Chapter 3.1

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.

Metric Modulation

Metric Modulation as Ritardando

Metric Modulation as Accelerando

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.