Article / Essay
Improv Exchange #8
Playing for Walking and Marching
Published Fall 2026 | Added November 10, 2026
Two piano improvisation prompts suitable for walking and marching for improvisers of all levels, with example recordings from the author.
When thinking about how to get students moving around the classroom to music I play at the piano, I always wonder what technical and expressive qualities need to be obvious in my playing—the intentional way of playing so that students can hear and feel a march as they move.
In these two videos, I show how to play with a left-hand ostinato that gives a sense of pulse for students to hear and imitate in their feet. These are examples for improvisers at all levels that can be used in the classroom to get students moving, and both examples can be modified easily to suit each unique classroom situation.
The first video is for walking and the second is for marching. I improvise in pentatonic mode for the first video and use a tonic and dominant progression for the second. I hope these examples help and give some context to newer students/teachers on the Dalcrozian path!
Do you have any examples or ideas of your own? Share them with us in the comments below or email us at admin@dalcrozeusa.org.
- Using the key of C major pentatonic; the RH improvises the melody. When playing for students to walk, I have found that the ostinato pattern works well with an anacrusic impulse. The {ee} on beat 4 of the pattern help to propel the students in a forward motion as they walk on the beat.
- LH pattern is a ^1-^5-^1-^5 in ascending and descending order, for example {ex:https://dalcrozeusa.org/app/uploads/2026/10/DC_11.1_improv-exchange_ex01.png}.
- Using a pentatonic scale for beginning improvisers is a good tool to create beautiful melodies over an ostinato. Spice it up by going to another key in the same fashion! I use E-flat major and keep the LH in the same rhythmic pattern. Of course, you can play in any key you like and modulate to the {rn: bIII}.
- The LH plays 5ths with an accent on beat one. This gives a strong sense of duple meter for marching.
- Use form to enhance the improvisation and movement experience for the students. This gives them a sense of musical structure. I use an ABA form, where the B section is played in the relative minor and at half speed. Students will then have an experience of twice as fast and twice as slow with marching.
- Play 5ths on ^1 and ^5 to create the strong march feel in 2. Use root and 5ths, separated, to create the twice-as-slow feeling and prompt students to move slower. Encourage them to feel the length of the beat as they slide the leg to the next step, for example {ex:https://dalcrozeusa.org/app/uploads/2026/10/DC_11.1_improv-exchange_ex02.png}.
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John Paul Velez
John Paul Velez is a pianist, vocalist, and music educator with extensive experience in choral music, improvisation, and movement-based music education. He earned a Bachelor of Music in Music Education from Westminster Choir College of Rider University in 2004 and a Master of Arts in Music Education from Teachers College, Columbia University, in 2008.
In 2011, John co-authored The Choral Warm-Up: Core Vocal Exercises for Children’s Choir and Treble Voices – High Voice Edition with James Jordan and Marilyn Shenenberger. He has completed training in Kodály and Dalcroze Eurhythmics and studied choral conducting with distinguished educators.
From 2010 to 2024, John coordinated the Westminster Conservatory Honors Music Program’s improvisation program, teaching jazz and Dalcroze Eurhythmics. He currently serves on the Dalcroze Society of America’s publishing committee. Since 2005, John has taught general music and chorus at Littlebrook School in Princeton Public Schools, inspiring students through creative, movement-based musical learning.
About the Author(s)
John Paul Velez
John Paul Velez is a pianist, vocalist, and music educator with extensive experience in choral music, improvisation, and movement-based music education. He earned a Bachelor of Music in Music Education from Westminster Choir College of Rider University in 2004 and a Master of Arts in Music Education from Teachers College, C…
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