• License
  • Solfége
  • Improvisation
  • Eurhtyhmics
  • Plastique
  • Pedagogy

License Jaques-Dalcroze

The teacher-training program at The Institute for Jaques-Dalcroze Education is structured to provide a comprehensive experience in the Methód Jaques-Dalcroze. It is based in the same traditional values handed down to us by its founder, and refined to train and educate the twenty-first century musician and educator.

The examinations are designed to reflect these values and thereby require genuine musicality and specific musicianship skills in fixed-doh solfége and ear training, keyboard harmony, improvisation for movement, and Jaques-Dalcroze body-movement technique. The License pedagogy examinations require a demonstrated love of teaching using specific pedagogic techniques that are unique to Jaques-Dalcroze educators and designed to teach professional musicians.

The Plastique Animé examinations are designed to allow candidates to demonstrate their creative skill at designing the physical structure (form and analysis) of a composition in space by using the human body as the instrument. Again, remaining true to our core values, the plastique realization (choreography) is to be performed only with live musicians in real time. Live realizations provide unique musical experiences each time the piece is performed. They also develop good ensemble habits among all the musicians (physical, vocal, and instrumental), strengthen one’s ear, and refine one’s quick reactions.

A term paper is required for the License Jaques-Dalcroze. The topic is based upon a subject chosen by the candidate in consultation with the faculty.

Solfége:

  • To be performed:

    • Doh-to-Doh Scales:

      • The candidate will sing any given Doh-to-Doh major or minor scale in both directions.

      • The candidate will sing any two given Doh-to-Doh scales in major one ascending and the other descending..

    • Sight-Singing:

      • The Candidate will sight-sing a given piece of vocal literature first without and then with accompaniment. (E.g., “Orpheus With His Lute” by W. Schuman or Ständchen, Op. 106, No. 1 by J. Brahms or any selection from “Metrique et Rythmique Melodies” by E. Jaques-Dalcroze.)

      • The piece should be in any major or minor tonality containing modulations to related and non-related keys, in compound or simple meter.

      • The candidate will sing the appropriate Doh-to-Doh scale to establish the tonality.

    • Changing Clef Sight-singing:

      • The candidate will sight-sing a given 16-bar melody using any of the seven clefs.

      • The piece should use all seven clefs.

    • Rhythm Realization:

      • The candidate will realize two 16 bar rhythms, one in simple and the other in compound meter.

      • One must be crusic and the other anacrusic.

      • For each piece the candidate will:

        • First articulate the rhythm on neutral syllables while conducting the meter then on the repeat clap the rhythm.

        • Choose one piece on which to improvise a melody containing at least one transient modulation to and from a related key in a given major tonality.

      • The candidate will sing the appropriate Doh-to-Doh scale to establish the desired tonality.

    • Two-part Rhythm Realization:

      • Sight-read an 8-bar, two-part rhythm in simple or compound meter.

      • The candidate will clap the bottom voice while articulating the top.

      • At “hop” the candidate will switch between the two voices.

    • The Espéce:

      • The candidate will sing and resolve chords in 1st, 2nd and 3rd and 4th espèce in root, 1st, 2nd, and 3rd inversions.

    • Play And Sing:

      • With four days preparation, the candidate will sing the melody and play the accompaniment of one selection from Leçon Melodiques by Emile Jaques-Dalcroze.

      • The selection is usually assigned from the second half of the collection.

  • To be written:

    • Doh-to-Doh Scales:

      • After hearing each scale the candidate will first indicate the correct Doh (natural, sharp or flat) on the staff paper then identify the major or minor.

    • Rhythm Dictation:

      • The candidate will notate on staff paper a given eight-bar rhythm repeated five times.

      • The rhythm should contain changing simple or compound meter with patterns at the beat, first, and second division and multiple.

      • On each consecutive hearing the candidate will:

        • Listen

        • Conduct the meter

        • Clap the pattern

        • Clap the pattern again

        • Listen

        • Write

    • Melodic Dictation:
      The candidate will notate on staff paper a given 8-bar melody in any given tonality after five repetitions.

      • The melody should be in simple or compound changing meter in any major or minor key other than Doh Major or La minor.

      • On each consecutive hearing the candidate will:

        • Listen

        • Conduct the meter

        • Clap the pattern

        • Sing the melody on neutral syllables

        • Listen

        • Write

    • Two-part Rhythm Dictation:

      • The candidate will notate the rhythm of an 8-bar, two-part composition performed five times.

      • The listening procedure is the same as above.

    • Two-part Melodic Dictation:

      • The candidate will notate on staff paper a given 8-bar, two-part composition after five hearings.

      • The composition should be in simple or compound meter in any major key other than Doh.

    • Bass Line Harmonic Realization: (en canon)

      • The candidate will notate in canon a bass line on staff paper using whole notes.

      • The bass may be in any given major key.

      • It should contain at least two transitory modulations.

    Candidates are given 20 minutes to review the exam without a piano.

Improvisation

  • To be performed with six days of preparation:
    • The candidate will prepare the following unwritten compositions using the stated qualifications.
      • Form: Rondo, ABA or Sonatina:
        • The piece is based upon a given 8-bar theme written in any major or minor key.
      • Solfege Subject:
        • Exploiting a suite of at least four different solfege subjects i.e., polymetrics, polyrhythmics, anacrusic phrasing, unequal measures and/or beats, etc.
      • Imaginative Composition:
        • A free from based on a piece of descriptive poetry or a painting chosen by the candidate.
  • To be performed with 20 minuets of preparation:
    • Non-Figured Bass:
      • The candidate will realize a 16-bar non-figured bass line suggesting chromatic harmony.
      • The bass should contain at least one sequence and two modulation; one to a related key and another to an unrelated key.
    • Melody Harmonization:
      • The Candidate will harmonize a 16-bar melody in any given tonality suggesting chromatic harmony.
      • The melody should contain at least one sequence and two modulation; one to a related key and another to an unrelated key.
    • Rhythm Realization:
      • The candidate will realize a given 16-bar rhythm which changes meter from simple to compound by way of the beat and the division.
      • The candidate will repeat the rhythm in a different style, key, and mood.
    • Two-part Rhythm:
      • The candidate will realize an 8-bar, 2-part rhythm in simple or compound meter using two or more voices in any given major or minor key other than Doh major or La minor.
      • The rhythm will include patterns using the beat's first and second divisions and multiples.
    • Modulations:
      • The candidate will improvise on a given harmonic progression i.e., Fa major > La minor > Si Flat Major > Ré Major > Sol Minor > Fa major
      • The candidate should use the basic color chords (iv, Neo. 6, Aug. 6, vii7˚) for modulation when possible.

Eurhythmics

  • A eurhythmics class of candidates is formed specifically for the jury to observe and evaluate each individual.
  • The class will be designed to include, but is not limited to, the following solfege subjects:
    • Canon: pattern and at the measure
    • Arm-beat patterns in simple and compound meter
    • Syncopation by anticipation and by retardation
    • Augmentation - Diminution by 2 and 3 times as fast and slow
    • Anacrusic Phrasing
    • Unequal Measures
    • Unequal Beats
    • Polyrhythmics using the five basic rhythm patterns of Anapest, Dactyl, Iamb, Trochée and Amphabrach
    • Polymetrics:
      • Simple and compound 3 against 2, 4 and 5
    • Rhythmic transformation
    • Rhythmic transposition
  • The class will be designed to include but is not limited to the following eurhythmic subjects:
    • Listening
    • Balanced ratios of time, space and energy
    • Coordinatio
      • Association
      • Disassociation
    • Quick Reactions
      • Inhibition
      • Excitation
    • Concentration
    • Memory
    • Body Technique

Plastique Animé

  • The candidate will chose a group of 3 or more individuals to create a plastique realization of a composition given one week in advance.
  • The piece should be at least 32 measures in length and have a clearly defined form.
    The candidate is encouraged to compose the piece if possible.

 

Pedagogy

  • Requirements:
    • Candidates are given three thirty-minute periods to student teach for a total of nonty minuets on a pass or fail basis. Detailed preparation precedes while constructive critical analysis follows each lesson. Students must achieve two passes (out of the three trials) to fulfill the pedagogy requirements for the License Jaques-Dalcroze.
    • The examination classes are usually given at the Institute for Jaques-Dalcroze Education’s Summer Institute in either Module III or Module IV but may be completed during the Fall-Spring Semester Program with students who are at least at the Jaques-Dalcroze Certificate level.
    • Candidates may choose one subject for one lesson, while the faculty choose the subject for the other or others.