Another reaction game, this time with a musical signal. You will hear music in a meter of 4 (e.g. 4/4). If you hear a division of 3 on the 4th beat, the next measure will be in a meter of 3 (e.g. 3/4), for one measure only.
There are many possible ways to interact with this recording. If moving through space, try stepping on 1 and lightly playing drum, sticks, etc., or just silently clapping, on the other beats. For more of a challenge, do the reverse: play/clap on 1 and step the other beats of the measure. Be sure to take advantage of all the space (high, low, diagonals, back, front…) around you. If sitting, you could assign these roles to your left and right hands or simply conduct.
One note of warning: I did quite a few takes of this recording, many of which I liked but each of which contained at least one error. I finally decided not to let the perfect be the enemy of the good. This means that there will be at least one place in the recording that you will wish to give me “the fish eye”.
Well, if that isn’t the most wonky title for a blog post…
It’s less fancy than it sounds. This is an augmentation/diminution activity for the “amphribrach” rhythm, sometimes called “syn-co-pa”. In 4/4, the rhythm could be written quarter-half-quarter. (The rhythm could be notated in any simple duple or quadruple meter, like 4/4, 2/2, 2/4, 4.8, etc..) In this recording, “hip” means the rhythm goes twice as fast (diminution), “hop” means it will go twice as slow (augmentation). Return brings it back to the original. If you are unfamiliar with this compositional and improvisational device, this is all it means: making something faster (and thus smaller) or slower (and thus larger). When you move it, you really get to experience the changes in size.
The easiest way to ineract with the recording, might be to simply step the rhythm as played and called. Since many of us are practicing in confined spaces, you could step the base rhythm, play (without traveling) the diminution on a handheld percussion instrument, and step and play together the rhythm on the augmentation. I know I do not have nearly enough room to move the rhythm in it’s twice-as-fast form. But if you do, go for it!
Enjoy the syncopation. Try to embody the entire length of the long rhythm value in the middle of the pattern while maintaining the organization of the meter. The agogic accent of the longer note is a chance to expand, contract, lift, reach, etc. It’s a fun one to move!
If you’ve been coming to the drop-in class I’ve been offering on Wednesday mornings, you might enjoy the soundtrack I’ve been using. Here’s a link to a Spotify playlist that includes all of the music I’ve used so far. One of my goals this year has been to expand the kinds of music that I use in a Dalcroze class. I think list is a good step in that direction. I’ll continue to add to the list each week.
Here is a classic Dalcroze “Inhibition” game. Step and gesture or lightly clap simultaneously. At “feet” stop the feet. When you hear “feet” again, start the feet. Likewise with the signal “hands”. You might try improvising this without the recording at first, calling your own starts and stops. You can simply move the beat, or you can experiment with combinations of durations and patterns. On the recording, I take the mover through different combinations of the beat (the basic pulse), multiples of the beat (durations longer than one beat) and divisions of the beat (durations shorter than the beat). You can: simply aim to start and stop the feet and hands at the right time; aim to match the durations you hear from the piano; improvise your own rhythm patterns but let either feet or hands to match the music; start and stop the feet at the right time, but completely improvise the rhythm of your movement.
For good movement, use the longer durations to keep your weight moving through space (i.e. not just putting a foot down at the beginning of the note and stopping). Make full use of the space above, behind, to the sides, etc. for your upper body (i.e. keep the hands moving through each phrase).
Here we play with beats of 2, 3 and 4 divisions. I start with 3, which I am playing with a swing feel on the recording. At “hip” I take a way a division (e.g. 3 divisions becomes 2), at “hop” I add one (e.g. 3 divisions becomes 4). I am playing in a measure of 2 or a duple meter. “Return” signals a change back to 3. It could be notated in 6/8 with a dotted quarter beat for “3”; 2/4 with a quarter note beat for “2”, and 2/2 with a half note beat (and eight note subdivision) for “4”. The eighth note is kept at a constant tempo–or at least that is my intention! This is known as a “reaction” game or activity in Dalcroze parlance. In this case the signal is verbal (they can also be visual, musical or tactile).
Try bouncing and catching a ball on the beat. Bounce from one hand and catch to the other, alternating hands each time. It becomes a short study in the relationship between time, space and energy.
It is common practice in jazz to move between 2’s, 3’s, 4’s and more in jazz, however most often the beat stays constant (rather than the division or subdivision). I do remember Wynton Marsalis experimenting with this device on a couple early albums from the 1980’s, however. I’ll see if I can find it and update this post if I do.
Or… maybe you have an example in any genre of music you’d like to share?
In a measure of two beats, the length of beat can change from as low as two divisions (e.g. two eighths with a quarter note beat) to 6 divisions (e.g. 6 eighths with a dotted half note beat). I call the number of divisions right before each change. You could:
Simply step, gesture or conduct the beat (always in groups of 2; only the length of the beat changes).
Step the beat, gesture or silently clap the divisions. Also the reverse.
Step the division on 1 and the length of the whole beat on 2.
Toss a scarf (if not a scarf, it will need an object with some sort of air resistance unless you are outside or have very tall ceilings!) on the first beat, catch it on the second.
Same as above but also step the division on 1 and the full length of the beat on 2.
Plenty more ways you could get creative with this.
We’ll work with this activity (among others) in the Open Class Wednesday morning, October 6, 2020. This is a free Open Level Drop-in Dalcroze class I’m offering online during October and November. Send me your info through the contact form and I’ll put you on the list.
Step and clap the patterns that you hear. At the signal “hands”, stop the hands and move only the feet. When you hear “hands” again, restart the hands. Same with “feet”. Having trouble following? Use the piano: the left hand is associated with your feet, the right hand with your hands. This is known as a game of “Inhibition”.
This is the first of a series of posts for adults interesting in practicing eurhythmics on their own. The following is a known as “Reaction Game” in Dalcroze parlance. In a reaction game, a signal (auditory (musical or non-musical), visual, verbal or tactile) tells the participants what to do to explore a given musical subject. In this case, the subject is “Changing Meter”. See the instructions below for suggestions on how to use the lo-fi home recording I recently made. Better yet, make up your own variation!
Divisions of 2 on the last beat of the measure call for duple meter (e.g. 2/4); 3 call for triple meter (e.g. 3/4); 4 call for quadruple meter (e.g. 4/4). Suggestions: gesture the measure freely; step the beat or measure and conduct; toss a scarf on 1; clap the measure and step the beat, being careful to use space to express the measure grouping.