QUICK REACTION EXERCISES

when the teacher uses a signal to motivate a change in movement through one of four means: verbal, aural/musical, visual, or tactile

If there is a classic exercise in the eurhythmics experience, the quick reaction may be it.

I remember my first eurhythmics class when my teacher said, “And when I say ‘change,’ you’ll change between hands and feet.” My eyes got big and I thought, “You want me to do what?” I never thought this was a skill I could master, and certainly, in that moment, I never realized how much fun quick reaction exercises could be. Musicians need to be flexible, ready for change, and prepared for the unpredictability of performance. Quick reaction exercises serve to develop these skills while allowing teachers to reinforce new concepts and build the level of challenge in a class.

In a quick reaction exercise, the teacher uses a signal to motivate a change in movement through one of four means: verbal, aural/musical, visual, or tactile. Each challenges students di erently and develops other skills, such as listening, coordination, and concentration, in various ways.

Verbal Quick Reaction

Here, the teacher (or a student) gives a verbal cue (“change,” “hip,” “hop,” etc.) to stimulate change. e frequency of the signal is one component that determines the level of di culty of the exercise. When I’m introducing a topic, I may signal change at the end of a phrase; as students master the skill, I increase the frequency to add a layer of di culty.

One of my favorite things to do in a class is to choose an interval (each measure, for example) to say “change,” to set up a habit, then change the interval at which I give the signal. Invariably, students have been lulled into believing the pa ern will last forever and get surprised by the sudden lack of change! It’s always a great reminder for them of how musicians can’t stop listening, thinking, and reacting. Unpredictability is fun.

Aural/Musical Quick Reaction

Laced into the teacher’s improvisation, an aural quick reaction uses music to signal a change. An easy example of an aural reaction is playing for a locomotor skill—a march—then changing to another—a skip—using only the music as a guide. No words!

e possibilities are endless: Music in major may indicate stepping forward; in minor, backward. ree notes played in the bass might indicate tapping the floor; a trill in the soprano means turn around or change direction. Aural reactions are fun and help develop listening skills.

Visual Quick Reaction

Here, students need to watch the teacher (or a partner) to execute a change. e teacher might tap beats on their head, and students imitate. en the teacher switches to shoulders, then knees, and students make each change with them.

A more challenging visual reaction might use gestures to indicate specific rhythm pa erns. For example, in compound meter, arms overhead indicate divisions; arms extended down, the beat; out to the side, a skip; and in toward the chest, short-long. e class claps or sings the rhythm as the teacher moves between pa erns; a student could lead the exercise while the teacher plays, leading to interesting experiences with phrasing and cadences. To add another layer, split the class in half. One group watches the right arm; the other, the le , and magically, the quick reaction also becomes a dissociation exercise.

Visual reactions can be helpful to change the pace of a class, or to use when the teacher feels a need to be with the group physically rather than at the piano. ey provide opportunities for students to lead an exercise. ey also help students learn to “hear” music in their heads when it’s not being provided for them, enhancing their musical imagination and providing a pathway to improvisation.

Tactile Quick Reaction

Here, the signal for change is indicated by touch. is may be the least frequently used type of reaction, but, like an aural/musical cue, is an e ective way for teachers and students to communicate without words.

Imagine students seated in a circle. One person walks around the outside of the circle. If they tap someone’s head, that person claps the beat; shoulders, divisions.

Another possibility: in pairs, one student taps beats (or a pa ern) on the shoulder of their partner, who responds by clapping, articulating, or improvising a melody in rhythm.

A fun exercise is to place students in a line. e student in the back taps a rhythm on the person in front of them, who does the same to the person in front of them; when the teacher says “change,” everyone turns around and the rhythm “changes” direction. Warning: silliness can easily ensue!

Placing the signal to change is essential to successful execution of any quick reaction exercise. Give the cue too soon and students may try to change before it makes musical sense; too late, and the teacher sets the class up for failure. When I execute a quick reaction in class, I think anacrusically so that placement of my signal aligns rhythmically with the musical element.

Closing oughts

Association/dissociation and quick reaction exercises are closely related: an association may quickly turn to a dissociation as the teacher starts to improvise over a rhythm and layers a new skill; that dissociation may then become the basis for a quick reaction exercise. ese strategies teach listening, coordination, concentration, and memory and are a valuable asset in a eurhythmics teacher’s cache. ■

Endnotes

1 Émile Jaques-Dalcroze, Rhythm, Music and Education, trans. Harold Rubenstein (Ashford, Kent: e Dalcroze Society, 1967), 70.

2 Jaques-Dalcroze, 61.

Mary Dobrea-Grindahl, Diplôme Supérieur, is Professor Emerita at Baldwin Wallace University where she enjoyed a multi-faceted teaching and performing career for over 30 years. She is Vice Chair of the Dalcroze Society of America Board of Trustees, a member of the PDC (Professional Development Commi ee), and served as editor of the American Dalcroze Journal. Mary trained teachers as a faculty member of the Dalcroze School of the Rockies Summer Academy and the University of Maryland, College Park; she also worked at the Institute for Jaques-Dalcroze Education in Bethlehem, PA. As a clinician, her workshops focus on using eurhythmics to develop artistry. Mary is dedicated to using music to bring art to members of underserved communities; her current passion is developing ways to use eurhythmics to teach reading literacy to children.

By Herbert Henke • Introduction by Aaron Butler

Developing Aural Skills with Card Games

Originally published in the American Dalcroze Journal, Vol. 22, No. 2

Émile Jaques-Dalcroze’s vision of musical education was joyful and kind. He said, “It is the function of teachers, by care and perseverance, to create in students’ souls the ray of joy.” (Rhythm, Music and Education, 1915)

Herbert Henke connected this to the delight of puzzles. In a 1999 interview he said, “It’s vital to arouse curiosity when you teach music. You must o er a bit of surprise, like completing a puzzle” (For the Love of Teaching, 1999). Here, in Herb’s own words from vol. 22, no. 2 (Winter/Spring 1996) of the American Dalcroze Journal, is the joy—and intrigue—of musical puzzles.

Explore more of the archive at dalcrozeusa.org/adj

There is no doubt that Émile Jaques-Dalcroze was a clever, imaginative teacher. One only has to read eyewitness accounts of his eurhythmics classes or consider his solfège-rhythmique approach to the teaching of ear training and sight singing to verify this description of him. Today we would probably call many of his teaching techniques “game strategies” because they contain the elements of fun and challenge. Reading a simple scalar melody with insertions of di erent key signatures every few measures, for example, requires quick-reaction and alert awareness of whole- and half-step placements. Meeting the challenge and hearing the abrupt key shi s can provide amusement and a sense of accomplishment that leads the reader to want to repeat the exercise with a new set of key signatures.

Jaques-Dalcroze emphasized that his teaching approach should be adapted to fit each teacher’s particular strengths, interests, and se ing. Eurhythmics is not a step-by-step method that never varies, even though there is a logical sequence for learning that underlies the teacher’s planning. is pedagogical freedom has been both a strength and a deterrent in the dissemination of Jaques-Dalcroze’s ideas. e freedom has allowed eurhythmics to be adapted for use in many di erent environments—artistic, educational, and therapeutic. However, the expectation that the teacher must take the initiative to develop a teaching plan rather than follow a preconceived set of instructions dissuades many persons from commi ing themselves to the use of eurhythmics in their work. e playing card game strategies described in this article should be considered as possible teaching ideas that might fit under the umbrella term of eurhythmics. Would Jaques-Dalcroze have approved them? Who knows, but they do contain elements of fun, challenge, and easy manipulation of simple material that are the hallmarks of eurhythmics teaching. ey also require the student to concentrate, to respond to aural stimuli, and/or to produce tonal pa erns on command. e strategies reflect the author’s interest in puzzles and solitaire, both of which are wonderful devices to avoid dozing o while mindlessly watching television. Everyone who reads this article is encouraged to try playing each game with a set of playing cards while si ing in a comfortable chair with a lap board or in front of a desk or table. en shu e the cards and play the game again. Your ability to sing scale degrees and intervals will be improved with practice. ose who use the playing card game strategies must be careful to adapt the level of di culty for their own teaching situations. Success comes in the careful balancing of challenge and fun: too simple is boring and too hard is frustrating. Feel free to change content and to invent di erent strategies as “spin-o s” from what is presented here.

For the following strategies, each person should have one or more sets of playing cards, ace (1) through eight. For the teacher’s use, a set of giant-sized cards purchased in a novelty shop will be an advantage. Playing cards are an advantage because they can be read easily from more than one position. If playing cards are not available, it’s simple to make facsimiles on 3x5 file cards. It is helpful to have a mixture of black and red numerals on the cards. When the games require students to work together, they should sit on the floor or around desks/tables, pairs facing each other or in small circle groups. O en it is advisable to have two or three students sing while sharing the same cards in order to help one another be successful.

Games in which the cards represent scale degrees: Each card represents the number of a major scale degree. Use any keys that are comfortable to sing or play. Eventually, these games can be played in the minor mode or even in other modes if the instructor wishes.

Games in which the cards represent intervals: In these games, each card number represents an interval. Naturally, students tend to be confused by this change from the preceding games. One way to deal with the confusion is to use only black numbers for scale degrees and red numbers for intervals. Most of the games deal with the intervals that occur within the diatonic major (or minor) scale. For instance, in the major scale “1 – 3” is a major third, “4 – 2” is a minor third.

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♠ GAME NO. 1

The teacher holds up each card in random order for the students to sing. The student may respond by singing syllable names or numbers, depending upon the teacher’s pref- erence. The cards are shu ed and the game is repeated. The obvious adaptation is to begin with only 1’s, 5’s, and 8’s, or only 1’s, 2’s, and 3’s, or whatever limited number of pitches the teacher thinks is appropriate for the group.

GAME NO. 2

Students turn up their own cards and work individually. Another possibility is for the students to sit in a circle, each turning up one. Each student sings the pitch indicated by the card and the group immediately follows by echo-singing that pitch or by singing the correct pitch if the individual student erred.

GAME NO. 3

The teacher plays a scale degree and the student puts down the appropriate card from the ones held. When all of the cards are put down the entire group of students sings the pitches in order from le to right. Again, the game can be as di cult or as simple as the teacher determines. For example, it could be played with just two di erent pitches: “1” and “3.” Everyone, of course, must have the same number of cards, such as four “1’s” and four “3’s.”

GAME NO. 4

Put down a vertical double row of cards. An example might be “2 – 5 – 4 – 8” in the row to the le and “3 – 1 – 6 – 7” in the second row. The student must sing “3 – 2,” “1 – 5,” “6 – 4,” and “7 – 8.” If desired, the student can be directed to sing each interval twice using the words “3 – 2, major second,” “1 – 5, perfect fi h,” etc.

GAME NO. 5

Each student has eight cards representing a major scale. The teacher plays four intervals such as “2 – 5, 8 – 7, 3 – 1, 4 – 6.” The students place the correct cards down in front of them. Be sure to ask the class to sing what they have put down in front of them a er the cards are in place.

GAME NO. 6

The teacher holds up cards in random order a er establishing the pitch on which each interval is to be created. If “1” is the first pitch and each interval is sung ascending, then the card numbers coincidentally represent both intervals and scale degrees. But if “8” is the first pitch and each interval is to be sung descending, the card numbers truly represent only the intervals to be sung. Other scale degrees should

GAME NO. 7

This game can be played with the teacher holding up the number cards or with two or more students placing cards on the table in sequence. The first pitch sung is “1.” The card shown indicates the interval to be sung. The next interval shown by the next card is to be sung from the last pitch, and so on. The person showing the card would announce “ascending” or “descending.” For example, if the key is C and the first four cards are “4-ascending, 6-descending, 2-ascending, and 3-ascending,” then the pitches to be sung would be “C – F, F – A, A – B, B – D.” (The underlining represents pitches below “1.”)

GAME NO. 9

also be used as the first pitch for each interval. The issue of ascending or descending intervals must be decided by the teacher. The direction to be sung can be announced each time. Another possibility is to use the playing card suits. For example, if red cards are being used, the hearts can represent ascending intervals and the diamonds can represent descending intervals. If both ascending and descending intervals are to be sung from a given pitch, remember to choose a key that is vocally comfortable.

GAME NO. 8

Individuals can practice singing both scale degrees and intervals by dividing cards into two piles of black and red numbers. Turn up a black card and sing that scale degree. Turn up a red card and sing that interval ascending or descending from the pitch sung on the scale degree. Turn up another black card for a new scale degree and another red card for a new interval to be sung. Another more di cult version of this game is to turn up the red card first and then the black card. The challenge is to make the black card scale degree the second note of the interval to be sung.

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The cards can be used to go beyond diatonic interval singing. For example, use just two suits—hearts representing major and spades representing minor. Decide on the first pitch from which each interval is to be built. Then sing ascending or descending major or minor intervals according to the card shown. As in Game No. 8, it can be more di cult to use the agreed-up- on scale degree as the second note of the interval rather than the first.

GAME NO. 10

Students have both red and black cards representing as many intervals as the teacher wishes to use. In this game red signifies a major interval and black signifies a minor interval. A beginning experience might be to use just the numbers “2, 3, and 5.” The teacher then plays either melodic or harmonic inter- vals of major and minor seconds, thirds, and fi hs. The students place red or black cards on the table in the order of the intervals played. When checking accuracy a er all of the intervals are played it is a good idea for the teacher to play each interval and ask the stu- dents to echo-sing it.

Skill development requires practice. However, repetition without thought or without change becomes very tiresome and unproductive. e advantage of using card games lies in their easy manipulation of basic musical material, the fun of using playing cards in an unorthodox way, and the need for students to react actively and quickly to aural and visual stimuli. e games will be enjoyed if the teacher carefully adapts them to match the students’ level of musical development so that a feeling of success rather than frustration is engendered. When all of these considerations are taken into account, the games can be a valid part of the eurhythmics experience. ■

Herbert Henke (1931–2015) was Emeritus Professor of Eurhythmics and Music Education at Oberlin College Conservatory of Music. Prior to his Oberlin appointment, he taught at the University of Maryland and in the Oberlin and Cleveland public schools. Dr. Henke was active as a clinician in eurhythmics choral music and music education throughout the United States, Western Europe, Taiwan, and Japan. He had extended teaching residencies in Australia, Germany, and Sweden and served as choral director for the American School in London and as a music consultant in El Salvador and Costa Rica. Dr. Henke authored numerous articles on integrating eurhythmics into choral and instrumental training.