Chapter 3.3

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.