lly adopted at
demonstrations of the method. In actual practice such strict grouping is
neither possible nor necessary; the actual form which the lessons take
will depend upon the genius of teacher and pupils, the possibilities of
variety being infinite.

[Sidenote: =MOVEMENTS TO INDICATE VARIOUS TEMPI=]

Simple music is played to which the pupils march. As they grasp the beat
they mark it by an accented step; when this becomes easy, the
corresponding arm movements are added, and the strong beat, at this
stage always the first, is marked by full contraction of the arm
muscles. Practice is given until at _hopp_ the pupil can stop suddenly,
discontinue accenting with one or both arms or with one or both feet,
substitute an arm-movement for a foot movement, insert an extra accent
either with arm or foot, or do any similar thing previously agreed on.
By repeated practice of such exercises complete automatic control of the
limbs is obtained and the ground prepared for more advanced work. It is
at this stage that the simple movements to indicate times and notes are
learnt; they may be likened to the alphabet of the method, the
elementary exercises as a whole being its accidence, the more advanced
stages, including plastic expression, its syntax.

[Sidenote: =TRAINING IN METRE=]

This group of exercises is a natural extension of those preceding.

The pupil learns a series of movements which together form a rhythm,
first practising them singly, then in groups, the signal for the change
being always the word _hopp_. By means of such exercises the component
movements required in the physical expression of a rhythm can be learnt,
first individually, then in series, until the complete rhythm can be
expressed and the use of _hopp_ be dropped, each change of movement
becoming itself the signal for the next.

Again, the pupil learns to realize[1] a rhythm played on the piano or
indicated by the movements of another person. This is something quite
apart from mere imitation; trained by previous exercises, the pupil
first forms clear mental images of the movements corresponding to the
rhythm in question and then gives physical expression to those images.
In other words, he does not reproduce until he has understood; in fact,
without understanding, correct reproduction of a lengthy series of such
movements is impossible. In the same way, an individual cannot easily
remember and repeat a succession of words which he does not