharmonizedfolksongsfromimprovisationexams

o Thecollectionofpianoliteraturefromimprovisationexams

o Alloriginalcompositions/improvisationsfromimprovisationexams

o Acollectionofsequencedlessonplansof45-60minutesperlesson(atleast3forchildrenor3for

adults).Foreachactivity,theselessonplansmustclearlydemonstrate:

§ Music/MovementGoals

§ DalcrozeStrategies/Techniques

§ DalcrozePrinciples

§ Detaileddescriptionsofexactlywhatthestudentswilldo/howtheactivitywilltakeplace

(evenifthischangesinthelesson,it’simportanttohaveaclearintention)

§ Preciselanguageforallinstructionsinadditiontothemomentsoftheoryfollowspractice

thatleadtodiscovery

o Writtenresponses/reactionstotheassignedreadingsforthepedagogyrequirements(the

candidatecanchoosefromanyofthearticlesateachlevel)

§ Thereshouldbe5fromeachcheckpointlevel,foratotalof15papers.PlastiqueAnimée

readingscanbesubstitutedatanytimeforanyofthereadings.

o Otherwrittenassignmentsfromthepedagogycourse

v WhenstudentshavecompletedalloftheirexitexaminationsinEurhythmics,Solfège,andImprovisation,

turnedintheirportfolios,andhavesuccessfullycompletedtheirteachingexaminations,theywillreceivethe

internationallyrecognizedDalcrozeCertificate.


47

LicensureThemeaningoftheDalcrozeLicenseattheDalcrozeSchooloftheRockies

v TheDalcrozeLicensehasamorecommonmeaninganddefinitionintheUnitedStatesthantheCertificate.

ItisthehighestcredentialavailablehereintheUnitedStates.TheonlycredentialhigherthantheLicense

mustbeobtainedinSwitzerland:theDiplômeSupérieur,adoctoralequivalentinmanyEuropean

countries.TheinternationallyrenownedDalcrozeLicensegrantstheholderthefollowing:

o useofthenameJaques-DalcrozeandEurhythmicsinalladvertisements,promotionalmaterials,

andcoursedescriptionsand

o theauthoritytoofferDalcrozecoursework(Eurhythmics,Solfège,andImprovisation)tostudentsof

allagesandlevels.

v LicentiatesmayworkwithDiplômésintrainingfutureDalcrozians,buttheymustreceivetheDiplôme

SupérieurtobeauthorizedbyLeCollègedel’InstitutJaques-Dalcrozetohavetheirowntrainingcenter.

v DalcrozeEducationislife-longlearning.Graduatesareencouragedtocontinuetheirstudywithavarietyof

differentteacherstolearnnewapproachesandstylestothisrichwork.

RequirementsforLicensure

v StudentsmustpasseachoftheCheckpointObservationsA,B,C,D,andEortheequivalent.

v LicensecandidatesmustobserveseveralDalcrozeclassesofchildrenandDalcrozeclassesofadults.They

mustwrite6observationreportsfortheseclasses(3forchildren’sclassesand3foradultclasses)including

adetailedaccountofwhathappenedinthelesson,thegoalsandobjectivesoftheteacher,theDalcroze

strategiesandtechniquesused,andfinallythestudentspersonalobservationsandreactionstothelesson.

v ItisstronglyencouragedthatLicensecandidatespractice-teachbothchildren’sclassesandadultclasses.

Licensecandidatesarerequiredtofulfilltherequirementsbelow.

1. Duringtheirstudiesstudentsmustattendandparticipateasateacherassistantinatleasttwo

children’sclassesofvaryingagelevelsforonesemesterateachlevel.Intheseclasses,thestudents

willpracticeteachseveraltimeswithfeedbackprovidedbythesupervisingteacher.Ifitisnot

possibletoteachchildreninanon-goingDalcrozeclass,thestudentmustarrangeforagroupof

childrentoteachonhis/herownandsubmitvideosoftheseclassestothesupervisingteacherprior

totheteachingexam.


48

2. Duringtheirstudies,Licensecandidatesmustattendandparticipateinadultenrichment

eurhythmicsclassesandteachaportionoftheseclassesforatleastonesemester.Intheseclasses,

thestudentswillpracticeteachseveraltimeswithfeedbackprovidedbythesupervisingteacher.

Ifitisnotpossibletoteachadultsinanon-goingDalcrozeclass,thestudentmustarrangefora

groupofadultstoteachonhis/herownandsubmitvideosoftheseclassestothesupervising

teacherpriortotheteachingexam.

Forstudentswhodonotplanonteachingchildren,theycansubstituteanextrasemesterofadult

Eurhythmicsstudentteachingforthechildren’sclasses.

v Studentsmustteachonechildren’sclassoroneadultclassandsubmitthisvideoedmaterialviaaprivate

YouTubechanneltoajuriedpanel.The45-60minutevideoshouldrepresentthecandidate’sverybest

work,anditmustincludeapplicationsofSolfège.ItshouldcontainawidevarietyofDalcrozestrategies

andtechniquesandmostalloftheprinciplesofaDalcrozeEducation.Awrittenlessonplananda2-3page

self-critiqueoftheclasscitingpositivesandelementsforimprovementshouldalsoaccompanythevideo.

Studentsshouldensurethatthevideocameraispositionedtoincludeaviewofthecandidateplayingthe

piano,interactingwiththestudentsintheclass,andanywrittenworkdoneattheboard.

v Studentsmustsubmitavideoorpresentalivesoloorduoplastiqueaniméeofapieceoftheirchoice.We

stronglysuggestusingoneofthe10repertoirepieces.Theplastiqueshoulddemonstrateexcellent

masteryoftime,space,andenergy;showawidemovementvocabulary,andexhibitthebodyasan

instrumentthroughuseofthebodycore,limbs,andfacialexpression.Thepieceshouldbesubstantial

enoughtodemonstrateavarietyofcontrastsandnuances.Arecordingfortheperformanceispermissible,

butlivemusicispreferred.Onesuggestedexamplemightbethatthestudentcanmakearecordingof

his/herperformanceofthepieceandusethatversionfortheperformance.

v Attheendoftheirstudiesstudentsmustsubmitaportfoliowiththefollowingmaterials.Nomaterialsmay

bere-usedfromtheCertificatePortfolio.

o 6ObservationReports(3Adultclassesand3Children’sClasses)


49

o 3Shortessays,eachdescribingamusicalsubjectfromthedifferentDalcrozebranches(Thedivision

oftwelveeighths,thedifferentespècesofpentachords,principlesofimprovisationformovement,

etc.)




o 3Shortessays,eachdescribingadifferentDalcrozianStrategy/Technique(Inhibition,Dissociation,

Systemizationetc.)oradifferentPrincipleofDalcrozeEducation(TheoryFollowsPractice,Time

SpaceEnergy,etc.




o Thecollectionofharmonizedfolksongsfromimprovisationexams

o Thecollectionofpianoliteraturefromimprovisationexams

o Alloriginalcompositions/improvisationsfromimprovisationexams

o Acollectionofsequencedlessonplansof45-60minutesperlesson(atleast3forchildrenor3for

adults).ThereshouldbeSolfègeapplicationsineachlesson.Theselessonplansmustclearly

demonstrateforeachactivity:

§ Music/MovementGoals

§ DalcrozeStrategies/Techniques

§ DalcrozePrinciples

§ Detaileddescriptionsofexactlywhatthestudentswilldo/howtheactivitywilltakeplace

(evenifthischangesinthelesson,it’simportanttohaveaclearintention)

§ Preciselanguageforallinstructionsinadditiontothemomentsoftheoryfollowspractice

thatleadtodiscovery

o Writtenresponses/reactionstotheassignedreadingsforthepedagogyrequirements(the

candidatecanchoosefromanyofthearticlesateachlevel)

§ Thereshouldbe5fromeachcheckpointlevel,foratotalof10papers.PlastiqueAnimée

readingscanbesubstitutedforatanytimeforanyofthereadings.

o Otherwrittenassignmentsfromthepedagogycourse

v WhenstudentshavecompletedalloftheirexitexaminationsinEurhythmics,Solfège,andImprovisation,

turnedintheirportfolios,andhavesuccessfullycompletedtheirteachingexaminations,theywillreceive


50

theinternationallyrecognizedDalcrozeLicensethat,undertheauspicesoftheCollègedel’InstitutJaques-

Dalcroze,conferstherightforthemtoteachthemethodJaques-Dalcrozetochildrenandadultsanduse

thenameJaques-Dalcrozeintheiradvertisementsandcoursedescriptions.


51

ChecklistofRequirementsforCertificationand/orLicensure


EurhythmicsDateCompleted

SolfègeDateCompleted

ImprovisationDateCompleted

CheckpointObservation

1A/1B


2A/2B


3A/3BExitExamforthe

Certificate


4A/4B


5A/5BExitExamforthe

License

MethodsRequirements CertificateMaterialsDateCompleted

LicenseMaterialsDateCompleted

CompletedPortfolio VideoofChildren’sEurhythmicsClassandSupporting

Documents

VideoofAdult’sEurhythmicsClassandSupportingDocuments

VideoofLivePerformanceofaSoloorDuoPlastique N/A

OtherSupplementalRequirements:


52

TeachingEvaluationFormName_______________________________ClassLevel_____________

Commentary1. PrinciplesofaDalcrozeEducation *****

a. SpiritofPlay b. MusicasMotivator,

Stimulator,andRegulator

c. Discovery-based,Experientiallearning

d. ExperienceBeforeAnalysis;TheoryFollowsPractice

e. TheBodyasanInstrument f. UseofImagination,

Improvisation,andInvention

g. ActiveListening h. RelationshipsofTime,

Space,andEnergy

i. SociallyInteractive 2. UseofavarietyofDalcrozian

TechniquesandStrategies

3. LessonStructure a. ClearMusicalGoals b. Developmentofideasc. VarietyofExercises

(engagementofdifferentlearningstyles)

d. Creative,Original,InspiringIdeas

e. AdaptabilitytotheStudents

f. ClarityofDirectionsg. EffectiveDemonstrationof

CorrectingErrorsandImprovingMusicalAccuracy


53

Commentary4. Musicianship

a. ImprovisationandPianism i. Phraseii. Varietyof

Tonalities,Modes,PianisticStylesetc.

iii. Musicality,Nuance,andAffect

b. VocalQuality(ifappropriate)

i. AppropriateRange ii. Intonationiii. Appropriate

Modeling5. MovementandUseoftheBody

a. ClearMovementGoals b. AppropriateandEffective

Demonstrations

c. RapportoftheGesturestotheMusic

d. PurposefulUseofBodye. EffectiveDemonstrationof

CorrectingErrorsandImprovingMovementQuality


54

Commentary6. GeneralPedagogical

Considerations

a. AbilitytoWatchStudentsDuringMovementActivities

b. UseofSignalsandCommandsfromPiano

c. UseofMaterials(ifappropriate)

d. OverallMusicalityoftheLesson

e. RelevancetoMusicalorCorporalConcepts

f. OverallImprovementofStudents’PerformancefromBeginningofLessontotheEndofLesson

7. OtherComments:

Pass� Redo� Examiner’sSignature______________________________Date______________


55

SolfègeSummaryChecklists

TheSolfègeScheduleisreproducedherewithslightlymoredetailfortoaidinpreparingforcheckpoints.

Allexamplesaresubjecttochangeandshouldnotbeconsideredfixedinanyway.


56

SolfègeChecklistfor1A

Exercises

Alwayssingeachexerciseusing

functionnumbersfirstandthenletternames

Description

(SeetheStudentHandbookandEmbodyingMusicfor

moredetails)

KeysRequired SpecialNotes

Scales


Major,through3accidentals BesurethatyoucanidentifyandstepthesescaleswithcorrectrhythmsbasedonCbeingplayedagainstadominant7thineachkey

Harmony

MajorandMinorDichordsandtheircorrespondingintervals.Practicethesepolychordswithavarietyofrhythmsandtempi(24hourspreparation)

Major,through3accidentals Besuretodemonstratetheroleofthehalf-stepwithappropriategesturesand/orbeabletoconductinthemeterofthechosenrhythmiccell

ImprovisationAndMelody

Triadssung/identifiedinrootpositionasarpeggioswithinaMajororMinorscale:Major,Minor,diminishedandaugmented

Knowthesuiteoftriadsstartingonthefollowingnotes(roots):C,G,D,A,F,B-flat,&E-flat

Beabletosay/sing/demonstratetheaccidentalsinthisexercise

Harmony

Phrase:QuestionandAnswerinSimplemetersof2,3,and4

Major,through3accidentals Yourmelodyshoulddemonstrateclearantecedent-consequentrelationshipsalongwithrepetition,contrast,andmotivicdevelopment;singonneutralsyllables,notfunctionnumbersorletternames

Sight-Singing

PracticeexamplessimilartothosefoundinOttman,Robert.MusicforSightSinging,6thed.melodies60-170

Major,through3accidentals. Conductwhileyousing;singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition


57

SolfègeChecklistfor1B

Exercises


functionnumbersfirstandthenletter

names

Description


moredetails)


Scales


Major,through7accidentals

BesurethatyoucanidentifyandstepthesescaleswithcorrectrhythmsbasedonCbeingplayedagainstadominant7thineachkey

Intervals&Polychords

Trichordsandtheircorrespondingintervals(Majorkeysonly:noAug.2nds).Practicethesepolychordswithavarietyofrhythmsandtempi.(24hourspreparation)


Besuretodemonstratetheroleofthehalf-stepwithappropriategesturesand/orbeabletoconductinthemeterofthechosenrhythmiccell

Harmony

1. ChordSambawithhandanalysisgestures.

2. SingandidentifyfirstandsecondinversiontriadsarpeggiosinMajorandMinor

SinginAmajorfortheSamba.Singandidentifymajororminortriadsininversionwiththefollowingroots:C,G,D,A,F,B-flat,&E-flat

BeabletoshowtherootsandinversionsofthechordsusinghandgesturesduringtheChordSamba


Phrase:QuestionandAnswerinCompoundmetersof2,3,and4


Yourmelodyshoulddemonstrateclearantecedent-consequentrelationshipsalongwithrepetition,contrast,andmotivicdevelopment;singonneutralsyllables,notfunctionnumbersorletternames

Sight-Singing

PracticeexamplessimilartothosefoundinOttman,Robert.MusicforSightSinging,6thed.Melodies60-170


Conductwhileyousing;singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition


58


Exercises



names

Description


moredetails)


Scales


Minor,through3accidentals

BesurethatyoucanidentifyandstepthesescaleswithcorrectrhythmsbasedonCbeingplayedagainstadominant9thor13thineachkey


Tetrachordsandtheircorrespondingintervals(Majorkeysonly:noAug.2nds)Practicethesepolychordswithavarietyofrhythmsandtempi.(24hourspreparation)



Harmony

1. Sequencesofdescending5thsusingtriadsinvariousinversionpatterns.(MajorandMinortonalitiesthrough3sharps/flats)

2. DictationinMajorKeys:I,I6,I ,IV,IV6,ii6,V7,vi

Majorandminor,through3accidentals

1. Singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition

2. Bereadytoembodythepitches

3. Beabletosingfrombottomtotoportoptobottomasyouarpeggiate

4. Forthedictation,beabletoshowtherootsandinversionsofthechordsusinghandgestures


Singing/Improvisingfromarhythmicskeleton;phrasé



Sight-Singing





59


Exercises

Alwayssingeachexerciseusingfunctionnumbersfirstandthen

letternames

Description

(SeetheStudentHandbookand

EmbodyingMusicformoredetails)


Scales



BesurethatyoucanidentifyandstepthesescaleswithcorrectrhythmsbasedonCbeingplayedagainstadominant9thor13thineachkey


Pentachordsandtheircorrespondingintervals.(Majorkeysonly:noAug.2nds)Practicethesepolychordswithavarietyofrhythmsandtempi.(24hourspreparation)



Harmony

1. DominantSeventhChordsininversionandtheirresolutionsbydescending5ths

2. DictationinMajorKeys:I,I6,I ,IV,IV6,IV ,ii,ii6,V7(inallinversions),vi


1. Useyourbodyasaninstrumenttoshowtherelationshipofphysicalspacetotonalspace.Singusingfunctionnumbersandletternames

2. Beabletosingfrombottomtotopasyouarpeggiate



ImprovisingmelodiesthatexemplifyRepetition,Contrast,andMotivicDevelopmentthroughRhythmicSkeletons



Sight-Singing





60

SolfègeChecklistfor3AExercises



names

Description(SeetheStudentHandbookandEmbodyingMusicfor

moredetails)


Scales

Pentatonic,Whole-tone,andChromaticScales

PentatonicandWhole-tone:allversionsstartingonCandC#/Db;Chromaticthrough3accidentalsinreferencetomajorkeys

SeeEmbodyingMusicforinstructionsforeachscale


DichordsthroughPentachordsandtheircorrespondingintervals(HarmonicMinorkeysthrough3sharps/flats:includingAug.2nds)Practicethesepolychordswithavarietyofrhythmsandtempi(24hourspreparation)



Harmony

1. Sequencesofdescending5thsusingseventhchordsinvariousinversionsstartingonanydiatonicseventhchord.

2. Appliedchordsandtheirresolutionstotonicviadescending5ths:V7/V,V7/IV,andV7/vi(MajorandMinortonalitiesthrough3sharps/flats)


1. Singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition.

2. Beabletosingfrombottomtotoportoptobottomasyouarpeggiate

3. Bepreparedtoembodythepitches


ContinuedworkwithImprovisingmelodiesthatexemplifyRepetition,Contrast,andMotivicDevelopmentthroughRhythmicSkeletons



Sight-Singing





61


ExercisesAlwayssingeach

exerciseusingfunctionnumbersfirstandthen

letternames

Description


moredetails)


Scales

ModulatingCtoCScalestoneighboringtonalitiesthrough3sharpsorflats


1. Singupinonetonality,singdownintheother;usefunctionnumbersandletternamesinterchangeably

2. Identifythescalesplayed


DichordsthroughPentachordsandtheircorrespondingintervals(HarmonicMinorkeysthrough7sharps/flats:includingAug.2nds)Practicethesepolychordswithavarietyofrhythmsandtempi(24hourspreparation)


Besuretodemonstratetheroleofthehalf-steporaugmented2ndwithappropriategesturesand/orbeabletoconductinthemeterofthechosenrhythmiccell

Harmony

DictationinMinorKeys:i,i6,i ,iv,iv6,iv ,iio6,V7(inallinversions),VI


Beabletoshowtherootsandinversionsofthechordsusinghandgestures


ABAforms:ModulationstotheDominant,Sub-Dominant,andrelativemajor/minor(24hourspreparation)


Conductwhileyousing;singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition.Keyschemewillbegiven24hoursinadvance.

Sight-Singing





62


Exercises

Singusingletternames

(numberswhenappropriate)

Description

(SeetheStudentHandbookandEmbodyingMusicand/orMoving

Soundformoredetails)


Scales

PerformasequenceofCtoCscalesinDescending5thsorAscending5thsIdentifyandorsingscalesplayedupinonekey,downinanotherkey.(Neighboringkeys,only)

AllMajorCtoCScales


2. Identifythescalesplayed


RecognizeandsingHeptachordsandtheircorrespondingarpeggios,andresolutionsusingavarietyofrhythmsandnuances(Majorkeysonly:noAug.2nds)

MajorKeysthrough4accidentals

Besuretodemonstratetheroleofthewholeandhalfstepswithappropriategestures(handsgoup/downwitheverypitch,wholestepshaveanopenpalm,and½stepshaveaclosedfist)

Harmony

1. PreparetheNeapolitanBoatSongtoplayandsingatthepiano

2. Dictationusingtheappliedchords:V7/V;V7/IV;V7/viinrootpositionandfirstinversion

3. Singasequenceofdescending5thsin7thchordsinMajorkeysfrombottomtotop.Insertappliedchordsasrequested.

BoatsonginMinorkeysthrough3accidentals;AllothersinMajorKeysthrough3accidentals

1. Playandsingusingletternamesandnumbers



ModulationstoallneighboringkeysinAABformsusingletternames

MajorandMinorkeysthrough3accidentals

Singandconductusingletternames.Keyschemeisgivenwith24hourspreparation.

Sight-SingingAndRhythm

Readingin1and2voices

PracticeexamplessimilartothosefoundinOttman,Robert.MusicforSightSinging,6thed.melodies717-799.1-partrhythmsareinmetersof5and7divisions;2-partrhythmsareinsimplemeter.

AlltonalitiesMajorandMinor

Singandconductmelodiesusingletternames.Sing1-partrhythmsonscatsyllables;articulateuppervoiceandclapthelowervoicefor2-partrhythms.Melodiesandrhythmstogetherhaveatotalof30minutespreparation.


63


Exercises

Singusingletternames(numbers

whenappropriate)

Description




Scales

ModulatingCtoCScalestodistanttonalitiesmore1butlessthan4accidentalsapart



2. IdentifythescalesplayedIntervals&Polychords

RecognizeandsingHeptachordsandtheircorrespondingarpeggios,andresolutionsusingavarietyofrhythmsandnuances(HarmonicMinorkeysonly:Aug.2nds)

MinorKeysthrough4accidentals

Besuretodemonstratetheroleofthehalf-steporaugmented2ndwithappropriategestures(handsgoup/downwitheverypitch,wholestepshaveanopenpalm,½stepshaveaclosedfist,andaugmented2ndspointup/downwiththeindexfinger)

Harmony

1. PreparetheAugmented6thTangousingItalian,German,andFrenchversions

2. DictationinminorkeysusingV7/V;V7/ivinrootpositionandfirstinversion

MinorKeysthrough4accidentals

1. Playandsingusingletternamesandnumbers



ModulationstootherneighboringkeysinRondoforms:ABACAusingletternames


Singandconductusingletternames;Keyschemeisgivenwith24hourspreparation.

Sight-SingingAndRhythmReadingin1and2voices

PracticeexamplessimilartothosefoundinOttman,Robert.MusicforSightSinging,6thed.melodies800-899.1-partrhythmsareinmetersof8divisions;2-partrhythmsareincompoundmeter.


SingandconductusingletterSingandconductmelodiesusingletternames.Sing1-partrhythmsonscatsyllables;articulateuppervoiceandclapthelowervoicefor2-partrhythms.Melodiesandrhythmstogetherhaveatotalof30minutespreparation.


64


Exercises

Singusingletternames

(numberswhenappropriate)

Description




Scales

ModulatingCtoCScalestodistanttonalitiesmorethan3accidentalsapart



2. IdentifythescalesplayedIntervals&Polychords

RecognizeandsingHexachordsandtheircorrespondingarpeggios,andresolutionsusingavarietyofrhythmsandnuances(HarmonicMinorkeysonly:Aug.2nds)

MajorKeysthrough4accidentals

Besuretodemonstratetheroleofthehalf-steporaugmented2ndwithappropriategestures(handsgoup/downwitheverypitch,wholestepshaveanopenpalm,½stepshaveaclosedfist,andaugmented2ndspointup/downwiththeindexfinger)

Harmony

1. Arpeggiateafully-diminishedseventhchordinallinversions;resolvethechordbythirdsandthencontinueresolvingbydescending5th

2. ContinueddictationofpreviousmaterialusingtheNeapolitan6th,3typesofAugmented6thchords,andotherchromaticchords.

Minortonalitiesthrough3accidentalsusinglettersandnumbers

1. Anynote:7,2,4,or6willbegiven.Singtheresolutionsfrombottomtotop



ContinuedmodulationstootherdistantkeysinTernaryforms:ABAusingletternames


Singandconductusingletternames;keyschemeisgivenwith24hourspreparation.

Sight-SingingAndRhythm

Readingin1and2voices





65


Exercises

Singusingletternames(numbers

whenappropriate)

Description




Scales

Octatonic,Gypsy,Maqam,Romanian,etc.

Singallscalesupanddownanytwokeysofthecandidate’schoice

Singusingletters


Hexachordsandtheircorrespondingarpeggios(HarmonicMinorkeysonly:Aug.2nds)Practicethesepolychordswithavarietyofrhythmsandtempiusingletternamesandnumbers(24hourspreparation)

Minorkeysthrough4accidentals

Besuretodemonstratetheroleofthehalf-steporaugmented2ndwithappropriategesturesand/orbeabletoconductinthemeterofthechosenrhythmiccell

Harmony:

1. Resolveanyseventhchordinanyinversionby5thsor3rdstoTonic.

2. Dictation:allharmoniesstudiedthusfar

Alltonalitiesthrough4accidentalsusinglettersandnumbers

1. Pianoplaysscaleandchord;studentmustdeterminethetonalityandthepitchesofthechord.


ImprovisationAndMelody:

ModulationstokeysinRondoforms:ABCDAusingletternames


Singandconductusingletternames;keyschemeisgivenwith24hourspreparation.

Sight-SingingAndRhythmReadingin1and2voices


AlltonalitiesMajorandMino.



66

ImprovisationSummaryChecklists

TheImprovisationScheduleisreproducedherewithslightlymoredetailfortoaidinpreparingforcheckpoints.

Allexamplesaresubjecttochangeandshouldnotbeconsideredfixedinanyway.


67

ImprovisationChecklistfor1A

Exercises Description


moredetails)


Progression

3. I-IV-V7-Iinallinversions

4. I-II7-V7-Iinallinversions

2accidentals,majorandminor

Beabletoplayeachprogressionsothateachchordisaq = 60.Changekeysandinversionseverymeasure.

MelodyandHarmony

SeeImprovisationforMovement,below.

FormandStructure

SeeImprovisationforMovement,below.

SystemizationEurhythmicsApplication

Systemizationofabasicrhythmthrough4beatsofameasure:1,2,3,4OR4,3,2,1.

1voice;2keys:1major,1minor.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.

Thestudentcanchoosetherhythm,butthejurythejurywillchoosethesystemizationstructure.

RepertoirePiece

IntermediateRepertoirePiece1(notmemorizedatthistime,butmustbememorizedandreadyforeachsubsequentCheckpoint).

N/A Besuretoprovideascoreofthemusicalongwithawrittendescriptionofhowyouwoulduseitinaclass(specificmusicalandmovementgoals).

ImprovisationforMovement

Walking(q),Trotting(iq),Slowmusic(h):alwayswithchangesinaffect,nuance,articulation(Onevoice,only).

Prepareeachmovementexamplein2keys,1majorand1minor(nomodesarerequired).Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.

Usegoodmelodicstructureandclearmotif:repetition,transposition/development,andcontrast.Eachantecedentphraseandeachconsequentphraseshouldbe8measureslong.StudentsshouldSing/Movetheirmelodiesfirst,changedirectionsatthehalfcadence,andreturnthesamepaththeystepped.Thenstudentsplaythemelodyonthepiano.


68

ImprovisationChecklistfor1B


(SeetheStudentHandbookandEmbodyingMusicformoredetails)


Progression

Improviseacadentialprogressionwith4differentcadencesfrommemory.Usethesamemotivicmaterialinthemelodyforallphrases.

2accidentals,inmajorandminor.

Candidatechoosesmelodylocation;accompanimentisinoppositehand.Jurydecideskey.

MelodyandHarmony

Spin-offusingonevoiceandonefolktune(folktunemustbememorized).Bepreparedtospeaktheinstructionsclearlyfrommemory.

Preparein1key.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.

Besureyouruseofmotif,transposition,andcontrastalongwithparallelphrase-periodstructureisclearinthespin-offmusic.Bringwritteninstructionsalongwithmusicalandmovementgoalstothejury.

FormandStructure

SeeImprovisationforMovement


CompoundMeterSystemization

Preparein2keys:1majorand1minor.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.

SeethechapterCompoundMeterSystemizationformoredetails.

RepertoirePiece

IntermediateRepertoirePieces1and2(notmemorizedatthistime,butmustbememorizedandreadyforeachsubsequentCheckpoint).

N/A Besuretoprovideascoreofeachpiecealongwithawrittendescriptionofhowyouwouldusetheminaclass(specificmusicalandmovementgoals).


Walking(q),Trotting(iq),Slowmusic(h):alwayswithchangesinnuanceandmusicalexpression.Two-voiceimprovisationbasedon3rds,6ths,10ths,andothercontrapuntaltechniques.

Prepareeachmovementexamplein2keys:1majorand1minor.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.

Besureyouruseofmotif,transposition/development,andcontrastalongwithparallelphrase-periodstructureisclear.Eachantecedentandeachconsequentshouldlast8bars.StudentsshouldSing/Movetheirmelodiesfirstandthenplaythemonthepiano.


69

ImprovisationChecklistfor2AExercises Description


moredetails)


Progression

Descending5thsand3rdsusingtriadsand7thchords.


MelodyinR.H.andaccompanimentinL.H.Jurydecideskeyandmeter.Besureyouruseofmotifandparallelphrase-periodstructureisclear.

MelodyandHarmony

Songaccompaniment:melodyandaccompaniment.Prepareaselectionof4tunesthatcorrespondtoavarietyofmovementstyles/meters/keysusing3rds,6ths,10ths,andothercontrapuntaltechniques.

Prepareeachmelodyin1key.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.

Besuretohaveawalking/marchingtune,atrotting/prancingtune,aslow/lungingtune,andaswinging/swayingtune.Yourtunesshouldbewell-behavedexamples.Beabletosingandplayfrommemory.

FormandStructure

PreparedMelodicHarmonizationofafolktuneusingFauxbourdoneand/orparallelsecondinversionchords.


Themelodydoesnotneedtobecomplicated,butitshouldlastatleast8measures.Beabletosingandplayfrommemory.


BinaryandTernaryFormsusingmodesinameterandtextureofyourchoice.Onepiecemustdemonstratebeat,division,andmultipleincompoundmeter.Anothermustdemonstratetrocheesandiambsincompoundmeter.

Onlythewhitekeymodesarerequired:D-Dorian,E-Phrygian,F-Lydian,G-Mixolydian.

Jurywilldecidethemodeandtheform.Besuretheuseofmotif,transposition/development,andcontrastalongwithphrase-periodstructureisclear.

RepertoirePiece

RepertoirePieces1,2,and3(allfrommemory)

N/A Besuretoprovideascoreofeachpiecealongwithawrittendescriptionofhowyouwouldusetheminaclass(specificmusicalandmovementgoals).


Swayingmusic:alwayswithchangesinnuanceandmusicalexpression.Two-voiceimprovisationbasedon3rds,6ths,10ths,andothercontrapuntaltechniques.

Prepareeachmovementexamplein2keys:1majorand1minor.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.

Besureyouruseofmotif,transposition/development,andcontrastalongwithparallelphrase-periodstructureisclear.Bepreparedtooffercommentsonthemovement.Thejurycanrequestallpreviouslylearnedlocomotormovements(walk,trot,lunge).


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ImprovisationChecklistfor2B


(SeetheStudentHandbookandEmbodyingMusicformoredetails)


Progression

Descending5thsininversionusingtriadsand7thchordsusingfigurationintheR.H.


MelodyinL.H.andaccompanimentinR.H.Jurydecideskeyandmeter.Besureyouruseofmotifandparallelphrase-periodstructureisclear.

MelodyandHarmony

12barblues Preparein2keys:1major,1minor.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.

Besureyouruseofmotifandphrase-periodstructureisclear.

FormandStructure

PlayingforImages:oneprepared,andoneperformedwith24hoursofpreparation.

Student’schoice,butthekeymustexemplifytheimage.

Imagescouldcomefrompictures,films,orprosody.Studentsprepareoneoftheirchoice,andoneofthejury’schoice,given24hoursinadvance.


AugmentationandDiminutionSystemization.Youchoosethestructureofthesystemizationandmelodylocation

Preparein2keys:1major,1minor.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.

Prepareusinganapest,dactylic,andamphibrachwithasimplebeataccompaniment.Jurywillchoosetherhythmicpattern.

RepertoirePiece

RepertoirePieces1,2,3and4(allfrommemory)

N/A Besuretoprovideascoreofeachpiecealongwithawrittendescriptionofhowyouwouldusetheminaclass(specificmusicalandmovementgoals)


SkippingandGallopingmusic:alwayswithchangesinnuanceandmusicalexpression.Two-voiceimprovisationbasedon3rds,6ths,10ths,andothercontrapuntaltechniques.

Prepareeachmovementexamplein2keys,1majorand1minor.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.

Besureyouruseofmotif,transposition/development,andcontrastalongwithparallelphrase-periodstructureisclear.Bepreparedtooffercommentsonthemovement.Thejurycanrequestallpreviouslylearnedlocomotormovements(walk,trot,lunge,swing).


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Progression

Appliedchords:V7/V;V7/IV,V7/viwithinthecontextofasequenceofdescending5thsusingseventhchords

3accidentals:majorandminor

Jurychoosestheappliedchord(s),keyandmeter.Besureyouruseofmotifandparallelphrase-periodstructureisclear.

MelodyandHarmony

Spin-offswithaccompaniment:2songsbasedonFolkSongLiteratureand1basedonClassicalorJazzLiterature.

1keyperexample,use2ormorevoices.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.

Besureyouruseofmotif,transposition,andcontrastalongwithparallelphrase-periodstructureisclearinthespin-offmusic.Atleastonemelodyshouldbeaskippingoragallopingtune.

FormandStructure

Playfortheanacrusicsystemizationofamajorscaleusingbeat,division,andmultipleaccompaniments.


Melodyintherighthand,accompanimentinthelefthand


Playforreactionexercisesdemonstratingchangingsimplemetersof2,3,and4(ballbouncing,conducting,etc.).Startwith3time,atHIPremoveabeatandatHOPaddabeat.


Beabletowatchthemover,offercomments/corrections,andmaintainamusicalimprovisation.Studentleads;teacherleads.

RepertoirePiece

IntermediateRepertoirePieces1,2,3,4,and5



RunningMusic:alwayswithchangesinnuanceandmusicalexpression


Besureyouruseofmotif,transposition/development,andcontrastalongwithparallelphrase-periodstructureisclear.Bepreparedtooffercommentsonthemovement.Thejurycanrequestallpreviouslylearnedlocomotormovements(walk,trot,lunge,swing,skip,andgallop).


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ImprovisationChecklistfor3BExercises Description




Progression

Modulation(onlythrough3accidentals)usinginvertedchords.1. totheDominant2. totheSub-Dominant3. totheRelative

Major/Minor(24hrs.preparation)


Jurydecidesthekey.Besureyouruseofmotifandparallelphrase-periodstructureisclear.Thejurywillprovidethestudentwiththemodulationkeyschemetoprepare24hoursinadvance.

MelodyandHarmony

Prosodyandsongcomposition(3songsthatrelatetotheTellingaStoryThroughMusicinFormandStructure)

Useatleast2differentkeysinyourcompositions.

Bereadytosingandplayeachharmonizedmelodyfrommemoryandexplainhowitrelatestothestory.

FormandStructure

TellingaStoryThroughMusic:Include3ofyourownsongcompositionstotellashortmusicalstorywithopportunitiesforDalcrozianPedagogy.

Useatleast2differentkeys/modesinyourstorytocontrastthedifferentcharacters.

SeethechapterTellingaStoryThroughMusicformoredetailedinformation.

SystemizationEurhythmicsApplications

ReactionExercise:createanactivityusingAnapest,Dactylic,Troche,Iamb,and/orAmphibrachinvariationsof“Theme,Augmentation,andDiminution”.


Beabletowatchthemover,offercorrections/encouragement,andmaintainamusicalimprovisation.Studentleads;teacherleads.

RepertoirePiece




Followthemover:playforbasiclocomotormovementsandrhythmicpatternsgivenbyamover:walk,trot,lunge,sway,gallop,skip,andrun.

Demonstrateavarietyofkeys,modes,andharmonicvariety(includinginversionsandappliedchords).

Besureyouruseofmotif,transposition/development,andcontrastalongwithphrase-periodstructureisclear.Demonstrateavarietyoffiguration,texture,andnuances.Beabletowatchthemover,offercorrections,andmaintainamusicalimprovisation.


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KeysRequired

SpecialNotes

Progression

1. Unfiguredbasslines2. Appliedchordsinroot

positionandinversion:V7/V,V7/IV,V7/II,V7/III,V7/VI

3. Neapolitan6th4. Planing

4accidentals:major

Thejurywillprovidethestudentwithanunfiguredbasslineinamajorkeytoprepare24hoursinadvancethrough4accidentals.

Melody

1. Harmonizeamajorscalewiththemelodyinthesoprano;demonstrateexcellentcounterpointand3voices.

2. UnfiguredBassLinesinMajorkeys

4accidentalsinmajorkeys

Moveseamlesslyfromonekeytoanother,throughdescending5ths.UnfiguredBassLineshave24hoursofpreparation

FormandStructure

ModulationusingAABformstoneighboringtonalities.

3accidentalsinmajororminorkeys

Themovementandthemusicmustdemonstratecreativityalongwithawidevarietyofnuancesandharmonicvocabulary


UsingDactylic,Anapest,andAmphibrachimproviseareactionactivityusing2ormorevoices.Studentgivesthecommandsorjurygivesthecommands.

Prepareinavarietyofstylesandtonalities.

Jurychoosesrhythmiccell.AtHANDSHIP,handsgo2Xfast.AtFEETHIP,feetgo2Xasfast.AtHANDSHOP,handsgo2Xslow.AtFEETHOP,feetgo2Xasslow.AtFEETRETURN,feetreturntotheme.AtHANDSRETURN,handsreturntotheme.Melodyshouldfreelyexchangebetweenvoices.

RepertoirePiece


N/A Besuretoaccompanyeachpiecewithanappropriatedescriptionofhowyouwoulduseitinaclass,goals,etc.


ImproviseforBeatversusDivisioninunequalbeatswithdivisionsof5and7withvariousbeatgroupings:beatsvs.divisionsandcomplementaryrhythm.Thepianistwillfollowthemover’schangesofnuance;themoverwillfollowthechangingnuanceofthepianist.


Beabletochangehandsandfeet,watchthemover,offercorrections,andmaintainamusicalimprovisation.Melodyshouldfreelyexchangebetweenvoices.


74



EmbodyingMusicand/orMovingSoundformoredetails)


Progression

1. Unfiguredbasslines2. Usingmaterialsfrom4A

plusthe3formsofaugmented6thchords:Italian,German,andFrench

3. Quartal-Quintalharmony


Thejurywillprovidethestudentwithanunfiguredbasslineinaminorkeytoprepare24hoursinadvancethrough4accidentals.

Melody

1. HarmonizeaHarmonicMinorscalewiththemelodyinthesopranousingexcellentcounterpointand3voices.

2. UnfiguredBasslinesinMinorkeys

4accidentalsinminorkeys

Moveseamlesslyfromonekeytoanother,throughdescending5ths.UnfiguredBasslineshave24hoursofpreparation.

FormandStructure

1. Modemixtureand/orsubstitution

2. ABACARondoasameansforlocomotion.

Jurydeterminesthekeyscheme

PrepareaRondo(ABACA)formthatexploresmixture/substitutioninthereturningAsection(24hourpreparation).Themusicmustdemonstratecreativityalongwithawidevarietyofnuancesandharmonicvocabulary.


Prepareasystemization/reactionusingthe12eighths:beatsvs.divisionsandcomplementaryrhythm.

Prepare2versionsin2differentstyles(Tonal,modal,exoticscales,pentatonic,Quartal-quintal,planing,etc.)

Besureyouruseofmotif,andcounterpointalongwithphrase-periodstructureisclear.1systemization,theimprovisershouldcallchangeseverymeasureusingbeatsvs.divisions;preparea2ndsystemizationinadifferentstyleusingcomplementaryrhythm,buttheimprovisercallschangesofhandsandfeeteveryphrase.

RepertoirePiece




ImproviseforBeatversusDivisioninunequalbeatswithdivisionsof8withvariousbeatgroupingsbeatsvs.divisionsandcomplementaryrhythm.Thepianistwillfollowthemover’schangesofnuance;themoverwillfollowthechangingnuanceofthepianist.


Beabletochangehandsandfeet,watchthemover,offercorrections,andmaintainamusicalimprovisation.Melodyshouldfreelyexchangebetweenvoices.


75


(SeetheStudentHandbookandEmbodyingMusicand/or

MovingSoundformoredetails)


Progression

1. Unfiguredbasslines2. Fullydiminished7thsas

appliedchordsandpivotchordsformodulationtocloselyrelatedkeys

3. Exoticscalesandwhole-tonescaleimprovisation

4. Augmentedtriads


Thejurywillprovidethestudentwithanunfiguredbasslineinamajororminorkeytoprepare24hoursinadvancethrough4accidentals.

Melody

1. HarmonizationofCtoCscalesinmajor

2. Oneandtwovoicerhythmicskeletons

3. Modulatingunfiguredbasslinesinmajorkeys.

3accidentalsinmajorkeys

Moveseamlesslyfromonekeytoanother,throughdescending5ths.Rhythmicskeletonshave24hoursofpreparation.Unfiguredbasslineshave24hoursofpreparation.

FormandStructure

Ternaryformsthatutilizedistantmodulationsviamixture,substitution,orotherchromaticchord(Neapolitan,Augmented6th,ordiminished7th,etc.)


Thejurywillgivethekeyscheme24hoursinadvance.Themusicmustdemonstratecreativityalongwithawidevarietyofnuancesandharmonicvocabulary.


Prepareareactionexerciseusing2differentrhythmicpatternsasadissociationusinganapest,dactylic,amphibrach,iamb,ortrochee.


Thejurywillprovidethestudentthepatternstoprepare24hoursinadvance.Themelodyshouldfreelyexchangebetweenvoices;jurycallschangesandstudentcallschanges.

RepertoirePiece




Metrictransformationofrhythmicpatterns(PatternsinSimpleTripleMetertransformedintoCompoundDupleMeter;PatternsinComplexTripletransformedintoSimpleQuadruple)


Followthemover:patterninonevoice,beatintheother;atCHANGE,changehandsandfeet;atTIME,transformthepatternintothenewmeter.Themelodyshouldflowfreelybetweenvoices.


76



EmbodyingMusicand/orMovingSoundformoredetails)


Progression

1. Unfiguredbasslines2. Fullydiminished

7thsasappliedchordsandpivotchordsformodulationtodistantrelatedkeys

3. Fullydiminished7thsfunctioningCommon-Tonemodulations


Thejurywillprovidethestudentwithanunfiguredbasslineinamajororminorkeytoprepare24hoursinadvancethrough4accidentals.

Melody

1. HarmonizationofCtoCscalesinminor

2. Oneandtwovoicerhythmicskeletons

3. Modulatingunfiguredbasslinesinminorkeys.

3accidentalsinminorkeys

Moveseamlesslyfromonekeytoanother,throughdescending5ths.Rhythmicskeletonshave24hoursofpreparation.Modulatingunfiguredbasslineshave24hoursofpreparation.

FormandStructure

FormsABCDA 3accidentals:majorandminor

Thejurywillgivethekeyscheme24hoursinadvance.Themusicmustdemonstratecreativityalongwithawidevarietyofnuancesandharmonicvocabulary.


CreateaSystemizationofarhythmicphraseagainstanostinatoextractedfromtherhythmicphrase.


Thejurywillprovidethestudentwiththephraseandostinatotoprepare24hoursinadvance.

RepertoirePiece




Polymeter/crossrhythms:2:3;2:5;3:4;3:5;4:5.


Maintainanostinatoof3,4,or5.Followaconductorandplaygroupsof1,2,3,4,or5againsttheostinato.Playanostinatoof3,4,or5;directamoverinapolymetriccanoninthefollowingcrossrhythms:2:3;2:5;3:4;3:5;4:5.


77

Notes: