DSR Student Handbook 2010

6/1/2010
Designed for Students of the Professional Studies Division

Dr. Jeremy Dittus, Diplme Suprieur
DALCROZE
SCHOOL
OF THE
ROCKIES
STUDENT HANDBOOK

Student Handbook 2010

2

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

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


3

General Information for Obtaining the Dalcroze License


4

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

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


5

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

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

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

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


6

Mind Maps of the Dalcroze Subjects


7

Types of Locomotion: Walk; Slide (Slow
Walk); Skip/Gallop, Trot/Jog, Running
Time, Space, Energy, and Weight
Changes of direction
Phrase and Form
Phrase Shape
Anacrusis, Crusis,
& Metacrusis
Antecedent/Consequent
Length/Proportion
Beat type: Divisions of
2s and 3s
Divisions,
Subdivisions, and
the Multiple
Eurhythmics
Polyrhythms
Complementary Rhythm
Divisions: quarters vs
eighths, for example
Patterns, Leitmotifs: quarter
and two eighths vs. two
eighths quarter, for example.
Polymetrics: (two against
three; three against four;
three against five; four against
five)
Meter: Simple, Compound, Composite (measures of unequal
beats)
Arm Beats (measures of 2 through 5)
Measure Shape
Anacrusis, Crusis, & Metacrusis
Metric Transformation
Division Equals Division (Divisions of 12 Eighths)
Metric Modulation
Beat equals Beat and Division Equals Division in
Sequence
Silences (internalization of time/space in the
absence of sound)
Affect in Relation to Placement in a
Measure or Phrase
Duration
Augmentation and Diminution
Leitmotifs
Simple : 2 beats in length).
Complex :4 beats in length,
including dotted values
and syncopations .
Measures of 3 and 5 Beats.
Hemiola
Themes from Literature.
Phrases (constructed from a
series of augmentation and
diminution of a single
leitmotif).
Movement Technique; Dance Technique
Warm-up Activities
Spatial Exploration
Plastique Anim
Basic Elements of Theater
Non-Verbal
Communication.
Movement Improvisation
Solo
Group
Folk Dance Development.
Canons
Improvement of
Knowledge of Music
Literature Including
Classical and Folk Genres
Expression (Nuances)
Affect
Dynamics
Articulations
Accent
Melodic
Dynamic
Pathetic
Agogic
Harmonic
Texture
Tempo
Accelerando & Ritardando
Breathing
Rhythm: accuracy and
precision.
Phrase: metaphor for
phrase/preparation
Tension and
Release
Time Space &
Energy
Inhibition
Incitation
Association
Dissociation
Systemization
Automations
Improvisation
Quick Reactions


8

Piano
Improvisation
Melodic Shape and Structure
Repetition, Contrast ,and Motivic
Development
Gestures/Motifs and Phrases
Cadences
Breath
Right and Left Hand Development
Improvising from Rhythmic Skeletons
One and Two Voices
Impact of Meter
Chord Resolutions
Diatonic and Chromatic Resolutions
Applied Chords and the Neapolitan
Augmented Sixth Chords
Fully-Diminished Seventh Chords
Augmented Triads
Melodic Harmonization
2 voice
3
rds
, 6
ths
, 10
ths
Developing Independence
of the Hands
Homophonic/Chorale
Different Styles to Inspire
Movement
Study of Large-Scale Form and Structure
Classical Dance Forms: Gavotte,
Sarabande, Gigue, and Minuet
Theme and Variations
Binary and Ternary Forms, Rondos
Development of Knowledge of Folk
Song Literature and Intermediate
Classical Literature
Spin-offs
Adaptation for Use in the
Eurhythmics Classroom
Scale Harmonizations in Three Voices
Do to Do Scale Harmonizations
Major and Harmonic Minor
Harmonic Progressions
Basic Functional Progressions
Harmonic Rhythm
Bach Chorales
Figured Bass
Transposition
Modulations
Neighboring Keys
Non-Neighboring Keys
Enharmonic use of the
Neapolitan, Augmented Triads,
Augmented Sixth Chords, and
Fully-Diminished Seventh
Chords to Facilitate Distant
Modulations
Sequences
Diatonic and Modulating
Improvisation for Eurhythmics Exercises
Basic Locomotor Skills: Walk (Tip-toe, Normal, and Heavy),
Slide, Skip/Gallop, Trot/Jog, Running
Accompaniment Patterns for Right and Left Hands
Expression Elements
Twentieth Century Techniques
Quartal Quintal
Planing
Modes
Pentatonic
Whole-tone
Octatonic
Church Modes
Cluster Chords
Atonal
Composition
Prosody
Percussion
Improvisation
All Eurhythmics Subjects
Creating an Appetite for
Improvisation
Playing for Images
Duet and Group Improvisation


9

Solfge
Other Twentieth Century Technique
Quartal Quintal Harmony
Tall-tertian Harmony
Planing
Atonal
Modulation
Neighboring Keys
Non-Neighboring Keys
Advanced Chromaticism
Melodic Shape and Structure
Repetition and Development
Phrases and Phraselettes
Cadences
Breath
Intervals Up and Down
Compound Intervals
Melodic and Harmonic
Sightreading
Exercises from the books
of Jaques-Dalcroze
Dichords and Trichords
Basic Vocal Technique
Warm-up Techniques
Vocal Improvisation
Listening
Analyzing
Internalized Hearing
Singing
Playing
Modes
Pentatonic
Whole-tone
Octatonic
Church
Modes
Development of
Classical and Folk Song
Literature Knowledge
Triads and Seventh Chords and their inversions
Major, Minor, Augmented, Diminished
MM; Mm; mm; half-diminished; fully-diminished
Resolution of chords in descending fifths and thirds
Progressions
Applied Chords
Major and All Three Minor Scales
Do to Do scales
Function with Numbers
Note names with Letter
Names
Corporal Representation
of Aural Events
All Eurhythmics Musical Goals


10

Assigned Reading from Required Texts
Building Your Personal Dalcroze Library
Methods
Songs
Literature
How to Create a Spectacle
At the End of a Semester
For a short-term summer-
camp
Sets and Costumes
Lighting
Lesson Structure
Sequencing and Development of Lesson Subjects
Incorporating Variety
Different Learning Styles
Use of Recorded Music
How to Create Your Own Versions of Classical
Repertoire
Use of Other Instruments than Piano or Voice
Use of Materials
Use of Story-telling and Drama
Use of Folk and Classical Literature
How to Create Effective Handouts
Maintaining Flexibility
Business Aspects
How to Start a Program
What to Look for in a Good Studio
Space
Developing Studio Policies
Necessary Materials for start up
How to Grow Your Program
Educating Parents
How to Advertise in Print
How to Promote Yourself in Person
How to Network
Classroom Management
Overcoming Fear
Behavioral Issues
Talking with Parents
Philosophical Goals
The Need for Discovery
The Importance of Joy
Stimulating Imagination
Providing Outlets for Creativity
Dalcroze Subjects and
Approaches
How to Take
Useful Notes
after a Dalcroze
Class
How to Teach Songs
What makes an an age-appropriate
song
Different techniques for teaching
song literature
Learning How to Watch Students
from the Circle and from the
Piano
Giving Useful, Constructive
Feedback
Methods
Curriculum
Development
How to Teach Movement Technique


11

Licensure Program Outlines by Checkpoint Evaluations


12

Eurhythmics Schedule page 1
Checkpoint Observations
with proposed subjects for
the given unit of study.
Follows
(Reactions of Changing
Expression and Nuances)
Canons Phrase; Systemization of a
Rhythmic Pattern
Checkpoint Observation 1:
Beat; Division;
Multiple; Simple Time
in meters of 2, 3, and
4; Complementary
Rhythm

Step a simple pattern from
the following list: q, iq,
jjjq, h, h., w, and q. e
In all Follows, one must
conduct the measure using
arm beats; using the body,
the mover must show the
changes in the music.
Step basic patterns in
canon and conduct the
measure using arm beats.
Use one of the rhythmic
patterns used in the follow
and systematically work it
through each beat of 3 or 4
time in a coherent phrase.
Beat; Division; Multiple
Compound Time in
meters of 2, 3, and 4;
Complementary
Rhythm

Step a simple pattern from
the following list: q., h., q
e, eq, iiq, and ea. asez .

Step basic patterns in
canon and conduct the
measure using arm beats.
Use one of the rhythmic
patterns used in the follow
and systematically work it
through each beat of 3 or 4
time in a coherent phrase.
Phrase; Anacrusis,
Crusis, Metacrusis;
Measure Shape; Breath
Move or step a given
anacrusic phrase
(e iql q. e ql q
) .
Using the material from the
previous exams, step a
canon that contains
anacrusic elements.
Improvise vocally while you
move a series of
consecutively growing
anacrusic gestures in 3 or 4
time. (el e ; eel e; eeel
e; etc.).

Augmentation and
Diminution; Silences;
Syncopation

Move or step a given
syncopation pattern
(eq eq q).
Step or clap a canon at the
measure. If the melody
goes up, step the pattern
twice as fast two times. If
the melody goes down,
step the pattern twice as
slow. If the melody stays
the same, step the same
rhythm.
Step an
augmentation/diminution
phrase of a given motif.
(iq q iq ql jiq jiql jiq
jiql iq ql iq ql q q l h
l ) Conduct for the meter;
conduct for the pattern
(conducting pattern
changes with each cell).
Changing Meter;
Divisions of 12 eighths
Move or step a phrase of
measures that change
meters: beat equals beat
(l iiq q el iq ql or
division equals division
l iqiql q.e ql jjjq iqh l ).
Step or clap a pattern
canon that corresponds to
the 4 beat divisions of 12
eighths.
Step the suite of 4 beat
divisions and clap the
complementary pulses.
Change hands and feet at
the end of the phrase.

13

Checkpoint Observation Follows
(Reactions of Changing
Expression and Nuances)
Canons Phrase; Systemization of a
Rhythmic Pattern
Form; Composite
Meter

Step a measure of 3 or 4
time with various rhythms
that uses unequal beats
(iiq q e q).
Step a canon in a meter of
5.
Take a given phrase and
demonstrate how it can be
used as an antecedent or a
consequent. Also show
variations in how it can be
gesturally conceived
(different groupings,
elongated, truncated etc.).
Metric Transformation;
Polyphony: Simple and
Augmentation/Diminut
ion of a single motif
Step a given pattern in
simple triple meter and
transform it into compound
duple (l ea. asez e ql turns
into l ea. ase iq ql ).
Step a canon that employs
metric transformation.
Take a rhythmic pattern
and create a suite of
polyrhythms out if its forms
deriving from
augmentation and
diminution.
Polyrhythmy and
Polymetrics
Step the composites for 3
against 4 or 3 against 5.
Step an ostinato in divisions
of 3, 4, or 5 while clapping a
one beat canon that
employs polyrhythms.
Step an ostinato in divisions
of 3, 4, or 5. Clap the
following rhythm while
improvising a melody on it:
q iq epzz jjjq jjjq epzz
iq q
Polyphony Continued:
Complex
Step a given pattern while
clapping another. Change
hands and feet with the
music. (e q e vs. q iq).
Step a given ostinato in 2
time while clapping a canon
at the measure.
Feet step divisions, hands
clap beats, and voice
improvises a melody on the
multiple. Every 8 beats,
rotate the parts: Feet step
the multiple, hands clap
divisions, and voice
improvises on the beats.
Then, feet step the beats,
hands clap the multiple,
and voice improvises the
divisions.
Checkpoint Observation
10 and Juried Exit Exam:
Metric Modulation;
Canons in 2 and 3
voices
To be announced at the
exam.
Perform a two beat canon.
Hands are in canon with
piano (two beats behind
the piano) while the feet
are in canon with hands
(four beats behind the
piano).
Perform a series of metric
modulations, stepping the
beat and clapping the
complement. Go from slow
to medium to fast and then
return.


14


Dissociation and Association;
Inhibition and Incitation
Improvisation; Plastique
Anime; Group Exercises
Beat; Division;
Multiple; Simple Time in
Complementary
Rhythm

Step the value of each
measure and while you clap
the beats; change hands and
feet. Or, do the same but
with the beats as the
complement to the measure.
With a partner or group and
any material or your choice,
creatively demonstrate 3
different meters using gestures
or images that come from an
amusement park.
Beat; Division; Multiple
Compound Time in
Complementary
Rhythm

The piano plays q. and you
step h. ; the piano plays q e
and you step eq ; the piano
plays iiq and you step ea. asez ;
also the contraire for each (If
the piano plays h. you step q.
etc.) . Use arm beats to show
the measure.
With a partner or group and
any material or your choice,
creatively demonstrate 3
different meters using gestures
or images that come from the
sea.
Phrase; Anacrusis,
Crusis, Metacrusis;
Measure Shape; Breath
Follow the piano as it plays
phrases which change in
length. Step the anacrusis;
clap the crusis; gesture the
metacrusis.
Improvise a series of
movements that demonstrates
your knowledge of the Laban
effort action drives.
Augmentation and
Diminution; Silences;
Syncopation

Clap eq e while stepping q,
iq, or jjjq . Change hands
and feet. Walk and clap a
series of 8 eighth notes; the
teacher will call out two
numbers between 1 and 8.
The hands must rest on those
numbers. Do the same thing
but for the feet.
Plastique Anime solo based on
literature of students choice
(short: 2-3 minutes).

Changing Meter;
Divisions of 12 eighths
Step l q q q l h. l while
tossing a ball in the air for h.
and catching it for the
following h. . At HIP take
away a beat from both (feet
will do l qql hl and ball will do
h ) At HOP add a beat to both
(feet will do l qqqql wl and ball
will do w ).
Plastique Anime solo based on
literature of teachers choice
(short: 2-3 minutes).

15

Dissociation and Association;
Inhibition and Incitation
Improvisation; Plastique
Anime; Group Exercises
Form; Composite Meter

Using a triple composite
meter, step the beats and
clap the complementary
divisions but alternate hands
and feet. At first, change
every measure and then
change every beat.
Plastique Anime in a group
based on visual art of the
teachers choice. Students
choose the music that will suit
the art.

Metric Transformation;
Polyphony: Simple and
Augmentation/Diminuti
on of a single motif
Step a pattern in simple triple
meter while clapping in
compound duple. Change
hands and feet. Change
meters (hands: beats in
simple triple, feet: pattern in
compound duple).
Folk Dance. Create and teach a
folk dance with multiple
contrasting sections that
corresponds to a ballade or folk
song.
Polyrhythmy and
Polymetrics
Clap the beat. If the piano
plays in divisions of 2, step in
divisions of 3. If the piano
plays in divisions of 3, step 4.
If the piano plays in divisions
of 4 step 5. Change hands
and feet.
Independent study in Dance.
Take an approved course in
movement or dance, and present
its applications to Dalcroze
Eurhythmics.
Polyphony Continued:
Complex
Step an ostinato in 2 time
while clapping a four
measure phrase with varying
rhythms. Change hands and
feet.
Final Plastique Anime Project:
choose a more substantial
work and begin creating a
Plastique from it.
Checkpoint Observation and
Juried Exit Exam 10:
Metric Modulation;
Canons in 2 and 3 voices
Canons at the measure.
Prepare 3 simple canons to
perform in 3 voices with the
body: voice, hands, and feet.
Presentation of the final
Plastique.


16

Notes on Eurhythmics Schedule:
In all cases, the majority of the eurhythmics work will culminate from wide variety of composed
musical examples. In this way, the connection between solfge, eurhythmics, and
improvisation will be made concrete and applicable to music and corporal studies.

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

Students must demonstrate a purposeful and imaginative use of the space while performing the
exercises.

Students must show the dynamic relationship among time, space, and energy. Nuances, tempi,
and dynamics, as well as rhythmic precision and accuracy must be visually represented in the
body. In addition, Flow must also be addressed and/or demonstrated. In this aspect, the
student must demonstrate a continuity and unity of the rhythm through the body that
corresponds with the music.

The use of weight is of the utmost importance. In general, students should move with the
weight of their bodies on the forward part of their feet, except for expressive purposes and/or
extremely slow music. There will explore many different ways of walking and running, along
with the technique required to execute each one and transition from one type of movement to
another. Naturally these different ways of moving will correspond directly to different types
and styles of music.

Arm beats will be used in place of conducting gestures, unless the music is too rapid. The
gestures should be large, graceful, and expressive with the arms stretched fully at the apex of
each beat. The fists should be closed at the debut of beat one. The specifics of these
techniques will be discussed in the classes.


17

The skip, the gallop/chasse, and the leap are used at different times for different types of
musical gestures. Here is a short list of typical uses.

o The Gallop/Chasse is a ternary gesture that in direct contrast to the skip, is traditionally
viewed as anacrusic. The musical information that will differentiate this gesture from
the skip will be discussed in detail, but in general it is its anacrusic nature that makes it
distinctive. In this step, the mover leaves the floor with one foot and lands with the
other. The pattern is the same no matter what; always takes off with the same foot. For
example, its always right, left, right, left, etc.

o The skip can be used in binary or ternary beats. Regardless, it consists of a step-hop
gesture on each foot and is a crusic gesture. The feet constantly alternate leaving and
landing, so no side of the body is dominate.
Ternary skips are the most natural (epr ); most Americans skip in a ternary
fashion. The gesture should look easy, and the body should be in the air for the
long note, and on the ground for the duration of the short note. As in binary
skips, the pattern is right, right, left, left, right, right, left, left.
The binary versions are more stylized (ea. ase ). These binary skips can be
performed with most of the weight on the ground for the majority of the long
note followed by a quick hop in the air before the short note, or it can be
performed with a large leap in the air that for the long note and quick step on
the ground for the short note. Regardless, the pattern remains the same: right,
right, left, left, right, right, left, left, etc.

o The leap happens in many cases, and is similar to the Gallop/Chass in that the mover
leaves the floor with one foot and lands with the other. However, this gesture tends to
be more of lifting movement than the Gallop/Chasse and can be found on the long note
of the following rhythms at fast tempi: eseae, eaaaaese, eaaasaeax . Other examples exist, but this is
a good basis for making judgments in the future.

o Finally, in addition to the above locomotor skills, other movements and gestures
involving other parts of the body will be explored along with the appropriate techniques
required to execute these gestures with efficacy and musicality. For example, the
different ways of conducting will be explored (large arm beats, just forearms, just wrists,
or just fingers) or different ways of clapping (in different shapes or with different
sonorities for example) will be examined in order to demonstrate the music in as many
ways possible.

18

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

2. Canon

3. Phrase/Systemization

4. Association/Dissociation and Incitation/Inhibition

5. Improvisation; Plastique Anime; Group Exercises

Pass Redo Examiners Signature_____________________________Date______________

19

Improvisation Schedule page 1
Checkpoint
Observations
Harmonic Progression (In Major
and Minor tonalities through 4
accidentals, unless otherwise
noted)
Melody Form and Structure
Checkpoint
Observation 1
1. I-IV-V
7
-I
2. I-II
6
-V
7
-I
3. Modes: D Dorian, E
Phrygian, F Lydian, G
Mixolydian, A Aeolean.
Whole tone Scale. (Two
chord ostinatos; no
transpositions yet)
1. One voice improvisation
(2, 3, and 4 time)
a. Right Hand
b. Left Hand
c. Major /Minor Keys
d. Modes
2. Rhythmic skeletons (one
voice)
1. Question and Answer
Phrases
2. Breath
Checkpoint
Observation 2
1. Cadences: Authentic
(Perfect and Imperfect),
Half, Deceptive, Phrygian,
Plagal
2. Scale Harmonization using
Fauxbourdone and parallel
second inversion triads
1. One voice improvisation
based on various composed
music selections (Spin-offs,
prepared in advance)
a. Folk Music
b. Classical Music
c. Popular music
2. Rhythmic skeletons
1. 12 bar blues
2. Song Form: AAB
Checkpoint
Observation 3
1. Sequences of Descending
3
rds
and Descending 5
ths
both
with Triads and Seventh
Chords (root position,
except for diminished
chords)
2. Progressions similar to
Pachebelles Canon.
1. Song accompaniment:
chords only, while pianist
sings accompaniment.
Pianist prepares a selection
of 6 tunes that correspond
to music and Movement
2. Rhythmic skeletons
3. Two piano improvisation
1. Playing for Images
Checkpoint
Observation 4
1. Sequences of Descending
5
ths
in their various
inversions (root to second
inversion or first inversion
to root).
2. Applied chords: V
7
/V; V
7
/IV
3. Scale Harmonization in
Major keys (Scale in Bass or
Soprano)
1. Repetition, Contrast, and
Motivic development with
one voice (Prepared in
advance):
a. Right Hand
b. Left Hand
c. Major/Minor Keys
and Modes
2. Rhythmic Skeletons
1. Playing for Images
2. Playing for Stories
Checkpoint
Observation 5
1. Sequences of Seventh
Chords Descending 5
ths
in
their inversions (second
inversion to root or third
inversion to first inversion)
2. Scale Harmonization in
Harmonic Minor keys (Scale
in Bass or Soprano)
1. Spin-offs with
accompaniment 4 based on
Folk Song Literature, and 2
based on Classical
Literature; folk Songs must
be prepared in 3 different
keys

1. Binary Forms


20

Checkpoint
Observations
Harmonic Progression (In Major
and Minor tonalities through 4
accidentals, unless otherwise
noted)
Melody Form and Structure
Checkpoint
Observation 6
1. Modulation (only through 3
accidentals):
a. to the Dominant
b. to the Sub-Dominant
c. to the Relative
Major/Minor
1. Two-voice improvisation
based on 3
rds
, 6
ths
, 10
ths
,
and other contrapuntal
techniques
2. Simple two voice Rhythmic
Skeletons
3. Prosody and song
composition
1. Ternary Forms
2. Rounded Binary Forms
Checkpoint
Observation 7
1. Applied chords for every other
scale degree and their
inversions
2. Harmonization of Major Scales
in all keys (3 voices, melody in
the soprano)
3. The Neapolitan
4. Modulation to closely related
keys up to 4 sharps/flats
1. Transposition of melodies
2. Continued work on
contrapuntal techniques
3. Simple two-voice Rhythmic
Skeletons
1. Repetition, Contrast,
and Motivic
development with two
or more voices
Checkpoint
Observation 8
1. All varieties of Augmented
Sixth Chords
2. Quartal-Quintal Improvisation;
Clusters
3. Harmonization of Minor Scales
in all keys (3 voices, melody in
the bass)
4. Mixture and substitution within
a tonality
1. Continued work on Prosody
and song composition
2. Romantic Gesture and
Chromaticism
3. More complicated Rhythmic
skeletons
1. Continued work with
Repetition, Contrast,
and Motivic
development with two
or more voices
Checkpoint
Observation 9
1. Fully diminished seventh
chords
2. Mixture and substitution as a
means to modulate to distantly
related keys
3. Harmonization of the C to C
scales in Major
4. 5-6 Technique and other
sequences
1. Like Exam 5, but with all
new literature; spin-off
portion should change keys
skeletons
1. Theme and Variations
Checkpoint
Observation
10 and Juried
Exit Exam
1. Augmented triads
2. Planing
3. Harmonizations of the C to C
scales in Minor
4. Other techniques for
Modulation to distantly related
keys, specifically median
relationships.
5. Chromatic sequences
1. Prepare 3 Canons in two
voices, each in two keys
skeletons
1. Rondo Forms

21

Checkpoint
Observations
Applications of Eurhythmics
Coursework
Repertoire
Music to be performed from
memory. The collection
should represent a diverse
array of music suitable for
the eurhythmics classroom
Playing for Movement
Two or more
voices unless
otherwise stated
In meters of 2, 3,
or 4 unless
otherwise stated
Checkpoint
Observation 1

To Be Announced (TBA: based
on extracts from Eurhythmics
lesson subjects)
Intermediate Repertoire Piece 1 1. Walking, Trotting, Slow
music; always with
changes in affect,
nuance, articulation
(One voice, only)
2. Accompanying
movement with a drum
and other percussion
Checkpoint
Observation 2
TBA Intermediate Repertoire Pieces
1 and 2
1. Walking, Trotting, Slow
music. Always with
changes in affect,
nuance, articulation
(Two or more voices)
Checkpoint
Observation 3
1, 2, and 3
1. Swaying Music
Checkpoint
Observation 4
1, 2, 3, and 4
1. Skipping/Galloping
music
Checkpoint
Observation 5
1, 2, 3, 4, and 5
1. Basic Dance types:
Waltz, Minuet,
Sarabande, Tango,
Java, etc.


22

Checkpoint
Observations
Applications of Eurhythmics
Coursework
Repertoire
Music to be performed from
memory. The collection
should represent a diverse
array of music suitable for
the eurhythmics classroom
Playing for Movement
Two or more
voices unless
otherwise stated
In meters of 2, 3,
or 4 unless
otherwise stated
Checkpoint
Observation 6
1-6
1. Running Music
2. Different derivatives of
Anapest, Dactylic, and
Syncope.
3. Augmentation and
Diminution
Checkpoint
Observation 7
1-7
1. Unequal Beats 5/8 and
7/8
2. Hand/feet dissociation
3. More Difficult Dance
types: Gavotte, Samba,
Rhumba, Bossa
Checkpoint
Observation 8
1-8
1. Unequal Beats 3+3+2,
3+2+3, 2+3+3, 3+3+2+2
etc..
2. Augmentation and
Diminution in
Polyrhythm.
Checkpoint
Observation 9
1-9
1. Metric transformation
2. Hemiola
3. Polyrhythms
Checkpoint
Observation
10 and Juried
Exit Exam
1-10
1. Cross rhythms: 2/3,
2/5, 3/4, 3/5, 4/5
3. Metric Modulation


23

Notes on Improvisation Schedule:

In all cases, the majority of the improvisation examples work will be derived from wide variety
of composed music; however the ways in which we will explore these examples will be using
Dalcrozian pedagogic techniques. These techniques will be similar to those found in the
eurhythmics and solfge classroom. In this way, the connection between solfge, eurhythmics,
and improvisation will be made concrete and applicable to music and corporal studies.


All improvisation for movement must invite and inspire the movement, not merely represent
the movement in rhythm.

Clear and organized phrase period structure is essential.

Changes in nuance, expression, texture and/or register must be integrated into the students
music.

A diverse variety of soundscapes is imperative. Especially when improvising for Follows,
Canons, and Melody, an assortment of modes, tonalities, scales, and styles is indispensible for a
musically satisfying Dalcroze experience. As students progress through their studies, a wider
range is expected.

24

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

2. Melody

3. Form and Structure

4. Applications of Eurhythmics Exercises

5. Repertoire Piece

6. Playing for Movement

Pass Redo Examiners Signature______________________________Date______________

25

Solfge Schedule page 1
Checkpoint
Observations
Scales: Students will be
expected to sing, analyze,
hear, write, and improvise
using the following scale
types
Intervals/Polychords:
Based on the 3 volume solfge
texts of Dalcroze, students use
Dalcrozes techniques to utilize
intervals harmonically and
melodically
Harmony: Students
will sing, analyze, hear
write and improvise
using the following
chords
Improvisation
And Melody:
Students will improvise
using the voice, body,
and/or an instrument
Checkpoint
Observation 1
Major C to C scales
through 3 sharps and
3 flats with note
names and numbers
Dichords, Trichords, and
Tetrachords and their
corresponding intervals
(Major: no Aug. 2
nds
)
Triads in root
position as
arpeggios within a
Major or Minor
scale: Major,
Minor, diminished
and augmented
1. Phrase:
Question and
Answer
2. Simple meters
of 2, 3, and 4

Checkpoint
Observation 2
Major C to C scales
7 flats with note
names and numbers
Pentachords and their
(Major: no Aug. 2
nds
)
First and second
inversion triads as
arpeggios in Major
and Minor
1. Phrase:
Question and
Answer
2. Compound
meters of 2, 3,
and 4
Checkpoint
Observation 3
Minor C to C scales
3 flats with note
names and numbers
Dichords through
Pentachords and their
(Minor: with Aug. 2
nds
)
Seventh Chords in
root position as
arpeggios including
the Dominant
Seventh, its
inversions, and
their resolutions

Singing from a
rhythmic skeleton;
phras
Checkpoint
Observation 4
Minor C to C scales
7 flats with note
names and numbers
Hexachords and their
corresponding intervals.
(Major: no Aug. 2
nds
)
Applied chords:
V
7
/V , V
7
/IV, and
V
7
/III in minor
(Major and Minor
tonalities)
1. Repetition,
Contrast, and
Motivic
Development
2. Rhythmic
skeletons

Checkpoint
Observation 5
Whole-tone and
Pentatonic Scales
(Major: no Aug. 2
nds
)
Seventh Chords
and their
resolutions Root to
second inversion.
1. Chromatic
alterations.
More work with
Repetition,
Contrast, and
Motivic
development
2. Rhythmic
skeletons


26

Checkpoint
Observations
Scales Intervals/Polychords Harmony Improvisation
And Melody
Checkpoint
Observation 6
Modulating C to C
Scales to neighboring
tonalities
Continued work with
(Major and Minor as
inverted triads)
Seventh Chords
and their
resolutions First
inversion to third
inversion
ABA forms:
Modulations to the
Dominant, Sub-
Dominant, and
relative
major/minor

Checkpoint
Observation 7
More Modulating C to
C Scales to
neighboring tonalities
Heptachords and their
(Major: no Aug.
2
nds
MM, Mm, dim min)
1. The Neapolitan
2. Other applied
chords
1. Modulations to
other
neighboring
keys.
2. Other styles and
unequal beats:
measures of 5
and 7.
3. Rhythmic
skeletons
Checkpoint
Observation 8
Modulating C to C
Scales to distant
tonalities
More work with
heptachords (mm)
All varieties of
Augmented 6
th

chords
1. Mixture
2. Ostinatos
3. Series of
Modulations in
Rondo form
(ABACA)
Checkpoint
Observation 9
More Modulating C to
C Scales to distant
tonalities
Hexachords as inverted
seventh chords and their
(MM, Mm, dim min)
1. Fully-
Diminished
seventh chords
2. Other
sequences
1. Polyrhythmy:
improvise one
voice and clap
the other
2. Modulations to
distantly related
keys
Checkpoint
Observation
10 and Juried
Exit Exam
Octatonic Scales and
other exotic scales
More work with
Hexachords as inverted
seventh chords and their
(mm)
Twentieth Century
techniques; modal
and exotic
harmony
1. Polyrhythmy:
improvise one
voice and clap
the other
2. More
Modulations to
distantly related
keys


27

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


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

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

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


28


For each column heading, many of the exercises will be derived using corporal, experiential, and
discovery-based methods that inspire a spirit of play and creativity. The Dalcroze approach to Solfge
aims to develop a keen sense of internal listening, facilitate rapid communication among the ear, eye,
and voice, and above inform expressive musicianship. The examples that follow here give some insight
as to the nature of the exercises and exam questions, but they do not constitute a comprehensive list of
possibilities.
1. Scales
a. For the C to C scales, Students will be expected to sing or hear the scales in a variety of
ways.
i. Given a C, the students must sing the specified scale up and down
ii. Given a Dominant with C on top, the students must sing the implied scale up
and down
iii. Given a tri-chord based on C, the students must sing the implied scales up and
down
iv. The teacher plays a C to C scale, and the students must label the scale
accordingly
v. The teacher plays a C to C scale up in a given rhythm, and the students must
sing the same rhythm going down
b. For the pentatonic, octatonic, and whole-tone scales, students must be able to sing the
scales in a variety of positions and inversions.

2. Intervals
a. Using Dalcrozes 3 volumes of Les Gammes et Les Tonalits, Les Phrass et Les Nuances,
students must be able to sing and analyze polychords and their corresponding intervals
in a variety of contexts. These will relate to different manners of filling in intervals
using arpeggios of different inversions and functions. In addition, it will relate to the
students understanding of melodic shape and structure.
i. From the same note, the student must sing all of the various trichord espces
up and down along with their corresponding thirds


29


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

3. Chords
a. In regards to chords, students will be required to sing these chords melodically up and
down as well as hear them harmonically. The majority of the focus will be on chord
function and placement in a musical phrase or line, but sometimes chords will be
extracted and studied, heard, sung in isolation.
i. From the same note, the student must sing a diminished triad going up or down,
followed by a minor triad up or down, followed by a major triad going up or
down followed by an augmented triad going up or down
ii. From a given note, the student must sing a particular chord and place it context
of a tonality while improvising an antecedent or consequent phrase (for
example, the student must sing a II chord up from r, and finish the phrase
ending on the dominant)
iii. The teacher plays a particular seventh chord in an inversion; using a sequence of
falling fifths, the student must improvise arpeggios of seventh chords just until
resolution to the tonic (for example, the teacher plays a III
7
and the student
must sing arpeggios of until he arrives at the tonic III
7
-VI
4/3
-II
7
-V
4/3
-I)


30


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

31

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

2. Intervals/Polychords

3. Harmony

4. Melody and Improvisation

5. Sight Reading or Prepared Melody

Pass Redo Examiners Signature_____________________________Date______________

32

Methods Schedule page 1
Methodology Units
Each group represents a unit of study that will correspond to the various Checkpoint Observations with
the other Dalcroze branches. Each unit will have specific written work to be collected and placed in the
students personal Portfolio.

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

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

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

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

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

33

6. Classroom Management
a. Dealing with fear
b. Dealing with parents
c. Behavioral issues

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

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

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

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


34

Resources, Required Reading, and Bibliography

Each unit will be accompanied by assigned readings from the following list and other sources.

o Works Specifically by Emile Jaques-Dalcroze
Eurhythmics, Art, and Education
Eurhythmics, Music, and Education
Rhythmic Movement Volumes I and II
Coordination et Discordination Des Mouvements Corporels
Music Movement and Ear Training games and Exercises
Dalcroze Action Songs Books I-II
164 Marches Rythmiques Pour Une Voix
Cours Dimprovisation Mlodies Harmoniser
Les Gammes et Les Tonalits, Les Phrass et Les Nuances Volumes I-III
30 Leons Mlodiques de Solfge
Rhythmic Solfge Vocal (Translation by B. Abramson)
Rhythmic Dances Volumes I-III
12 Petites Images pour Enfants
50 Etudes Miniatures de Mtrique et Rythmique Livres I-IV
50 Esquisses Rythmiques pour Piano
Figurines, Portraits, et Caractres Volumes I et II

o Methodology, Philosophy, Pedagogy
Move with the Music, F. Aronoff
Music and Young Children, F. Aronoff
Dalcroze Today, M. Bachmann
The Rhythm Inside, J. Black and S. Moore
The Unfolding Human Potential, M. Brice
Discipline by Design, B. Churchward
Comparing Dalcroze, Orff, and Kodaly, Comeau
Lesson Plans for Fall/Winter/Spring, M. Dale
Experience and Education, J. Dewey
A Pathway to Dalcroze Eurhythmics, E. Driver
Rhythm and Movement, E. Findlay
Lesson Plans for 4-6 Year-Olds, H. Gell
Music, Movement, and the Young Child, H. Gell
The Eclectic Curriculum in American Music Education, B. Landis and P. Carder
Discipline Without Stress Punishments or Rewards, M. Marshall
Encountering the Fundamentals of Music, V. Mead
Music in Todays Classroom, V. Mead
Dalcroze Handbook, E. Vanderspar
Mostly Movement Vol. I and II, E. Wax and S. Roth
Yardsticks, C. Wood


35


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

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

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

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

o Additional Resources


36

Licensure Requirements


37

Requirements for Licensure
Students must pass each of the Checkpoint Observations

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

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

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

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


38

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

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


39

Checklist of Licensure Requirements
Checkpoint
Observations
Eurhythmics
Date Completed
Solfge
Date Completed
Improvisation
Date Completed
Checkpoint
Observation 1

Checkpoint
Observation 2

Checkpoint
Observation 3

Checkpoint
Observation 4

Checkpoint
Observation 5

Checkpoint
Observation 6

Checkpoint
Observation 7

Checkpoint
Observation 8

Checkpoint
Observation 9

Checkpoint
Observation 10
& Juried Exit
Exams

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

Other Requirements:

Other Requirements:

Other Requirements:


40

Teaching Evaluation Form

Name_______________________________Class Level_____________
Commentary
1. Elements of Dalcrozian
Philosophy/Pedagogy

a. Spirit of Play

b. Sense of Discovery (theory
follows practice)

c. The Body as an Instrument

d. Arousal of Joy (uniting
mind, body, and spirit)

e. Use of Dalcrozian
Approaches

2. Lesson Structure

a. Sequencing

b. Variety of Exercises
(engagement of different
learning styles)

c. Imagination and Creativity

d. Adaptability to the
Students

e. Clarity of Directions


41

Commentary
3. Musicianship

a. Improvisation and Pianism

i. Phrase

ii. Variety of
Tonalities, Modes,
Pianistic Styles etc.

iii. Use of Nuance and
Affect

b. Vocal Quality
(if appropriate)

i. Appropriate Range

ii. Intonation

iii. Appropriate
Modeling

c. Use of the Body

i. Appropriate
Modeling

ii. Rapport of the
Gestures to the
Music

iii. Use of Partners
and other Group
Activities


42

Commentary
4. General Pedagogical
Considerations

a. Ability to Watch Students
During Movement
Activities

b. Use of Signals and
Commands from Piano

c. Use of Materials (if
appropriate)

d. Overall Musicality of the
Lesson

e. Relevance to Musical or
Corporal Concepts

5. Other Comments:

Pass Redo Examiners Signature______________________________Date______________

43

Information Regarding the Dalcroze Certificate


44

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

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