The Eurhythmics of Jaques-Dalcroze Part 3

A compound rhythm may be realized by the arms taking one rhythm, the feet another; or the rhythms of a three part canon may be expressed by simultaneous singing, beating with the arms and marching.

These exercises correspond in the sphere of physical expression to the technical exercises of instrumental work, for they teach the pupil to express simultaneously impressions of the most varying nature.

[Sidenote: =GRADATION OF MUSCULAR EFFORT. PATHETIC ACCENT. PLASTIC EXPRESSION=]

The exercises already dealt with have all the general purpose of developing feeling for rhythm by giving training in the physical expression of rhythms. Those in this last group aim at facility in making crescendos and decrescendos of innervation, in pa.s.sing from one shade of expression to another, in co-ordinating movements, not only to the rhythm of the music played, but also to its feeling; they allow free play to individuality, to temperament, and give opportunity for that free self-expression for which the preceding exercises have provided facility.

PERCY B. INGHAM.

LESSONS AT h.e.l.lERAU

Monsieur Jaques-Dalcroze's lessons are full of vitality and entertainment, combined with the serious work in hand. No slacking is possible. He will perhaps open a rhythmic gymnastic lesson by playing a vigorous theme of one or two bars in a rhythm such as the following:--

{Music}

which, as soon as it is grasped by the pupils, they begin to _realize_,[1] that is, to mark the tempo with the arms, and to move the feet according to the notes. A note which contains more than one beat--for instance, the minim in the first bar--is shown by taking one step forward for the first beat and by a slight bend of the knee for the second beat. The next two crochets are represented by one step for each. A step is also taken for each quaver, but twice as quickly; for the dotted crochet, a step and a slight spring before the last quaver--all this while the arms are beating a steady four. After a short practice of these two bars, the master will glide into yet another rhythm, the pupils still realizing the first one, but at the same time listening and mentally registering the one being played, so as to be ready on the instant at the word of command, which is _hopp_, to change to the new rhythm. We will suppose it to be as follows {Music}. This, it will be noticed, is in 3/4 time. The pupils become accustomed to dropping frequently into various times with the greatest ease. The three bars would then be realized consecutively, and this process will continue until perhaps there are six bars in all. These must all be so clear in the minds of the pupils, that at the word of command, one bar, or two bars, can be omitted on the instant, or be realized twice as quickly, or twice as slowly; or what is still more complicated, the arms can beat the time twice as slowly and the feet mark the notes twice as quickly. It seems incredibly difficult to do at first, but the same training of _thinking to time_ occurs in every lesson, in improvisation and solfege, as well as in the rhythmic gymnastic lessons, and so the invaluable habits of concentrated thinking, of quick and definite action, and of control of mind over body, become established.

[1] See note, page 41

[Ill.u.s.tration: The Air Bath.]

[Ill.u.s.tration: The College: Entrance Hall.]

Each lesson is varied to a remarkable degree; in fact, Monsieur Jaques-Dalcroze seldom repeats himself. Every day he has new ideas, consisting of new movements, or of new uses for old ones, so that there is never a dull moment. It must be understood, however, that the alphabet and grammar of the movements remain the same, it is the combinations of them that are limitless. The music is, of course, always improvised.

A word should be said on the subject of feeling two different rhythms at the same time. Every teacher knows the difficulty children have in playing three notes against four on the piano. The h.e.l.lerau children can with ease beat four with one arm and three with the other, or beat three with the arms and two or four with the feet, or _vice versa_. And this is not learnt in any mechanical way; the power for _feeling_ two rhythms simultaneously is developed. Advanced pupils can realize three rhythms at the same time. They will perhaps mark one with the arms, another with the feet, and sing yet a third.

Another part of the work is to teach the pupils to express the type of music that is being played; this is technically known as "Plastic expression." The alphabet of this consists of twenty gestures with the arms, which can be done in many various combinations and in various positions, and by means of these any kind of emotion can be expressed.

Perhaps the music will begin by being solemn and grand, becoming even tragic, and gradually the tones and melody will rise to cheerfulness, the rhythm will become more animated and the tone swell out again until a perfect ecstasy of joy is reached--and all the while the figures of the pupils are harmonising absolutely with the music, trained as they are to listen accurately to every note, every accent, every change of key and, above all, every rhythm. To the watcher such an exercise is effective and striking in the highest degree.

Realizing syncopated pa.s.sages is a fine exercise for developing independence of movement in the arms and feet, as the feet move in between the beats of the arms. Let any one try to realize a simple measure in syncopation. For instance, take a bar of 4/4 time {Music}.

The first beat of the arms and the first step will come together, the second beat of the arms will come half-way between the second and third steps, the third beat half-way between the third and fourth steps, and the fourth beat half-way between the fourth and fifth steps, and this should be done with no contraction of muscle or appearance of effort.

Other exercises consist of beating various times in canon, that is, one arm beginning one beat later than the other; of beating different times with each arm, perhaps seven with one arm and three with the other; of marching to one rhythm and beating time to another; of simple marching and at the word of command taking one step backward, and then forward again; of marching the counterpoint of a rhythm. For instance, if the rhythm played be {Music} the counterpoint in crochets would be {Music}, or if it is to be in quavers it would be {Music}. The counterpoint can be filled in with triplets, semiquavers, or with notes of any other value.

Another good exercise is to take a simple rhythm and at the word of command realize it twice or three times as quickly or as slowly, the arms still beating in the first tempo. A simple example will make this clear. {Music} twice as quickly would become {Music}.

The pupils are often asked to listen to what is played and then to realize it. It may be a series of four bars, each one in a different tempo, and all times are employed, including 5/4, 7/4, 9/3 and others which are somewhat exceptional. And so on _ad infinitum_.

From these suggestions something of the endless variety of exercises that may be devised can probably now be imagined.

As soon as movements become automatic they are used as units for building up more elaborate movements, and no time is wasted in doing merely mechanical exercises. In every detail of the method the brain is called into constant activity, and, lest any one should think that it would be easy for one pupil to copy another in doing the exercises, it should be stated that, if such a thing were attempted, it would end in the pupil becoming hopelessly confused, for if the mind once loses hold of the work in process it is very difficult to pick it up again.

The solfege lessons are chiefly for ear-training and practical harmony.

In the elementary cla.s.ses it is shown how scales and chords are formed, and where the tones and semitones occur. The pupils soon become able to tell, when three consecutive notes from any scale are played, what degrees of the scale they are, or may be. Scales are sung always beginning on C for every key and always to a rhythm. Here, again, the pupils have to think to time, for in the second scale, which would be that of F, if the flat scales were being sung, they have to remember that they are starting on the fifth note of the scale, and that the interval between the third and fourth notes of the scale is a semitone; that the third and fourth degrees in the key of F are A and B, and therefore the B has to be flattened in this scale, the other notes remaining the same. The whole cycle of scales is sung in this manner, each one commencing on C, or on C flat when necessary. The pupils are also practised in listening to a scale played and then saying in which key it is, judging it by the fall of the semitones.

[Ill.u.s.tration: Cla.s.s Rooms.]

[Ill.u.s.tration: The College: Interiors.]

Chords are sung a.n.a.lytically and in chorus, with their resolutions when needed, and this is followed by practice in hearing and naming chords.

Sight singing and transposition are by no means neglected, and there is practice in singing intervals, in singing a piece once or twice through and then from memory, or in another key, which is not so easy to do when the fixed _Do_ is used. And always, whatever is being done, the pupils have to be prepared for the word _hopp_, to make any change which has been previously agreed on, e.g., to sing on the instant in a key a semitone lower, or to sing in thought only until the next _hopp_, when they sing aloud again. In these exercises, as in those of the rhythmic gymnastics, there is no end of the variety of combination possible.

There is also opportunity for practice in conducting, and very interesting it is, in a children's cla.s.s, to note with what a.s.surance a small girl of perhaps seven or eight will beat time for the others to sing one of their songs, and also to note the various renderings each conductor will obtain of the same piece.

The improvisation on the piano is perhaps the most difficult part of the system to master. It may not be realized by all people that _every one can be taught to play original music_. There are cases in which the pupil is not naturally musical, and has had no previous knowledge of piano playing, but has learnt to improvise sufficiently well to give a good lesson in rhythmic gymnastics, which means no small degree of ability. This training is begun by making use of the simplest, i.e., the common, chords, and when these are known in every key, including those on the dominant, the pupil is expected to improvise a short piece of eight bars, the chief feature to be attended to being the rhythm, which has to be definite and played without hesitation. When perfect familiarity is obtained with the common chord of each key and with that of its dominant, another chord is learnt, that on the sub-dominant. With these three chords alone quite charming little pieces can be played, and gradually in this manner the pupil has at his command pa.s.sing notes, appoggiaturas, cadences, and an unlimited number of chords and sequences. Then come the rules for modulating from one key to another, and equal facility in all keys is insisted on. Monsieur Jaques-Dalcroze's pupils learn to improvise with definite thought and meaning, nothing unrhythmical is ever allowed, nor any aimless meandering over the keyboard. For these lessons the pupils are divided into small groups of not more than six in each, and twice a week these groups are taken altogether by Monsieur Jaques-Dalcroze.

All branches of the work demand perfect concentration of thought and attention, and such invaluable mental training cannot be too highly prized, for it is fundamental to success in work of any kind, whatever it may be.

ETHEL INGHAM.

[Ill.u.s.tration: The Hostel: Interiors.]

LIFE AT h.e.l.lERAU

Surely never before has the world held better opportunities for studying and loving the beautiful and true. One need be but a few days in h.e.l.lerau in order to see some of the many advantages which a stay there has to offer. For young men and women searching for a profession in life; for those fresh from school while waiting to discover their natural bent; for adults who seek a change from their ordinary surroundings and who wish to improve in culture and in health; for musicians and students in art, for teachers of dancing, and for children of all ages, a course of study at the College in h.e.l.lerau contains advantages and opportunities which seem to exist in no other educational inst.i.tution.

For the convenience of young girls there is a hall of residence, which will accommodate about forty-six students, the head of which is a cultured English lady of wide experience. There are also many small houses on adjoining land, in which the male students and those who are older can live. These may, and as a rule do, come to the Hostel for meals.

The home life in the Hostel is a cheerful one. The bedrooms are bright, containing just the necessary furniture, which of course includes a piano. There is a large and charmingly furnished room opening from the hall, known as the Diele, which serves as a general sitting-room for the students. The dining-room is equally delightful, and can be quickly converted into a ball-room for impromptu dances, or adapted for other entertainments. There is also a library; and throughout the whole house the same good taste is displayed. Leading from the dining-room is a large terrace, with steps down into an attractive garden.

The day commences with the sounding of a gong at seven o'clock; the house is immediately alive, and some are off to the College for a Swedish gymnastic lesson before breakfast, others breakfast at half-past seven and have their lesson later. There is always a half hour of ordinary gymnastics to begin with. Then there will be a lesson in Solfege, one in Rhythmic Gymnastics, and one in Improvisation, each lasting for fifty minutes, with an interval of ten minutes between each lesson.

Dinner, which is at a quarter-past one, is followed by an hour for rest; and at three the energetic people begin practising. The afternoons are usually free, except twice a week, when there are lessons in "Plastic"

and dancing from four till six, before which tea is served, or there may be extra lessons in rhythmic gymnastics for small groups of pupils who need further help, and students may obtain the use of a room for private practice together. In the afternoons, too, there is time and opportunity for any other extra study or lessons which are not included in the ordinary course, such as violin, solo singing, drawing or painting. Most of the students soon acquire wide interests, if they do not have them when they first come. Free afternoons may be spent in visiting the galleries and shops of Dresden. Whenever there is anything especially good in the way of a concert, or an opera or a cla.s.sical play, there is always a party of enthusiasts going into town for it. The opera in Dresden, as in other parts of Germany, fortunately begins and ends early. Late hours are not encouraged at the Hostel--indeed, everybody is glad to retire early, for the work is absorbing and demands plenty of energy, especially if the full teachers' course be taken, with the hope of a diploma at the end of two years.

[Ill.u.s.tration: The Hostel.]

Supper is served at a quarter-past seven, and on two evenings a week those who wish to join the orchestral or choral societies have the pleasure of meeting together and practising under the direction of Monsieur Jaques-Dalcroze.

An atmosphere of enthusiasm and good-will permeates the social life. No community of the kind could have a more delightful spirit of unity than that which pervades the Jaques-Dalcroze School. All students are keen and anxious to live as full a life as possible, every one will willingly and unselfishly take time and trouble to help others who know less than themselves. The College has a unity born of kindred interests, and every one glows with admiration and esteem for the genius at the head, and for his wonderful method, whilst he himself simply radiates good-will and enthusiasm, and works harder than any one else in the place. He makes a point of knowing each one of his pupils personally, and remarkably quick he is in summing up the various temperaments and characters of those with whom he comes into contact.

The moral and mental tone of the College is pure and beautiful, indeed it could not well be otherwise, for the work in itself is an inspiration. A change is often observable in pupils after they have been but a few weeks in residence, a change which tells of more alertness of mind, of more animated purpose, and even of higher ideals and aims in life.

[Ill.u.s.tration: Dresden from h.e.l.lerau.]

There are opportunities for the practice of many languages, for it is a cosmopolitan centre. Nearly all European nationalities are represented, but as yet the number of English people is not large. This, however, will not long remain so, for the Jaques-Dalcroze method needs only to be known in order to be as widely appreciated in Great Britain and the United States as it is on the Continent.

The lessons are given in German, though occasionally French is used to make clear anything that is not quite understood in the former tongue.

English people who do not know either of these languages need not look upon this as an obstacle, for one quickly arrives at understanding sufficiently well to gain the benefit from the lessons, and there is always some one in the cla.s.ses who will interpret when necessary.