e.g., {Music}

These exercises in syncopation are perhaps some of the most difficult in
the method, as they demand an extraordinary control of inhibition.
Individuals of musical ability often find them difficult at first, and
their easy performance may be taken as evidence of a developed feeling
for rhythm. As a rule children find these exercises easier than do
adults.

[Illustration: Beating 5/4 in canon without
expression.]

[Illustration: Beating 5/4 in canon with expression.]

[Sidenote: =REALIZATION OF TIME AND RHYTHM=]

The object here is to express by rhythmic movements and without
hesitation rhythms perceived by the ear. The exactness of such
expression will be in proportion to the number of movements of which the
pupil has acquired automatic control. There is not time to analyse the
music heard; the body must _realize_ before the mind has a clear
impression of the movement image, just as in reading, words are
understood and pronounced without a clear mental image of them being
formed.

When the realization of a rhythm heard has become relatively easy, the
pupil is taught to concentrate, by listening to, and forming a mental
image of, a fresh rhythm while still performing the old one. In this
manner he obtains facility in rendering automatic, groups of movements
rhythmically arranged, and in keeping the mind free to take a fresh
impression which in its turn can be rendered automatic.

Here again the process is analagous to that of reading, in which, while
we are grasping the meaning of a sentence, the eye is already dealing
with the next, preparing it in turn for comprehension.

[Sidenote: =DEVELOPMENT OF INDEPENDENT CONTROL OF THE LIMBS=]

Characteristic exercises of this group are: beating the same time with
both arms but in canon, beating two different tempi with the arms while
the feet march to one or other or perhaps march to yet a third time,
e.g., the arms 3/4 and 4/4, the feet 5/4. There are, also,
exercises in the analysis of a given time unit into various fractions
simultaneously, e.g., in a 6/8 bar one arm may beat three to the bar,
the other arm two, while the feet march six.

[Sidenote: =DOUBLE OR TRIPLE DEVELOPMENT OF RHYTHMS=]

These exercises are a physical preparation for what is known in music as
the development of a theme. While the composers of fugues always use a
double or quadruple development, the method introduces an entirely fresh
element--the tripl