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Designed for Students of the Professional Studies Division Dr. Jeremy Dittus, Diplôme Supérieur
Student Handbook 2010
Table of Contents
General Information for Obtaining the Dalcroze License ............................................................................. 3 Mind Maps of the Dalcroze Subjects ............................................................................................................ 6 Licensure Program Outlines by Checkpoint Evaluations ............................................................................ 11 Eurhythmics Schedule ............................................................................................................................. 12 Notes on Eurhythmics Schedule: ........................................................................................................ 16 Improvisation Schedule .......................................................................................................................... 19 Notes on Improvisation Schedule: ...................................................................................................... 23 Solfège Schedule ..................................................................................................................................... 25 Notes on Solfège Schedule: ................................................................................................................ 27 Methods Schedule .................................................................................................................................. 32 Resources, Required Reading, and Bibliography ................................................................................ 34
Licensure Requirements ............................................................................................................................. 36 Information Regarding the Dalcroze Certificate ......................................................................................... 43
Student Handbook 2010
General Information for Obtaining the Dalcroze License
Student Handbook 2010
At the outset of the program, each student must map out a program with me to determine goals and trajectories. In an initial meeting I will give a short entrance exam to determine at what level each student will begin the program and what, if any, additional coursework may need to be completed, including any movement courses or summer programs. Students must have the skills necessary to successfully begin the program, if not we will outline a path to help the student enter into the program at a later date. These exam requirements will include: o The ability to play the piano at an early intermediate level (for example: Clementi Sonatinas, Schumann’s Album for the Young) o Pre-requisite basic knowledge of Solfège and Music Theory o o Present a harmonic analysis of a Bach chorale Present a prepared melody with Solfège Present a prepared harmonization of a folk song Sight reading exercises in Solfège, Rhythm, and Keyboard Harmony
A résumé of teaching experience in music or movement A short essay of intention, goals, and objectives; in short, what do you expect to gain from the program?
A brief examination of basic movement skills
Eurhythmics is the cornerstone of the method Jaques-Dalcroze, so participation in weekly Adult Eurhythmics courses is mandatory unless extenuating circumstances will not allow. If this is the case, we will need to make provisions to ensure that appropriate standards are being met. A minimum of 60 class hours of eurhythmics study is required for Licensure (including summer study). For students with previous Dalcroze experience, equivalence must be documented. For students enrolling in long-distance studies, special arrangements will need to be made to ensure that these requirements are met. In Eurhythmics it is imperative that students have adequate time and experience in movement and music related activities. In this way, the skills they learn will be wellintegrated in the body and can be easily manifested.
Students should refer to their schedule to be aware of the necessary requirements for Licensure. history. Solfège. there will be group discussions scheduled for Methodology. depending on enrollment and ability. When possible. If they follow the plan closely. In addition there is a fourth area: Methodology.Student Handbook 2010 The program is divided into the three main branches of Dalcrozian study. which should aid students in coordinating and planning their studies. we will work together to decide when we will meet for lessons and when Checkpoint Observations will be made. one can find a unit by unit schedule of these subject areas along with specific requirements for the Checkpoint Observations. and Improvisation. there should be no surprises or unfavorable Checkpoint Observation experiences. The benefit of the Checkpoint Observation is that the students will get individual feedback on their performance throughout their studies. These Checkpoint Observations will be scheduled in advance at a mutually convenient time for the student and me. At the end is a list of total requirements for Licensure. Improvisation. Eurhythmics. 5 . The time requirement for these classes is entirely dependent on the student’s abilities coming into the program and his/her capacity to integrate the Dalcrozian component of the pedagogy required to teach these branches. and other studies associated with the philosophy Jaques-Dalcroze. On the following pages one can find general Mind Maps of each of these four areas. which embraces pedagogy. and Methodology will most likely all take place privately or in pairs. Solfège. As the student moves through the program. In addition.
Student Handbook 2010 Mind Maps of the Dalcroze Subjects 6 .
Complex :4 beats in length. Trot/Jog. three against five. Leitmotifs: quarter and two eighths vs. for example. Crusis. including dotted values and syncopations . Slide (Slow Walk). for example Patterns. Space. Skip/Gallop. Compound. Subdivisions. Composite (measures of unequal beats) Arm Beats (measures of 2 through 5) Measure Shape Anacrusis. Polymetrics: (two against three. Hemiola Themes from Literature. Phrase: metaphor for phrase/preparation Tension and Release Phrase and Form Phrase Shape Anacrusis. & Metacrusis Antecedent/Consequent Length/Proportion Canons Time Space & Energy Inhibition Incitation Association Dissociation Systemization Automations Improvisation Quick Reactions Improvement of Knowledge of Music Literature Including Classical and Folk Genres Polyrhythms Complementary Rhythm Divisions: quarters vs eighths. Phrases (constructed from a series of augmentation and diminution of a single leitmotif). two eighths quarter. Expression (Nuances) Affect Dynamics Articulations Accent Melodic Dynamic Pathetic Agogic Harmonic Texture Tempo Accelerando & Ritardando Breathing Rhythm: accuracy and precision. & Metacrusis Metric Transformation Division Equals Division (Divisions of 12 Eighths) Metric Modulation Beat equals Beat and Division Equals Division in Sequence Augmentation and Diminution Leitmotifs Simple : 2 beats in length). Movement Improvisation Solo Group Folk Dance Development. four against five) Eurhythmics Beat type: Divisions of 2’s and 3’s Divisions. and the Multiple Silences (internalization of time/space in the absence of sound) Affect in Relation to Placement in a Measure or Phrase Duration Meter: Simple. Dance Technique Warm-up Activities Spatial Exploration Plastique Animé Basic Elements of Theater Non-Verbal Communication. Energy. Running Time. Measures of 3 and 5 Beats. 7 . three against four. and Weight Changes of direction Movement Technique.Student Handbook 2010 Types of Locomotion: Walk. Crusis.
and Motivic Development Gestures/Motifs and Phrases Cadences Breath Right and Left Hand Development Improvising from Rhythmic Skeletons One and Two Voices Impact of Meter Twentieth Century Techniques Quartal Quintal Planing Modes Pentatonic Whole-tone Octatonic Church Modes Cluster Chords Atonal Chord Resolutions Diatonic and Chromatic Resolutions Applied Chords and the Neapolitan Augmented Sixth Chords Fully-Diminished Seventh Chords Augmented Triads Percussion Improvisation All Eurhythmics Subjects Improvisation for Eurhythmics Exercises Basic Locomotor Skills: Walk (Tip-toe. Skip/Gallop. 6ths . Normal. Gigue. Sarabande. Rondos Harmonic Progressions Basic Functional Progressions Harmonic Rhythm Bach Chorales Figured Bass Transposition Modulations Neighboring Keys Non-Neighboring Keys Enharmonic use of the Neapolitan. Trot/Jog. and Minuet Theme and Variations Binary and Ternary Forms. and Fully-Diminished Seventh Chords to Facilitate Distant Modulations Sequences Diatonic and Modulating Melodic Harmonization 2 voice 3rds . Augmented Triads. Slide.Student Handbook 2010 Melodic Shape and Structure Repetition. and Heavy). Contrast . 10ths Developing Independence of the Hands Homophonic/Chorale Different Styles to Inspire Movement Creating an Appetite for Improvisation Playing for Images Duet and Group Improvisation Scale Harmonizations in Three Voices Do to Do Scale Harmonizations Major and Harmonic Minor Development of Knowledge of Folk Song Literature and Intermediate Classical Literature Spin-offs Adaptation for Use in the Eurhythmics Classroom 8 . Augmented Sixth Chords. Running Accompaniment Patterns for Right and Left Hands Expression Elements Composition Prosody Piano Improvisation Study of Large-Scale Form and Structure Classical Dance Forms: Gavotte.
Mm. Augmented. fully-diminished Resolution of chords in descending fifths and thirds Progressions Applied Chords 9 .Student Handbook 2010 Other Twentieth Century Technique Quartal Quintal Harmony Tall-tertian Harmony Planing Atonal All Eurhythmics Musical Goals Modulation Neighboring Keys Non-Neighboring Keys Advanced Chromaticism Sightreading Exercises from the books of Jaques-Dalcroze Dichords and Trichords Development of Classical and Folk Song Literature Knowledge Major and All Three Minor Scales Do to Do scales Function with Numbers Note names with Letter Names Basic Vocal Technique Warm-up Techniques Modes Pentatonic Whole-tone Octatonic Church Modes Listening Analyzing Internalized Hearing Singing Playing Solfège Melodic Shape and Structure Repetition and Development Phrases and Phraselettes Cadences Breath Intervals Up and Down Compound Intervals Melodic and Harmonic Vocal Improvisation Corporal Representation of Aural Events Triads and Seventh Chords and their inversions Major. mm. Minor. half-diminished. Diminished MM.
Student Handbook 2010 Business Aspects How to Start a Program What to Look for in a Good Studio Space Developing Studio Policies Necessary Materials for start up How to Grow Your Program Educating Parents How to Advertise in Print How to Promote Yourself in Person How to Network How to Teach Songs What makes an an age-appropriate song Different techniques for teaching song literature Assigned Reading from Required Texts Building Your Personal Dalcroze Library Methods Songs Literature Curriculum Development Learning How to Watch Students from ‘the Circle’ and from the Piano Giving Useful. Constructive Feedback Methods How to Create a Spectacle At the End of a Semester For a short-term summercamp Sets and Costumes Lighting Philosophical Goals The Need for Discovery The Importance of Joy Stimulating Imagination Providing Outlets for Creativity Dalcroze Subjects and Approaches Classroom Management Overcoming Fear Behavioral Issues Talking with Parents How to Take Useful Notes after a Dalcroze Class How to Teach Movement Technique Lesson Structure Sequencing and Development of Lesson Subjects Incorporating Variety Different Learning Styles Use of Recorded Music How to Create Your Own “Versions” of Classical Repertoire Use of Other Instruments than Piano or Voice Use of Materials Use of Story-telling and Drama Use of Folk and Classical Literature How to Create Effective Handouts Maintaining Flexibility 10 .
Student Handbook 2010 Licensure Program Outlines by Checkpoint Evaluations 11 .
and 4. If the melody goes down. iq. 3. If the melody goes up. Checkpoint Observation 5: Changing Meter. jjjq. Step a simple pattern from the following list: q. Step an augmentation/diminution phrase of a given motif. If the melody stays the same. Complementary Rhythm Follows (Reactions of Changing Expression and Nuances) Step a simple pattern from the following list: q. and ea. h. Change hands and feet at the end of the phrase. Anacrusis. e ql q ) . one must conduct the measure using arm beats. the mover must show the changes in the music. Systemization of a Rhythmic Pattern Use one of the rhythmic patterns used in the follow and systematically work it through each beat of 3 or 4 time in a coherent phrase. (iq q iq ql jiq jiql jiq jiql iq ql iq ql q q l h l ) Conduct for the meter. step a canon that contains anacrusic elements. Step or clap a canon at the measure. q e. Complementary Rhythm Checkpoint Observation 3: Phrase... and q. Silences.Student Handbook 2010 Eurhythmics Schedule page 1 Checkpoint Observations with proposed subjects for the given unit of study. step the pattern twice as slow. eeel e. asez . Using the material from the previous exams. e In all Follows. Canons Phrase. Division. Checkpoint Observation 1: Beat. h. 12 . Checkpoint Observation 2: Beat. Division. Step the suite of 4 beat divisions and clap the complementary pulses.). Multiple Compound Time in meters of 2. Divisions of 12 eighths Move or step a phrase of measures that change meters: beat equals beat (l iiq q el iq ql or division equals division l iqiql q. Checkpoint Observation 4: Augmentation and Diminution. conduct for the pattern (conducting pattern changes with each cell). Use one of the rhythmic patterns used in the follow and systematically work it through each beat of 3 or 4 time in a coherent phrase. step the same rhythm. Metacrusis. Multiple. (el e . using the body. iiq. eel e. Step basic patterns in canon and conduct the measure using arm beats.. Measure Shape. Simple Time in meters of 2. w. Breath Step basic patterns in canon and conduct the measure using arm beats. Syncopation Move or step a given syncopation pattern (eq eq q). and 4. 3. Step or clap a pattern canon that corresponds to the 4 beat divisions of 12 eighths. Improvise vocally while you move a series of consecutively growing anacrusic gestures in 3 or 4 time. Move or step a given anacrusic phrase (e iql q. eq.e ql jjjq iqh l ). etc. h. step the pattern twice as fast two times. Crusis.
Hands are in canon with piano (two beats behind the piano) while the feet are in canon with hands (four beats behind the piano). Step the composites for 3 against 4 or 3 against 5. Then. 4. ase iq ql ). hands clap the multiple. Change hands and feet with the music. feet step the beats. Canons Phrase. or 5 while clapping a one beat canon that employs polyrhythms. elongated. Take a rhythmic pattern and create a suite of polyrhythms out if its forms deriving from augmentation and diminution. Systemization of a Rhythmic Pattern Take a given phrase and demonstrate how it can be used as an antecedent or a consequent. Step an ostinato in divisions of 3. 4. Checkpoint Observation 6: Form. Step an ostinato in divisions of 3. Step a given ostinato in 2 time while clapping a canon at the measure. asez e ql turns into l ea. rotate the parts: Feet step the multiple. q iq). Composite Meter Step a canon in a meter of 5. and voice improvises on the beats. Polyphony: Simple and Augmentation/Diminut ion of a single motif Checkpoint Observation 8: Polyrhythmy and Polymetrics Step a given pattern in simple triple meter and transform it into compound duple (l ea. hands clap beats. 13 . Checkpoint Observation 7: Metric Transformation. Also show variations in how it can be gesturally conceived (different groupings.Student Handbook 2010 Eurhythmics Schedule page 2 Checkpoint Observation Follows (Reactions of Changing Expression and Nuances) Step a measure of 3 or 4 time with various rhythms that uses unequal beats (iiq q e q).). Perform a series of metric modulations. or 5. Canons in 2 and 3 voices To be announced at the exam. and voice improvises the divisions. Checkpoint Observation 9: Polyphony Continued: Complex Step a given pattern while clapping another. (e q e vs. hands clap divisions. Every 8 beats. and voice improvises a melody on the multiple. truncated etc. stepping the beat and clapping the complement. Clap the following rhythm while improvising a melody on it: q iq epzz jjjq jjjq epzz iq q Feet step divisions. Checkpoint Observation 10 and Juried Exit Exam: Metric Modulation. Step a canon that employs metric transformation. Perform a two beat canon. Go from slow to medium to fast and then return.
change hands and meters of 2. Checkpoint Observation 2: Beat. and catching it for the following h. creatively demonstrate 3 different meters using gestures or images that come from an amusement park. Do the same thing but for the feet. Follow the piano as it plays phrases which change in length. creatively demonstrate 3 different meters using gestures or images that come from the sea. Checkpoint Observation 3: Phrase. iq. the piano plays q e and you step eq . Change hands and feet. Walk and clap a series of 8 eighth notes.) . Breath Checkpoint Observation 4: Augmentation and Diminution. Group Exercises With a partner or group and any material or your choice. Clap eq e while stepping q. 3. or jjjq . Plastique Animée. Plastique Animée solo based on literature of student’s choice (short: 2-3 minutes). gesture the metacrusis. Divisions of 12 eighths Plastique Animée solo based on literature of teacher’s choice (short: 2-3 minutes).Student Handbook 2010 Eurhythmics Schedule page 3 Dissociation and Association. Metacrusis. Division. measure and while you clap Multiple. l while tossing a ball in the air for h. Or. Simple Time in the beats. do the same but Complementary with the beats as the Rhythm complement to the measure. At HIP take away a beat from both (feet will do l qql hl and ball will do h ) At HOP add a beat to both (feet will do l qqqql wl and ball will do w ). . Step the anacrusis. Step l q q q l h. 14 . The hands must rest on those numbers. With a partner or group and any material or your choice. . asez . and 4. the piano plays iiq and you step ea. Multiple Compound Time in meters of 2. also the contraire for each (If the piano plays h. 3. Improvisation. feet. the teacher will call out two numbers between 1 and 8. Syncopation Improvise a series of movements that demonstrates your knowledge of the Laban effort action drives. clap the crusis. Crusis. Silences. you step q. etc. Measure Shape. Use arm beats to show the measure. and 4. Inhibition and Incitation Checkpoint Observation 1: Step the value of each Beat. Division. Complementary Rhythm The piano plays q. Anacrusis. Checkpoint Observation 5: Changing Meter. and you step h.
Checkpoint Observation 9: Polyphony Continued: Complex Final Plastique Animée Project: choose a more substantial work and begin creating a Plastique from it. feet: pattern in compound duple). Take an approved course in movement or dance. Polyphony: Simple and Augmentation/Diminuti on of a single motif Folk Dance. Change hands and feet. If the piano plays in divisions of 3. Change meters (hands: beats in simple triple. Group Exercises Plastique Animée in a group based on visual art of the teacher’s choice. If the piano plays in divisions of 4 step 5. change every measure and then change every beat. Prepare 3 simple canons to perform in 3 voices with the body: voice. Create and teach a folk dance with multiple contrasting sections that corresponds to a ballade or folk song. Presentation of the final Plastique. Change hands and feet. If the piano plays in divisions of 2. step the beats and clap the complementary divisions but alternate hands and feet. Checkpoint Observation and Juried Exit Exam 10: Metric Modulation. At first. Improvisation. Inhibition and Incitation Using a triple composite meter. Clap the beat. Checkpoint Observation 8: Polyrhythmy and Polymetrics Independent study in Dance. Canons at the measure. and present its applications to Dalcroze Eurhythmics. step in divisions of 3. Plastique Animée. Composite Meter Checkpoint Observation 7: Metric Transformation. Checkpoint Observation 6: Form. Change hands and feet. Students choose the music that will suit the art. Step a pattern in simple triple meter while clapping in compound duple. and feet. step 4. Step an ostinato in 2 time while clapping a four measure phrase with varying rhythms. Canons in 2 and 3 voices 15 . hands.Student Handbook 2010 Eurhythmics Schedule page 4 Dissociation and Association.
students should move with the weight of their bodies on the forward part of their feet. In general. The fists should be closed at the debut of beat one. Students must show the dynamic relationship among time. and expressive with the arms stretched fully at the apex of each beat. the student must be at ease with the subject material at the time of evaluation. but conviction is vital. eurhythmics. whatever subject is presented for a Checkpoint Observation. 16 . Naturally these different ways of moving will correspond directly to different types and styles of music. space. and dynamics. graceful. There will explore many different ways of walking and running. unless the music is too rapid. as well as rhythmic precision and accuracy must be visually represented in the body. the connection between solfège. and energy. Arm beats will be used in place of conducting gestures. The specifics of these techniques will be discussed in the classes. Flow must also be addressed and/or demonstrated. In general.Student Handbook 2010 Eurhythmics Schedule page 5 Notes on Eurhythmics Schedule: In all cases. The use of weight is of the utmost importance. Perfection is not the objective. Students must demonstrate a purposeful and imaginative use of the space while performing the exercises. In addition. In this aspect. tempi. Nuances. In this way. The gestures should be large. the student must demonstrate a continuity and unity of the rhythm through the body that corresponds with the music. except for expressive purposes and/or extremely slow music. along with the technique required to execute each one and transition from one type of movement to another. and improvisation will be made concrete and applicable to music and corporal studies. the majority of the eurhythmics work will culminate from wide variety of composed musical examples.
left. left. left. so no side of the body is dominate. it consists of a step-hop gesture on each foot and is a crusic gesture. eaas aea x . this gesture tends to be more of lifting movement than the Gallop/Chasse and can be found on the long note of the following rhythms at fast tempi: eseae. right. left. the gallop/chasse. o The Gallop/Chasse is a ternary gesture that in direct contrast to the skip. right. right. Here is a short list of typical uses. right. In this step. left. right. but this is a good basis for making judgments in the future. The gesture should look easy. the pattern remains the same: right. For example. or it can be performed with a large leap in the air that for the long note and quick step on the ground for the short note. the different ways of conducting will be explored (large arm beats. left. just wrists. and on the ground for the duration of the short note. Regardless. Ternary skips are the most natural (ep r ). The feet constantly alternate leaving and landing. right. o 17 . etc. left. etc. The skip can be used in binary or ternary beats. and the body should be in the air for the long note. in addition to the above locomotor skills. most Americans skip in a ternary fashion. right. but in general it is its anacrusic nature that makes it distinctive. The musical information that will differentiate this gesture from the skip will be discussed in detail. These binary skips can be performed with most of the weight on the ground for the majority of the long note followed by a quick hop in the air before the short note. However. eaa aese. and is similar to the Gallop/Chassé in that the mover leaves the floor with one foot and lands with the other. just forearms. As in binary skips. and the leap are used at different times for different types of musical gestures. The pattern is the same no matter what. the mover leaves the floor with one foot and lands with the other. For example. left. left. other movements and gestures involving other parts of the body will be explored along with the appropriate techniques required to execute these gestures with efficacy and musicality. The binary versions are more stylized (ea. ase ). o Finally. is traditionally viewed as anacrusic. or just fingers) or different ways of clapping (in different shapes or with different sonorities for example) will be examined in order to demonstrate the music in as many ways possible. the pattern is right. Other examples exist. o The leap happens in many cases.Student Handbook 2010 Eurhythmics Schedule page 6 The skip. always takes off with the same foot. it’s always right. left. Regardless.
Association/Dissociation and Incitation/Inhibition 5. Canon 3. Phrase/Systemization 4.Student Handbook 2010 Evaluation Form for Eurhythmics Checkpoint Observations and/or Exit Examinations Name:_____________________Checkpoint Observation Number:____ 1. Follow 2. Group Exercises Pass Redo Examiner’s Signature_____________________________Date______________ 18 . Plastique Animée. Improvisation.
Question and Answer Phrases 2. F Lydian. Spin-offs with accompaniment 4 based on Folk Song Literature. Progressions similar to Pachebelle’s Canon. Two piano improvisation 1. Deceptive. Binary Forms 19 . Applied chords: V7/V. Modes 2. Plagal 2. Rhythmic Skeletons 1. Whole tone Scale. Left Hand c. Folk Music b. Playing for Images 1. folk Songs must be prepared in 3 different keys 1. Popular music 2. while pianist sings accompaniment. (Two chord ostinatos. Cadences: Authentic (Perfect and Imperfect). 12 bar blues 2. Song accompaniment: chords only. I-IV-V -I 2. Right Hand b. 2. Sequences of Descending 3rds and Descending 5ths both with Triads and Seventh Chords (root position. One voice improvisation (2. Left Hand c. Sequences of Descending 5ths in their various inversions (root to second inversion or first inversion to root). G Mixolydian. prepared in advance) a. and 2 based on Classical Literature. Scale Harmonization in Major keys (Scale in Bass or Soprano) 1. One voice improvisation based on various composed music selections (Spin-offs. Right Hand b. Classical Music c. Contrast. Half. Breath 1. Major/Minor Keys and Modes 2. E Phrygian. Scale Harmonization using Fauxbourdone and parallel second inversion triads 1. A Aeolean. and 4 time) a. V7/IV 3. except for diminished chords) 2. 3. Playing for Stories 1. Rhythmic skeletons (one voice) 1. and Motivic development with one voice (Prepared in advance): a. unless otherwise noted) 7 1. Major /Minor Keys d. Pianist prepares a selection of 6 tunes that correspond to music and Movement 2. Modes: D Dorian. Sequences of Seventh Chords Descending 5ths in their inversions (second inversion to root or third inversion to first inversion) 2.Student Handbook 2010 Improvisation Schedule page 1 Checkpoint Observations Harmonic Progression (In Major and Minor tonalities through 4 accidentals. no transpositions yet) 1. 1. Playing for Images 2. Scale Harmonization in Harmonic Minor keys (Scale in Bass or Soprano) Melody Form and Structure Checkpoint Observation 1 Checkpoint Observation 2 Checkpoint Observation 3 Checkpoint Observation 4 Checkpoint Observation 5 1. Song Form: AAB 1. I-II6-V7-I 3. Rhythmic skeletons 1. Repetition. Phrygian. Rhythmic skeletons 3.
4. Checkpoint Observation 10 and Juried Exit Exam 1. 2.Student Handbook 2010 Improvisation Schedule page 2 Checkpoint Observations Harmonic Progression (In Major and Minor tonalities through 4 accidentals. Rounded Binary Forms 1. 6ths . unless otherwise noted) 1. each in two keys 2. melody in the bass) Mixture and substitution within a tonality Fully diminished seventh chords Mixture and substitution as a means to modulate to distantly related keys Harmonization of the C to C scales in Major 5-6 Technique and other sequences Augmented triads Planing Harmonizations of the C to C scales in Minor Other techniques for Modulation to distantly related keys. to the Dominant b. Checkpoint Observation 8 1. Clusters Harmonization of Minor Scales in all keys (3 voices. Rondo Forms 20 . Romantic Gesture and Chromaticism 3. Contrast. to the Sub-Dominant c. to the Relative Major/Minor Melody Form and Structure Checkpoint Observation 6 Checkpoint Observation 7 1. and Motivic development with two or more voices 1. Two-voice improvisation based on 3rds . More complicated Rhythmic skeletons 1. Transposition of melodies 2. Contrast. Theme and Variations 1. Applied chords for every other scale degree and their inversions Harmonization of Major Scales in all keys (3 voices. Modulation (only through 3 accidentals): a. Chromatic sequences 1. 5. and other contrapuntal techniques 2. 2. Continued work on contrapuntal techniques 3. Simple two-voice Rhythmic Skeletons 1. 4. Prepare 3 Canons in two voices. More complicated Rhythmic skeletons 1. melody in the soprano) The Neapolitan Modulation to closely related keys up to 4 sharps/flats All varieties of Augmented Sixth Chords Quartal-Quintal Improvisation. Ternary Forms 2. spin-off portion should change keys 2. 4. Checkpoint Observation 9 1. Continued work with Repetition. specifically median relationships. Prosody and song composition 1. 2. 3. 3. Continued work on Prosody and song composition 2. Simple two voice Rhythmic Skeletons 3. 4. 3. Repetition. but with all new literature. 2. Like Exam 5. More complicated Rhythmic skeletons 1. 3. 10ths . and Motivic development with two or more voices 1.
only) 2. Skipping/Galloping music Checkpoint Observation 5 TBA Intermediate Repertoire Pieces 1. Always with changes in affect. Java. nuance. 4. 3. 2. The collection should represent a diverse array of music suitable for the eurhythmics classroom Intermediate Repertoire Piece 1 Playing for Movement Two or more voices unless otherwise stated In meters of 2. nuance.Student Handbook 2010 Improvisation Schedule page 3 Checkpoint Observations Applications of Eurhythmics Coursework Repertoire Music to be performed from memory. and 3 Checkpoint Observation 4 TBA Intermediate Repertoire Pieces 1. Slow music. Slow music. 21 . Trotting. articulation (One voice. and 4 1. 2. articulation (Two or more voices) 1. Accompanying movement with a drum and other percussion 1. and 5 1. Walking. Tango. Walking. Sarabande. Swaying Music Checkpoint Observation 1 To Be Announced (TBA: based on extracts from Eurhythmics lesson subjects) Checkpoint Observation 2 TBA Intermediate Repertoire Pieces 1 and 2 Checkpoint Observation 3 TBA Intermediate Repertoire Pieces 1. Basic Dance types: Waltz. always with changes in affect. 3. 2. Trotting. etc. Minuet. or 4 unless otherwise stated 1. 3.
Running Music 2. Augmentation and Diminution in Polyrhythm.Student Handbook 2010 Improvisation Schedule page 4 Checkpoint Observations Applications of Eurhythmics Coursework Repertoire Music to be performed from memory. Hand/feet dissociation 1. More Difficult Dance types: Gavotte. 3+3+2+2 etc. Metric transformation 2. Hand/feet dissociation 1. Cross rhythms: 2/3. Unequal Beats 5/8 and 7/8 2. Bossa 1. 2/5. Hemiola 3. Hand/feet dissociation 3. and Syncope. 3. Augmentation and Diminution Checkpoint Observation 6 TBA Checkpoint Observation 7 TBA Intermediate Repertoire Pieces 1-7 Checkpoint Observation 8 TBA Intermediate Repertoire Pieces 1-8 Checkpoint Observation 9 TBA Intermediate Repertoire Pieces 1-9 1. The collection should represent a diverse array of music suitable for the eurhythmics classroom Intermediate Repertoire Pieces 1-6 Playing for Movement Two or more voices unless otherwise stated In meters of 2. Rhumba. 3. 2. or 4 unless otherwise stated 1. Unequal Beats 3+3+2. 3. Dactylic. Samba. Different derivatives of Anapest. 3+2+3. Hand/feet dissociation 3. Polyrhythms 4. 2+3+3. 4/5 2.. Metric Modulation Checkpoint Observation 10 and Juried Exit Exam TBA Intermediate Repertoire Pieces 1-10 22 . 3/5. 3/4.
and styles is indispensible for a musically satisfying Dalcroze experience. and Melody. All improvisation for movement must invite and inspire the movement. the connection between solfège. scales. 23 . whatever subject is presented for a Checkpoint Observation. the student must be at ease with the subject material at the time of evaluation. expression. the majority of the improvisation examples work will be derived from wide variety of composed music. a wider range is expected. Especially when improvising for Follows. eurhythmics. Canons. These techniques will be similar to those found in the eurhythmics and solfège classroom. In general. texture and/or register must be integrated into the student’s music. A diverse variety of soundscapes is imperative.Student Handbook 2010 Improvisation Schedule page 5 Notes on Improvisation Schedule: In all cases. Clear and organized phrase period structure is essential. an assortment of modes. not merely represent the movement in rhythm. and improvisation will be made concrete and applicable to music and corporal studies. but conviction is vital. As students progress through their studies. tonalities. Changes in nuance. however the ways in which we will explore these examples will be using Dalcrozian pedagogic techniques. In this way. Perfection is not the objective.
Applications of Eurhythmics Exercises 5. Form and Structure 4.Student Handbook 2010 Evaluation Form for Improvisation Checkpoint Observations and/or Exit Examinations Name:____________________ Checkpoint Observation Number:____ 1. Melody 3. Harmonic Progression 2. Playing for Movement Pass Redo Examiner’s Signature______________________________Date______________ 24 . Repertoire Piece 6.
and their resolutions Applied chords: V7/V . 3. diminished and augmented First and second inversion triads as arpeggios in Major and Minor Improvisation And Melody: Students will improvise using the voice. analyze. and Tetrachords and their corresponding intervals (Major: no Aug. Trichords. Phrase: Question and Answer 2. and V7/III in minor (Major and Minor tonalities) 1.Student Handbook 2010 Solfège Schedule page 1 Checkpoint Observations Scales: Students will be expected to sing. Minor. its inversions. 2nds) Seventh Chords in root position as arpeggios including the Dominant Seventh. and Motivic development 2. phrasé Checkpoint Observation 4 Minor C to C scales through 7 sharps and 7 flats with note names and numbers Hexachords and their corresponding intervals. 2nds) Checkpoint Observation 3 Minor C to C scales through 3 sharps and 3 flats with note names and numbers Dichords through Pentachords and their corresponding intervals (Minor: with Aug. students use Dalcroze’s techniques to utilize intervals harmonically and melodically Harmony: Students will sing. 2nds) Seventh Chords and their resolutions Root to second inversion. Contrast. 25 . body. (Major: no Aug. analyze. and Motivic Development 2. hear write and improvise using the following chords Triads in root position as arpeggios within a Major or Minor scale: Major. 2nds) 1. 2nds) 1. and/or an instrument Checkpoint Observation 1 Major C to C scales through 3 sharps and 3 flats with note names and numbers Dichords. write. and 4 Singing from a rhythmic skeleton. Rhythmic skeletons 1. Compound meters of 2. and improvise using the following scale types Intervals/Polychords: Based on the 3 volume solfège texts of Dalcroze. Phrase: Question and Answer 2. More work with Repetition. Simple meters of 2. Repetition. V7/IV. Chromatic alterations. Contrast. and 4 Checkpoint Observation 2 Major C to C scales through 7 sharps and 7 flats with note names and numbers Pentachords and their corresponding intervals (Major: no Aug. hear. 3. Rhythmic skeletons Checkpoint Observation 5 Whole-tone and Pentatonic Scales Hexachords and their corresponding intervals (Major: no Aug.
2nds…MM. Rhythmic skeletons 1. Other sequences Checkpoint Observation 10 and Juried Exit Exam Octatonic Scales and other exotic scales More work with Hexachords as inverted seventh chords and their corresponding intervals (mm) Twentieth Century techniques.Student Handbook 2010 Solfège Schedule page 2 Checkpoint Observations Checkpoint Observation 6 Scales Modulating C to C Scales to neighboring tonalities Intervals/Polychords Continued work with Hexachords and their corresponding intervals. Modulations to other neighboring keys. Mixture 2. Polyrhythmy: improvise one voice and clap the other 2. (MM. Other applied chords Checkpoint Observation 8 Modulating C to C Scales to distant tonalities More work with heptachords (mm) All varieties of Augmented 6th chords Checkpoint Observation 9 More Modulating C to C Scales to distant tonalities Hexachords as inverted seventh chords and their corresponding intervals. 2. Series of Modulations in Rondo form (ABACA) 1. SubDominant. modal and exotic harmony 26 . Other styles and unequal beats: measures of 5 and 7. Modulations to distantly related keys 1. (Major: no Aug. Mm. 3. and relative major/minor 1. dim min) 1. The Neapolitan 2. dim min) 1. Mm. Ostinatos 3. FullyDiminished seventh chords 2. (Major and Minor as inverted triads) Harmony Seventh Chords and their resolutions First inversion to third inversion Improvisation And Melody ABA forms: Modulations to the Dominant. More Modulations to distantly related keys Checkpoint Observation 7 More Modulating C to C Scales to neighboring tonalities Heptachords and their corresponding intervals. Polyrhythmy: improvise one voice and clap the other 2.
the student must be at ease with the subject material at the time of evaluation. whatever subject is presented for a Checkpoint Observation. In this way.Student Handbook 2010 Solfège Schedule page 3 Notes on Solfège Schedule: In addition to the column headings. and classical literature throughout their License work. We will not use the French solfège syllables (fixed-do) for note names. 27 . folk literature. or reaction exercise from Dalcroze’s text Rythmique-Solfège Vocal. the C to C scales (also known as the Do to Do scales) will be sung using letter names and numbers. popular literature. each checkpoint will contain some sort of sight reading exercise. Vibrato. prepared melody. belting. As a general policy. students will systematically study canons. and improvisation will be made concrete and applicable to music and corporal studies. but conviction is vital. In general. but students are welcome to use moveable-do syllables when demonstrating function (Dobased minor or La-based minor is acceptable) at the Checkpoint Observations. eurhythmics. Good intonation and vocal modeling is required as well. In addition. Perfection is not the objective. and vocal techniques that are not conducive for teaching children are not encouraged. the connection between solfège. Clear phrase-period structure is necessary for all improvised exercises.
The Dalcroze approach to Solfège aims to develop a keen sense of internal listening. i. and discovery-based methods that inspire a spirit of play and creativity. octatonic. the students must sing the specified scale up and down ii. students must be able to sing the scales in a variety of positions and inversions. 2. eye. Given a C. and the students must label the scale accordingly v. experiential. but they do not constitute a comprehensive list of possibilities. The teacher plays a C to C scale up in a given rhythm. Given a tri-chord based on C. Scales a. i. the students must sing the implied scales up and down iv. Using Dalcroze’s 3 volumes of Les Gammes et Les Tonalités. many of the exercises will be derived using corporal. For the C to C scales. Les Phrasés et Les Nuances. the students must sing the implied scale up and down iii. Intervals a. The examples that follow here give some insight as to the nature of the exercises and exam questions. and voice. and above inform expressive musicianship. Given a Dominant with C on top. 1. The teacher plays a C to C scale. For the pentatonic. facilitate rapid communication among the ear.Student Handbook 2010 Solfège Schedule page 4 For each column heading. students must be able to sing and analyze polychords and their corresponding intervals in a variety of contexts. These will relate to different manners of ‘filling in’ intervals using arpeggios of different inversions and functions. and whole-tone scales. and the students must sing the same rhythm going down b. From the same note. the student must sing all of the various trichord espèces up and down along with their corresponding thirds 28 . Students will be expected to sing or hear the scales in a variety of ways. In addition. it will relate to the student’s understanding of melodic shape and structure.
Chords a.Student Handbook 2010 Solfège Schedule page 5 ii. The teacher plays a particular seventh chord in an inversion. The majority of the focus will be on chord function and placement in a musical phrase or line. A student might be required to improvise a dialogue with another student using only tetrachords that function in a given key and maintain good phrase-period structure iii. and finish the phrase ending on the dominant) iii. From the same note. a student must sing a hexachord that outlines a minor-minor seventh chord in second inversion as a II chord in one tonality. For example. In regards to chords. students will be required to sing these chords melodically up and down as well as hear them harmonically. i. sung in isolation. using a sequence of falling fifths. heard. the student must sing a diminished triad going up or down. the student must sing a II chord up from ré. the student must improvise arpeggios of seventh chords just until resolution to the tonic (for example. the teacher plays a III7 and the student must sing arpeggios of until he arrives at the tonic III7-VI4/3-II7-V4/3-I) 29 . followed by a major triad going up or down followed by an augmented triad going up or down ii. but sometimes chords will be extracted and studied. From a given note. the student must sing a particular chord and place it context of a tonality while improvising an antecedent or consequent phrase (for example. followed by a minor triad up or down. but then sing it again as a III chord in a different tonality. and then sing it as a VI chord in a different tonality 3.
Student Handbook 2010 Solfège Schedule page 6 4. the student must improvise a period of phrases that clearly demonstrates antecedent and consequent relationships ii. Given a particular rhythm. i. Given a particular melodic and/or rhythmic motif. the student must improvise a period of phrases that showcases the development of the motif through transposition. the student must improvise a series of phrases that demonstrates antecedent consequent relationships while modulating from key to key 30 . and contrast iv. Given a particular rhythm. Melody and Improvisation a. the student must improvise a period of phrases that demonstrates elongation or truncation of the phrase relationships (irregular phrase lengths) iii. Given a suite of key relationships. repetition. Students will be expected to learn how to construct phrases of varying lengths using compositional techniques from the common practice period and contemporary music.
Student Handbook 2010 Evaluation Form for Solfège Checkpoint Observations and/or Exit Examinations Name:________________Checkpoint Observation Number_____ 1. Sight Reading or Prepared Melody Pass Redo Examiner’s Signature_____________________________Date______________ 31 . Melody and Improvisation 5. Scales 2. Intervals/Polychords 3. Harmony 4.
Sequencing 3. The specific approaches that make a lesson Dalcrozian 2. Story-telling and drama e. Basic Tenants of the Philosophy Jaques-Dalcroze a. etc. body. Creative expression with the body d.Student Handbook 2010 Methods Schedule page 1 Methodology Units Each group represents a unit of study that will correspond to the various Checkpoint Observations with the other Dalcroze branches. Use of Materials a.) b. Ways stimulate imagination b. How to Plan and Construct a Lesson for Children a. How to use certain materials and for what purpose c. Dance. Basics of teaching and improving movement technique 4. and Plastique Animée in the Classroom a. Use of recorded music in the classroom d. theory follows practice) d. Folk dance c. The need for discovery (i. How to watch students b. Different types of materials and for whom b. Fun=meeting a challenge f. history. 1. Basic principles of Plastique Animée 5. Imagery and visual art b. and spirit c. Theater. Incorporating Visual Art. Maintaining Flexibility d. The importance of joy: uniting the mind. Ways to address different learning styles c. constructive feedback c. How to give imaginative. Each unit will have specific written work to be collected and placed in the student’s personal Portfolio. Use of other instruments 32 . Introductions (note-taking. The body as instrument e.e. Speaking from the piano d. Techniques of the Dalcroze Teacher a.
Professionals d. Classroom Management a. Dealing with parents c. What is the purpose of a curriculum b.Student Handbook 2010 Methods Schedule page 2 6. How to start a program b. Senior Citizens 9. Various models c. Curriculum Development a. Networking 10. Workshops b. Lighting 8. Dealing with fear b. Business Aspects a. Sets and costumes d. How to keep flexibility and structure together 33 . How to Construct a Lesson for Adults a. Applications for various venues and time frames c. Advertising d. Self-promotion e. Amateurs vs. Institutes c. Behavioral issues 7. Goals and objectives b. Educating parents c. How to create a Spectacle a.
H. Music. F. Required Reading. J. Art. Vanderspar Mostly Movement Vol. Wood o 34 . Mead Music in Today’s Classroom. B. Gell Music. M. V. Mead Dalcroze Handbook. M. and Kodaly. Philosophy. Dale Experience and Education. Landis and P. Moore The Unfolding Human Potential.Student Handbook 2010 Methods Schedule page 3 Resources. and Education Eurhythmics. F. Wax and S. o Works Specifically by Emile Jaques-Dalcroze Eurhythmics. Marshall Encountering the Fundamentals of Music. B. Findlay Lesson Plans for 4-6 Year-Olds. and Education Rhythmic Movement Volumes I and II Coordination et Discordination Des Mouvements Corporels Music Movement and Ear Training games and Exercises Dalcroze Action Songs Books I-II 164 Marches Rythmiques Pour Une Voix Cours D’improvisation Mélodies à Harmoniser Les Gammes et Les Tonalités. E. et Caractères Volumes I et II Methodology. M. Pedagogy Move with the Music. J. Aronoff Dalcroze Today. E. Abramson) Rhythmic Dances Volumes I-III 12 Petites Images pour Enfants 50 Etudes Miniatures de Métrique et Rythmique Livres I-IV 50 Esquisses Rythmiques pour Piano Figurines. Driver Rhythm and Movement. M. Les Phrasés et Les Nuances Volumes I-III 30 Leçons Mélodiques de Solfège Rhythmic Solfège Vocal (Translation by B. V. Aronoff Music and Young Children. E. Portraits. Bachmann The Rhythm Inside. and Bibliography Each unit will be accompanied by assigned readings from the following list and other sources. Orff. Brice Discipline by Design. E. Carder Discipline Without Stress Punishments or Rewards. H. Churchward Comparing Dalcroze. Dewey A Pathway to Dalcroze Eurhythmics. and the Young Child. Black and S. C. Movement. Comeau Lesson Plans for Fall/Winter/Spring. Roth Yardsticks. I and II. Gell The Eclectic Curriculum in American Music Education.
II. E. A. Pickow For the Children Volumes I and II. Yelin o Additional Resources 35 . Appleby and P. Whittaker Cent Dictées. Lawton. Ibert Songs North America Sings. Aldwell and C. 39. J. and G. Newlove and J. R. Gallon Music for Sight Singing. J. Kane Sketches at the Keyboard. Bartók The Monsterpieces. L. L. D. and III. Ottman Rhythm and Pitch. F. Tchaikowsky o Solfège Resources 5 Livres de Solfège pour Les Années Élémentaires de FEGM Folk Song Solfège. D. J. Agay Americas All-Time Favorite Songs. Kabalevsky Essential Keyboard Repertoire Volumes I and II. Johnston Album of Children’s Pieces op. Campbell Harmony and Voice Leading. Rebikov Album for the Young. Yelin Fresh Recipes for Improvisation Books I. Dalby o Improvisation Resources In the Mode. Appleby The Library of Children’s Songs Classics. P. Porterfield o Movement Resources First Steps in Teaching Creative Movement for Children. B. Stevenson and M. W. M. Mettler Laban for All. Crowe. R. Bolcom Petite Suite. J. E. Joyce Principles of Dance. A. J. B. Schumann Album for the Young. V. A. 27 and op. J. Olson Pictures for Children.Student Handbook 2010 Methods Schedule page 4 o Music Resources and Song Collections Easy Classics to Moderns Volumes 17 and 27. Schachter Potpourri of Music for Improvisation.N. R.
Student Handbook 2010 Licensure Requirements 36 .
During their studies. each describing a different approach Dalcrozian (Inhibition. In these classes. the different espèce of heptachords. etc. the students will practice teach several times with feedback provided by the supervising teacher. solfège. students must attend and participate in adult eurhythmics classes as a teacher assistant for one semester. (Students may substitute one of the children’s classes and practice teach an extra semester of adult eurhythmics.) o 5 Short essays. At the end of their studies. or improvisation classes if they choose. principles improvisation for movement.) o o o o o The collection of folk songs from improvisation exams The collection of piano literature from improvisation exams A collection of sequenced lesson plans taught (At least 3 for children and 3 for adults) Materials from the business and marketing component of the methods course Other written assignments from the methods course 37 . etc. Dissociation. each describing a different musical subject from the different branches of Dalcrozian study (The division of twelve eighths. they must record their observations in a short essay. the students will practice teach several times with feedback provided by the supervising teacher.Student Handbook 2010 Requirements for Licensure Students must pass each of the Checkpoint Observations During their studies students must attend and participate as a teacher assistant in at least two children’s classes of varying age levels for one semester each level. In these classes. they must record their observations in a short essay. At the end of the semester. students must submit a portfolio with the following materials o o Observation Reports from both Adult and Children’s Classes 5 Short essays. but before their exit exams. At the end of the semester.) Students must teach one children’s class and one adult class and submit this videoed material to a juried panel before they take their final exit exams.
and Improvisation. 38 . they will receive the internationally recognized Dalcroze License that. Solfège. under the auspices of the Collège de l’Institut Jaques-Dalcroze. When students have completed all of their exit examinations in Eurhythmics. and have successfully completed their teaching examinations. confers the right for them to teach the method Jaques-Dalcroze to children and adults and use the name Jaques-Dalcroze in their advertisements and course descriptions.Student Handbook 2010 When all the portfolio and teaching videos have been received. turned in their portfolios. the student can arrange to take the juried exit exams.
Student Handbook 2010 Checklist of Licensure Requirements Checkpoint Observations Checkpoint Observation 1 Checkpoint Observation 2 Checkpoint Observation 3 Checkpoint Observation 4 Checkpoint Observation 5 Checkpoint Observation 6 Checkpoint Observation 7 Checkpoint Observation 8 Checkpoint Observation 9 Checkpoint Observation 10 & Juried Exit Exams Eurhythmics Date Completed Solfège Date Completed Improvisation Date Completed Methods Requirements Completed Portfolio Video of Children’s Eurhythmics Class Video of Adult’s Eurhythmics Class Exit Interview Attendance of an Authorized Dalcroze Summer Institute Institution:____________________________ Other Requirements: Date Completed Other Requirements: Other Requirements: 39 .
Imagination and Creativity d. Spirit of Play b. Variety of Exercises (engagement of different learning styles) c. Adaptability to the Students e. The Body as an Instrument d. Arousal of Joy (uniting mind. Elements of Dalcrozian Philosophy/Pedagogy a. body. Sequencing b. Lesson Structure a. Clarity of Directions 40 .Student Handbook 2010 Teaching Evaluation Form Name_______________________________Class Level_____________ Commentary 1. Use of Dalcrozian Approaches 2. and spirit) e. Sense of Discovery (theory follows practice) c.
Use of Partners and other Group Activities 41 . Rapport of the Gestures to the Music iii. iii. Variety of Tonalities. Improvisation and Pianism i.Student Handbook 2010 Commentary 3. Musicianship a. Use of Nuance and Affect b. Vocal Quality (if appropriate) i. Pianistic Styles etc. Appropriate Modeling ii. Phrase ii. Appropriate Modeling c. Modes. Intonation iii. Use of the Body i. Appropriate Range ii.
Use of Signals and Commands from Piano c. Relevance to Musical or Corporal Concepts 5. Use of Materials (if appropriate) d. General Pedagogical Considerations a.Student Handbook 2010 Commentary 4. Other Comments: Pass Redo Examiner’s Signature______________________________Date______________ 42 . Ability to Watch Students During Movement Activities b. Overall Musicality of the Lesson e.
Student Handbook 2010 Information Regarding the Dalcroze Certificate 43 .
it is my opinion that any individual interested in teaching Eurhythmics under the name Jaques-Dalcroze should work toward the License. it is necessary to have the skills and abilities of a Licentiate. it is my opinion that this lack of consistency has caused and continues to cause problems throughout the Dalcroze community. That is. Solfège. However. However. for example). All of the schools and the Diplomés who teach there are sanctioned and approved by the Collège of the Institut Jaques-Dalcroze. Those who might be interested in the Dalcroze Certificate should contact the director to begin the process of building a program that will suit his/her needs. but it is forbidden to use the Dalcroze name in advertisements or offer coursework to children or adults specifically in Eurhythmics. For those individuals who are only looking to ameliorate their teaching skills through enrichment and who plan on using the philosophy of Jaques-Dalcroze in their own personal teaching. Furthermore. The certificate program will be constructed to suit the needs of those individuals who are interested. Without the entire Dalcroze Society of America coming together to agree on national standards. though it is worthwhile to research and learn about the diverse and rich history of the Dalcroze work in Europe and the United States. and in Methodology will be required. 44 . to use the name Jaques-Dalcroze in his/her advertisements 2. A detailed discussion is beyond the scope of this handbook. There is no right or wrong in any of these proposals or practices. changes. though a minimum proficiency of approximately level 4 in Eurhythmics. they will not be able to use the name Jaques-Dalcroze in their advertisements and they may not teach classes called Dalcroze Eurhythmics. and rationale. Other schools also offer an international Dalcroze Certificate which allows the holder to employ Dalcroze’s techniques in his/her teaching. then I will offer the internationally recognized Dalcroze Certificate. This is further compounded by the fact that not every school offers the same level of Certificate. some schools offer an internationally recognized Dalcroze Certificate which entitles the holder two important qualities: 1. there are virtually no two schools in the US who offer the same Dalcroze certificate degree requirements. Improvisation. As a result of the diversity in the Dalcroze method. to offer Dalcroze Eurhythmics coursework to children (though usually not adults). in order to teach students who are not very young (over the age of 8.Student Handbook 2010 The history regarding the Dalcroze Certificate is a long and complicated tale with many versions.