INTRODUCTION The publication of this book acknowledges a spontaneously begun and continuously evolving relationship between two of the most influential music education methods in the world today, In the USA, the Suzukir™ Method is perhaps the most widely recognized system of musical study operating independently of organized school sys- tems. Its emphasis on training at a very young age and its tradition of parental involvement in the child’s lessons give it a unique identity among music methods. Suzuki students can achieve startling pro- gress at an early age because they are asked to do two things that young children are programmed by nature to be especially good at doing. They are asked, in a carefully planned and systematic way, to assimilate (through listening) and to imitate. The principles and techniques of the late Swiss music educator, composer, and conductor Emile Jaques-Dalcroze (1865-1950) are known worldwide in their most popular manifestation, Eurhythmics, Eurhythmics is expression of music which exists in time through the use of bodily movement which exists in space. This was a revolution- ary idea at the time that Jaques-Dalcroze was developing his method. Today, his influence is apparent in the successful combining of music and movement in many approaches to music education, especially those of Carl Orff, Maria Montessori, and Zoltan Kodaly.! Shinichi Suzuki himself may have been exposed to these ideas during the period of his violin study in Europe.? 1. Choksy et al. Teaching Music in the Twentieth Century, Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1986, pp. 37, 69, 70, 92-94. 2. The period 1920-28, Suzuki's years of musical study in Germany, were significant years for the spread of the ideas of Emile Jaques-Dalcroze throughout Europe. This process had begun in Germany as early as 1910 with the establish- ment of his famous school and theater in Hellerau, but the war years intervened. Jaques-Dalcroze participated in a congress on music pedagogy in the International Exhibition held at Frankfurt in 1927, and the German Dalcroze Society was established in 1928. The mid-twenties was also the period Carl Orff and his collaborators began developing his Schulwerk in Munich at the Gintherschule. ‘The music and movement contents of this work were strongly influenced by Daleroze principles.The study of Dalcroze3 Eurhythmics is successful because it also asks children to do what they have been programmed by nature to do extremely well: gain experience of the world through movement and bodily sensation. This experience is then turned into knowledge through a process of interaction and play involving musical ac- tivities, games, and improvisations. Thus both methods take a child-centered, developmental approach to teaching new skills and dispositions by capitalizing on skills and dispositions the child already has. In Movement That Fits, Joy Yelin has skillfully adapted Dalcroze principles and techniques to the early Suzuki repertoire in service of this same principle. Her adaptation must be considered especially skillful in light of how different these two approaches are. There are notable similarities in philosophy, however. Both Suzuki and Jaques-Dalcroze viewed the importance of music education as far more than simply preparation of performers. Nothing would be more abhorrent to either man than the kind of pre-professional program that brings music to the many in the hope of discovering the talented few by a process of elimination. Both advocate an early start, well before school age, although the Dalcroze emphasis isona pre-instrumental program. And both emphasize, above all, the im- portance of listening. In the case of Suzuki, the goal of listening is to assimilate and then emulate an ideal model. The following excerpt illustrates this concept: It has been an ancient Japanese custom to catch a wild baby nightingale in the mountains and place it in association with a domesticated bird, one with a particularly beautiful song. The wild creature from the mountains hears this excellent singing every day and in due time it, too, is giving forth the sounds it has been listening to. On the other hand, if the bird has for too long heard the croaking of the mother bird, then the capture of the little creature will prove to be too late, and the subsequent attempt to train it as described above will end in failure. This is another example of the Law of Ability.4 Jaques-Dalcroze viewed listening, or “ear-training”, as an interac- tional, highly cognitive activity: Musical education should be entirely based on hearing, or, at any rate, on the perception of musical phenomena: the ear gradually accustoming itself to grasp the relations between notes, keys, and chords, and the whole body, by means of 3. “Dalcroze” is used to refer to the method; when speaking of the man himself. 4, From “The Mother Tongue Method of Education and the Law of Ability,” excerpts of a talk given to the Japan Institute of Educational Psychology (1973). This talk has been reprinted in Starr, William The Suzuki Violinist (Knoxville, Tennessee: Kingston Ellis Press, 1976), pp. 1-6 and Hermann, Evelyn Shinichi Suzuki: The Man and His Philosophy (Athens, Ohio: Ability Development Associ- ates, Inc., 1981), pp. 168-183 Jaques-Dalcroze” is used MOVEMENT THAT FITS.special exercises, initiating itself into the appreciation of rhythmic, dynamic, and agogic nuances of music.> That listening is fundamental in both methods is clear, although there is a different emphasis. This difference is in part due to a different focus. Suzuki's great contribution has been to demonstrate the po- tential of music learning in the very young child, whereas the Dalcroze emphasis on more cognitive learning is a suitable beginning with older pre-school children but also appropriate for advanced musicians. Techniques from both methods are applicable, however, throughout the early childhood years, as Ms. Yelin’s skillful adapta- tions clearly demonstrate.® It must also be noted that both systems are vulnerable to abuse by practitioners who mistake the form for the content. I am thinking of the overzealous Suzuki parent or teacher who, during intensive, goal-directed work towards a performance, loses sight of where the child is developmentally. This is especially unfortunate when an exceptionally creative child is given no musical outlet for this energy and submits to what is expected of him, thus rendering a totally mechanical performance with no heart. The same is true of the Dalcroze teacher who misinterprets the method as dance instruction and judges a student's performance on the way it looks rather than on what it communicates; or the misinformed teacher who empha- sizes only accuracy of timing in movement as opposed to expression of the quality of the rhythm as well. Emphasis solely on timing will result in unmusical movement that is mechanical and boring for both teacher and student. Despite these general similarities of intention, territory, and Vulnerability, the two methods are really quite different. Yet they work extremely well together. How is it, then, that they complement each other so well, especially in the context of American culture? Psychologist and MacArthur Prize Fellow Howard Gardner, writing in Frames of Mind: The Theory of Multiple Intelligences, describes as “virtually incredible” the performances he heard during his 1980 visit to the Suzuki Talent Education Center in Matsumoto, Japan. In his critique of the Suzuki approach, he comments: To my mind, Suzuki has performed a superbly keen analysis of a whole range of factors, from the agents of transmission to the kinds of intelligence, which are relevant to the attainment of skilled performances. If one had to reduce the complex Suzuki Method to a formula, one might speak of strong interpersonal knowledge being used as a means to negotiate a 5. Jaques-Dalcroze, Emile, Rhythm, Music, and Education, revised, (London: The Dalcroze Society, 1973), p. 57. 6. For another perspective on the nature of listening and musical perception see Gordon, Edwin E. Learning Sequences in Music (Chicago: G.1.A. Publica- tions, Inc., 1980, 1984). The concept of audiation, or the ability to hear music through recall when the sound is not physically present (pp. 2-7), and the distinc tion between informal and formal instruction in music (pp. 23-32) are important ideas to consider in early childhood music education. Introduction10 complex musical pathway, in the context of a great deal of cultural support for such an undertaking? Pointing out that “all regimens have their cost”, he cites some of the usual concerns about note-reading, and the limited character of the Suzuki repertoire. Most interesting, however, for our discussion is the following comment: Children receive the impression that the important thing in ‘music is to replicate a sound as it has been heard and not to change it in any way. No wonder that few, if any, Suzuki trained children display any inclination toward composing. The whole notion of doing it another way, of decomposing a piece into one’s own preferred variations, is bypassed in such a highly mimetic form of learnings It is here that the significance of cultural support becomes a crucial issue. In the aesthetics of the East, such a replication can be the supreme test of artistry and even enlightenment. More advanced students are sometimes asked to play one note a thousand times in a week in search of the perfect tone. Such an aesthetic represents one polarity and enjoys great validity in its cultural context. Gardner further observes: It is crucial to note, however, that Japanese success with a program like Talent Education does not simply reflect expert design. . . . the key to the success of the Suzuki program in Japan lies in the comfortable fit between the abilities and inclinations of the target population (young children) and the particular values, opportunities, and institutions of the society in which they happen to be growing up.? The Dalcroze approach, in contrast, represents the other polarity. With its emphasis on improvisation, on multiplicity of experience, on the constant challenge “can you do it another way?”, it provides balance to Suzuki in the context of the American culture’s emphasis on individual expression. It helps to provide necessary cultural sup- port, a more “comfortable fit”, and allows creative and interpretive ability to develop alongside mastery. Although a detailed discussion of the Dalcroze Method is be- yond the scope of this introduction, a brief summary of its evolution and key concepts follows. The method was shaped by Jaques- Dalcroze’s teaching experiences. He realized that his students at the conservatory had difficulty mastering lessons in musical rhythm that were taught in traditional ways. However, he recognized that these same students were extremely competent as walkers, runners, jumpers, skippers, and game players, all of which required highly ‘complex rhythmic responses. Gradually, he evolved a technique to 7. Gardner, Howard, Frames of Mind: The Theory of Multiple Intelligences (New York: Basic Books, Inc., 1983), pp. 376-77. 8. Ibid, p. 378. 9. Ibid., pp. 381-382. MOVEMENT THAT FITStap this largely unconscious skill in rhythmic capability by teaching his students to apply it consciously in their musical studies. From this beginning a whole system of rhythmic, ear-training, and im- provisation study developed, based on a discovery technique of learning that relies on the student’s conscious integration of input from eyes, ears, voice, body, feelings, and the kinesthetic awareness of movement. This system eventually developed into three distinct areas of study: Eurhythmics, Solfége, and Improvisation. Movement That Fits focuses only on beginning studies in Eurhythmics, but even in this elementary stage several general concepts are important to understand, Thave already mentioned the principle that music, which exists in time, can be expressed in movement, which exists in space. Another way of saying this is that for every sound there is a move- ment analog, and for every movement there is a sound analog. Three- year olds can understand the idea of creating movement analogs as well as twenty-three year olds, and are usually less inhibited. They can even improvise sound analogs on a suitable instrument after sufficient experiences under their teacher's direction. Note that this is not the same as the synchronization of choreo- graphed movement with sound, or movement or dance with its own aesthetic that is merely accompanied by music, or the use of move- ment to imitate or illustrate animals and natural phenomena. Even though perfectly synchronized, a clap or step on the beat that does not transmit the size, shape, feeling, and weight of that beat would be an unsuccessful expression in a Dalcroze class. Similarly, beautiful, dancer-like skill in moving through space, or preconceptions as to what the movement should look like, can inhibit the successful expression of a particularly unusual musical passage, or even simple expressions by a student with an unusually proportioned body. Re- garding imitative movements, Robert M. Abramson comments: The imitation of nature and life has its purpose in song, dance, and rhythmic studies, but unless there is also attention to increased movement perception and ear training, and a con- nection to cognitive musical understanding, such exercises may become simple imitation rather than education. The goal is always that the music functions as the motivating and controlling force behind the movement. Recognizing that it was not enough to simply link music and movement, Jaques-Dalcroze developed a vocabulary and rationale for the analysis and interpretation of music and movement combina- tions. This truly unique approach drew on the fields of physics, physiology, and psychology for its terms and concepts. By making a new application of Newton's laws of mechanics of motion, Jaques- Dalcroze began to look at the dynamics of music and movement in terms of the interaction of time, space, and energy in a gravity field. 10. Choksy et al., Teaching Music in the Twentieth Century, p. 39. Abram- son’s explication of the Dalcroze approach in this book is, in my opinion, the foremost contemporary interpretation of Dalcroze principles and techniques. I am indebted to him for the summary that follows. Introduction u2 The performance of rhythms became a matter of movement at a specific time (tempo), located in and moving through a specific space (duration), and charged with an appropriate energy (dynamics). In the context of these three concepts, the subject of “rhythm” could encompass every aspect of the flow of sound events through time. Thus the study of Eurhythmics (literally “good rhythm”) includes such subjects as dynamics, articulation, phrasing, and form, as well as beat, measure, subdivision, and pattern. In Eurhythmics, the students themselves become musical in- struments. The musical interpretation of time, space, and energy therefore has a physiological and a psychological dimension. Musi- cal understanding developed in this way is more easily transferred to performance on an instrument because it has been experienced in more than one dimension. Jaques-Dalcroze postulated that the physiological mechanism for experiencing music consisted of the linking together of sensation, feeling, and knowledge. Thus, through the sensation of moving to the music you can discover the feeling that leads to the knowledge of how the music should be performed. Each mode provides access to the other, and all work together for optimal musical expression. This combination of moving-sensing-feeling is known today as kinesthesia. It operates in all life situations involving the transmis- sion of sensory movement information to the brain, which in turn makes decisions and sends instructions back to the muscles and organs. It can operate actively or passively: the champion gymnast in competition or the spectators watching him or her on television at home are experiencing similar sensations through the operation of the kinesthetic sense. When asked how they experience music, many people will simply indicate their ears, Thinking about it further, they realize that the music stimulates an emotional response that is felt in the body: sadness in the eyes and throat or exuberance in the heart and chest, for example, They also realize that the music’s rhythms stimulate muscular tension and relaxation, imaginary movements of marching, dancing, or soaring, and other experiences of tension and release in the context of gravity. Even the phenomenon of pitch, the relative frequency of vibration of musical sounds, is expressed in terms of gravity: “high” for faster vibrations, “low” for slower ones. Ki- nesthesia plays the central role in all these musical perceptions. It also plays, of course, an essential role in much of our daily lives. Kinesthesia is the process that enables us to move through a room full of objects or to instantaneously react when threatened by physical danger. This process is predominantly automatic and ac- complished by the mind and body at unconscious or subconscious levels. In order to make use of this marvelous sense in music educa- tion, its operation must be made fully conscious. Eurhythmics meets this challenge with a battery of techniques for heightening musical awareness that Jaques-Dalcroze developed with the aid of the Swiss psychologist Edouard Claparéde, founder of the Institut Jean-Jaques Rousseau for the study of child development, and teacher of Jean Piaget. Briefly stated, the teacher's first goal must be the child’s attention, which is then converted to concentration on the subject matter of the lesson. This subject is then experienced at a group or ‘MOVEMENT THAT FITSensemble level of awareness involving expressions and response with other children. These expressions and responses are then expe- rienced in a wide variety of nuances of sound and feeling. The preceding discussion may seem remote from the world of a beginning Suzuki student. But as you read the carefully planned lessons in Movement That Fits, notice the quick reaction exercise that commands attention, the devices that concentrate this attention on the subject of the lesson, the suggestions for ensemble interaction with other students, and the repeated emphasis on working the material in varied nuances of tempo, dynamics, and other ex- pression. Notice kinesthesia at work as you prepare the material yourself, and notice how moving-sensing-feeling is perhaps the domi- nant mode of gaining knowledge for the young child. Learn to analyze your musical responses, and those of your students, in terms of the interaction of time, space, and energy, and notice how such an analysis can help you and your students discover movements that truly “fit” the music. Because the majority of Suzuki students working in the early repertoire are of pre-school or early primary school age, the presen- tation of the material in Movement That Fits has been styled with them in mind. By simply changing the style of your presentation and the pace of the material covered, you can adapt these excellent exercises for any age group studying the Suzuki repertoire. The musical examples outside of the repertoire have been kept very simple so they can be used effectively by leaders who are not accomplished pianists. Examples may also be played or improvised ‘on any other instrument or even just a hand drum. In fact, the essence of the Dalcroze approach is to change, adapt, and improvise. ‘Once the principles, goals, and techniques are understood, resource- ful teachers will find ways to apply them in any situation, including music work with non-Suzuki populations and repertoire, such as kindergarten, pre-school, and special student music classes. Although there is no substitute for actual Dalcroze training (no book could do that because of the experiential nature of the mate- rial), Movement That Fits provides direct and easy access for the capable teacher or parent to a most powerful process of enriching and strengthening musicality. Joy Yelin’s clear outlines of the lessons, explanations of the principles involved, and emphasis on teacher preparation make this book an effective and easy-to-use manual. For teachers with previous Dalcroze training, it will serve as a guide for lesson planning and source book when working with Suzuki students. For those with little or no Dalcroze experience, it makes it possible to begin exploring this highly effective and stimu- lating teaching method and philosophy. And, of course, many Suzuki parents will want to try leading these wonderful games and exer- cises! Kenneth Guilmartin Introduction 1BChapter HOW TO USE THIS BOOK “My whole method is based on the principle that theory should follow practice, that chil- dren should not be taught rules until they have had experience of the facts which have given rise to rules. . . The important thing is that the child should learn to feel music, to absorb it, to listen to music not only with his ear but with his whole being.” Emile Jaques-Dalcroze (1865-1950) Every child has a natural sense of rhythm. No one teaches children the inner rhythms and natural body movements that come to them as a birthright. Why then do children struggle to learn the basics of rhythm when this subject is taught by music educators? More importantly, how can the natural sense of rhythm that is in every child be enhanced through education, rather than stifled? This question puzzled Emile Jaques-Dalcroze, a Swiss-born educator and musician. His examination of this problem led him to develop a system of teaching music through natural movement. Today, the method he developed for rhythm training is known as Eurhythmics, which literally means “good rhythm”. Jaques- Dalcroze’s philosophy has proved to be a powerful complement to the work of a Japanese music educator, who also struggled with the questions of how to enhance children’s natural musical capabilities. This educator, Dr. Shinichi Suzuki, is famous today as the founder of the Suzukirw Method. Ina Dalcroze class the students respond to the teacher's musical stimulus, usually composed or improvised piano music. Other in- struments may be used, and song, chant, and rhyme also play an important role. The students’ responses are expressed in many ways 1s16 Teaching Hints as well, frequently through movement in space (locomotor move- ment), such as walking, running, jumping, sliding, and skipping. Moving various parts of the body while standing or sitting in place usually is a preparation for locomotor movement exercises. ‘A primary goal of a Dalcroze lesson is the study of specific rhythms and other musical concepts, There are, however, other important underlying goals. These include the development of: memory concentration ability to discriminate careful listening a movement repertoire a sound repertoire awareness of interpersonal space awareness of space in the room awareness of ensemble ability to improvise with movement and sounds As you work more and more with the material in this book, you will see your students gradually improve in these kinds of skills and awareness. They are a subtle but powerful influence on all aspects of musicianship. Teachers and parents of children studying any instrument with the Suzuki Method can use the games and exercises in this book to prepare the young musician for better practice and performance. Feeling the music physically, the child develops accuracy in rhythm and precision in articulation and intonation. The games are carefully sequenced, building a repertoire of movement and listening experi- ences that are musically and aesthetically enriching. The child will step from one piece to the next with confidence and heightened musical understanding and appreciation. The games in this book are appropriate for children three to seven years old and can be easily adapted to suit older children. Because each activity teaches a new skill or concept with in- creasingly complex demands and responses for both teacher and students, it is preferable to teach the exercises in order. You may, however, find it necessary to adjust the sequence to fit the needs of your students. Instructions to the teacher or parent are printed on the left and suggested ways of speaking to the children are printed on the right. Please consider the suggestions a guide, not a script to memorize. This format can help you imagine how the class will go while you are preparing and also serve as a guide while you are actually teaching. Additional helpful information is highlighted as notes printed across the page in italics. The importance of repetition of activities cannot be over- emphasized. However, in order that the repetition be more than rote experience, the ways you play the games should be as varied as possible. You may wish to teach the same activity as a warm-up or a review in a later lesson. MOVEMENT THAT FITSYou should avoid monotony by keeping the musical stimulus fresh and alive. This can be accomplished by teaching through dif- ferent media, using the voice, movement, chant, rhythm, song, and both composed and improvised music. All of these are suggested throughout the text. You can enhance the presentation by varying the tempo, dynamics, and articulation. Encourage your students to choose appropriate responses to the music or rhythms, and continually urge them to explore and find new means of expression. One way to do this is to have them stand in place as they move different parts of their bodies. Another way is to choose a leader in the group to initiate movement and have the class imitate the leaders. This is a wonderful way to “try on other people’s movements” and expand one’s personal repertoire of self-expression in movement. Younger children usually have no difficulty repeating a rhythm over and over, if the movement chosen is appropriate to their age and ability. For instance, simply walking to J notes or running to JJ notes should present no great problem. However, it can be difficult for many to perform patterns that combine different note values j JJ lor| J 4 J)4 |, since this requires quick adjustments in length and size of movement. This is especially true when stepping the patterns since the larger the size of the body parts involved, the more difficult it is to make quick adjustments. Practic- ing these patterns while standing in place by tapping, clapping, shrugging shoulders, lifting elbows, and other small movements will prepare the student for stepping the patterns. Most exercises are first taught in a moderate tempo. When the children have a good grasp of the rhythm or musical concept, vary the tempo. This will help them understand and integrate their move- ments with the music. Children enjoy exaggerating, so you can experiment with moving very slowly and then very fast. In Chapter 5 of this book, when the TWINKLE VARIATION games are reintroduced, it is wise to start these rhythms in a slower- than-performance tempo, This can help focus the students’ attention and bring a more conscious level of awareness to the rhythm. Slow- ing the tempo gives the students more time to think and analyze, and their response tends to be less automatic. Gradually increase the tempo in each repetition of the activity until you reach performance level. Each game requires specific music, movement and teaching skills, and there are suggestions for both at the beginning of each game. In addition, there are some general strategies that the teacher should follow and keep in mind. Since clapping is one of the primary ways to express rhythms, it’s vital to model clapping for the children using as much expression as possible. There are many ways to clap hands, but no matter which way one chooses, it is important to have a “bound” or rebound in each clap to keep it alive and moving. Practice claps that vibrate with vitality, with your hands pushing off each other. Avoid static clapping in one place in front of you by moving your hands and arms so that the claps also move in space around you. How to Use This Book Teacher Gets Readywt s here we go! Read-y, here we go! cLAP Ge ! Practice playing the drum as expressively as possible. Make sure your beater is not so hard that it produces a very loud, jarring sound. A good percussion mallet will usually create a pleasing sound, Tap about halfway between the rim and the middle of the drum, varying the dynamics. Make sure to bounce the stick off the drum surface, “pulling” sound out of the drum. To help phrase your beats expressively, you may wish to sing a song, aloud or to yourself, as you drum. ‘Although drum and piano are usually suggested as the musical teaching tools, keep in mind that other instruments—tambourine, maracas, rhythm sticks, claves, etc.—will enrich the aural experi- ences. You might think of ways to use those substitute instruments, as well as song, chant, rhyme, physical gestures and sounds. Most of the composed musical scores in this book are fairly easy and should be memorized, so that you can focus attention fully on the students and their responses to the music. Although the scores have written verbal or musical introductions, you may wish to im- provise your own introduction, speaking in tempo and with emphasis on the last beat, such as: pd, dade AMS J Sad Jr Ged deel Read-y, go! Note that time signatures are written using the actual symbol of a beat in place of the bottom number. This style was preferred by Emile Jaques-Dalcroze and is also the choice of many contemporary composers and educators. Many of the piano scores are written in the key of A major, but they can be played in any key and on any instrument. When teaching a specific rhythm from a song or piece, first sing or play the melody without accompaniment. The accompaniment is apt to distract the students from the rhythm you are teaching. When changing from one rhythm to another, pause between changes, gradually eliminating the pauses as the children’s “quick reaction” skills improve. Ask them leading questions in order to focus their attention. “Is this faster (or slower) than before?” “Is this the same rhythm?” Such questions will help prevent rote repetition of the rhythms. MOVEMENT THAT FITSThroughout the text the word “change” is used as a command. You can also use words such as “now” or make up your own verbal or musical signals. Practice the movements you will be suggesting to the children, so that you are comfortable with them and can demonstrate and help the children as they move. The way you move will strongly influence the students’ responses. Don't be afraid of exaggeration. If you always demonstrate with enthusiasm, vitality, and high energy, your “performance” will hold the students’ interest and inspire an enthu- siastic response. Teachers with classroom experience will generally agree that the finest lesson plan may not get off the ground without classroom readiness. One of the foremost principles in the Dalcroze method is the importance of focused attention. Here are some ways to gain that attention right from the start. Before beginning seated activities, a quick reaction response game will help focus attention. Invent a musical signal such as a rhythm on the drum or a cadence played on the piano. Teach the children that when they hear this signal, it means: sit up straight, with eyes on the teacher, and the body in readiness for the activity. Body readiness might mean hands in position, slightly apart, poised to clap. For seated exercises, some teachers have found it helpful to make a circle on the floor with masking tape. The size of the circle will depend on the number of children in your class. Children can stand or sit on this circle. Enough space should be left on both sides of the students so they do not bump into their neighbors. It’s fun to vary the circle with other designs made with masking tape. ‘When the game requires stepping around the room, it is wise to encourage a good starting position. The feet should be kept apart with one foot slightly in front of the other. The body should be leaning forward with the weight on the front foot. The back foot should rest lightly on the toes. When the command “Go” is given, the back foot takes the first step forward. How to Use This Book Getting the Class ReadyChapter GENERAL PREPARATORY GAMES Jaques-Dalcroze called his exercises “games.” This name can be misleading, however, to those of us who associate games with ath- letic events and board games, where people compete with each other. The only competition in a Dalcroze game is with oneself. Dalcroze activities have specific musical goals that train ear, mind, and body to work together to build listening and performing skills. This takes place in a game-like format that emphasizes the playful quality children enjoy in their own games. With each game experi- ence, musical skills increase, as well as the ability to spontaneously tap creative resources. » The games in this chapter are not solely for Suzuki study, but can be used to prepare any group of students to function in a classroom setting. The ability to form a circle, move in circle formation, listen carefully, and start and stop on time are all prerequisite to group performance. « Other exercises in this chapter are valuable in any classroom where there is a desire for developmental growth. They stimulate variety and expressiveness in movement through the use of imagery and develop skill in the discrimination of body parts. They also provide the children opportunities to lead activities as well as follow them. OBJECTIVE: For the group to learn to form a circle on cue and to cooperate with each other. Many of these activities, if taught in a class situation, require the children to be seated or standing ina to Make circle. Young children need little experience in classroom dynamics to respond readily to this game-like activity. After they have formed a circle, they can be directed to sit or make the circle larger or smaller, depending upon the space in the room and the needs of the musical Take 8 a Circle aactivity to follow. Some experimentation is necessary to determine the size circle needed for each activity. SUMMARY OF THE GAME: The teacher sings or rhythmically chants the “Take 8 to Make a Circle” song, encouraging the children to complete a circle before reaching the count of 8. MATERIALS: Song. TEACHER GETS READY: Memorize the song and game plan so you can start the activity standing or sitting alongside the children. After some experience you'll know when to leave the group and teach from the piano. Make a circle on the floor with chalk or masking tape large enough to accomodate the number of children in the class. FORMATION: Children are scattered throughout the room before the start of the game. THE GAME: Sing the words to the song, holding out your hands, motioning the children to join hands with you. MOVEMENT THAT FITSTAKE 8 TO MAKE A CIRCLE rs ie aa SING OR CHANT V Joy Yelin Take 8 tomake a cit - ce, and all hold hands. Take (1yall hold hands. 8 to make a cit - cle, and G) Tate "R ad SING OR CHANT: mas = ———— 1 2 3 4 5 6 7 8 Some children are at first reluctant to hold hands. Others will find hand-holding an invitation to Pull-Your-Neighbor-Off-Balance and other circle-destroying games. If this becomes a problem, change the words to “take 8 to make a circle and make it round,” or the like. Such creative adjustments will maintain the attention and concentration of the class without diminishing the sense of “having fun.” Usually it takes several tries to complete the circle in 8 counts. “Let's do that again.” “Let go of hands, and go to __ (some other place in the room).” “When you hear the circle song, walk back to this place and make a circle.” Wait for the children to get to their destina- tions. Stay in the place where you want them to make the circle and sing the song. Encour- age them to reassemble and count with you. “Take 8 to make a circle, etc.” Each time you start the game, direct the children to a new location. “Let go of hands and scatter about the room.” “.. . be seated in chairs.” line up near the wall.” . . . be seated around the piano.” OTHER ACTIVITIES: 1. Sing the song in a lively tempo following the same directions, but count very slowly. General Preparatory Games 2BClass Movement in Circle Formation 2. Sing the song in a moderate tempo and count very quickly. 3. After the children make the circle easily in 8 counts, ask them to make the circle in 6 counts; 4 counts; 2 counts. 4. Sing the song very slowly and tell the children that they have 12 counts to make the circle. Then you might try 20 counts. If singing, keep going higher until you run out of voice—the children love it when the pitches get too high. Ask them how many counts they need to form the circle. 5. Instead of forming a circle, the children can arrange them- selves in a straight line, or more complex shapes, such as: a square, a triangle, or a letter in the alphabet, Ask them for suggestions. Their “shape” can be made against a wall, in front of the room, in a place previously marked with chalk or masking tape, Wis OBJECTIVE: To learn to move as a group in the same direction in a circle. Once the children can easily arrange themselves in a circle, they need to have experience in moving in that formation around the room without bunching up. Although younger children may not be able to keep the circle shape as they move, it is important for all to move in the same direction, keeping a safe distance apart to avoid collision and injury. ’ IDEAL ACCEPTABLE en, re e 'e ° eon ee ant eae! to = See SUMMARY OF THE GAME: The children step to the drum, moving clockwise around the room. On signal, they turn around and move counterclockwise. They change from one direction to the other again and again on signal. MATERIALS: Drum and beater. TEACHER GETS READY: This one is easy! Just practice drumming in different tempos, saying “change” when you want a change in direction. FORMATION. The children are standing in circle formation (Take 8 to Make a Circle). If chairs are available, use them to define a large, circular space for younger children to move in. THE GAME: Since many children have had experience only with a digital timepiece, make sure they MOVEMENT THAT FITSknow how the hands of a clock move. If you can, show them a clock or watch with a second hand so they can follow the move- ment. Then have the children organize their circle (“Take 8 to Make a Circle”). “The people-circle is going to move about the room in a special way, just like the hands on a clock.” “With one hand, follow the direction of the hands of the clock in the air in front of you.” While giving the following directions, walk around the circle and tap each child on the right shoulder. Help the children to turn and face in the same direction as necessary. Physical cues like tapping the shoulder will help reinforce the verbal and visual cues for those children who are unclear about right and left. “Turn your body so that this shoulder, your right one, is on the inside of the circle.” When they are all positioned, with their right shoulder on the inside of the circle, tap drum and chant or speak the following, while lead- ing them around the room: voice: Step, step clock- wise, step, step clock - wise, DRUM pn lad a2) cing. le prea Ie ier | sxpeat ad lib VOICE: when the drum stops, you stop, too! eye |] | After some experience teaching the games to children of different ages and readiness, you will be able to judge how long sounds should con- tinue and how long to pause. Repeat the vocal instructions and drumbeat. Encourage the children to keep the circle shape and not to “bunch up” close to each other. Now, for counterclockwise. Form a circle again, using the “Take 8” song and move- ment. “Turn so that your other shoulder, the left one, is on the inside of the circle.” General Preparatory Games 25Walk around the circle, tapping each child on the left shoulder. Help each to turn and face with the left shoulder on the inside of the circle. “Listen to the drum.” dees ol Tap, tap, tap, tap Chant or speak the following while leading the students around the room: Step, step, coun- ter clock - wise, step, step, coun - ter clock - wise, repeat ad lib J J J rane. aefoaiy when the drum stops, you. stop, too! Hee ee dae Again, encourage smooth flowing movement of the students, all in the same direction, without “bunching.” When the children are in command of the clockwise and counterclockwise movements, change from one to the other. “Move counterclockwise.” “When I say ‘‘Now go the other way!’” ame turn around, and face the other direction, and walk clockwise.” Continue to change back and forth, from one to the other. eee Now go the other way! repeat ad lib, eo ot VOICE: 6 MOVEMENT THAT FITSEliminate the “now go the other way” after a while, letting the rhythm of the drum do the teaching. OTHER ACTIVITIES. There are many ways to move the children in a circle to increase their interest in the game that they are playing. Some suggestions follow: 1. Use a different sound for the counterclockwise movement. This will give the children another clue to changing direction. Such changes provide wonderful ear-training. 2. Have class move clockwise stepping beat while you play TWINKLE VARIATION A (see Chapter 3) on drum, piano, or other instrument, Have class step counterclockwise when you play VARI- ATION B (see Chapter 3). 3. Practice changing direction using VARIATIONS C and D. 4. Use two different tunes, such as “London Bridge” for mov- ing clockwise and “Old McDonald Had a Farm” for stepping coun- terclockwise. They can be sung or played on an instrument. 5. With or without accompaniment, walk clockwise. On signal, run counterclockwise. 6. With or without accompaniment, walk clockwise. On signal, skip counterclockwise. 4.1. OBJECTIVE: To develop quick reaction response. A major objective in Dalcroze rhythmic training is the development of quick reaction response. This refers to the process of shortening the time lapse between hearing a signal and making the proper, spontaneous re- sponse. Quick reaction exercises develop the ability/to maintain concentration, to focus attention on specific musical details, and to make rapid decisions musically and physically. SUMMARY OF THE GAME: The teacher taps a drum, stopping taps without giving a verbal cue. The children clap or move with the drum- beat, stopping immediately upon hearing that the drum sound was stopped. The lengths of periods of tapping and pauses are varied so the children cannot anticipate the stops. MATERIALS: Drum and beater. In this game, as well as those that fol- low, whenever there is reference to a drum, you can usually substitute any rhythm instrument—sticks, woodblock, tambourine, or hand drum. You may also improvise on your own instrument—piano, vio- lin, flute, cello, or other. TEACHER GETS READY: It’s important to start this activity and those to follow in the child’s natural rate of speed (tempo), whether it is in clapping, tapping, rocking, waving, or walking. To get a feeling for the child’s comfortable movement responses, it’s helpful first to get a feeling for your normal walking tempo. Start walking and then General Preparatory Games Stop/Start on Time 7synchronize claps to each step. Observe the various tempos of your family and friends, and then observe particularly the natural gait of a young child, Match your claps to the child’s steps. If you use a metronome, set it: MM J = ca. 88-104, allowing for the quicker tempo of young children, You may wish to practice drumming, as described later in this game. FORMATION: Children are seated, poised, with hands ready to clap. Very young children may find it easier to tap their knees or the floor than to coordinate clapping. THE GAME: Tap the drum: vi | ea 88-108 “Clap your hands with the drum.” “When the drum stops, you stop, too.” —== prom J) dd (repeat ad od dd dd “And stop!” A crescendo before the stop makes the drumming more expressive and helps cue the stop. “Did you stop clapping when the drum stopped?” “We'll try that again.” Make sure that you appear to be as alert and energized as you want the children to be. “Ready?” “Are your hands in front of you, ready to clap?” “Are you watching and listening for the drum?” —— rate Read-y, go! — . | pau: J) dd (repeat ad tis) J d d / “And Stop!” Stop, and pause . 28 MOVEMENT THAT FITSThen, repeat. To make the game challenging and fun, unexpectedly change the lengths of sounds and pauses. A simple warning will capture their interest: “Watch out now—you’re doing so well, I’m going to try to trick you!” Remember that success is measured by each child’s improved concentration and awareness and not simply by “getting it right.” Starting together is just as important as stopping on time, so the verbal cues should be spoken very clearly and rhythmically. After a while, you can shorten the cues to: “Go!” or “And!” or substitute musical signals or visual cues with your body, breath, or facial ex- pression. These strategies will gain the children’s attention and increase their concentration. Repeat the activity several times, varying the length of sounds as well as the length of pauses. Then drum in a quicker tempo: ‘MM: d = ca. 132 peu: J J d ahs a Stop tapping and ask: “Were the sounds different?” “How?” “Yes, they were faster.” General Preparatory Games 2»J didi ) PSREPe t ? DRUM: ie) J VOICE: Read-y, clap! Continue playing the game in this quicker tempo, stopping as before and pausing. Then, when it seems right to change the tempo again, try a tempo that is slower. MM: J =ca. 48 wane) ld find Stop, pause. .. “Did I change it this time?” “How?” “It’s slower.” Play the STOP/START game in this slow tempo. It is important to change the expression of the claps or other movement as the tempo changes. When the tempo is.quick, claps should be small. For this tempo beat drum with short strokes, close to drum. When the tempo is slow, claps should be large, with lots of space and steady sustained movement to fill the space. Beat the drum with large, circular arm movement for a slow tempo. More detail on the use of space in movement appears later in this chapter in MOVEMENT THAT FITS. Refer to RESPOND IN TIME TO A STEADY BEAT if some children have difficulty changing tempos. 30 MOVEMENT THAT FITSOTHER ACTIVITIES: The STOP/START game is one to be played again and again. Because of the many variations of its format, it’s always fun and challenging and might be a way to start each class. Try it with clapping, walking, and rocking. They are some of the most natural movement responses that humans make. Other parts of the body can be used to intensify and reinforce the movement experi- ences in a varied context. Such movement also trains the child to isolate or coordinate different parts of the body. Here are some suggested ways to vary the game. You and the children may come up with many more. 1. As you tap the drum beats, sing your favorite song, stopping in unexpected places. Some old favorites are: “This Old Man,” “Sur le Pont D'Avignon,” “Three Blind Mice,” and “Jingle Bells.” 2. Play or improvise a tune on the piano or another instrument, also stopping in unexpected places. 3, Sing - a - long STOP/START game is an interesting variation. As you become more experienced and as the children develop a strong sense of beat, independent of pattern, try tapping beats and improvising rhythmic patterns with your voice. This will sustain the musical interest. Sing expressively, and stop in unexpected places. ipa Ai ane na) eee | de Teededaneg’ cimeol ieee J) da SING: Dum de dum dum dum dum dum dum dik-a dum dum dum dum! TAP: 4. Copy Cat is an excellent version of the STOP/START game. The teacher initiates the movement. Children start and stop when the teacher does. “I’m going to pat my head, like this.” “You pat your head, and stop when I stop.” “Watch me. Ready? Go!” Pat, pat, pat, pat . . . stop. Encourage the children to keep their eyes on you, stopping as you do. Pat with either hand, alternating both hands, or using both hands simultaneously. Make sure to make the movements fit: smaller for faster tempos and larger for slower tempos. 5. Play Copy Cat, using other gestures or movements, such as tapping your shoulders, tapping the floor, blinking your eyes, wig- gling your knees, wiggling your nose, or rocking from side to side. 6. The STOP/START game can be played with children re- sponding with vocal or “mouth” sounds. They can click the tongue ‘or make “popping” sounds with their mouths. Animal imitations (“moo,moo” ; “meow, meow”; and “cluck, cluck”) may also be used. Ask the children for suggestions. 7. Play the STOP/START game, selecting one child to be leader. The student should start clapping (tapping, “moo-ing”) in any General Preparatory Games at2 Respond in Time to a Steady Beat tempo. The class and teacher follow with the same movement or sound, 8. Play the STOP/START game, stepping around the room to any sounds made by teacher or a student. When sound ceases, students “freeze” in place, as if being photographed. Since stopping the whole body is more difficult, this variation of the game might be more successful after having experienced these games: TAKE 8 TO MAKE A CIRCLE and RESPOND IN TIME TO A STEADY BEAT. The latter is the next game to be described in this chapter. 9. Another variation of the STOP/START game is changing the tempo during the game. Start in a moderate tempo, gradually getting faster, and then slowing the tempo. OBJECTIVE: To develop the ability to adjust movement to steady beats that are at different rates of speed. The child will also have the important experience of being both leader and follower. SUMMARY OF THE GAME: Each child has a turn walking around the outside of the circle of children, who are seated. The teacher picks up the child’s tempo, singing the song and tapping the drum in time to the child's steps. Then the teacher becomes the leader, setting a tempo on the drum. The child is encouraged to step in time to the drumbeats. After some experience, you will be able to visually pick up the child’s tempo and respond in time with your voice and drumbeats. MATERIALS: Song, drum, and beater. TEACHER GETS READY: Before teaching the game, it is helpful to practice walking and tapping the drum at different rates of speed. Start by exploring your personal tempos. Walk at a comfortable rate of speed around the room. Then, stand still and tap the drum at that tempo. Walk briskly, or jog, around the room. Then, stand still and tap the drum at that tempo. Walk very slowly, and later tap that slow tempo. pe Your goal is eventually to change accurately from one tempo to another on the drum without the intermediate body movement be- tween changes. The children’s personal tempos will differ not only from yours. but also from each other’s. Imagine what they might be for each child and then practice moving and playing to these tempos. This is not as simple as it sounds. You must use your kinesthetic or movement imagination to aid your perception and memory of tempo. FORMATION: Children are seated in a circle, on the floor or in chairs. MOVEMENT THAT FITSTHE GAME: Sing the following song or chant the words. LET’S GO WALKING ALONG Words Adapted by Joy Yelin Frances W. Aronoff Let's go walk - ing along, lets. go. walk - ing along. First 1 fol - low you, —s then «you ~— fol - low — me. Since imitation is the first step in learning, modeling or demonstrat- ing is an important first step in teaching. Walk around the circle of children (or the room) singing and tapping the drum in time to your steps |i) Jia voice: Let's go walk-ing a-long ef. poeple |i “Now it’s your turn, Jimmy.” “You're the leader, and my drum and song will follow your footsteps around the circle.” “Ready, Go!” After returning to your place in the circle, ask one of the children to be the walker. Encourage Jimmy to set the tempo and walk ata steady pace. Some children choose this time to express their individuality by running, skipping, or creeping. You might allow this exploration by adapting the lesson as suggested in OTHER ACTIVITIES. However, it’s important that they eventually learn to concentrate on walking at a steady pace. When Jimmy is walking steadily, tap the drum and sing, matching his footsteps. En- courage the other children to help by singing along and clapping their hands in time. General Preparatory Games 3let's go walk - ing along, —ilets-~—sgo.— walk - ing along. First 1 fol - low Jim-my, then he _— fol - lows ~—sme When Jimmy comes back to his place in the circle, decide on a different rate of speed. “Jimmy, it’s your turn again to walk around For example, if Jimmy moved rather quickly _the circle.” earlier, then tap steadily in a slower tempo. “But this time I'm the leader.” “So, don't start walking until you listen to the drum and I say ‘Go!” Listen . . . Go!” eee ade voice: Let’s go walk- ing a-long e/c. el Encourage Jimmy to step in time to your drum and voice. The other children can clap and sing along. Give each child two turns: the first time as leader; the second, as follower. Some children can respond in time on the first attempt. Others will need to concentrate just on the changing of roles from leader to follower. Many can perceive the change in tempo, especially a large change, but will have difficulty in stepping it accurately. Set a tone that allows for these individual differences and find ways to challenge each child at his or her level of development. OTHER ACTIVITIES: 1. Have the children sit in a circle or line. Ask the children to tap in time to your drumbeats in a brisk tempo, tapping one hand on one knee and the other hand on the other knee. Have them alternate hands or use both hands simultaneously. The children can then take turns setting different tempos. M4 MOVEMENT THAT FITS.2. In response to your moderate tempo, have the children rock back and forth or from side to side, while sitting in place. The children can take turns setting different tempos. 3. Ask a child to be the leader and silently rock from side to side. Have the rest of the class follow the movement with no sound. 4. Use a metronome to set different rates of speed for the children to follow in various activities. 5. Ask the children to describe and imitate the ways and speeds in which different animals move. You can create appropriate accom- paniments on your instrument or with your voice. + 6. Find ways to vary the experience to keep interest fresh and to elicit different qualities in walking. For example, ‘the walker might wear a hat or a scarf, The walker might pretend to be walking in the woods or going for ice cream, going to school, or to the dentist—in the sunlight or in the dark. 7. Using your drum or other instrument, ask a child to follow your free-form (nonmetrical) improvisation with steps or other movement. Then you follow the student's movement improvisation. You might call this game “Who's Got a Dance Today?” 8. Play Copy Cat (see STOP/START, OTHER ACTIVITIES, No. 4). Increase the challenge by making expressive changes in tempos, such as playing gradually slower or faster or by making surprise stops. OBJECTIVE: To develop a movement vocabulary that gives distinct quality to tempo. Tempo is more than timing, or rate of speed of music. The quality of tempo is determined by many other variables such as? dynamics;articulation/ rhythmic activity, and‘phrasing. It is ‘mportant, therefore, to develop a movement vocabulary that makes & possible to express, experience, and understand these differences. Little children are seldom able to synchronize their movements in a sempo far removed from their natural rhythm, but through imagery ead experimentation they can develop the necessary control over uration, intensity, and speed. This emphasis on MOVEMENT THAT FITS helps the young musician feel, analyze, and express shythms with greater accuracy, vitality, flow, and poise. SUMMARY OF THE GAME: There are three specific movements Ssught in this game: clapping, swinging, and walking. Using one specific movement at a time, the children practice adjusting their motions and gestures as the teacher varies the tempo and dynamics. An important follow-up is the relating of movement experiences samediately to musical experiences. The teacher and children select 2 song. After singing it through in normal tempo, the children are ‘ayited to move to the song again and again, as it is varied, with changes in tempo, style, dynamics, and articulation. MATERIALS: Drum, beater and chant. General Preparatory Games Movement That Fits 35TEACHER GETS READY: There are many ways to clap hands! But, no matter which way one chooses, it is important to have a “bound” or rebound in each clap, keeping it alive and moving. Practice claps that vibrate with vitality, with your hands “pushing” off each other. Practice “stopped” claps, where your hands meet and stay together. Ask the children to listen to the two different clapping styles and describe them. Substitute other hand movements for very young children who find it difficult to clap and still maintain a steady beat. Practice other movements suggested in this activity. For exam- ple, practice arm_swinging. Swing your arms from side to side or forward and back in a comfortable, moderate tempo. Try(swinging with quick short swings, moving mostly from the elbows, orswing- ing with full, large, slow swings from the shoulders, bending knees and rising to tiptoe to use maximum space. Practice walking’ in different ways. Use your natural stride, remembering that the child’s stride will be faster than yours. Practice quick, little steps and large full steps. Move from side to side as well as forward and back. The teacher will note that these exercises are not to be taught all at one time. Rather, they are suggestions for an ongoing exploration of movement (perhaps as a regular warmup) that can spark activities for whole lessons. They may also be incorporated into other lessons. It’s highly recommended that you look at some other resources for movement explorations (see Bibliography). FORMATION: Children are arranged in a circle or line, seated for smaller motions and standing for larger ones. They stay “in place” rather than move around the room. Since the objective right now is to help focus on specific gestures, locomotor movement (walking, running, jumping) would interfere. A reminder, such as “Feet stay still!” usually helps the children stay in place. “A THE GAME: Clapping. Since clapping is one of the basic ways to respond to rhythm, it’s important to build a repertoire of ways to clap. Model some different styles, then ask the children to create other ways of clapping. Encourage changes in tempo and dynamics. “Clap with me.” Clap with palms together in a moderate tempo. Clap with backs of hands together at a slower tempo. 36 MOVEMENT THAT FITSTap with fingertips only, quickly and lightly Clap with full hands, loudly and with big movement. Clap with cupped hands, quickly and lightly. “Marianne, show me another way to clap.” “Good. Let’s all try Marianne’s clap.” “Who can show us a different way?” Try to give each child a turn at being leader. After experimenting with many ways to clap, help the children choose one to follow the drum. Encourage claps of the appropriate size and energy. For instance: in a moderate tempo, clap with palms, hands “bouncing” lightly away from each other. Another example: in a quick tempo, use just fingertips, with hands just barely inches apart. Move the claps in space to keep them from becoming static. General Preparatory Games 37Swinging. Swinging is a movement that is natural and within the child’s experience and control, The swing will flow if you bend your knees when your arms come down. Note that the beat is at the bottom of the swing! Start in a moderate tempo, one in which you can swing comfortably without pushing. Sing or chant. voice: Swing and swing, swing and swing, efc. When children are moving smoothly and steadily, tap the drum in the same rhythm as your voice. Now increase the tempo. Hold your arms in front of you, elbows bent. Keeping your upper arms as still as possible, swing just your lower arms from the elbows, side to side. Swing, swing, swing, swing. Quick, quick, quick, quick. Swing, swing, swing, swing, efc. 38 MOVEMENT THAT FITS“How would you swing in the playground?” Encourage the children to experiment with different ways they might move on swings, bending their knees and swinging their arms fully, forward and back. For this movement, they can move their feet out of place for a larger range of movement. Experiment with many of the children’s ways of moving, encouraging the children to “try on” other people’s ways, to move and dis- cover new ways themselves. Help them think of things they know that swing or rock. Some examples are: pen- dulums on clocks, cradles, boats, and rocking chairs. & Each child can be the leader. After many ideas have been tried, continue using the drum. General Preparatory Games y “Now, we'll try David's movement.” “Let's try Jenny’s movement.” “What else swings side to side or back and forth?” I'm going to tap my drum, sometimes slowly and sometimes quickly.” “Choose the way you are going to swing or rock to these sounds.”Tap the drum, quickly and then slowly. Stop in between changes, if necessary, speaking only to encourage movement that fits the tempo and dynamics of your drum playing. Walking. Walking is another prime means of expressing rhythm. Explore different ways to walk. You might want to accompany these different walks with percussion sounds or with music, or by singing a song. Now, experiment with walks in other tempos and moods. Strive for slow, controlled movement. This is the most difficult for young children and requires a great deal of practice. It is some- times helpful to emphasize weight and heaviness to get the right quality. Next, experiment with quick, light steps. Look for variety in emotional expression in both a steady, uniform tempo and in a free, changing tempo. “Spread out so you have enough space around you.” “Don’t bump each other, and stop when the drum stops.” “Walk as if you were out on the street, walking to school.” “Walk on your toes, quietly.” “Walk on your heels.” “Walk, lifting your knees up high.” “Walk, kicking your heels in back of you.” “Walk crossing one foot in front of the other.” “Walk on your knees.” “Walk on your hands and knees.” “How can you walk, Kimberly?” “Take huge giant steps. . . “... like a lumbering elephant.” «like a hippopotamus.” “What other animal moves slowly?” “How does a little mouse move?” “How does a hopping bird move?” “How does a fluttering butterfly move?” “Walk as if you are: happy.” ima hurry.” “|. . have all the time in the world.” +. bredas *. . safteidig . . brave.” || walking on the moon.” “. . . walking on burning sands.” . . Walking on nails.” . roller skating.” MOVEMENT THAT FITS“.. . floating on a cloud.” ice skating” “Michiko, show us how you walk.” na nlepiskating-". wyatt piess where you are walking “Christopher, show us another way.” OTHER ACTIVITIES: 1. Choose one of the following songs, or choose one from your favorite song books. Singit with the children in normal tempo. Have the children respond in movement by clapping, walking, or swinging. Ask them to respond as a cat or a hippopotamus might. Ask them to respond as if they were very happy, or very sad, or angry. Try to elicit a wide variety of reactions using imagery and different ways of singing. Sing the song in a faster or slower tempo. Experiment with each word Becat, or all words loud or soft, or with crescendo or decrescendo, and breathing in different places. “The Alphabet Song” “Kookaburra” “Au Clair de la Lune” “Pop Goes the Weasel” “Frere Jacques” “Row, Row, Row Your Boat” “Happy Birthday To You” “She'll Be Comin’ Round the Mountain” “If You're Happy and You Know It” “This Old Man” 2. Choose any short piece from the Suzuki repertoire. Play in performance tempo as the chil- dren freely respond in movement. Then, play it faster, slower, and all staccato. Play the piece with changing dynamics. Begin with dramatic contrasts in tempo, articulation, and dynamics. Gradually progress to more subtle changes as the children’s movement responses become more skilled. Ask the children to “try on” each other’s movements and discuss how well they “‘fit” the music. General Preparatory Games 4Shorts and Longs: Stepping Very Carefully Demonstrate by standing in front of the first tape (or stick). Sing the first phrase in place. ‘Then step and sing the second phrase. OBJECTIVE: To develop skill in perceiving and performing notes of different duration by experiencing their differences as expressed in space. SUMMARY OF THE GAME: In response to a song, each child takes measured steps corresponding to the length of sound (note value), i.e., short steps for J notes and longer steps for J notes. Once this relationship is understood and felt, it can be applied to any notation with the same 2 to | relationship: J) and Jj , = andisaae Je and’ s MATERIALS: Masking tape or eight sticks or rods approximately 12" long, drum, beater, song, scores for piano or other instrument (op- tional). TEACHER GETS READY: First, prepare the “stepping path.” Place eight sticks or strips of tape on the floor, 10 or 12 inches apart. Practice stepping while singing, making sure to step between the lines. Set a model of careful stepping for the children. FORMATION: Children are seated on one or both sides of the “step- ping path.” Seat them first, leaving space for your path, Then, ask the children to count the number of lines as you place them on the floor. THE GAME: Sey, os “Short” Steps (+) MOVEMENT THAT FITSSTEPPING VERY CAREFULLY: Shorts Text by J.Y. sinc: Chil-dren, chil-dren, look at me step-ping ver -y care -ful - ly. STEP AND SING: Step, step, step, step, step, step, step, _step. Ask one of the children to step in time to the song as everyone sings. Remind them to step in between the sticks. Play and/or sing: SING: Me - lis - sa, Melis - sa, look at her —_—step-ping ver - y __care-ful -ly STEP A J ine. Step, step, step, step, step, step, step, step. or: Short short short — short short — short short short The younger children might need help at first. The teacher or a parent can be the child's partner. The child might stand on the teacher or parent's feet and feel the steps as the adult moves in time to the song. “Long” Steps (2) For notes of longer duration, stretch and step in every other space. General Preparatory Games 8Play and/or sing: STEPPING VERY CAREFULLY: Longs Twice as slow sinc. Chil-dren, chil-dren, look at me seep-ping ver - y _care~ful - ly. sTeYAND SING: Step, step, step, step, step, step, step, _step. on Long, long, long, long, long, long, -—long, ~—_—long. After each child has had a turn or several turns, vary the game in this or later lessons. Ask the children for ways to vary the game after you have tried these suggestions. ‘Take steps with knees lifted high in a slower tempo. . hopping. . . Stepping backwards. MOVEMENT THAT FITS. . with light steps in a quicker tempo. . «jumping forward. General Preparatory Games 45Twinkle Variation A Chapter SUZUKI REPERTOIRE GAMES I The TWINKLE VARIATION rhythms that are presented in this chapter are quite difficult from the Dalcroze point of view. A Dalcroze curriculum would typically preface these rhythms with numerous lessons on simpler note values (J; JJ: 4d, ). The students would then combine them in various ways to complete measures in simple meters before teaching subdivisions such as: FITTS I> 2. However, because the children in Suzuki training are able to play these rhythms by rote’on their instruments from the start, simple movement games for the TWINKLE VARIA- TIONS are presented in this section of the book and are particularly suited to the very young beginner. In order to deal with these rhythms on a more sophisticated level, they reappear in Chapter 5 as TWINKLE VARIATIONS RE- VISITED. The later games are more challenging, requiring the child to respond, discriminate, and improvise on a more skilled level. To prepare for that challenge, it is important first to follow through with the sequence of activities in Chapter 4, dealing with musical con- cepts; expressive nuances, and the beat with its subdivisions. Although all the games in this section are based on the violin repertoire, they are still useful in general rhythmic training, and easily adapted to other pieces and other instruments. Since most Suzuki students participate in concerts and festivals, they are gener- ally quite familiar with the repertoire of the other instruments. How- ever, the VARIATION B game as presented is a valuable exercise in Tests, so try that one “the way violin students play it.” OBJECTIVE: To develop quick reactions in recognition and response to the rhythmic pattern, Fo 7 SUMMARY OF THE GAME: Using the drum or piano scores, the MOVEMENT THAT FITS.teacher starts by playing steady J notes. The children respond by rocking from side to side. Following the score, the teacher says “change,” then plays > J J several times, and the chil- dren respond speaking words they have chosen for this rhythm. On the next “change,” they stop speaking and continue rocking to the drum beat. MATERIALS: Drum, beater, and scores for piano or other instru- ment. Although the piano is optional, it makes the game more interesting musically. TEACHER GETS READY: Practice tapping the drum at performance tempo, the tempo in which the children usually play their instru- ments. Alternate different phrase lengths of JJJJ and goad /d SF4 FJ asin the STOP/START game. Practice saying “change” in the appropriate places as you tap the drum. The teacher should get proficient with this technique, since it is used in many exercises, where it is referred to as the “Change Game.” If you intend to use the piano score, practice and memorize it. Playing the introduction and speaking “Ready, Go” on the last two beats of the measure may also require some extra practice. - Improvisers should practice changing from J music to > J. music and saying “change” at the appropriate times. FORMATION: Children sit in a circle or line. THE GAME: First, choose words for the pattern. Here are some that have been used successfully: ato aj mdanildaars Chat - ta -noo-ga Choo choo Mis - sis -sip- pi Mud pie I likechoc’-late ice cream pea- nut but-ter sand - wich As you repeat the rhythm on the drum, speak the chosen words, asking the children © speak with you. Performance tempo Suzuki Repertoire Games I eiedmemre ds SPEAK: Chat-ta- noo-ga choo choo, a: “We're going to play a game listening for that rhythm.” “Rock from side to side like this.” 47Demonstrate rocking side to side on the beat. When children are moving smoothly Performance tempo and evenly, add drum beats. mel rel 4 SPEAK: side to side side to side, a. DRUM AND MOVE: 5 Continue drum beats while children continue rose “When I say ‘change,’ speak to me like this: SPEAK: Chat-ta-noo-ga Choo choo DRUM AND MOVE: r The command “change” should be given on the beat before the new pattern. If the children need more warning, say eee eens “rea-dy, change” or “now let's change” two beats before the new pattern, Repeat the activity several times varying the sequences of score sections, such as: a ona TWINKLE VARIATION A—Change Game: Drum Change! a Bt plas Dee alee | 48 MOVEMENT THAT FITSPeak eum AND OE: Change! poems a eee: a Chat-ta-noo-ga choo choo etc. d SD ois eee oon cele) fe Change! porop er in) -srarate J ae TTI | J ae dieters ee ee AAAS i erg “Now we'll play the Change Game with music.” “Start rocking when I say “Go!” Play melody only. An accompaniment with another rhythmic pattern and texture may be too many patterns to listen to at once. In measures three and nine of the score, J J replaces the usual J to keep the side to side movement flowing. Use your voice to help guide the movement as necessary. TWINKLE VARIATION A— Change Game: Piano Play on pitch and/or speak Tracer: Get read-y,herewe go! Side, side, side,side, ec. (children move) TEACHER: Change! Chat-ta-noo-ga choo choo . . . Change! (children clap and speak) BP. Change! Change! Suzuki Repertoire Games I 49OTHER ACTIVITIES: 1. Play the Change Game, rocking to the / notes. When the children speak the rhythm, ask them to clap or respond_with other movements and gestures as well. Remember that_J_J_ is ex- pressed better with relatively larger movements, J=-7-7_— with relatively smaller. See MOVEMENT THAT FITS in Chapter 2 for further information on appropriate movements. Other variations might include tapping the floor; tapping dif- ferent places on your body such as your nose or chest or thighs, or a parent’s knee; or moving your shoulders. choo 2. Play the Change Game, rocking to the - notes, but speak- ing nonsense syllables, other words, or just vocal sounds to the rhythm, such as: Tick -a.-\tick -a pa - pa Boo - ma - chi - cka boom - chick Yup- pa yup - pa pup - py Al - li - ga- tor tap tap Huck -le - ber - ry or - ange You can vary the game further by(clicking your tongue i rhythm or (smacking your lips. You may wish to experiment wit other vocal Sounds. Be sure to ask the children for their suggestions, 3. Play the Change Game with children standing in place. Hav them step from side to side instead of rocking. 4. Give each child a partner. They can be seated or standing, bu should face each other. Help them create “pat-a-cake” patterns ii four beat ader to choose a vocal response to th rhythm: 3 . Have the children follow the leader. Kee] choosing new leaders until everyone gets a turn. MOVEMENT THATere Chat - ta - noo - ga choo choo Chat - ta - noo - ga choo SPEAK: Yup- pa yup - pa pup - py Yup - pa PAT-A-CAKE: d d More advanced students can add changes in dynamics and tempo as they lead. Encourage both leaders and followers to concen- trate on their roles by listening carefully. This exercise can be quite challenging because of the strong visual and tactile stimuli of the “pat-a-cake” game. It is a good example of the multiple levels of concentration necessary in a good musician. OBJECTIVE: To develop skill in perceiving and performing patterns with rests. SUMMARY OF THE GAME: After a preparatory game, the children epond with differing movements and words to two patterns with Jj and JJt) (41%, is notated twice as slow as TWINKLE VARIATION BB and will feel the same when played alla breve). They are then asked to identify the TWINKLE VARIATION B pattern by responding with appropriate words and movement. For younger children, you may wish to start with the Bingo Game in OTHER ACTIVITIES at the end of this section. MATERIALS: Drum, beater, scores for piano or other instrument. Suzuki Repertoire Games | yup - pe Po a d Twinkle Variation B 1