is not required in the _pupil_, however valuable it may be as
an additional means of self-expression; it is, however, absolutely
necessary for the successful _teacher_ of rhythmic gymnastics, who must
be able to express, on some instrument--most conveniently the
piano--whatever rhythms, simple or compound, he may wish to use in the
training of his pupils. This subject, therefore, naturally forms an
important part of the normal course at the Hellerau College, since this
course is planned to meet the needs of students preparing for the
teaching diploma in Eurhythmics. Here, too, Jaques-Dalcroze has his own
system, with which he obtains results often remarkable, but, as in the
case of the ear-training, this is a detail not peculiar to the method as
a whole.

To repeat: the essentials are that the teacher have the power of free
expression on some musical instrument, the pupil that of hearing
correctly.

* * * * *

The system of exercises known as rhythmic gymnastics is based upon two
ideas, (i) _time_ is shown by movements of the arms, (ii) _time-values_,
i.e., note-duration, by movements of the feet and body. In the early
stages of the training this principle is clearly observed; later it may
be varied in many ingenious ways, for instance in what is known as
plastic counterpoint, where the actual notes played are represented by
movements of the arms, while the counterpoint in crotchets, quavers or
semiquavers, is given by the feet.

The system of beating time with the arms provides for all tempi from
2/4 to 12/4 and includes 5/4 7/4 9/4.

In the series of movements to represent note-values the crotchet is
taken as the unit; this is represented by a step; higher values, from
the minim to the whole note of twelve beats, are represented by a step
with one foot and a movement or movements with the other foot or with
the body, but without progression, e.g., a minim by one step and a knee
bend, a dotted minim by a step and two movements without progression, a
whole note of twelve beats by a step and eleven movements. Thus for
each note in the music there is one step, one progression in space,
while at the same time the note, if of greater length than a crotchet,
is analysed into crotchets.

Notes of shorter duration than the crotchet, i.e., quavers, triplets,
etc., are expressed also by steps which become quicker in proportion to
their frequency.

When the movements corresponding to the no