rofessional tudies rogram and he alcroze …dsr+student+handbook.pdf · the dsr and da student...
TRANSCRIPT
Dr.JeremyDittus,DiplômeSupérieurDirectorofPrograms
DALCROZESCHOOLOFTHEROCKIES
PROFESSIONALSTUDIESPROGRAMANDTHEDALCROZEACADEMYSTUDENTHANDBOOK,6THEDITION
TheDSRandDAStudentHandbook 2017
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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.
TheDSRandDAStudentHandbook 2017
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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
TheDSRandDAStudentHandbook 2017
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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.
TheDSRandDAStudentHandbook 2017
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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
TheDSRandDAStudentHandbook 2017
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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
TheDSRandDAStudentHandbook 2017
8
someadditionalstudysothatstudentsareallatthesamelevelforeachCheckpointwithinthe
program.
v IfstudentshavetakenexaminationsataDSA-accreditedinstitution,TheDalcrozeSchoolofthe
Rockieswillofcoursehonorthoselevelswithoutanexamination.However,thestudentmustadapt
tothestandardsinplaceattheDSR,whichhasadditionalrequirementsforstudyateachlevelof
training.
TheDSRandDAStudentHandbook 2017
11
Solfè
ge&&
Other&Twen
/eth&Cen
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y"Tall[terFan"Harmon
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Sight&reading&&&Con
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&&&&&&&&Scale"Degree"Nu
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Mod
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""""""""Classical"Literature"
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""""""""Jazz"L
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&All&Th
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""""""Em
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rmon
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bodying"Nu
ance"
All&Eurhythmics&M
usical&Goa
ls&
TheDSRandDAStudentHandbook 2017
12
Pian
o&Im
provisa
/on&&
Melod
ic&Shap
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Repe
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,"Con
trast",and"MoF
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Stud
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TheDSRandDAStudentHandbook 2017
13
Build
ing&Yo
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" """""""
TheDSRandDAStudentHandbook 2017
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.
TheDSRandDAStudentHandbook 2017
16
EurhythmicsSchedulepage2
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.
CheckpointObservation2A:CheckpointObservation2B:
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).
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EurhythmicsSchedulepage3
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.
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EurhythmicsSchedulepage4
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
CheckpointObservation4A:CheckpointObservation4B:
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.
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EurhythmicsSchedulepage5
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.
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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
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gestureswithefficacyandmusicality.Forexample,variouswaysofconductingwillbeexplored(largearmbeats,justforearms,justwrists,orjustfingers),distinctivewaysofclappingwillbeexamined(indifferentshapesorwithdifferentsonorities),orthediversetechniquestoaddressbreathinginrelationshiptomusicandmovementwillbeinvestigatedinordertodemonstratethemusicinasmanywayspossible.
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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
Time:MovementQuality/Precision
Space:
Energy:Musicality/AdaptationtoChangesinNuanceSuggestionsforFuturePractice
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5=Outstanding;4=Good;3=Fair;2=NeedsImprovement;1=Fail
SuggestedElementsForEvaluation
Comments Score
ASSOCIATION&
DISSOCIATION
Time:MovementQuality/Precision
Space:
Energy:Musicality/AdaptationtoChangesinNuanceSuggestionsforFuturePractice
TotalScore:__________Astudentmustscorea15ormoretopasstheentireexam.Ifastudentearnsa2or1onanysectionoftheexam,thenthejuryreservestherighttorequirethatthestudentretakethatportionoftheexamatalaterdatebeforethestudentreceivesapassfortheentireexam.
Pass_____Redo_____�Examiner’sSignature__________________________________________Date______________
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SolfègeSchedulepage1
CheckpointObservations
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
MajorCtoCscalesthrough7sharpsand7flatswithnotenamesandnumbers
Trichordsandtheircorrespondingintervals(Majorkeysonly:noAug.2nds)
1. ChordSambawithhandanalysisgestures.
2. FirstandsecondinversiontriadssingandidentifiedasarpeggiosinMajorandMinor.
1. Phrase:QuestionandAnswer
2. Compoundmetersof2,3,and4
CheckpointObservation2ACheckpointObservation2B
MinorCtoCscalesthrough3sharpsand3flatswithnotenamesandnumbers
Tetrachordsandtheircorrespondingintervals(Majorkeysonly:noAug.2nds)
1. Sequencesofdescending5thsusingtriadsinvariousinversionpatterns.
2. Dictation
1. Singingfromarhythmicskeleton;phrasé
MinorCtoCscalesthrough7sharpsand7flatswithnotenamesandnumbers
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
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SolfègeSchedulepage2
CheckpointObservations
Scales Intervals/Polychords Harmony ImprovisationAndMelody
CheckpointObservation3BandExitExamfortheCertificate
ModulatingCtoCScalestoneighboringtonalitiesthrough3sharpsorflats
DichordsthroughPentachordsandtheircorrespondingintervals(Minorkeysthrough7sharps/flats:includingAug.2nds)
1. Dictation ABAforms:ModulationstotheDominant,Sub-Dominant,andrelativemajor/minor
CheckpointObservation4ACheckpointObservation4B
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
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SolfègeSchedulepage3
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).
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SolfègeSchedulepage4
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)
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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.
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SolfègeSchedulepage6
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
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EvaluationFormforDSRSolfègeCheckpointObservationsand/orExitExaminationsName:______________________SolfègeLevel:_____
5=Outstanding;4=Good;3=Fair;2=NeedsImprovement;1=Fail
(Seesection3.1ofT2programformoredetails.)
SuggestedGuidelinesForEvaluation
Comments Score
SCALES
Embodiment,Gesture,&/orConducting
SingingAccuracy,Intonation,&/orVocalQualityMusicality&AdaptationtoChangesinNuance/EnergySuggestionsforFuturePractice
POLYCHORDS
Embodiment,Gesture,&/orConducting
SingingAccuracy,Intonation,&/orVocalQualityMusicality&AdaptationtoChangesinNuance/EnergySuggestionsforFuturePractice
HARMONY
Embodiment,Gesture,&/orConducting
SingingAccuracy,Intonation,&/orVocalQualityMusicality&AdaptationtoChangesinNuance/EnergyRecognition&IdentificationSuggestionsforFuturePractice
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5=Outstanding;4=Good;3=Fair;2=NeedsImprovement;1=Fail SuggestedGuidelines
ForEvaluationComments Score
MELODY&
IMPROVISATION
Embodiment,Gesture,&/orConducting
SingingAccuracy,Intonation,&/orVocalQualityMusicality&AdaptationtoChangesinNuance/EnergyClarityofFormandStructureSuggestionsforFuturePractice
SIGHT
READING
Embodiment,Gesture,&/orConducting
SingingAccuracy,Intonation,&/orVocalQualityMusicality&AdaptationtoChangesinNuance/EnergySuggestionsforFuturePractice
TotalScore:__________Astudentmustscorea19ormoretopasstheentireexam.Ifastudentearnsa2or1onanysectionoftheexam,thenthejuryreservestherighttorequirethatthestudentretakethatportionoftheexamatalaterdatebeforethestudentreceivesapassfortheentireexam.
Pass_____Redo_____� Examiner’sSignature__________________________________________Date______________
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ImprovisationSchedulepage1
CheckpointObservations
HarmonicProgressionInmajorandminorkeysnotated.
MelodyandHarmonyPedagogyApplications
FormandStructurePedagogyApplications
CheckpointObservation1ACheckpointObservation1B
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.
CheckpointObservation2ACheckpointObservation2B
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)
CheckpointObservation3AandExitExamfortheCertificate
1. Appliedchords:V7/V;V7/IV;V7/viwithinthecontextofasequenceofDescending5thsusingseventhchords.
Prepareinmajorandminorkeysthrough3accidentals.
1. Spin-offswithaccompaniment:2examplesbasedonFolkSongLiteratureand1basedonClassicalorJazzLiterature.OneoftheFolkSongsmustbeaskipping/gallopingtune.
1. SystemizationofChangingAnacrusicPhrases
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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
CheckpointObservation1ACheckpointObservation1B
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
CheckpointObservation2ACheckpointObservation2B
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.
CheckpointObservation3AandExitExamfortheCertificate
1. PlayingforbasicDalcrozeexercisesa. SimpleFollowsb. ChangingMeter
Exercise.
IntermediateRepertoirePieces1,2,3,4,and5
Runningmusic.Also,studentsshouldbepreparedtoplayforallpreviouslocomotormovementslearned.
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ImprovisationSchedulepage3CheckpointObservations
HarmonicProgressionInmajorandminorkeys
throughatleast3accidentals.
MelodyandHarmonyPedagogyApplications
FormandStructurePedagogyApplications
CheckpointObservation3BandExitExamfortheCertificate
1. Modulation(through3accidentals)preparedwith24hoursnotice:
a. totheDominant
b. totheSub-Dominant
c. totheRelativeMajor/Minor
Prosodyandsongcomposition(3songsthatrelatetotheTellingaStoryThroughMusicinFormandStructure)
TellingaStoryThroughMusic:Include3ofyourownsongcompositionstotellashortmusicalstoryfrommemorywithopportunitiesforDalcrozianPedagogy.Bringabriefoutlineofyourstoryplusyourcompositionstothecheckpoint.
CheckpointObservation4ACheckpointObservation4B
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)
CheckpointObservation5AandExitExamfortheLicenseCheckpointObservation5BandExitExamfortheLicense
20thCenturyHarmonicTechniques:AugmentedTriadsandWhole-ToneImprovisation
1. HarmonizationoftheCtoCscalesinMajorkeysthrough3#sand3bs
2. Morecomplicatedoneandtwo-voicerhythmicskeletons(15min.ofpreparation)
3. UnfiguredBassLines(24hourspreparation)
MixtureandsubstitutionasameanstomodulatetodistantlyrelatedkeyswithinTernaryForms(Preparedwith24hoursnotice)
Fullydiminishedseventhchordsasappliedchordsandtofacilitatemodulationtoremotekeys
1. HarmonizationoftheCtoCscalesinMajorkeysthrough3#sand3bs
2. Morecomplicatedoneandtwo-voicerhythmicskeletons(15min.ofpreparation)
3. UnfiguredBassLines(24hourspreparation)
ModulationtodistantlyrelatedkeyswithinaRondoform:ABACA(Preparedwith24hoursnotice)
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ImprovisationSchedulepage4CheckpointObservations
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
CheckpointObservation3BandExitExamfortheCertificate
ReactionExercise:createanactivityusingAnapest,Dactylic,Troche,Iamb,and/orAmphibrachinvariationsof“Theme,Augmentation,andDiminution”.
IntermediateRepertoirePieces1-6(TransferstudentsmustacquiretheirpiecesthroughouttheirLicenseandpresentthemattheendoftheirstudies.)
Followthemover:playforbasiclocomotormovementsandrhythmicpatternsgivenbyamover.Demonstrateavarietyofkeys,modes,andharmonicvariety(includinginversionsandappliedchords)
CheckpointObservation4ACheckpointObservation4B
Reactionexercise:createanactivityusingAugmentationandDiminutionofasinglemotifinPolyrhythm
IntermediateRepertoirePieces1-7
Hand/feetdissociationofunequalBeatsin5or7usingbeatsvs.divisionsorbeatsvs.compliments.5scanbegroupedas3+2or2+3.7scanbegroupedas3+2+2or2+2+3.Continuethesamesubjectcreateafollowoutoftheexercisewhileofferingcorrectionsandcommentarytothemover.
Systemizationof12eighthsusingbeatsvs.divisionsorbeatsvs.compliments.
IntermediateRepertoirePieces1-8
Hand/feetdissociationofunequalBeatsin8usingbeatsvs.divisionsorbeatsvs.compliments.8scanbegroupedas3+3+2,3+2+3,or2+3+3.Continuethesamesubjectcreateafollowoutoftheexercisewhileofferingcorrectionsandcommentarytothemover.
CheckpointObservation5AandExitExamfortheLicenseCheckpointObservation5BandExitExamfortheLicense
Systemizationof2rhythmicpatterns(anapestinhands,Iambinfeetforexample)using20thcenturyharmonictechniques
IntermediateRepertoirePieces1-9
Metrictransformationofrhythmicpatterns:SimpleTriplevs.CompoundDupleorSimpleQuadruplevs.ComplexTriple.Continuethesamesubjectcreateafollowoutoftheexercisewhileofferingcorrectionsandcommentarytothemover.
Reactionexerciseusingarhythmicphraseagainstanostinato(followamover)
IntermediateRepertoirePieces1-10
PolymeterandCross-rhythms=2:3;2:5;3:4;3:5;4:5. Continuethesamesubjectcreateafollowoutoftheexercisewhileofferingcorrectionsandcommentarytothemover.
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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.
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EvaluationFormforDSRImprovisationCheckpointObservationsand/orExitExaminationsName:___________________ImprovisationLevel:______
5=Outstanding;4=Good;3=Fair;2=NeedsImprovement;1=Fail
(Seesection3.3ofT2program,formoredetails.)
SuggestedGuidelinesForEvaluation
Comments Score
PLAYINGFOR
MOVEMENT
Clarity:Introduction,Phrasing,FormandStructure
RelationshipofMusictoMovement/GestureMusicality,VarietyofStyles,VarietyofNuancesAbilitytoWatch&AdapttoMoversSuggestionsforFuturePractice
EURHYTHMICS
APPLICATIONS
Clarity:Introduction,Phrasing,FormandStructure
RelationshipofMusictoMovement/GestureMusicality,VarietyofStyles,VarietyofNuancesPedagogicalConsiderationsSuggestionsforFuturePractice
PEDAGOGY
APPLICATIONS
Clarity:Introduction,Phrasing,FormandStructure
RelationshipofMusictoMovement/GestureMusicality,VarietyofStyles,VarietyofNuancesPedagogicalConsiderationsAbilitytoWatch&AdapttoMoversAbilitytoOfferCorrections/Commentary(Levels2and3only)SuggestionsforFuturePractice
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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______________
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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
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PedagogySchedulepage2
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
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PedagogySchedulepage3
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
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PedagogySchedulepage4
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)
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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,
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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.
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§ Theseessaysshouldbe2-3pages,double-spaced;theyshouldprovideanoverviewofthe
topic,anexplanationofitsrelevanceorimportancetotheDalcrozework,andatleasttwo
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.
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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.
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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)
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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.
§ Theseessaysshouldbe2-3pages,double-spaced;theyshouldprovideanoverviewofthe
topic,anexplanationofitsrelevanceorimportancetotheDalcrozework,andatleasttwo
cogentmusicalexamples.
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
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50
theinternationallyrecognizedDalcrozeLicensethat,undertheauspicesoftheCollègedel’InstitutJaques-
Dalcroze,conferstherightforthemtoteachthemethodJaques-Dalcrozetochildrenandadultsanduse
thenameJaques-Dalcrozeintheiradvertisementsandcoursedescriptions.
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ChecklistofRequirementsforCertificationand/orLicensure
CheckpointObservations
EurhythmicsDateCompleted
SolfègeDateCompleted
ImprovisationDateCompleted
CheckpointObservation
1A/1B
CheckpointObservation
2A/2B
CheckpointObservation
3A/3BExitExamforthe
Certificate
CheckpointObservation
4A/4B
CheckpointObservation
5A/5BExitExamforthe
License
MethodsRequirements CertificateMaterialsDateCompleted
LicenseMaterialsDateCompleted
CompletedPortfolio VideoofChildren’sEurhythmicsClassandSupporting
Documents
VideoofAdult’sEurhythmicsClassandSupportingDocuments
VideoofLivePerformanceofaSoloorDuoPlastique N/A
OtherSupplementalRequirements:
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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
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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
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Commentary6. GeneralPedagogical
Considerations
a. AbilitytoWatchStudentsDuringMovementActivities
b. UseofSignalsandCommandsfromPiano
c. UseofMaterials(ifappropriate)
d. OverallMusicalityoftheLesson
e. RelevancetoMusicalorCorporalConcepts
f. OverallImprovementofStudents’PerformancefromBeginningofLessontotheEndofLesson
7. OtherComments:
Pass� Redo� Examiner’sSignature______________________________Date______________
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SolfègeSummaryChecklists
TheSolfègeScheduleisreproducedherewithslightlymoredetailfortoaidinpreparingforcheckpoints.
Allexamplesaresubjecttochangeandshouldnotbeconsideredfixedinanyway.
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SolfègeChecklistfor1A
Exercises
Alwayssingeachexerciseusing
functionnumbersfirstandthenletternames
Description
(SeetheStudentHandbookandEmbodyingMusicfor
moredetails)
KeysRequired SpecialNotes
Scales
MajorCtoCscalesthrough3sharpsand3flatswithnotenamesandnumbers
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
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SolfègeChecklistfor1B
Exercises
Alwayssingeachexerciseusing
functionnumbersfirstandthenletter
names
Description
(SeetheStudentHandbookandEmbodyingMusicfor
moredetails)
KeysRequired SpecialNotes
Scales
MajorCtoCscalesthrough7sharpsand7flatswithnotenamesandnumbers
Major,through7accidentals
BesurethatyoucanidentifyandstepthesescaleswithcorrectrhythmsbasedonCbeingplayedagainstadominant7thineachkey
Intervals&Polychords
Trichordsandtheircorrespondingintervals(Majorkeysonly:noAug.2nds).Practicethesepolychordswithavarietyofrhythmsandtempi.(24hourspreparation)
Major,through3accidentals
Besuretodemonstratetheroleofthehalf-stepwithappropriategesturesand/orbeabletoconductinthemeterofthechosenrhythmiccell
Harmony
1. ChordSambawithhandanalysisgestures.
2. SingandidentifyfirstandsecondinversiontriadsarpeggiosinMajorandMinor
SinginAmajorfortheSamba.Singandidentifymajororminortriadsininversionwiththefollowingroots:C,G,D,A,F,B-flat,&E-flat
BeabletoshowtherootsandinversionsofthechordsusinghandgesturesduringtheChordSamba
ImprovisationAndMelody
Phrase:QuestionandAnswerinCompoundmetersof2,3,and4
Major,through3accidentals
Yourmelodyshoulddemonstrateclearantecedent-consequentrelationshipsalongwithrepetition,contrast,andmotivicdevelopment;singonneutralsyllables,notfunctionnumbersorletternames
Sight-Singing
PracticeexamplessimilartothosefoundinOttman,Robert.MusicforSightSinging,6thed.Melodies60-170
Major,through7accidentals
Conductwhileyousing;singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition
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SolfègeChecklistfor2A
Exercises
Alwayssingeachexerciseusing
functionnumbersfirstandthenletter
names
Description
(SeetheStudentHandbookandEmbodyingMusicfor
moredetails)
KeysRequired SpecialNotes
Scales
MinorCtoCscalesthrough3sharpsand3flatswithnotenamesandnumbers
Minor,through3accidentals
BesurethatyoucanidentifyandstepthesescaleswithcorrectrhythmsbasedonCbeingplayedagainstadominant9thor13thineachkey
Intervals&Polychords
Tetrachordsandtheircorrespondingintervals(Majorkeysonly:noAug.2nds)Practicethesepolychordswithavarietyofrhythmsandtempi.(24hourspreparation)
Major,through3accidentals
Besuretodemonstratetheroleofthehalf-stepwithappropriategesturesand/orbeabletoconductinthemeterofthechosenrhythmiccell
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
ImprovisationAndMelody
Singing/Improvisingfromarhythmicskeleton;phrasé
Major,through3accidentals
Conductwhileyousing;singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition
Sight-Singing
PracticeexamplessimilartothosefoundinOttman,Robert.MusicforSightSinging,6thed.melodies171-450
Minor,through3accidentals
Conductwhileyousing;singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition
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SolfègeChecklistfor2B
Exercises
Alwayssingeachexerciseusingfunctionnumbersfirstandthen
letternames
Description
(SeetheStudentHandbookand
EmbodyingMusicformoredetails)
KeysRequired SpecialNotes
Scales
MinorCtoCscalesthrough7sharpsand7flatswithnotenamesandnumbers
Minor,through7accidentals
BesurethatyoucanidentifyandstepthesescaleswithcorrectrhythmsbasedonCbeingplayedagainstadominant9thor13thineachkey
Intervals&Polychords
Pentachordsandtheircorrespondingintervals.(Majorkeysonly:noAug.2nds)Practicethesepolychordswithavarietyofrhythmsandtempi.(24hourspreparation)
Major,through7accidentals
Besuretodemonstratetheroleofthehalf-stepwithappropriategesturesand/orbeabletoconductinthemeterofthechosenrhythmiccell
Harmony
1. DominantSeventhChordsininversionandtheirresolutionsbydescending5ths
2. DictationinMajorKeys:I,I6,I ,IV,IV6,IV ,ii,ii6,V7(inallinversions),vi
Majorandminor,through3accidentals
1. Useyourbodyasaninstrumenttoshowtherelationshipofphysicalspacetotonalspace.Singusingfunctionnumbersandletternames
2. Beabletosingfrombottomtotopasyouarpeggiate
3. Forthedictation,beabletoshowtherootsandinversionsofthechordsusinghandgestures
ImprovisationAndMelody
ImprovisingmelodiesthatexemplifyRepetition,Contrast,andMotivicDevelopmentthroughRhythmicSkeletons
Major,through7accidentals
Conductwhileyousing;singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition
Sight-Singing
PracticeexamplessimilartothosefoundinOttman,Robert.MusicforSightSinging,6thed.melodies171-450
Minor,through7accidentals
Conductwhileyousing;singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition
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SolfègeChecklistfor3AExercises
Alwayssingeachexerciseusing
functionnumbersfirstandthenletter
names
Description(SeetheStudentHandbookandEmbodyingMusicfor
moredetails)
KeysRequired SpecialNotes
Scales
Pentatonic,Whole-tone,andChromaticScales
PentatonicandWhole-tone:allversionsstartingonCandC#/Db;Chromaticthrough3accidentalsinreferencetomajorkeys
SeeEmbodyingMusicforinstructionsforeachscale
Intervals&Polychords
DichordsthroughPentachordsandtheircorrespondingintervals(HarmonicMinorkeysthrough3sharps/flats:includingAug.2nds)Practicethesepolychordswithavarietyofrhythmsandtempi(24hourspreparation)
Minor,through3accidentals
Besuretodemonstratetheroleofthehalf-stepwithappropriategesturesand/orbeabletoconductinthemeterofthechosenrhythmiccell
Harmony
1. Sequencesofdescending5thsusingseventhchordsinvariousinversionsstartingonanydiatonicseventhchord.
2. Appliedchordsandtheirresolutionstotonicviadescending5ths:V7/V,V7/IV,andV7/vi(MajorandMinortonalitiesthrough3sharps/flats)
Majorandminor,through3accidentals
1. Singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition.
2. Beabletosingfrombottomtotoportoptobottomasyouarpeggiate
3. Bepreparedtoembodythepitches
ImprovisationAndMelody
ContinuedworkwithImprovisingmelodiesthatexemplifyRepetition,Contrast,andMotivicDevelopmentthroughRhythmicSkeletons
Minor,through3accidentals
Conductwhileyousing;singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition
Sight-Singing
PracticeexamplessimilartothosefoundinOttman,Robert.MusicforSightSinging,6thed.melodies451-717
Majorandminor,through7accidentals
Conductwhileyousing;singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition
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SolfègeChecklistfor3B
ExercisesAlwayssingeach
exerciseusingfunctionnumbersfirstandthen
letternames
Description
(SeetheStudentHandbookandEmbodyingMusicfor
moredetails)
KeysRequired SpecialNotes
Scales
ModulatingCtoCScalestoneighboringtonalitiesthrough3sharpsorflats
Majorandminor,through3accidentals
1. Singupinonetonality,singdownintheother;usefunctionnumbersandletternamesinterchangeably
2. Identifythescalesplayed
Intervals&Polychords
DichordsthroughPentachordsandtheircorrespondingintervals(HarmonicMinorkeysthrough7sharps/flats:includingAug.2nds)Practicethesepolychordswithavarietyofrhythmsandtempi(24hourspreparation)
Minor,through7accidentals
Besuretodemonstratetheroleofthehalf-steporaugmented2ndwithappropriategesturesand/orbeabletoconductinthemeterofthechosenrhythmiccell
Harmony
DictationinMinorKeys:i,i6,i ,iv,iv6,iv ,iio6,V7(inallinversions),VI
Majorandminor,through3accidentals
Beabletoshowtherootsandinversionsofthechordsusinghandgestures
ImprovisationAndMelody
ABAforms:ModulationstotheDominant,Sub-Dominant,andrelativemajor/minor(24hourspreparation)
Majorandminor,through3accidentals
Conductwhileyousing;singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition.Keyschemewillbegiven24hoursinadvance.
Sight-Singing
PracticeexamplessimilartothosefoundinOttman,Robert.MusicforSightSinging,6thed.melodies451-717
Majorandminor,through7accidentals
Conductwhileyousing;singthroughthefirsttimeonfunctionnumbers,thesecondtimeonletternameswithoutstoppingbetweeneachrepetition
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SolfègeChecklistfor4A
Exercises
Singusingletternames
(numberswhenappropriate)
Description
(SeetheStudentHandbookandEmbodyingMusicand/orMoving
Soundformoredetails)
KeysRequired SpecialNotes
Scales
PerformasequenceofCtoCscalesinDescending5thsorAscending5thsIdentifyandorsingscalesplayedupinonekey,downinanotherkey.(Neighboringkeys,only)
AllMajorCtoCScales
1. Singupinonetonality,singdownintheother;usefunctionnumbersandletternamesinterchangeably
2. Identifythescalesplayed
Intervals&Polychords
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
2. Forthedictation,beabletoshowtherootsandinversionsofthechordsusinghandgestures
ImprovisationAndMelody
ModulationstoallneighboringkeysinAABformsusingletternames
MajorandMinorkeysthrough3accidentals
Singandconductusingletternames.Keyschemeisgivenwith24hourspreparation.
Sight-SingingAndRhythm
Readingin1and2voices
PracticeexamplessimilartothosefoundinOttman,Robert.MusicforSightSinging,6thed.melodies717-799.1-partrhythmsareinmetersof5and7divisions;2-partrhythmsareinsimplemeter.
AlltonalitiesMajorandMinor
Singandconductmelodiesusingletternames.Sing1-partrhythmsonscatsyllables;articulateuppervoiceandclapthelowervoicefor2-partrhythms.Melodiesandrhythmstogetherhaveatotalof30minutespreparation.
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SolfègeChecklistfor4B
Exercises
Singusingletternames(numbers
whenappropriate)
Description
(SeetheStudentHandbookandEmbodyingMusicand/orMoving
Soundformoredetails)
KeysRequired SpecialNotes
Scales
ModulatingCtoCScalestodistanttonalitiesmore1butlessthan4accidentalsapart
AlltonalitiesMajorandMinor
1. Singupinonetonality,singdownintheother;usefunctionnumbersandletternamesinterchangeably
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
2. Forthedictation,beabletoshowtherootsandinversionsofthechordsusinghandgestures
ImprovisationAndMelody
ModulationstootherneighboringkeysinRondoforms:ABACAusingletternames
AlltonalitiesMajorandMinor
Singandconductusingletternames;Keyschemeisgivenwith24hourspreparation.
Sight-SingingAndRhythmReadingin1and2voices
PracticeexamplessimilartothosefoundinOttman,Robert.MusicforSightSinging,6thed.melodies800-899.1-partrhythmsareinmetersof8divisions;2-partrhythmsareincompoundmeter.
AlltonalitiesMajorandMinor
SingandconductusingletterSingandconductmelodiesusingletternames.Sing1-partrhythmsonscatsyllables;articulateuppervoiceandclapthelowervoicefor2-partrhythms.Melodiesandrhythmstogetherhaveatotalof30minutespreparation.
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SolfègeChecklistfor5A
Exercises
Singusingletternames
(numberswhenappropriate)
Description
(SeetheStudentHandbookandEmbodyingMusicand/orMoving
Soundformoredetails)
KeysRequired SpecialNotes
Scales
ModulatingCtoCScalestodistanttonalitiesmorethan3accidentalsapart
AlltonalitiesMajorandMinor
1. Singupinonetonality,singdownintheother;usefunctionnumbersandletternamesinterchangeably
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
2. Forthedictation,beabletoshowtherootsandinversionsofthechordsusinghandgestures
ImprovisationAndMelody
ContinuedmodulationstootherdistantkeysinTernaryforms:ABAusingletternames
AlltonalitiesMajorandMinor
Singandconductusingletternames;keyschemeisgivenwith24hourspreparation.
Sight-SingingAndRhythm
Readingin1and2voices
PracticeexamplessimilartothosefoundinOttman,Robert.MusicforSightSinging,6thed.melodies925-1049
AlltonalitiesMajorandMinor
Singandconductmelodiesusingletternames.Sing1-partrhythmsonscatsyllables;articulateuppervoiceandclapthelowervoicefor2-partrhythms.Melodiesandrhythmstogetherhaveatotalof30minutespreparation.
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SolfègeChecklistfor5B
Exercises
Singusingletternames(numbers
whenappropriate)
Description
(SeetheStudentHandbookandEmbodyingMusicand/orMoving
Soundformoredetails)
KeysRequired SpecialNotes
Scales
Octatonic,Gypsy,Maqam,Romanian,etc.
Singallscalesupanddownanytwokeysofthecandidate’schoice
Singusingletters
Intervals&Polychords
Hexachordsandtheircorrespondingarpeggios(HarmonicMinorkeysonly:Aug.2nds)Practicethesepolychordswithavarietyofrhythmsandtempiusingletternamesandnumbers(24hourspreparation)
Minorkeysthrough4accidentals
Besuretodemonstratetheroleofthehalf-steporaugmented2ndwithappropriategesturesand/orbeabletoconductinthemeterofthechosenrhythmiccell
Harmony:
1. Resolveanyseventhchordinanyinversionby5thsor3rdstoTonic.
2. Dictation:allharmoniesstudiedthusfar
Alltonalitiesthrough4accidentalsusinglettersandnumbers
1. Pianoplaysscaleandchord;studentmustdeterminethetonalityandthepitchesofthechord.
2. Forthedictation,beabletoshowtherootsandinversionsofthechordsusinghandgestures
ImprovisationAndMelody:
ModulationstokeysinRondoforms:ABCDAusingletternames
AlltonalitiesMajorandMinor
Singandconductusingletternames;keyschemeisgivenwith24hourspreparation.
Sight-SingingAndRhythmReadingin1and2voices
PracticeexamplessimilartothosefoundinOttman,Robert.MusicforSightSinging,6thed.melodies1050-1199
AlltonalitiesMajorandMino.
Singandconductmelodiesusingletternames.Sing1-partrhythmsonscatsyllables;articulateuppervoiceandclapthelowervoicefor2-partrhythms.Melodiesandrhythmstogetherhaveatotalof30minutespreparation.
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ImprovisationSummaryChecklists
TheImprovisationScheduleisreproducedherewithslightlymoredetailfortoaidinpreparingforcheckpoints.
Allexamplesaresubjecttochangeandshouldnotbeconsideredfixedinanyway.
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ImprovisationChecklistfor1A
Exercises Description
(SeetheStudentHandbookandEmbodyingMusicfor
moredetails)
KeysRequired SpecialNotes
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.
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ImprovisationChecklistfor1B
Exercises Description
(SeetheStudentHandbookandEmbodyingMusicformoredetails)
KeysRequired SpecialNotes
Progression
Improviseacadentialprogressionwith4differentcadencesfrommemory.Usethesamemotivicmaterialinthemelodyforallphrases.
2accidentals,inmajorandminor.
Candidatechoosesmelodylocation;accompanimentisinoppositehand.Jurydecideskey.
MelodyandHarmony
Spin-offusingonevoiceandonefolktune(folktunemustbememorized).Bepreparedtospeaktheinstructionsclearlyfrommemory.
Preparein1key.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.
Besureyouruseofmotif,transposition,andcontrastalongwithparallelphrase-periodstructureisclearinthespin-offmusic.Bringwritteninstructionsalongwithmusicalandmovementgoalstothejury.
FormandStructure
SeeImprovisationforMovement
SystemizationEurhythmicsApplication
CompoundMeterSystemization
Preparein2keys:1majorand1minor.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.
SeethechapterCompoundMeterSystemizationformoredetails.
RepertoirePiece
IntermediateRepertoirePieces1and2(notmemorizedatthistime,butmustbememorizedandreadyforeachsubsequentCheckpoint).
N/A Besuretoprovideascoreofeachpiecealongwithawrittendescriptionofhowyouwouldusetheminaclass(specificmusicalandmovementgoals).
ImprovisationforMovement
Walking(q),Trotting(iq),Slowmusic(h):alwayswithchangesinnuanceandmusicalexpression.Two-voiceimprovisationbasedon3rds,6ths,10ths,andothercontrapuntaltechniques.
Prepareeachmovementexamplein2keys:1majorand1minor.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.
Besureyouruseofmotif,transposition/development,andcontrastalongwithparallelphrase-periodstructureisclear.Eachantecedentandeachconsequentshouldlast8bars.StudentsshouldSing/Movetheirmelodiesfirstandthenplaythemonthepiano.
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ImprovisationChecklistfor2AExercises Description
(SeetheStudentHandbookandEmbodyingMusicfor
moredetails)
KeysRequired SpecialNotes
Progression
Descending5thsand3rdsusingtriadsand7thchords.
3accidentals,inmajorandminor.
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.
Preparein1key.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.
Themelodydoesnotneedtobecomplicated,butitshouldlastatleast8measures.Beabletosingandplayfrommemory.
SystemizationEurhythmicsApplication
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).
ImprovisationforMovement
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
Exercises Description
(SeetheStudentHandbookandEmbodyingMusicformoredetails)
KeysRequired SpecialNotes
Progression
Descending5thsininversionusingtriadsand7thchordsusingfigurationintheR.H.
3accidentals,inmajorandminor.
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.
SystemizationEurhythmicsApplication
AugmentationandDiminutionSystemization.Youchoosethestructureofthesystemizationandmelodylocation
Preparein2keys:1major,1minor.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.
Prepareusinganapest,dactylic,andamphibrachwithasimplebeataccompaniment.Jurywillchoosetherhythmicpattern.
RepertoirePiece
RepertoirePieces1,2,3and4(allfrommemory)
N/A Besuretoprovideascoreofeachpiecealongwithawrittendescriptionofhowyouwouldusetheminaclass(specificmusicalandmovementgoals)
ImprovisationforMovement
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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ImprovisationChecklistfor3AExercises Description
(SeetheStudentHandbookand
EmbodyingMusicformoredetails)
KeysRequired SpecialNotes
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.
Preparein1key.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.
Melodyintherighthand,accompanimentinthelefthand
SystemizationEurhythmicsApplication
Playforreactionexercisesdemonstratingchangingsimplemetersof2,3,and4(ballbouncing,conducting,etc.).Startwith3time,atHIPremoveabeatandatHOPaddabeat.
Preparein2keys:1major,1minor.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.
Beabletowatchthemover,offercomments/corrections,andmaintainamusicalimprovisation.Studentleads;teacherleads.
RepertoirePiece
IntermediateRepertoirePieces1,2,3,4,and5
N/A Besuretoprovideascoreofeachpiecealongwithawrittendescriptionofhowyouwouldusetheminaclass(specificmusicalandmovementgoals)
ImprovisationforMovement
RunningMusic:alwayswithchangesinnuanceandmusicalexpression
Preparein2keys:1major,1minor.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.
Besureyouruseofmotif,transposition/development,andcontrastalongwithparallelphrase-periodstructureisclear.Bepreparedtooffercommentsonthemovement.Thejurycanrequestallpreviouslylearnedlocomotormovements(walk,trot,lunge,swing,skip,andgallop).
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ImprovisationChecklistfor3BExercises Description
(SeetheStudentHandbookand
EmbodyingMusicformoredetails)
KeysRequired SpecialNotes
Progression
Modulation(onlythrough3accidentals)usinginvertedchords.1. totheDominant2. totheSub-Dominant3. totheRelative
Major/Minor(24hrs.preparation)
3accidentals:majorandminor
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”.
Preparein2keys:1major,1minor.Youmaynotrepeatanykeysfromthenon-progressionportionsoftheCheckpoint.
Beabletowatchthemover,offercorrections/encouragement,andmaintainamusicalimprovisation.Studentleads;teacherleads.
RepertoirePiece
IntermediateRepertoirePieces1-6
N/A Besuretoprovideascoreofeachpiecealongwithawrittendescriptionofhowyouwouldusetheminaclass(specificmusicalandmovementgoals)
ImprovisationforMovement
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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ImprovisationChecklistfor4AExercises Description
(SeetheStudentHandbookandEmbodyingMusicand/orMoving
Soundformoredetails)
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
SystemizationEurhythmicsApplication
UsingDactylic,Anapest,andAmphibrachimproviseareactionactivityusing2ormorevoices.Studentgivesthecommandsorjurygivesthecommands.
Prepareinavarietyofstylesandtonalities.
Jurychoosesrhythmiccell.AtHANDSHIP,handsgo2Xfast.AtFEETHIP,feetgo2Xasfast.AtHANDSHOP,handsgo2Xslow.AtFEETHOP,feetgo2Xasslow.AtFEETRETURN,feetreturntotheme.AtHANDSRETURN,handsreturntotheme.Melodyshouldfreelyexchangebetweenvoices.
RepertoirePiece
IntermediateRepertoirePieces1-7
N/A Besuretoaccompanyeachpiecewithanappropriatedescriptionofhowyouwoulduseitinaclass,goals,etc.
ImprovisationforMovement
ImproviseforBeatversusDivisioninunequalbeatswithdivisionsof5and7withvariousbeatgroupings:beatsvs.divisionsandcomplementaryrhythm.Thepianistwillfollowthemover’schangesofnuance;themoverwillfollowthechangingnuanceofthepianist.
Prepareinavarietyofstylesandtonalities.
Beabletochangehandsandfeet,watchthemover,offercorrections,andmaintainamusicalimprovisation.Melodyshouldfreelyexchangebetweenvoices.
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ImprovisationChecklistfor4BExercises Description
(SeetheStudentHandbookand
EmbodyingMusicand/orMovingSoundformoredetails)
KeysRequired SpecialNotes
Progression
1. Unfiguredbasslines2. Usingmaterialsfrom4A
plusthe3formsofaugmented6thchords:Italian,German,andFrench
3. Quartal-Quintalharmony
4accidentals:majorandminor
Thejurywillprovidethestudentwithanunfiguredbasslineinaminorkeytoprepare24hoursinadvancethrough4accidentals.
Melody
1. HarmonizeaHarmonicMinorscalewiththemelodyinthesopranousingexcellentcounterpointand3voices.
2. UnfiguredBasslinesinMinorkeys
4accidentalsinminorkeys
Moveseamlesslyfromonekeytoanother,throughdescending5ths.UnfiguredBasslineshave24hoursofpreparation.
FormandStructure
1. Modemixtureand/orsubstitution
2. ABACARondoasameansforlocomotion.
Jurydeterminesthekeyscheme
PrepareaRondo(ABACA)formthatexploresmixture/substitutioninthereturningAsection(24hourpreparation).Themusicmustdemonstratecreativityalongwithawidevarietyofnuancesandharmonicvocabulary.
SystemizationEurhythmicsApplication
Prepareasystemization/reactionusingthe12eighths:beatsvs.divisionsandcomplementaryrhythm.
Prepare2versionsin2differentstyles(Tonal,modal,exoticscales,pentatonic,Quartal-quintal,planing,etc.)
Besureyouruseofmotif,andcounterpointalongwithphrase-periodstructureisclear.1systemization,theimprovisershouldcallchangeseverymeasureusingbeatsvs.divisions;preparea2ndsystemizationinadifferentstyleusingcomplementaryrhythm,buttheimprovisercallschangesofhandsandfeeteveryphrase.
RepertoirePiece
IntermediateRepertoirePieces1-8
N/A Besuretoaccompanyeachpiecewithanappropriatedescriptionofhowyouwoulduseitinaclass,goals,etc.
ImprovisationforMovement
ImproviseforBeatversusDivisioninunequalbeatswithdivisionsof8withvariousbeatgroupingsbeatsvs.divisionsandcomplementaryrhythm.Thepianistwillfollowthemover’schangesofnuance;themoverwillfollowthechangingnuanceofthepianist.
Prepareinavarietyofstylesandtonalities.
Beabletochangehandsandfeet,watchthemover,offercorrections,andmaintainamusicalimprovisation.Melodyshouldfreelyexchangebetweenvoices.
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ImprovisationChecklistfor5AExercises Description
(SeetheStudentHandbookandEmbodyingMusicand/or
MovingSoundformoredetails)
KeysRequired SpecialNotes
Progression
1. Unfiguredbasslines2. Fullydiminished7thsas
appliedchordsandpivotchordsformodulationtocloselyrelatedkeys
3. Exoticscalesandwhole-tonescaleimprovisation
4. Augmentedtriads
4accidentals:majorandminor
Thejurywillprovidethestudentwithanunfiguredbasslineinamajororminorkeytoprepare24hoursinadvancethrough4accidentals.
Melody
1. HarmonizationofCtoCscalesinmajor
2. Oneandtwovoicerhythmicskeletons
3. Modulatingunfiguredbasslinesinmajorkeys.
3accidentalsinmajorkeys
Moveseamlesslyfromonekeytoanother,throughdescending5ths.Rhythmicskeletonshave24hoursofpreparation.Unfiguredbasslineshave24hoursofpreparation.
FormandStructure
Ternaryformsthatutilizedistantmodulationsviamixture,substitution,orotherchromaticchord(Neapolitan,Augmented6th,ordiminished7th,etc.)
3accidentals:majorandminor
Thejurywillgivethekeyscheme24hoursinadvance.Themusicmustdemonstratecreativityalongwithawidevarietyofnuancesandharmonicvocabulary.
SystemizationEurhythmicsApplication
Prepareareactionexerciseusing2differentrhythmicpatternsasadissociationusinganapest,dactylic,amphibrach,iamb,ortrochee.
Prepareinavarietyofstylesandtonalities.
Thejurywillprovidethestudentthepatternstoprepare24hoursinadvance.Themelodyshouldfreelyexchangebetweenvoices;jurycallschangesandstudentcallschanges.
RepertoirePiece
IntermediateRepertoirePieces1-9
N/A Besuretoaccompanyeachpiecewithanappropriatedescriptionofhowyouwoulduseitinaclass,goals,etc.
ImprovisationforMovement
Metrictransformationofrhythmicpatterns(PatternsinSimpleTripleMetertransformedintoCompoundDupleMeter;PatternsinComplexTripletransformedintoSimpleQuadruple)
Prepareinavarietyofstylesandtonalities.
Followthemover:patterninonevoice,beatintheother;atCHANGE,changehandsandfeet;atTIME,transformthepatternintothenewmeter.Themelodyshouldflowfreelybetweenvoices.
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ImprovisationChecklistfor5BExercises Description
(SeetheStudentHandbookand
EmbodyingMusicand/orMovingSoundformoredetails)
KeysRequired SpecialNotes
Progression
1. Unfiguredbasslines2. Fullydiminished
7thsasappliedchordsandpivotchordsformodulationtodistantrelatedkeys
3. Fullydiminished7thsfunctioningCommon-Tonemodulations
4accidentals:majorandminor
Thejurywillprovidethestudentwithanunfiguredbasslineinamajororminorkeytoprepare24hoursinadvancethrough4accidentals.
Melody
1. HarmonizationofCtoCscalesinminor
2. Oneandtwovoicerhythmicskeletons
3. Modulatingunfiguredbasslinesinminorkeys.
3accidentalsinminorkeys
Moveseamlesslyfromonekeytoanother,throughdescending5ths.Rhythmicskeletonshave24hoursofpreparation.Modulatingunfiguredbasslineshave24hoursofpreparation.
FormandStructure
FormsABCDA 3accidentals:majorandminor
Thejurywillgivethekeyscheme24hoursinadvance.Themusicmustdemonstratecreativityalongwithawidevarietyofnuancesandharmonicvocabulary.
SystemizationEurhythmicsApplication
CreateaSystemizationofarhythmicphraseagainstanostinatoextractedfromtherhythmicphrase.
Prepareinavarietyofstylesandtonalities.
Thejurywillprovidethestudentwiththephraseandostinatotoprepare24hoursinadvance.
RepertoirePiece
IntermediateRepertoirePieces1-10
N/A Besuretoaccompanyeachpiecewithanappropriatedescriptionofhowyouwoulduseitinaclass,goals,etc.
ImprovisationforMovement
Polymeter/crossrhythms:2:3;2:5;3:4;3:5;4:5.
Prepareinavarietyofstylesandtonalities.
Maintainanostinatoof3,4,or5.Followaconductorandplaygroupsof1,2,3,4,or5againsttheostinato.Playanostinatoof3,4,or5;directamoverinapolymetriccanoninthefollowingcrossrhythms:2:3;2:5;3:4;3:5;4:5.