e development, exercises in which are difficult but
extremely valuable.

[Sidenote: =PLASTIC COUNTERPOINT AND COMPOUND RHYTHMS=]

In plastic counterpoint the arms realize the theme, i.e., make as many
movements as there are notes, whilst the feet mark the counterpoint in
crotchets, quavers, triplets or semiquavers.

A compound rhythm may be realized by the arms taking one rhythm, the
feet another; or the rhythms of a three part canon may be expressed by
simultaneous singing, beating with the arms and marching.

These exercises correspond in the sphere of physical expression to the
technical exercises of instrumental work, for they teach the pupil to
express simultaneously impressions of the most varying nature.

[Sidenote: =GRADATION OF MUSCULAR EFFORT. PATHETIC
ACCENT. PLASTIC EXPRESSION=]

The exercises already dealt with have all the general purpose of
developing feeling for rhythm by giving training in the physical
expression of rhythms. Those in this last group aim at facility in
making crescendos and decrescendos of innervation, in passing from one
shade of expression to another, in co-ordinating movements, not only to
the rhythm of the music played, but also to its feeling; they allow free
play to individuality, to temperament, and give opportunity for that
free self-expression for which the preceding exercises have provided
facility.

PERCY B. INGHAM.

LESSONS AT HELLERAU

Monsieur Jaques-Dalcroze's lessons are full of vitality and
entertainment, combined with the serious work in hand. No slacking is
possible. He will perhaps open a rhythmic gymnastic lesson by playing a
vigorous theme of one or two bars in a rhythm such as the following:--

{Music}

which, as soon as it is grasped by the pupils, they begin to
_realize_,[1] that is, to mark the tempo with the arms, and to move the
feet according to the notes. A note which contains more than one
beat--for instance, the minim in the first bar--is shown by taking
one step forward for the first beat and by a slight bend of the knee for
the second beat. The next two crochets are represented by one step for
each. A step is also taken for each quaver, but twice as quickly; for
the dotted crochet, a step and a slight spring before the last
quaver--all this while the arms are beating a steady four. After a short
practice of these two bars, the master will glide into yet another
rhythm, the pupils still realizing the first one, but at the