Resource Type: Teacher Training Manual

These guidelines represent the minimum requirements for certification and licensure along with examination standards at each level. Students must have at least 10 class hours in the corresponding Dalcroze Improvisation courses to take each level exam. Discretion of exam structure lies entirely with the individual training center. In many cases, students may require more than 10 class hours to pass their level exams, and this may require outside training (workshops, private study, online training, etc.). It may also require that a student take more than one summer to finish a given level. Dalcroze Education is highly individualized in order to meet the needs of each student; therefore, students may need different amounts of time to fulfill exam requirements. It is important that students discuss their progress and readiness with the instructors within their specific training program.

Improvisation Level 1
Introductory Credential in Dalcroze Education

Students should be able to demonstrate the skills listed below. Musical compositions will illustrate the
subjects during the actual teacher training courses.

The students will demonstrate the following musical ideas without a score:

1. Keyboard exploration (e.g., white key modes, black keys, clusters, intervals)
2. Major and minor keys through 1 sharp and 1 flat
3. Clear antecedent/consequent phrase structure
4. Use of motivic development
5. 1 voice is required (2 or more voices is optional)
6. A variety of nuances:
   1. Register
   2. Dynamics
   3. Articulation

Playing for Movement

Students will prepare each example below in 2 different keys using 4 or 8 bar antecedents and 4 or 8 bar consequents.

• Walking/Marching
• Slow/Lunging Steps
• Trotting/Jogging/Tip-toe Running

Eurhythmics Applications

• Beat/Division/Multiple in Simple Meter
  • Beat: (e.g., {q})
  • Division (e.g., {ee})
  • Multiple (e.g., {h})
• Rhythmic Patterns/Modes in Simple Meter
  • Anapest (e.g., {ee q})
  • Dactylic (e.g., {q ee})
  • Trochée (e.g., {q. e})
  • Iamb (e.g., {eq})

Pedagogical Applications

Students should prepare at least 2 different examples of Dalcroze Strategies and Techniques from the list below.

• Quick Reactions
  • Aural Reactions
    • Simple Follow: pianist plays a pattern or movement rhythm while using a variety of nuances.
    • Spin-offs using a folk tune: pianist plays a folk tune (A section) and at the end of the tune or at the end of a phrase, they change the music and improvise new music (B section or C section etc.). At the end of a phrase or the improvised music, they return to the folk tune (A section). The pianist repeats the whole process: ABA, ABACA, ABACABA, etc.
  • Verbal Reactions (Using Hipp, Hopp, Change, etc.)
• Systemizations

Harmonic Progressions

For example: Tonic, Pre-dominant, Dominant, Tonic (e.g., {rn: I ii6 V I})

Improvisation Level 2
Applied Credential in Dalcroze Education

Students should be able to demonstrate the skills listed below. Discretion of exam structure lies entirely
with the individual training center.

The students will demonstrate the following musical ideas without a score:

1. White Key Modes: A Aeolian, D Dorian, E Phrygian, F Lydian, G Mixolydian
2. Major keys and minor keys through 2 sharps and 2 flats.
3. Clear antecedent/consequent phrase structure
4. Use of motivic development
5. 2 or more voices for all exercises
6. A variety of nuances:
   1. Register
   2. Dynamics
   3. Articulation
   4. Texture and Counterpoint
      • For example: One voice and two voices
        • Melody in either hand
   5. Basic forms of counterpoint: contrary, parallel, oblique, and similar motion
   6. Fauxbourdon
   7. Accompaniment patterns (Alberti bass, walking bass, arpeggios, etc.)

Playing for Movement

Students will prepare each example below in 2 different keys/styles using antecedent/consequent phrase structures (both 4 and 8 bar phrase lengths).

• Walking/Marching
• Slow/Lunging Steps
• Trotting/Jogging/Tip-toe
• Running
• Sway/Swing
• Skipping/Galloping

Eurhythmics Applications

• Beat/Division/Multiple in Compound Meter
  • Beat (e.g., {q.})
  • Division (e.g., {eee})
  • Multiple (e.g., {h.})
• Rhythmic Patterns/Modes in Compound Meter
  • Trochée (e.g., {q e})
  • Iamb (e.g., {e q})

Pedagogical Applications

Students should prepare at least 2 different examples of Dalcroze Strategies and Techniques from the list below. Students should be able to watch the class and give instructions/commentary/corrections while playing.

• Quick Reactions
  • Aural Reactions
    • Simple Follow: pianist plays a pattern or movement rhythm while changing a variety of nuances
    • Spin-offs using a folk tune: pianist plays a folk tune (A section) and at the end of the tune or at the end of a phrase, they change the music and improvise new music (B section or C section etc.). At the end of a phrase or the improvised music, they return to the folk tune (A section). The pianist repeats the whole process: ABA, ABACA, ABACABA, etc.
  • Verbal Reactions using (Hipp, Hopp, Change, etc.)
• Systemizations
• Canons: 1 voice required

Harmonic Progressions

• Authentic, half, plagal, and deceptive cadences
• Primary and secondary triads and their inversions
• 12-Bar Blues

Anacrusic systemization OR harmonization of major and minor (tonic to tonic) scales

Harmonization

Melodies: children’s songs, folk tunes, etc.

Improvisation Level 3
The Dalcroze Professional Certificate

Students should be able to demonstrate the skills listed below. Discretion of exam structure lies entirely with the individual training center.

In all applicable exercises, students should be able to watch the class and give instructions/commentary/corrections while playing.

The students will demonstrate the following musical ideas without a score:

• White Key Modes: A Aeolian, D Dorian, E Phrygian, F Lydian, G Mixolydian
• Major keys and all forms of minor keys through 3 sharps and 3 flats
• Clear antecedent/consequent phrase structure
• Use of motivic development
• 2 or more voices for all exercises
• A variety of nuances:
  1. Register
  2. Dynamics
  3. Articulation
  4. Texture and Counterpoint
     1. One voice and two voices
        • Melody in either hand
     2. Basic forms of counterpoint: contrary, parallel, oblique, and similar motion
     3. Fauxbourdon
     4. Accompaniment patterns (Alberti bass, walking bass, arpeggios, etc.)
        

Playing for movement with 2 or more voices

• Follow the mover
• Rhythmic Patterns/Modes
  • {ee q}
  • {q ee}
  • {q. e}
  • {e q.}
  • {e q e}

Eurhythmics Applications

• Exercises demonstrating Changing Meter (beat equals beat).
• Augmentation and Diminution
  • Anapest (e.g., {ee q} , {sse} , {q q h} )
  • Dactylic (e.g., {q ee} , {ess} , {h q q} )
  • Amphibrach (e.g., {e q e , ses , q h q})

Pedagogical Applications

Students should prepare at least 2 different examples of Dalcroze Strategies and Techniques from the list below.

• Quick Reactions
  • Aural Reactions
    • Simple Follow: pianist plays a pattern or movement rhythm while changing a variety of nuances
    • Spin-offs using a folk tune: pianist plays a folk tune (A section) and at the end of the tune or at the end of a phrase, they change the music and improvise new music (B section or C section etc.). At the end of a phrase or the improvised music, they return to the folk tune (A section). The pianist repeats the whole process: ABA, ABACA, ABACABA, etc.
  • Verbal Reactions using (Hipp, Hopp, Change, etc.)
• Systemizations
• Canons (1 voice required)

Harmonic progressions

• Descending/ascending 5ths progressions: in root position and various inversion patterns (e.g. first inversion to root; root to second inversion)
• Applied chords/secondary dominants: {rn: V7/V, V7/vi} and {rn: V7/IV, V7/iv}
• Modulations to the Dominant, Subdominant, and/or relative major/minor.

Composition as it relates to Eurhythmics and Solfège

• Instrumental composition and/or song composition and prosody
• Short story/narrative with accompaniment

Playing for an Image and/or Scenario

Harmonization

Melodies and/or folk tunes

Improvisation Level 4

Examinations will include each of the following subjects in bold: Unequal Beats, Divisions of 12 Eighths, Augmentation/Diminution, Melodic Harmonization, Unfigured Bass Lines, Modulations, and Improvisation of a Rhythmic Skeleton.

The new harmonic material (also in bold) in level 4 also (i.e. Applied Harmony, Neapolitan, Augmented 6th chords, Planing, Modes in Transposition, Quartal-Quintal and Secundal Harmony) must be utilized in the exam at some point at the discretion of the student. For example, a student could use a Neapolitan during a realization of a rhythmic skeleton exercise. Corresponding activities will include Playing for Movement, Eurhythmics Applications, Pedagogy Applications, Harmonic Progressions, Scales/Compositions, and Harmonizations.

Students must be prepared for any of the material below, but not all of the material will be tested. Individual training programs will design activities as they see fit; the examples below serve to illustrate the subjects involved.

All harmonic, melodic, and stylistic keyboard skills from the Certificate level are expected throughout the
License program (see the list at the start of Level 3 Improvisation).

Students should be able to demonstrate the skills listed below. Discretion of exam structure lies entirely
with the individual training center.

In all applicable exercises, students should be able to watch the class and give instructions/commentary/corrections while playing.

Eurhythmics Applications

1. Students must be able to improvise for all Dalcroze Strategies and Techniques
   • Canons
   • Follows
   • Reactions: Aural/Musical, Verbal, Visual, and Tactile
   • Systemizations
   • Dissociations
   • Complementary Rhythm
2. Subjects for Eurhythmics Applications must be at a license level and should come from the list in part 2 (below) of this section

Playing for Movement

Follow a Mover/Lead a Mover in the following subjects. Students at the License level should consider integrating what is learned in the Eurhythmics courses into what is learned in their Improvisation.

1. Unequal beats (Varied groupings in divisions of 5, 7, or 8): beats vs. divisions, beats vs. complementary rhythm, basic rhythm patterns in these meters.
   • 5 = 3+2 or 2+3
   • 7 = 3+3+2 or 2+3+2 or 2+2+3
   • 8 = 2+3+3 or 3+2+3 or 3+3+2
2. 12 eighths as changing meter: beats vs. divisions, beats vs. complementary rhythm, basic rhythm patterns in the corresponding meters: {2/h.} vs. {3/h} vs. {4/q.} vs. {6/q}. For example, this might include:
   1. Hemiola as Augmentation/Diminution: {3/4} vs. {6/8} vs. {3/2}
3. Augmentation and diminution of a rhythmic cell as a polyrhythm in simple meter
   1. Theme vs. diminution; theme vs. augmentation; diminution vs. augmentation
   2. Rhythmic patterns might include: Anapest, Dactylic, Amphibrach, etc.

Harmonization

1. Melodic Harmonization may include:
   1. Major and harmonic minor scales from tonic to tonic through at least 3 accidentals
   2. Harmonizing melodies that might contain chromaticism, applied chords, and modulation to closely related keys
2. Unfigured Bass Line Harmonization; this can include the following ideas:
   1. Basic diatonic harmony in major and minor keys
   2. Chromaticism including, but not limited to, applied chords, Neapolitan 6th, Augmented 6th chords, etc.
3. Improvising a harmonized melody based on a given rhythmic motif or phrase (Rhythmic Skeleton). The rhythms may include topics such as polyrhythms, cross rhythms, syncopations, and changing phrase lengths; the rhythms may be in Simple and Compound Meter.
   1. One Voice
   2. Two Voices

Harmonic Progression and Structure

1. Basic Diatonic Harmonic Progressions and Sequences
2. Chromatic Chords
   1. All applied chords to diatonic harmony; these might include:
      • In major keys: {rn: V7/V, V7/IV, V7/ii, V7/iii, V7/vi}
      • In minor keys: {rn: V7/V, V7/iv, V7/VI, V7/VII}
   2. Neapolitan 6th
   3. Augmented 6th chords (Italian, German, French); these could also work as a tritone substitutions or other jazz harmonic devices
3. Modulation in Different Formal Structures (Binary, Ternary, Rondo, etc.)
   1. Modulation to closely related keys (the new key signature is plus or minus one accidental from the original key signature)
4. 20th-century techniques; this may include:
   1. Modes in transposition (other than the standard white key modes; e.g., C Dorian, E-flat Phrygian, etc.)
   2. Planing (parallel motion of harmonies/intervals either tonally or atonally, including Fauxbourdone, Augmented harmonies, etc.)
   3. Quartal-Quintal Harmony (harmony in stacks of 4ths and 5ths)
   4. Secundal Harmony (harmony in stacks of 2nds)

Composition and Repertoire

Individual programs will have specific requirements regarding student compositions and improvisations based on composed repertoire from the standard canon.

Improvisation Level 5
The Dalcroze License

Examinations will include each of the following subjects in Bold: Metric Transformation, Polymeter, Cross Rhythms, Rhythmic Cell Polyrhythms, Playing for an Entire Rhythmic Phrase against an Ostinato, Melodic Harmonization, Unfigured Bass Lines, Modulations, and Improvisation of a Rhythmic Skeleton. The new harmonic material in level 5 (i.e. several types of modulation techniques, mode mixture, diverse atonal harmony) must be utilized in the exam at some point at the discretion of the student. For example, a student could use a Neapolitan during a realization of a rhythmic skeleton exercise. Corresponding activities will include Playing for Movement, Eurhythmics Applications, Pedagogy Applications, Harmonic Progressions, Scales/Compositions, and Harmonizations. Students must be prepared for any of the material below, but not all of the material will be tested. Individual training programs will design activities as they see fit; the examples below serve to illustrate the subjects involved.

All harmonic, melodic, and stylistic keyboard skills from the Certificate level are expected throughout the License program (see the list at the start of Level 3 Improvisation).

Students should be able to demonstrate the skills listed below. Discretion of exam structure lies entirely with the individual training center.

In all applicable exercises, students should be able to watch the class and give instructions/commentary/corrections while playing.

Candidate will be tested on all of the following requirements through a combination of formal juried exams and individual mentorship within the classroom overseen by a Diplômé in charge.

Eurhythmics Applications

1. Students must be able to improvise for all Dalcroze Strategies and Techniques.
   1. Canons
   2. Follows
   3. Reactions: Aural/Musical, Verbal, Visual, and Tactile
   4. Systemizations
   5. Dissociations
   6. Complementary Rhythm
2. Subjects for Eurhythmics Applications must be at a license level and should come from the list in “Playing for Movement” of this section (below).

Playing for Movement

Follow a Mover/Lead a Mover in the following subjects. Students at the License level should consider integrating what is learned in the Eurhythmics courses into what is learned in their Improvisation.

1. Metric transformation: beats vs. divisions, beats vs. complementary rhythm
   1. Basic meters. For example, this might include:
      • Beat = beat (e.g., {2/4} vs. {6/8})
      • Division = division (e.g., {2/4} vs. {6/8}, {4/4} vs. {8/8}, and/or {3/4} vs. {6/8}, etc.)
      • Beat = division (e.g., {2/4} vs. {6/8})
   2. Playing for different patterns within these meters above; this might include:
      • Compound Duple to Simple Triple
        • {2/q.} to {3/q}
          • E.g., transformed into
      • Simple Quadruple to Complex Triple
        • {4/q} to 3+3+2
          • E.g., transformed into
      • Different Groupings in Complex Meter
        • {5/8} as 3+2 to {5/8} as 2+3
          • E.g., transformed into
2. Playing for Polymeter/Cross Rhythms: 2:3; 2:5; 3:4; 3:5; 4:5. For example, this might
   include:
   • Maintain an ostinato of 3, 4, or 5 in one hand. Follow a conductor and play groups of 1, 2, 3, 4, or 5 as a melody against the ostinato in the other hand.
   • Play an ostinato of 3, 4, or 5 in one hand; direct a mover in a polymetric canon in the following cross rhythms in the other hand: 2:3; 2:5; 3:4; 3:5; 4:5.
3. Rhythmic Cell Polyrhythms
   1. Playing for two different basic rhythmic cells as a polyrhythm; changing hands and feet. For example, this might include:
      • Rhythmic patterns in either Simple meters or Compound meters
      • Patterns may include: anapest, dactylic, amphibrach, iamb, trochée, & 2-8
        • Anapest vs. dactylic: {ee q} vs. {q ee}
        • Trochée vs. anapest: {q. e} vs. {ee q}
        • Iamb vs. amphibrach: {e q.} vs. {e q e}
        • Sicilienne vs. iamb: {e.se} vs. {e q}
        • Etc.
   2. Playing for an entire rhythmic phrase (2-4 different patterns) against a rhythmic ostinato; changing hands and feet; for example, this might include:
      • Rhythmic patterns in either Simple meters or Compound meters
      • Patterns may include: anapest, dactylic, amphibrach, iamb, trochée, & 2-8
        • Step {q. e}; clap {q. e e q e | q ee h |} ; change hands and feet
        • Step {e q e}; clap {q. e e q e | q ee h |} ; change hands and feet
        • Step {ee q}; clap {q. e e q e | q ee h |} ; change hands and feet
        • Step {q e}; clap {eee q e | e.se eq |} ; change hands and feet
        • Step {q. e e q e | q ee h |} ; clap {q q h | ee ee e q. |}
        • Others?

Harmonization

1. Melodic Harmonization may include:
   1. Do to Do/ C to C scales in major and harmonic minor keys through at least 3 accidentals
   2. Harmonizing melodies that might contain chromaticism, applied chords, and modulation to closely related keys and/or distant related keys (more than 1 accidental away from the original key)
2. Unfigured Bass Line Harmonization; this can include the following ideas:
   1. Basic diatonic harmony in major and minor keys
   2. Chromaticism including, but not limited to, applied chords, Neapolitan 6th, Augmented 6th chords, mode mixture, and fully-diminished 7th chords
   3. Modulations to both closely related and distantly related keys
3. Improvising a harmonized melody based on a given rhythmic motif or phrase (Rhythmic Skeleton). The rhythms may include topics such as polyrhythms, cross rhythms, syncopations, and changing phrase lengths; the rhythms may be in Simple, Compound, and/or Complex Meter.
   1. One Voice
   2. Two Voices

Harmonic Progression and Structure

1. Basic Diatonic Harmonic Progressions and Sequences
2. Chromatic Chords from Level 4 plus
   1. Mode Mixture (use of borrowed chords from the parallel major or minor key in the original key)
3. Modulation in Different Formal Structures (Binary, Ternary, Rondo, etc.)
   1. Modulation to closely related and distantly related keys (the new key signature is more than one accidental from the original key signature) this may include:
   2. Direct/Immediate Modulations
   3. Transitional Modulations
   4. Common Tone Modulations
   5. Mode-Mixture Modulations
      1. Parallel major/minor
      2. Use of borrowed/mixture chords as a modulatory device (i.e. use of minor {rn: i} or minor {rn: iv} in a major key to modulate)
   6. Enharmonic/chromatic modulations; modulations may include the following techniques:
      1. Common tone Diminished 7ths
      2. Fully-Diminished 7ths
      3. Neapolitan 6th
      4. Augmented triads
      5. Augmented 6th chords (Italian, French, German)
      6. Medial relationships (modulation by a 3rd from the Tonic key): {rn: I} to {rn: III}; {rn: I} to {rn: bIII}; {rn: I} to {rn: VI}; {rn: I} to {rn: bVI}
   7. Modal Modulation (Lydian to Phrygian, etc.); this may include the following:
      1. Parallel modulation with the same tonal center: (e.g. C Dorian to C Lydian)
      2. Relative modulation to a different mode with the same key signature (C Mixolydian to G Dorian)
      3. Other modal modulations: (C Dorian to F Lydian)
4. 20th century techniques:
   1. Modes in transposition (other than the standard white key modes i.e. C Dorian, E-flat Phrygian etc.)
   2. Whole tone, octatonic, and other exotic scales
   3. Planing (parallel motion of harmonies/intervals either tonally or atonally, including Fauxbourdone, Augmented harmonies, etc.)
   4. Quartal-Quintal Harmony (harmony in stacks of 4ths and 5ths)
   5. Secundal Harmony (harmony in stacks of 2nds)
   6. Diverse Atonal Harmony
      1. Interval clusters
      2. Bi-tonal, pan-tonal/poly-tonal relationships, black keys vs. white keys (C major vs. C-sharp major or black pentatonic vs. C major), etc.
      3. Extended techniques including but limited to: playing inside the piano, prepared piano, amplified piano, etc.

Composition and Repertoire

Individual programs will have specific requirements regarding student compositions and improvisations based on composed repertoire from the standard canon.

This appendix builds on the skills described in Chapter 3, adding example examination exercises and outcome descriptions for each level. These exercises and outcomes serve as a guide for both teachers and students as to what is the minimum standard for achieving a passing examination for each level.

Students should not assume that these exercises will be presented in their examinations; however, the
exercises should provide an idea as to what level of difficulty will be expected at each level.

Introduction

Professional Studies in Dalcroze Education is unique in that the authority to offer Dalcroze credentials lies with individuals who have earned the Diplôme Supérieur (literally, highest diploma) from l’Institut Jaques-Dalcroze in Geneva, Switzerland. Institutions alone cannot grant Dalcroze credentials. Diplômés must oversee all training that is completed under their auspices. In this way, l’Institut Jaques-Dalcroze protects the name “Jaques-Dalcroze” and aims to maintain a high quality of teacher training among the community of Diplômés worldwide. Licentiates are valued members of the teacher-training community at l’Institut Jaques-Dalcroze and throughout the world. In many schools, they work in tandem with Diplômés and are directly involved in training new generations of teachers.

Because the United States is so large, we have many areas of the country that are without Dalcroze teacher-training opportunities. The Professional Development Committee (PDC) has set out to create opportunities for those qualified and approved Licentiates to offer teacher training on behalf of the PDC and the Dalcroze Society of America (DSA) for Level 1 and/or Level 2 of the teacher training guidelines outlined in this manual. The PDC, comprised of both Diplômés and Licentiates, have organized the structure and content of the program so that a Diplômé does not need to be physically present the entire time to facilitate the introductory aspects of the training. Approved Licentiates of the T2 program may teach up to 80% of the training program course, assuming that they follow the T2 curriculum guidelines. A Diplômé must teach for at least 20% of the program and take part in the examination procedure. L’Institut Jaques-Dalcroze has offered their support of this requirement, if a program is unable to secure a Diplômé. If graduates from Level 2 wish to continue their studies and become a Certified Dalcroze teacher, they would complete their training at an Accredited institution under the direct supervision of a Diplômé. In order for the T2 Program to function in accordance to guidelines set forth by l’Institut Jaques-Dalcroze and the DSA, all DSA-Accredited institutions that are participating in the T2 Program must adhere to the following:

1. The PDC should ideally be comprised of a majority of Diplômés who directly oversee the ongoing development and organization of the Professional Development Committee and subsequent programs.
2. The PDC reserves the right to make changes at its own discretion based on feedback from students and faculty. It is expected that this manual will be revised often to ensure that the program is running smoothly. In the cases where a student is in the middle of the program when changes are enacted, it is the responsibility of the individual faculty to inform his or her students of changes in the program as they arise. In these cases, the student may opt to adapt to the new version of the T2 Manual or stay with the previous version. This must be worked out in writing between the individual program and the student.
3. Teachers wishing to take part in the T2 Program must receive DSA Accreditation.
4. Those Licentiates who wish to offer teacher training within the T2 Program must be approved by the PDC (See section 5.2 for more information).
5. Those who achieve the Introductory Credential in Dalcroze Education (all of Level 1) and/or the Applied Credential in Dalcroze Education (all of Level 2) are welcome and encouraged to use Dalcroze principles in their own teaching, but they are not authorized to offer Dalcroze courses or use the name Jaques-Dalcroze in their course titles.
6. Only those who complete level 3, The Professional Certificate in Dalcroze Education, may call themselves Dalcroze teachers and offer Dalcroze coursework.
7. Feedback regarding the ongoing success or shortcomings of the program should be directed to the Professional Committee Chair (pdc-chair@dalcrozeusa.org).

PDC Approval for Licentiates wishing to teach within the T2 Program

Licentiates wishing to participate in teacher training through the Professional Development Committee T2 Program first must be approved by the PDC.* Schools and programs run by PDC approved Licentiates can take part in this special Professional Development Committee opportunity to offer teacher training in Levels 1 and/or 2. In situations where more than one Licentiate teach together, at least one Licentiate must be PDC approved to implement the T2 Program. Licentiates may teach up to 80% of a given level, the remaining 20% must be taught be T2 Diplômé.

A successful application to this program includes

1. A Résumé documenting at least the following:
   1. 3 years of Dalcroze teaching experience at the License Level (they must have had the License for at least 3 years)
   2. 2 summers or equivalent of teaching experience mentoring with a Diplômé at a T2 accredited program at each level they wish to offer (at least two weeks for each summer or equivalent)
2. A Cover Letter including:
   1. The candidate’s motivations for participation and proposed contribution to the program
   2. A description of how the Licentiate plans to implement the program
3. A letter of endorsement from two Diplômés
4. Videos demonstrating the candidate’s teaching of adults in Eurhythmics, Solfège, Improvisation, and Pedagogy (approximately 30 minutes for each branch)

Once a Licentiate has PDC approval, then their program must obtain DSA Accreditation. The DSA Accreditation application may be submitted at the same time as the PDC approval application.

Submit all materials to the Professional Development Committee Chair (pdc-chair@dalcrozeusa.org). The entire PDC will review all applications. Please allow at least 60 days for review.

*Current members of the PDC are not required to seek PDC approval, since they have been involved in the process of creating and maintaining the program. Once a Licentiate has PDC approval, it is not necessary to reapply. However, anyone seeking DSA Accreditation must complete the application procedures outlined in section 4.1.

Level 1

• Students must be examined in Eurhythmics, Solfège, and Improvisation. Pedagogy and Plastique Animée exams may be required at some programs.
• Only one juror is required (the juror must be a part of the PDC T2 program), but a panel of jurors is recommended.
• Only Licentiates or Diplômés may vote on a jury; we recommend that only voting jury members observe exams.
• Video recording is not required, but the jury is welcome to film the exams to review at a later date. Individual PDC members can act as jurors to review examinations by video upon request.
• At least one written examination example from each level and branch (Eurhythmics, Solfège, Improvisation) from those given in each calendar year should be sent to the PDC to maintain DSA Accreditation. (Email to the chair of the PDC: pdc-chair@dalcrozeusa.org)
• The PDC recommends that at least one Level 1 examination per year be videoed for PDC T2 program review. It will have no bearing on the outcome of the jury, but rather it will be used to make improvements to the PDC T2 program in the future. (Email to the chair of the PDC: pdc-chair@dalcrozeusa.org)

Level 2

• Students must be examined in Eurhythmics, Solfège, Improvisation, and Pedagogy at Level Plastique Animée exams may be required at some programs. Pedagogy examination structure, evaluation, and the type of evaluation forms are left at the discretion of the training center.
• At least two jurors are required (at least two jurors must be a part of the PDC T2 program), one juror must be a Diplômé. If the second juror cannot be present in person, then the examination must be videoed and sent to the second juror for evaluation.
• Only Licentiates or Diplômés may vote on a jury; we recommend that only voting jury members observe exams.
• Video recording is not required, but the jury is welcome to film the exams to review at a later date. Individual PDC members can act as jurors to review examinations by video upon request.
• At least one written examination example from each level and branch (Eurhythmics, Solfège, Improvisation) from those given in each calendar year should be sent to the PDC to maintain DSA Accreditation.
• The PDC recommends that at least one Level 2 examination per year be videoed for PDC T2 program review. It will have no bearing on the outcome of the jury, but rather it will be used to make improvements to the PDC T2 program in the future. (Email to the chair of the PDC: pdc-chair@dalcrozeusa.org)

Level 3

• Level 3 must take place at a Dalcroze Teacher-Training Center run by a Diplômé, comprised of faculty made up of Diplômés and Licentiates. The Diplômé who confers the credentials for the program must be present in the room at the examinations. Students must be examined in Eurhythmics, Solfège, Improvisation, Pedagogy and Plastique Animée.
• At least three jurors are required at all examinations with at least two of whom are a Diplômé. Remaining members of the jury must hold at least a Dalcroze License. This jury is necessary for the core branches: Eurhythmics, Solfège, and Improvisation.
  • Under special circumstances, one Diplômé and two Licentiates can serve on the jury for these examinations.
  • For Pedagogy and Plastique Animée examinations, one Diplôme and two Licentiates is also acceptable.
  • If the other jurors cannot be present in person, then the examination must be videoed and sent to the other jurors.
• Video recording is not required, but the jury is welcome to film the exams to review at a later date. Individual PDC members can act as jurors to review examinations by video upon request.
• Only Licentiates or Diplômés may vote on a jury; we recommend that only voting jury members observe exams.
• At least one written examination example from each level and branch (Eurhythmics, Solfège, Improvisation) from those given in each calendar year should be sent to the PDC to maintain DSA Accreditation. (Email to the chair of the PDC: pdc-chair@dalcrozeusa.org)
• The PDC recommends that at least one Level 3 examination per year be videoed for PDC T2 program review. It will have no bearing on the outcome of the jury, but rather it will be used to make improvements to the PDC T2 program in the future.

Levels 4 & 5

• Levels 4 and 5 must take place at a Dalcroze Teacher-Training Center run by a Diplômé, comprised of faculty made up of Diplômés and Licentiates. The Diplômé who directs the program must be present at the examinations. Students must be examined in Eurhythmics, Solfège, Improvisation, Pedagogy and Plastique Animée.
• At least three jurors are required at all examinations with at least two Diplômés. Licentiates may serve on the jury. Certificate holders are not permitted to evaluate examinations. If the other jurors cannot be present in person, then the examination must be videoed and sent to the other jurors.
• Video recording is not required, but the jury is welcome to film the exams to review at a later date. Individual PDC members can act as jurors to review examinations by video upon request.
• Only Licentiates or Diplômés may vote on a jury; we recommend that only voting jury members observe exams. Non-voting observers may attend only at the discretion of the Diplômé in charge of the training program.
• At least one written examination example from each level and branch (Eurhythmics, Solfège, Improvisation) from those given in each calendar year should be sent to the PDC to maintain DSA Accreditation. (Email to the chair of the PDC: pdc-chair@dalcrozeusa.org)
• The PDC recommends that at least one Level 4 or Level 5 examination per year be videoed for PDC T2 program review. It will have no bearing on the outcome of the jury, but rather it will be used to make improvements to the PDC T2 program in the future.

The following examination forms are the standard form for students within the T2 Program*. They are designed to be universal forms that apply to each level of training in Eurhythmics, Solfège, Improvisation, and Pedagogy. The forms are not fixed; the order and content are adaptable so long as the objectives are met within each area. At this time, each individual training program will devise its own method of evaluating Plastique Animée.

Structure

The examination structure is flexible and is determined by each individual training program. The examination forms are designed to help facilitate the examination process so that it is both fair and consistent. The PDC hopes that these forms will help teacher-trainers provide valuable written feedback to each student within their program. Electronic versions of these documents can be made available to PDC-approved teachers so that they can be modified to include more space for those evaluating students by hand or to facilitate those wishing to type their evaluations. Additional exercises can be added to the forms, but they must be scored in a similar fashion to the other exercises in the examination.

Scoring

Each examination exercise describes the general evaluation criteria that the Professional Development Committee has determined to be important by the majority of training programs. These suggested criteria in the second column on each form are simply suggestions for commentary, not required commentary from the jury. The jury will determine the score (1-5) for each element within each examination exercise. Please refer to examination forms for passing requirements. For the personal exams, the jury holds the right to offer a conditional pass with the expectation that the student retake a given portion of the exam at a later date.

However, for the pedagogy exams, the jury will score each individual section of the exam to determine whether or not the student passes the exam. Each of the five sections of the pedagogy exam must receive a passing score to pass the entire exam. Students will receive their completed evaluation forms after the exams are completed (the examination forms used by the jury are found here in the T2 document in the following chapter).

Credentials

Students should receive a copy of their evaluation forms, and training centers should keep a copy of this form for their records. A student must pass all required branches at each level to achieve a credential. At the end of every year, individual programs should report to the PDC a list of all individuals who have received DSA credentials. By receiving a credential, the student agrees to the conditions for each credential listed in section 3.1 of this document.

Students must have at least 10 class hours in the corresponding Dalcroze Pedagogy courses to take each level exam.

Pedagogy Level 1

• History of Dalcroze and his importance to education, music, dance, theater, and art
• Principles of Dalcroze Education: using the body to teach music
• Experience, knowledge, and practice of Dalcroze strategies and techniques
• 5-10 minute practice teaching experiences
  • Students choose a Level 1 Music/Movement subject and use a Dalcroze strategy and technique to teach the subject. Use of the piano is encouraged, but not required. Students and faculty critique each teaching example together.
  • Students redo their teaching example at a later date, making corrections from the first presentation.
• Written observation and analysis of demonstration classes
• Assigned readings and written responses
• There are no exams for Level 1 Pedagogy
• Reference to Overall Goals and Objectives for Dalcroze Pedagogy*(found below in the next section)

Pedagogy Level 2

• Written observation and analysis of demonstration classes
• Assigned readings and written responses
• More in-depth analysis of music/movement subjects and teaching strategies/techniques. This might include:
  • Use of composed literature in the Dalcroze classroom
  • Use of song literature in the Dalcroze classroom
  • Use of materials and equipment in a musically purposeful way
• Longer practice teaching experiences (10-20 minutes)
  • Student or teacher chooses a Level 1 or 2 Music/Movement subject and use several Dalcroze strategies and techniques to teach the subject. Use of the piano is required. Students and faculty critique each teaching example together.
• Curriculum development
  • Age/level appropriate subjects and skills
  • Lesson planning
  • Movement vocabulary
• Reference to Overall Goals and Objectives for Dalcroze Pedagogy* (found below in the next section)

Pedagogy Exam for Level 2

The student prepares and executes a 15-20 minute lesson that illustrates a Dalcroze application to their chosen field (i.e. Dalcroze-Eurhythmics classes, musicianship classes, group lessons, private lessons, instrumental lessons, choral applications, other rehearsal situations, etc.). Each individual training program will determine the examination content and procedures for the Level 2 examination in pedagogy. It is incumbent upon the student to discuss with the individual program director the requirements and expectations for this pedagogy exam at the beginning of their Level 2 studies.

Pedagogy Level 3

• Individual training centers may have portfolio requirements. Check with the Program Director for details.
• Written observation and analysis of demonstration classes
• Assigned readings and written responses
• Continued in-depth analysis of music/movement subjects and teaching strategies/techniques. This might include:
  • Use of composed literature in the Dalcroze classroom
  • Use of song literature in the Dalcroze classroom
  • Use of materials and equipment in a musically purposeful way
• Longer practice teaching experiences (15-25) minutes
  • Student or teacher chooses a Level 2, or 3 Music/Movement subject and use several Dalcroze strategies and techniques to teach the subject. Students and faculty critique each teaching example together.
• Curriculum development
  • Age-appropriate subjects and skills
  • Long-term development i.e.
    • How to develop a series of lessons
    • Review examples of multi-year curricula
  • Lesson planning
  • Movement vocabulary
• Classroom Management
• Business Aspects
  • Marketing and advertising
  • School/class start up
  • Educating parents: demonstration classes and performances
  • Networking
• Reference to Overall Goals and Objectives for Dalcroze Pedagogy* (found below in the next section)

Pedagogy Exam for Level 3

Student prepares and executes a 45-minute lesson with participants/students who are adult beginners or young students through an early-intermediate level.

Overall Goals and Objectives for Dalcroze Pedagogy

• Lessons should contain:
  • Clear demonstration of the Principles of a Dalcroze Education
  • Clear and diverse use of Dalcroze Strategies and Techniques
  • Good pacing: a logical development of one activity to the next
  • A variety of exercises which engage multisensory learning
  • Opportunities for students to improvise in movement and/or sound.
  • Clarity of directions
    • Teacher gives concise and audible instructions
    • Teacher offers one instruction at a time
  • Flexibility and adaptability in response to the students’ needs
  • Individual, partner, and group activities
  • Clarity of musical/movement goals
  • Age-appropriate content
• Musicianship
  • Improvisation (piano, voice, percussion, and/or other instrument) should demonstrate
    • A clear use of phrase period structure
    • A variety of tonalities, modes, pianistic styles
    • Musical sensitivity: attention to nuance, affect, touch etc.
    • The ability to invite, inspire, and reflect movement
  • Singing quality should show
    • The use of appropriate vocal range
    • Good intonation
    • Appropriate vocal modeling
  • Use of the body should exhibit
    • Appropriate, clear, and accurate demonstrations by the teacher that address relevant physical techniques: ease of movement, coordination, precision, accuracy, etc.
    • Clear instructions and corrections to the students that improves movement
    • Movement that embodies music
• General pedagogical considerations
  • During classroom activities candidates should be able to:
    • Watch the students move
    • Offer brief corrections/positive reinforcements to movers (sometimes while improvising)
    • Coordinate verbal, visual, tactile, and/or musical signals appropriately while improvising
  • Appropriate and purposeful use of any chosen materials
  • Overall musicality of the lesson
  • Overall relevance of music/movement/corporeal content to the students
  • Incorporating the student’s ideas into the lesson

Pedagogy Levels 4 & 5

General License Pedagogy Contents that will be ongoing through Levels 4 and 5

• License Practicum
  • Written observation and analysis of professional studies courses
  • The candidate will work with a mentor for a minimum of 5 classes in each core branch: Eurhythmics, Solfège, and Improvisation. This should include some practicum teaching by
  • the candidate in each branch.
  • See the training program director for specific information about faculty mentorship in pedagogy.
• History of Dalcroze and his importance to education, music, dance, theater, and art
• Principles of Dalcroze Education: using the body to teach music
• Experience, knowledge, and practice of Dalcroze strategies and techniques
• Assigned readings and written responses
• Subject Study
• More in-depth analysis of music/movement subjects and teaching strategies/techniques. This might include:
  • Use of composed literature in the Dalcroze classroom
  • Use of song literature in the Dalcroze classroom
  • Use of materials and equipment in a musically purposeful way
• Curriculum development
  • Age/level appropriate subjects and skills
  • Long-term development i.e.
    • How to develop a series of lessons
    • Review examples of multi-year curricula
  • Lesson planning
  • Movement vocabulary
• Classroom Management
• Business Aspects
  • Marketing and advertising
  • School/class start up
  • Educating parents: demonstration classes and performances
  • Networking
• Reference to Overall Goals and Objectives for Dalcroze Pedagogy* (found below in the next section)

Overall Goals and Objectives for Dalcroze Pedagogy:

• Lessons should contain:
  • Clear demonstration of the Principles of a Dalcroze Education
  • Clear and diverse use of Dalcroze Strategies and Techniques
  • Good pacing: a logical development of one activity to the next
  • A variety of exercises which engage multisensory learning
  • Opportunities for students to improvise in movement and/or sound.
  • Clarity of directions
    • Teacher gives concise and audible instructions
    • Teacher offers one instruction at a time
  • Flexibility and adaptability in response to the students’ needs
  • Individual, partner, and group activities
  • Clarity of musical/movement goals
  • Age-appropriate content
• Musicianship
  • Improvisation (piano, voice, percussion, and/or other instrument) should demonstrate
    • A clear use of phrase period structure
    • A variety of tonalities, modes, pianistic styles
    • Musical sensitivity: attention to nuance, affect, touch etc.
    • The ability to invite, inspire, and reflect movement
  • Singing quality should show
    • The use of appropriate vocal range
    • Good intonation
    • Appropriate vocal modeling
  • Use of the body should exhibit
    • Appropriate, clear, and accurate demonstrations by the teacher that address relevant physical techniques: ease of movement, coordination, precision, accuracy, etc.
    • Clear instructions and corrections to the students that improves movement
    • Movement that embodies music
• General pedagogical considerations
  • During classroom activities candidates should be able to:
    • Watch the students move
    • Offer brief corrections/positive reinforcements to movers (sometimes while improvising)
    • Coordinate verbal, visual, tactile, and/or musical signals appropriately while improvising
    • Appropriate and purposeful use of any chosen materials
  • Overall musicality of the lesson
  • Overall relevance of musical/corporal content to the students
  • Incorporating the student’s ideas into the lesson

Pedagogy Exam for License

• Once students have completed their License Practicum requirements in Eurhythmics, Solfège, and Improvisation (see above in the License Pedagogy Requirements), they may begin working on their individual pedagogy mentorship.
• Candidates must mentor with a faculty member(s). See the director of the training program for specific information about faculty mentorship in pedagogy.
  • Several teaching examples must be submitted to the faculty mentor(s) for discussion and evaluation.
  • The candidate must gain approval from the faculty mentor(s) before they are permitted to take a teaching examination.
• Examination Minimum Requirements
  • The candidate prepares and executes at least a 60-minute Eurhythmics lesson with participants/students who are at least an intermediate level (e.g. topics from Certificate Level 2 and above) and demonstrates license-level pedagogy.
• See the director of the training program for any other specific requirements regarding the topics teaching exams and/or portfolio requirements.

Plastique Animée is an artistic realization based on analysis of a piece of music through the body as an outgrowth of Eurhythmics or Solfège. It is an artistic interface between music and movement, which deepens the students understanding of both. This can take on many forms, from informal classroom experiences to formal staged presentations. Generally, Plastique Animée requires the movers to:

1. Improvise
2. Analyze, interpret, and demonstrate specific formal and aesthetic elements in the musical score and its relationship to movement in an artistic way
3. Create, rehearse, and present

Plastique Animée Level 1
The Introductory Credential

• At least 2 Classroom Eurhythmics Plastique Animée experiences-students will participate in a Plastique Animée as a process that results from a Eurhythmics class
• Special Topics Course or Workshop in Plastique Animée with faculty mentorship
• Some programs do not require exams for Levels 1 and 2; please contact the program director for
  details.

Plastique Animée Level 2
The Applied Credential

• At least 2 Classroom Eurhythmics Plastique Animée experiences-students will participate in a Plastique Animée as a process that results from a Eurhythmics class
• Special Topics Course or Workshop in Plastique Animée with faculty mentorship
• Some programs do not require exams for Levels 1 and 2; please contact the program director for
  details.

Plastique Animée Level 3
The Dalcroze Professional Certificate

• A student(s) must guide and participate in a Plastique Animée of approximately 2-4 minutes.*
• The music for the Plastique Animée may be live or recorded; the director of the program must approve the musical selection.*
• The Plastique Animée may be presented or directed by solos, duos, or groups.*
• The Plastique Animée may or may not include materials, equipment, or costumes.*
• The Plastique Animée must demonstrate an internalization of the music in accordance with the definitions above.

Plastique Animée Levels 4 & 5
The Dalcroze License

• At least 2 Classroom Eurhythmics Plastique Animée experiences-students will participate in a
  Plastique Animée as a process that results from a Eurhythmics class
• Special Topics Course or Workshop in Plastique Animée with faculty mentorship
• The candidate must lead and participate in a least one Plastique Animée performance of approximately 2-4 minutes.*
• The music for the Plastique Animée may be live or recorded; the director of the program must approve the musical selection. The musical/movement content of the performance should reflect a higher level than the certificate.*
• The Plastique Animée may be presented or directed by solos, duos, or groups.*
• The Plastique Animée may or may not include materials, equipment, or costumes.*
• The Plastique Animée must demonstrate an internalization of the music in accordance with the
  definitions above.

---

*Please note: each training center has its own requirements for the Plastique Animée exam. See program director for more information.

These guidelines represent the minimum requirements for certification and licensure along with examination standards at each level. The learning process is left to the teacher’s discretion; other topics not listed here may arise during training, and topics from later levels may be introduced earlier. Students will physicalize, sing, hear internally, analyze, read, write, and improvise in Dalcroze Solfège. The examinations will require students to demonstrate their knowledge of the following subjects through reading, singing, writing, analysis, improvisation, and physicalized gesture. Musical compositions will illustrate the subjects during the actual teacher training courses. Students must have at least 10 class hours in the corresponding Dalcroze Solfège courses to take each level exam. In many cases, students may require more than 10 class hours to pass their level exams, and this may require outside training (workshops, private study, online training, etc.). It may also require that a student take more than one summer to finish a given level. Dalcroze Education is highly individualized in order to meet the needs of each student; therefore, students may need different amounts of time to fulfill exam requirements. It is important that students discuss their progress and readiness with the instructors within their specific training program.

• Subjects will be taught through the Dalcroze Strategies and Techniques at each level of study.
• Throughout the program the subjects will invite different types of expression and nuance:
  • Affect, Mood
  • Dynamics, Articulation, Accents, Texture
  • Tempo:
    • Fast, Medium, Slow
    • Changing Tempo
    • Accelerando, Ritardando
  • Breath, Flow, Momentum, Energy

Solfège Level 1
Introductory Credential in Dalcroze Education

• Scales
  • C to C Scales/Do to Do Scales though 3 sharps and 3 flats, also from the point of view of each scale degree as C-natural as ^1, ^2, ^3, ^4, ^5, ^6, and ^7
• Polychords and Intervals
  • Dichords and Trichords and their corresponding intervals
• Harmony
  • 3 triad qualities (major, minor, diminished)
  • {rn:I, IV, V7, vi, ii}
  • Authentic, Half, and Deceptive Cadences
• Sight-singing
  • Major keys through 3 sharps and 3 flats
  • Mostly scalar motion with some disjunct motion
  • Basic rhythm patterns/modes focusing on simple meter
• Melodic Improvisation
  • Focus on major keys
  • Antecedent and Consequent relationships
  • Motif

Solfège Level 2
Applied Credential in Dalcroze Education

• Scales
  • C to C Scales/Do to Do Scales through 4 sharps and 4 flats in Major
  • C to C Scales/Do to Do Scales through 3 sharps and 3 flats in Harmonic Minor
• Polychords and Intervals
  • Tetrachords and their corresponding intervals
• Harmony
  • Major and minor triads in inversion
  • Sequences of descending 5ths
  • {rn: i, iv, V7, VI, iio}
  • Further application of cadence study
• Sight-singing
  • Minor keys through 3 sharps and 3 flats
  • Mostly scalar motion with some disjunct motion
  • Basic rhythm patterns/modes focusing on compound meter
• Melodic Improvisation
  • Focus on minor keys
  • Motivic development
  • Ornamentation: appoggiatura, neighbor tones, etc.

Solfège Level 3
The Dalcroze Professional Certificate

• Scales
  • C to C Scales/Do to Do Scales through 7 sharps and 7 flats in Major and Harmonic Minor
  • Chromatic Scales (in at least 3 different keys)
• Polychords and Intervals
  • Pentachords and their corresponding intervals
• Harmony
  • In major keys: {rn:V7/V, V7/IV, V7/vi} (optional {rn:V7/ii})
  • In minor keys: {rn:V7/V, V7/iv}, (optional {rn:V7/III})
  • Continued work with sequences of descending 5ths
  • Inversions of {rn:V7} and resolution to the tonic in Major and Minor
• Sight-singing
  • Major and minor keys through 7 sharps and 7 flats
  • Mostly scalar motion with leaps with more advanced disjunct motion
  • More complicated rhythm patterns in simple and/or compound meter
  • Some applied chords or chromatic alterations
• Melodic Improvisation
  • Changing phrase lengths e.g. 2+2+4, phrase extension
  • Basic chromaticism (e.g. chromatic neighbor and passing tones)
  • Modulation to dominant, subdominant, and/or relative Major/Minor; see appendix for
    examples

Solfège Level 4

Examinations will include at least one exercise from each of the subjects in bold below that is new material found in level 4 (Modulating C to C Scales, Polychords, Harmony, Sight-singing, Improvisation, and Dictation). Representative activities in the examination must include at least one scale activity, one polychord activity, one harmony activity, one melody activity, one improvisation activity, and one sight reading activity. Students must be prepared for any of the material below, but not all of the material will be tested. Individual training programs will design activities as they see fit; the examples below serve to illustrate the subjects involved. Each training center will handle dictations in their own way. Melodic/Rhythmic dictations will be evaluated under the “Melody” section of the examination form and averaged with other melody activities, while harmonic dictations will be evaluated under the “Harmony” section of the examination form and averaged with other harmony activities.

• Scales to be sung and identified when played
  • a. C to C / Do to Do Scales
    • i. Review: Major Keys through all 7 accidentals
    • ii. Review: Harmonic Minor Keys through all 7 accidentals
    • Natural and Melodic minor can be addressed separately, not necessarily
    • within a context of the C to C / Do to Do scale format
    • iii. Review: Chromatic scales
    • iv. Modulating C to C Scales to All Neighboring Keys
• Polychords, interval fillers, and their corresponding intervals; these might include:
  • i. Heptachords
• Harmony: (the following subjects will be covered in major and minor keys through at least 4#s and 4bs)
  • a. Aural recognition/identification/demonstration of harmony in writing, in gesture, and/or other creative means according to the teacher
    • i. Review: Diatonic Triads and Seventh Chords in root position and all inversions
    • ii. Review: Resolution of Dominant sevenths in all inversions
    • iii. Applied Chords/Secondary Dominants (and possibly diminished 7th chords) in Root
    • Position and 1st Inversion
      • Major keys: {rn:V7/V, V7/vi, V7/IV, V7/ii, V7/iii}
      • Minor keys: {rn:V7/V, V7/iv, V7/VI, V7/VII, V7/III}
  • b. Chromatic harmony
    • i. Neapolitan ({rn:bII6})
    • ii. Augmented 6th chords (Italian, French, German)
  • c. Progressions and sequences to be sung (e.g. Descending 5ths, Descending 3rds, 5-6 technique, descending 5ths & 3rds, etc.)
    • i. Diatonic Triads and Seventh Chords
    • ii. Applied Chords/Secondary Dominants
• Sight-Singing (treble and bass clefs are required; any other clefs are optional)
  • a. Repertoire may include:
    • i. Review: surface chromaticism (passing and neighboring chromaticism)
    • ii. Applied Chords/Secondary Dominants
    • iii. Modulation to All Neighboring Keys
  • b. Repertoire genres may include:
    • i. Solo Singing
      • A Cappella Singing
      • Sing and Play at the Piano (art songs, duets, etc.)
    • ii. Collaborative Singing
      • Art songs with piano
      • Duets, Trios, etc.
      • Chorales
• Improvisation
  • a. Rhythmic Skeletons (Creating a Melody Based on a Rhythmic Motif or Phrase); this may include examples in Simple and/or Compound Meter including those subjects covered in License Level Eurhythmics. This could include:
    • i. 1 Voice (for example: conduct and sing)
    • ii. 2 Voices (for example: clap one voice, improvise a melody for the other voice)
  • a. Melodies that Modulate (major and minor keys through 4 accidentals):
    • i. Forms
      • Review: Binary
      • Review: Ternary
      • Rondo
    • ii. Modulation to Closely Related Keys
  • b. Sing and Play at the Piano: play a chord progression and improvise a melody vocally
• Melodic/Rhythmic Dictation
  • a. Review: Melody could include surface chromaticism that might suggest applied chords, mode mixture, etc.
  • b. Student must correctly notate the melody with correct rhythms on staff paper in treble or bass clef.

Solfège Level 5
The Dalcroze License

Examinations will include at least one exercise from each of the subjects in bold below that is new material found in level 5 (Modulating C to C Scales, Polychords, Harmony, Sight-singing, Improvisation, and Dictation). Representative activities in the examination must include at least one scale activity, one polychord activity, one harmony activity, one melody activity, one improvisation activity, and one sight reading activity. Students must be prepared for any of the material below, but not all of the material will be tested. Individual training programs will design activities as they see fit; the examples below serve to illustrate the subjects involved. Each training center will handle dictations in their own way. Melodic/Rhythmic dictations will be evaluated under the “Melody” section of the examination form and averaged with other melody activities, while harmonic dictations will be evaluated under the “Harmony” section of the examination form and averaged with other harmony activities.

• Scales to be sung and identified when played
  • a. C to C / Do to Do Scales
    • i. Modulating C to C scales to any key
  • b. Other Scale Forms. This may include examples such as:
    • i. Pentatonic scales
    • ii. Whole tone scales
    • iii. Octatonic scales
    • iv. Other scales, for example:
      • Blues
      • Modal
      • Exotic/Synthetic (e.g. Enigmatic Minor Scale: C-natural, D-flat, E-flat, F-sharp, G-natural, A-sharp, B-natural, C-sharp)
      • Others?
• Polychords, interval fillers, and their corresponding intervals; these might include:
  • i. Hexachords (Heptachords in inversion)
• Harmony: (the following subjects will be covered in major and minor keys through at least 4#s and 4bs)
  • a. Aural recognition/identification/demonstration of harmony in writing, in gesture, and/or other creative means according to the teacher
    • All elements in level 4
    • Other possibilities according to individual instructors.
  • b. Chromatic harmony and their standard resolutions to be sung, for example:
    • i. Fully-diminished 7th chords including
      • Diatonic resolutions
      • Enharmonic resolutions (i.e. resolve a dim-dim 7 in 4 different keys)
• Sight-Singing (treble and bass clefs are required; any other clefs are optional)
  • a. Repertoire may include examples from level 4 plus:
    • i. Modulation to Distantly Related Keys; these might include:
      • Use of mode mixture modulations
      • Use of chromatic chords such as the Neapolitan and Augmented 6th chords as pivots
      • Use of chromatic chords as enharmonic modulations
    • ii. Melodies that use other scale forms (Octatonic, whole-tone, etc.)
  • b. Repertoire genres may include:
    • i. Solo Singing
      • A Cappella Singing
      • Sing and Play at the Piano (art songs, duets, etc.)
    • ii. Collaborative Singing
      • Art songs with piano
      • Duets, Trios, etc.
      • Chorales
• Improvisation
  • a. Rhythmic Skeletons (Creating a Melody Based on a Rhythmic Motif or Phrase); this may include examples with Simple, Compound, and/or Complex Meter, including those subjects covered in License Level Eurhythmics. This could include:
    • i. 1 Voice (for example: conduct and sing)
    • ii. 2 Voices (for example: clap one voice, improvise a melody for the other voice)
  • b. Melodies that Modulate (major and minor keys through 4 accidentals):
    • i. Forms
      • Ternary
      • Rondo
    • ii. Modulation to Closely Related Keys
    • iii. Modulation to Distantly Related Keys (ternary forms only)
  • c. Sing and Play at the Piano: play a chord progression and improvise a melody vocally
• Melodic/Rhythmic Dictation
  • a. Melody should include a modulation to a closely related key.
  • b. Student must correctly notate the melody with correct rhythms on staff paper in treble or bass clef.

3.1 Eurhythmics Standards Levels 1, 2, 3, 4, and 5

These guidelines represent the minimum requirements for certification and licensure along with examination standards at each level. The learning process is left to the teacher’s discretion; other topics not listed here may arise during training, and topics from later levels may be introduced earlier. The examinations will require students to demonstrate their knowledge of the following subjects through movement, analysis, notation, improvisation, and physicalized gesture. Musical compositions will illustrate the subjects during the actual teacher training courses. Students must have at least 15 class hours in the corresponding Dalcroze Eurhythmics courses to take each level exam. In many cases, students may require more than 15 class hours to pass their level exams, and this may require outside training (workshops, private study, online training, etc.). It may also require that a student take more than one summer to finish a given level. Dalcroze Education is highly individualized in order to meet the needs of each student; therefore, students may need different amounts of time to fulfill exam requirements. It is important that students discuss their progress and readiness with the instructors within their specific training program.

• The Dalcroze Strategies and Techniques (see Chapter 1) are used to teach subjects at all levels.
• Throughout the program, subjects will invite various types of expression and nuance:
• Affect, Mood
• Dynamics, Articulation, Accents, Texture
• Tempo:
  • Fast, Medium, Slow
  • Changing Tempo
  • Accelerando, Ritardando
• Breath, Flow, Momentum, Energy

Eurhythmics Level 1
Introductory Credential in Dalcroze Education

• Beat Type
  • Binary and ternary beats.
• Meter
  • Simple Meter (binary beats)
  • Compound Meter (ternary beats)
  • Changing Meter
• Rhythms
  • Rhythm Patterns/Modes and Durations (binary and ternary beats)
  • Complementary Rhythm (at the beat and division levels)
  • Simple Polyrhythm e.g. Beats vs. Division; Beats vs. Pattern
• Phrase and Form
  • Antecedent/Consequent and phrase-period structure
• Arm Beats through meters of 4 beats

Eurhythmics Level 2
Applied Credential in Dalcroze Education

• Anacrusis, Crusis, Metacrusis
  • Measure Shape: Anacrusis, Crusis, Metacrusis
  • Phrase Shape: Anacrusis, Crusis, Metacrusis
• Silence/Rests (internalization of time/space in the absence of sound)
  • Quality (energy) of rest and/or affect in relation to placement in a measure, phrase, or large-
    scale musical context
  • Duration
  • Repose/internalization
• Rhythm
  • Diminution and augmentation of motifs in a meter of 4 (rhythmic patterns twice as fast/slow)
    • See examples in the appendix.
    • In phrases: systemizations/sequences/series of diminution and augmentation of a single motif
  • Syncopation
  • Anticipation and retardation (delayed)
  • Patterns (Amphibrach {eq e})

Eurhythmics Level 3
The Dalcroze Professional Certificate

• Meter
  • Complex Meter (unequal beats)
  • Changing Meter
  • Metric/rhythmic transformation
    • Regrouping of divisions/subdivisions, as in the various groupings of 12 eighths
    • {3/4} vs. {6/8} e.g. {q ee q} vs. {q e e q}
    • Hemiola: the interplay of 2 groups of 3 or 3 groups of 2
    • Cross Rhythm of 2:3 and 3:2
  • Arm beats through meters of 5 beats.
• Phrase and Form
  • A variety of phrase lengths and proportions
  • Musical forms: repetition and contrast

Eurhythmics Level 4

All of the material below will be included in the License training courses. Examinations will include at least one exercise from each of the subjects in bold below (Complex Meter, Metric Transformation, Polymeters, and Augmentation/Diminution). Representative activities in the examination must include at least one follow, one canon, one dissociation activity in the body (hands vs. feet, etc.), and one systemization (or prepared activity). Students must be prepared for any of the material below, but not all of the material will be tested. Individual training programs will design activities as they see fit; the examples below serve to illustrate the subjects involved.

Exercises in Complex Meter

These are exercises using meters of unequal beats, e.g. {5/8}, {7/8}, {8/8}

• Step the beat, clap the division; change hands and feet
• Step the beat, clap the complement; change hands and feet
• Change the order of the beats as defined by the divisions; for example:
  • In {5/8}: 3+2 or 2+3 (2 unequal beats per measure)
    • Beats: {q. + q} or {q + q.}
    • Divisions: {eee + ee} or {ee + eee}
    • Subdivisions: {ssssss + ssss} or {ssss + ssssss}
  • In {7/8}: 3+2+2, 2+3+2, or 2+2+3 (3 unequal beats per measure)
    • Beats: {q. + q + q} or {q + q. + q} or {q + q + q.}
    • Divisions: {eee + ee + ee} or {ee + eee + ee} or {ee + ee + eee}
    • Subdivisions: see above
  • In {8/8}: 3+3+2, 3+2+3 or 2+3+3 (3 unequal beats per measure)
    • Beats: {q. + q. + q} or {q. + q + q.} or {q + q. + q.}
    • Divisions: {eee + eee + ee} or {eee + ee + eee} or {ee + eee + eee}
    • Subdivisions: see above
• Step rhythmic patterns (including beats, divisions and subdivisions) in these meters with arm beats as canons, follows, systemizations, etc. For example, in {5/8}, patterns might include:
  • {q. q} or {q q.}
  • {eee ee} or {ee eee}
  • {q e q} or {q e} ({e.s e q} or {q e e.s}
  • {esse q} or {q esse}
  • {sssse ee} or {ee sssse}
• Add or subtract divisions in order to change meter.
  • Step the beat, clap the division. Add or subtract divisions at a given signal to change
    from {6/8} to {5/8} or {7/8}, etc. Change hands and feet.
  • Repeat the same activity and use a ball for the beats/divisions.
• Canons in complex meter: {5/8}, {7/8}, {8/8} (beat structure remains constant throughout the
  canon). Use patterns from part 1.d. above.
  • Step the beats, tap a canon at the measure using a drum.
  • Step a canon at the measure, conduct arm beats.
  • Step a canon at the measure, bounce/catch a ball for the beats.

Metric Transformation

Common divisions/subdivisions grouped into different beats resulting in different meters. For example:

{2/h.} vs. {3/h} vs. {4/q.} vs. {6/q}

OR {4/q} vs. {8/e}

• Complementary rhythm exercises using metric transformation.
  • Step the beat, clap the divisions
    {4/4} {|} {ex: /app/uploads/2025/05/TeacherTraining-Manual-3.1-Step-Clap-1.png} vs. {8/8} {|} {ex: /app/uploads/2025/05/TeacherTraining-Manual-3.1-Step-Clap-2.png}
  • Clap the beat, step the divisions
    {4/4} {|} {ex: /app/uploads/2025/05/TeacherTraining-Manual-3.1-Step-Clap-3.png} vs. {8/8} {|} {ex: /app/uploads/2025/05/TeacherTraining-Manual-3.1-Step-Clap-4.png}
• Rhythmic Transformation = Pattern Work
  • Rhythmic Transformation is the result of Metric Transformation: a rhythm is applied to the Metric Transformation instead of only beats vs. divisions/subdivisions.
  • Step the following rhythm using armbeats and/or step the following rhythm while clapping the beat and/or repeat these activities using a ball instead of armbeats. (Rhythmic Transformation through Metric Transformation)
    • {3/4 | e.s ee q. |} vs. {6/8 | e.se e q |}
    • {3/2 | qtieeeq q eetieq |} vs. {12/8 | q. eq q e q. |}
    • {4/4 | q ee q q |} turns into {8/8 | q e e q q |} ; then change hand and feet.
    • Canons at the measure in Metric Transformation/Rhythmic Transformation ({3/4} vs. {6/8}, {4/4} vs. {8/8}, or {12/8} vs. {3/2}):
      • step the rhythmic pattern and conduct arm beats and/or clap the beat to reflect the changing meter. Repeat using a ball to reflect the beats.

Polymeters

Polymeters involve the superimposition of 2 or more meters at the same time and their resulting cross
rhythmic relationships – 3:4, 4:3, 3:5, 5:3, 4:5, 5:4

Polymetrics

• The piano plays in 3, the mover steps in 4; vice-versa
• The piano plays in 4, the mover steps in 5; vice-versa
• The piano plays in 3, the mover steps in 5; vice-versa

Composite rhythms as result of polymeter

• Step the composite rhythm for 3 against 4; conduct in arm beats while the meter changes from 3 to 4
• Step the composite rhythm for 3 against 5; conduct in arm beats while the meter changes from 3 to 5

Cross Rhythms

• Step/clap a given cross rhythm (3:4, 4:3, 3:5, 5:3, 4:5, 5:4); at a signal, change hands and feet; repeat the same activity using a ball instead of clapping
• Step an ostinato of {eee3}, {ssss}, or {sssss5}; clap a one-beat canon of {q}, {ee}, {eee3}, {ssss}, or {sssss5}; at a signal, change hands and feet.

Augmentation and Diminution with Polyrhythmic Dissociation

Augmentation and diminution of rhythmic motives and phrases; superimposition of rhythmic modes (anapest, dactylic, amphibrach) as a polyrhythmic dissociation. In the following examples, anapest is used but, dactylic ({q} {ee}) and amphibrach ( {eq e} ) could also be used and treated similarly.

• Simultaneously step and clap the following anapest theme | {ee} {q} {ee} {q} |
  • At the signal, “Hip Hands,” clap | {sse} {sse} {sse} {sse} |, while the feet continue with the theme.
  • At the signal, “Hip Feet,” step | {sse} {sse} {sse} {sse} |, while the hands continue with the theme.
  • At the signal, “Hopp Hands,” clap | {q} {q} {h} |, while the feet continue with the theme.
  • At “Hopp Feet,” step | {q} {q} {h} |, while the hands continue with the theme.
  • At the signal, “Change,” change hands and feet
  • At the signal, “Hands Return,” hands go back to the theme
  • At the signal, “Feet Return,” feet go back to the theme

Eurhythmics Level 5
The Dalcroze License

Examinations will include at least one exercise from each of these subjects:

• Realization of Polyrhythms
• Realization of a Polyrhythmic Phrase
• Metric Modulation
• Three Voice Exercises

Representative activities in the examination must include at least one follow, one canon, one dissociation
activity in the body(hands vs. feet, etc.), and one systemization (or prepared activity). Students must be
prepared for any of the material below, but not all of the material will be tested. Individual training
programs will design activities as they see fit; the examples below serve to illustrate the subjects involved.

Realization of Polyrhythms

Step one rhythm, clap the other; change hands and feet.

• Single Polyrhythms. The following are just examples; individual programs can choose their patterns as they see fit:
  • Anapest ({ee q}) vs. dactylic ({q ee})
  • Trochée ({qtieee}) vs. anapest ({ee q})
  • Iamb ({e q.} ) vs. amphibrach ({e q e})
  • Sicilienne ({e.se}) vs. iamb ({e q})
  • Etc.

Realization of a Polyrhythmic Phrase

Step one rhythm, clap the other; change hands and feet.

• Combined Polyrhythms: 2 measures against an ostinato that comes from the rhythmic phrase. The following are just examples; individual programs can choose their patterns as they see fit:
  • Step {q. e}; clap {|} {q.} {e e q} {e} {|} {q ee. h} {|} ; change hands and feet
  • Step {e q e}; clap {|} {q.} {e e q} {e} {|} {q ee. h} {|} ; change hands and feet
  • Step {q ee}; clap {|} {q.} {e e q} {e} {|} {q ee. h} {|} ; change hands and feet
  • Step {q e}; clap {|} {eee} {q e} {|} {e.se e q} {|} ; change hands and feet
  • Step {| q. e e q e |} {q} {ee} {h} {|} ; clap {| q q h | ee ee e q. |}
  • Others?

Metric Modulation

This is a musical series that includes both Beat=Beat and Division=Division to change the tempo of the music. Here are two examples; of course, others are possible.

Three Voice Exercises

• Beat vs. Division vs. Multiple (2x or 3x as slow) in 3 voices; e.g. step the beat, clap the division, sing the multiple; change the voices on command.
• Prepared realization of a simple and/or familiar canon in 3 voices; e.g. sing Frère Jacques: clap it at the measure, step it a two measures.

2.1 Dalcroze Credentials, Dalcroze Certification, and Dalcroze Licensure Offered in the United States under the Professional Development Committee Teacher Training Program (T2 Program)

The Introductory Credential in Dalcroze Education: Level 1

• This credential identifies that its holder has passed all of the examinations pertaining to the introductory level (Level 1) in Dalcroze Education.
• The Level 1 Introductory Credential in Dalcroze Education is the first stage in working toward The Dalcroze Professional Certificate. The DSA recognizes that the recipient has established the groundwork on which to build and obtain greater mastery of Dalcroze Education.
• Students who pass all of their Level 1 examinations may represent their accomplishment by stating that they “have achieved the Introductory Credential in Dalcroze Education,” and/or “have the Level 1 Credential towards The Dalcroze Professional Certificate.”
• Students who have achieved Level 1 may not yet call themselves Dalcroze teachers or offer Dalcroze coursework until they have achieved the Professional Dalcroze Certificate.

The Applied Credential in Dalcroze Education: Level 2

• This credential identifies that its holder has reached a deeper level of proficiency in Dalcroze Education and has passed all of the examinations pertaining to both the introductory and applied levels (Levels 1 and 2) in Dalcroze Education.
• The DSA acknowledges the recipient’s ability to make applications of Dalcroze Education to one’s own discipline.
• Students who pass all of their Level 2 examinations may represent their accomplishment by stating that they “have achieved the Applied Credential in Dalcroze Education,” and/or “have the Level 2 Credential towards The Dalcroze Professional Certificate.”
• Students who have achieved Level 1 may not yet call themselves Dalcroze teachers or offer Dalcroze coursework until they have achieved the Professional Dalcroze Certificate.

The Dalcroze Professional Certificate: Level 3

• The holder of The Certificate in Dalcroze Education has passed all of the examinations pertaining to the introductory, applied, and certificate levels (Levels 1, 2, and 3) in Dalcroze Education.
• This internationally recognized credential affirms that the holder is a Dalcroze teacher and grants the authority to offer introductory coursework in Dalcroze Education.
  • The Professional Certificate in Dalcroze Education prepares a teacher to teach students of any age up to an early-intermediate level.
  • The Professional Certificate in Dalcroze Education prepares the teacher to incorporate Solfège and Improvisation into a Dalcroze-Eurhythmics class, but the teacher is not certified to offer independent Dalcroze-Solfège or DalcrozeImprovisation lessons/courses.
• Students who pass all of their Level 3 examinations may represent their accomplishment by stating that they “have earned The Dalcroze Professional Certificate,” and/or are “a Certified Dalcroze Teacher.”

Notes on the above Program

These levels comprise the PDC T2 program. Students do not need to pass all levels at the same time, though in order to achieve a specific credential, they must pass all branches at that level. For example, a student may have passed exams in Eurhythmics Levels 1 and 2, Solfège Levels 1 and 2, but will not receive the Introductory Level in Dalcroze Education until at least the Level 1 Improvisation exam has been passed.

Students must complete Level 3 studies with a Diplômé in order to gain authorization to use the name “Dalcroze Eurhythmics” in describing their teaching or classes. Students should keep copies of their examinations and all credentials received, as most Diplômés will want to see these documents before admitting transfer students to study at Level 3.

Level 4

Level 4 confers no additional authority. It is an intermediary training point en route to level 5. Not all training programs will offer examinations at this level; see your program director for more information.

The Dalcroze License: Level 5

The Dalcroze License is the highest credential offered in the United States. The internationally recognized Dalcroze License grants the holder the following authority:

• to use the name Jaques-Dalcroze and Dalcroze-Eurhythmics in all advertisements, promotional materials, and course descriptions and
• to offer Dalcroze coursework (Eurhythmics, Solfège, Improvisation, Plastique Animée, and Pedagogy) to students of all ages and levels, although they may not offer teacher-training courses on their own.

Only those who hold the Diplôme Supérieur are authorized to offer the Dalcroze Professional Certificate or the Dalcroze License. However, Dalcroze Licentiates may work under the direct supervision of Diplômés in Dalcroze teacher training and participate as jury members for examinations. Dalcroze Education is life-long learning. Graduates are encouraged to continue their study with a variety of different teachers to learn new approaches and styles to this rich work.

2.2 Transfer Students

We are proud to say that the structure of the DSA T2 program allows for accredited schools to more readily accept transfer students and create more continuity between accredited programs. This affords everyone enhanced communication and a closer Dalcroze community. Each training program handles transfer students differently, so transfer students should inquire directly with the director of that program for guidance.

Every DSA-accredited training program might have their own requirements in addition to the bare minimum requirements listed in the T2 manual. Therefore, transfer students should expect to take a placement exam at the school where they plan to attend. After the assessment, the student will receive specific feedback as to what additional coursework (if any) may be required.

These additional requirements may take extra time to achieve. It is up to the student to inquire with the training program director to discuss the specific procedure for addressing this supplementary coursework.

While it might be possible for a student to study at three different, consecutive training programs in a given summer, it is unlikely that someone could complete all of the requirements for Dalcroze certification in one calendar year. The philosophy of La Méthode Jaques-Dalcroze (Dalcroze Education) takes time to absorb and develop, and there is a lot of information to incorporate into one’s own teaching style. Students should expect that it will take a minimum of three summers, or equivalent course content for year-long programs, to finish their Certification and a minimum of 2-3 years to finish their License; it may take longer for transfer students. The individualized approach of Dalcroze Education could allow for a student to take less time, but it is not typical.

All DSA Accredited training programs will recognize the Dalcroze Professional Certificate from any Diplômé. Training centers may require entrance or placement exams for new License students. For nonprofessional certificates (those credentials that are not authorized to use the name Dalcroze/JaquesDalcroze), students will be evaluated by training centers on a case by case basis. Contact the training program director for more information.

Finally, though the DSA T2 program is supported by the larger international community of Dalcroze practitioners, programs outside of the United States will have different requirements. Consequently, one should not assume that any given credential in the United States is the same as any given credential offered in another part of the world. Transfer students must contact training program directors to find out the specific procedures regarding equivalence.

1.1 Goals of Dalcroze Education

Dalcroze Education provides an experiential way of understanding music through the body. It addresses the structural elements of music (including, but not limited to beat, rhythm, meter, texture, phrase, and form) and aesthetic elements of music (including, but not limited to nuance, dynamics, tempo, articulation, and affect). As students gain control of their bodies, precision and accuracy are improved. As the connection between the ear and the body becomes more developed, students become freer to express creatively, both physically and musically at one’s instrument.

Dalcroze Education addresses the following:

• Musicianship
  • Musical expression and understanding
  • Active listening and inner hearing
  • Music literacy
  • Aural memory
  • Visual memory
  • Sight reading and dictation
  • Choreography as related to music composition
• The body as an instrument of learning and expression
  • The senses: aural (musical and verbal), visual, tactile, proprioceptive/kinesthetic
  • Kinesthetic memory
  • Motor control: coordination, balance, posture, and flexibility
  • Spatial awareness
  • Weight, quality, and intention as it relates to musical meaning, precision, and economy
  • Movement vocabulary and technique
• Improvisation
  • Imagination, creative expression, and adaptability
  • Spontaneous synthesis and exploration of learned materials: music theory in action
  • Multiple contexts that espouse joy and the spirit of play through social interaction
    • Musical (piano, voice, or other instrument)
    • Solo, ensemble
    • Movement
  • Pedagogy: teachers improvise on their lesson plans based on the students’ responses

1.2 The 5 Branches of Dalcroze Education Teacher Training

Core Branches

1. Eurhythmics
2. Solfège
3. Improvisation

Applied Branches

4. Plastique Animée
5. Pedagogy

1.3 Principles, Strategies, and Techniques of a Dalcroze Education

Principles of a Dalcroze Education (Méthode Jaques-Dalcroze): An Education through and into Music

• Music as the Motivator, Stimulator, and Regulator
• Movement as the Means for Learning (Body as Instrument)
• Active Listening
• Adaptation
• Relationships of Time, Space, & Energy
• Discovery-based Learning
• Experience before Analysis
• Use of Imagination, Improvisation, and Invention
• Spirit of Play
• Social Interaction

Dalcroze Education Strategies and Techniques: For Achieving Internalization of the Music and Movement Subjects (For use in all branches of Dalcroze Education)

• Association and Dissociation
  • Re-association and Automatisation
• Inhibition and Incitation/Excitation
• Quick Reaction (Verbal, Aural/Musical, Tactile, Visual)
• Canon
• Follow
• Series/Sequence/Systemization
• Relationships of Time, Space, and Energy
• Spatial Orientation/Exploration
• Improvisation
• Plastique Animée (as process)
• Social Interaction/Group Exercises

1.4 The Principal Dalcroze Movement and Music Subjects

These lists are not exhaustive and are not listed in any particular order.

These subjects can be applied to any of the branches of Dalcroze study for the Certificate, License, or Diplôme Supérieur.

Principal Movement Subjects

• Movement and techniques can include:
  • Movement vocabulary as basic locomotion:
    • walk
    • slide
    • slow walk
    • skip
    • gallop
    • trot
    • jog
    • run
    • leap
    • hop
    • jump
    • and more!
  • Warm-up activities
  • Spatial exploration
  • Plastique Animée
  • Basic elements of theater
  • Nonverbal communication/interaction
  • Movement improvisation (solos and group)
  • Folk dance
• Interactions among Time, Space, and Energy
  • Time
    • pulse
    • duration
    • rate of speed
  • Space
    • dimensions/planes
    • contour/shape
    • location
    • directions
    • kinesphere
    • volume
  • Measurement and use of space
    • shared
    • personal
    • positive
    • negative
  • Energy
    • flow
    • resistance
    • effort
    • weight

Principal Music Subjects

• Beat type
  • Binary beats
  • Ternary beats
• Meter
  • Simple meter (binary beats)
  • Compound meter (ternary beats)
  • Complex meter (unequal beats
  • Anacrusis, Crusis, and Metacrusis as Meter Shape
• Syncopation
• Changing meter
• Metric/Rhythmic Transformation (regrouping of divisions, e.g. the groupings of 12 eighths)
• Metric Modulation
• Polymetrics
• Phrase and Form
  • Antecedent/Consequent phrases
  • Anacrusis, Crusis, Metacrusis
  • Phrase-Period structure
  • Variety of phrase lengths and proportions
  • Musical forms
• Expression and nuance
  • Affect/mood
  • Dynamics
  • Articulation
  • Accents
  • Texture
  • Tempo
    • Accelerando
    • Ritardando
    • Rubato
  • Breath
  • Flow
  • Momentum
  • Energy
• Register
• Rhythms
  • Durations
    • Beat, Division, Multiple in Simple Meter
    • Beat, Division, Multiple in Compound Meter
  • Rhythm Patterns/Modes (e.g. dactylic, anapest, iamb, trochée, amphibrach)¹
  • Complementary Rhythm
  • Additive Rhythm/Meter
  • Polyrhythm
    • Composite Rhythm and Cross-Rhythms (2:3, 3:4, 3:5, etc.)
    • Augmentation and Diminution
    • Syncopation
• Silence/Rests: internalization of time/space in the absence of sound
  • Affect in relation to placement in a measure or phrase
  • Duration
  • Repose/internalization
• Augmentation and Diminution of motifs (rhythmic patterns) both twice as fast/slow and three times as fast/slow, regular and irregular
  • A variety of lengths and complexities (2 or more beats in length, dotted values, and syncopations)
  • Hemiola: the interplay of 2 groups of 3 or 3 groups of 2
  • Phrases: systemizations/sequences/series of augmentation and diminution of a single motif
  • Polyrhythm
• Melody, Harmony, Polyphony, and Texture
  • See Solfège Subjects
  • See Improvisation Subjects
• Canons
  • Interrupted, Continuous
    • Pattern
    • Measure
    • At the Beat
    • At the Phrase
  • Realizations: locomotor, gestural, instrumental, and vocal

1.5 The Principal Dalcroze Movement Characteristics: A Baseline

These characteristics are not exhaustive and are not listed in any particular order; individual training centers have differing viewpoints regarding movement and gesture.

Dalcroze Education requires students to engage the entire body to vivify subjects. Students vary the time, space, energy, flow, and weight of locomotor and gestural movement as a part of the learning process to internalize and understand a given subject more fully. As students become more experienced, their intention and awareness increases and their movements become more cultivated, accurate and expressive.

Dalcroze students explore and discover movements to convey the structural and expressive aspects of music.

Because movement and gesture connect the mind, ears, eyes, and body, it is important that the movement be precise, efficient, purposeful, and musically expressive.

Exercises may employ Dalcroze arm beats (based on conventional conducting gestures) for the purpose of exploring, clarifying and internalizing meter. Students must be able to use Dalcroze arm beats in a variety of meters.

Dalcroze classes may utilize materials such as balls, sticks, scarves, elastics, ropes, etc. to enhance, not replace, the physical experience of subjects and expand the range of expressive possibilities. It is important that the use of the material be purposeful, precise, efficient, and musically expressive. Generally, the class should be able to utilize the entire space in the room.

The movement techniques in a Dalcroze class are diverse and generally depend on the music played in the moment. Standards for movement technique will facilitate a musically expressive result and enhance creativity. Dalcroze experiences allow for creative expression using a full range of movement, and this is particularly evinced in Plastique Animée. Technical understanding promotes safety in the Dalcroze classroom; it also helps students to know their limits and use their bodies skillfully. In standard Dalcroze exercises, particularly at evaluations (i.e. canons, reactions, systemizations), the following principles will be meaningful:

• Movement in a Dalcroze class is typically done in bare feet for sound, safety, and sensitivity; attention must be made to the techniques we use. Regarding the technical use of the feet, the US Dalcroze teaching community embraces many perspectives. Consequently, students must inquire with their individual instructors as to how, when, and why certain types of technical footwork are employed.²
• The head, shoulders, back, hips, legs and feet should be properly balanced and aligned so that
  • movement in any direction is possible
  • the mover can easily be aware of the room and engage with others in it;
  • the movement is precise, efficient, and musically expressive.
• Movers in a Dalcroze classroom adapt the quality of their movement according to the music; this engages the entire body core not just arms and legs.

1.6 Processes

Dalcroze Education is an interactive process that develops skills in keen listening, music literacy, analysis, performance, improvisation, composition, and pedagogy. It is the combination of music, improvisation, and discovery-based, experiential learning that makes this work joyful, inspiring, and profound.

There are many ways and means of accomplishing the aforementioned ideas while upholding the principles of a Dalcroze Education and utilizing Dalcroze techniques and strategies. Activities used in the Dalcroze classroom involve varied forms and structures. Each Dalcroze teacher develops a unique style of teaching.

Typically, the Dalcroze educator engages students to discover concepts through kinesthetic experience before addressing the subject in theoretical or written form. This experience involves improvisation, which is a way for students to “play with” and internalize a subject, making it their own. Students cannot expect to gain a Dalcroze Education from a book or video alone; they must experience this type of education in the classroom.

The Dalcroze educator specializes in music and movement relationships. These relationships can be applied to a variety of disciplines: music performance, music education, music therapy, dance, dramatic arts, and general education, among others. Learning through experience, discovery, and feeling is a hallmark of Dalcroze Education.