es with the
arms, which can be done in many various combinations and in various
positions, and by means of these any kind of emotion can be expressed.
Perhaps the music will begin by being solemn and grand, becoming even
tragic, and gradually the tones and melody will rise to cheerfulness,
the rhythm will become more animated and the tone swell out again until
a perfect ecstasy of joy is reached--and all the while the figures of
the pupils are harmonising absolutely with the music, trained as they
are to listen accurately to every note, every accent, every change of
key and, above all, every rhythm. To the watcher such an exercise is
effective and striking in the highest degree.

Realizing syncopated passages is a fine exercise for developing
independence of movement in the arms and feet, as the feet move in
between the beats of the arms. Let any one try to realize a simple
measure in syncopation. For instance, take a bar of 4/4 time {Music}.
The first beat of the arms and the first step will come together, the
second beat of the arms will come half-way between the second and third
steps, the third beat half-way between the third and fourth steps, and
the fourth beat half-way between the fourth and fifth steps, and this
should be done with no contraction of muscle or appearance of effort.

Other exercises consist of beating various times in canon, that is, one
arm beginning one beat later than the other; of beating different times
with each arm, perhaps seven with one arm and three with the other; of
marching to one rhythm and beating time to another; of simple marching
and at the word of command taking one step backward, and then forward
again; of marching the counterpoint of a rhythm. For instance, if the
rhythm played be {Music} the counterpoint in crochets would be {Music},
or if it is to be in quavers it would be {Music}. The counterpoint can
be filled in with triplets, semiquavers, or with notes of any other
value.

Another good exercise is to take a simple rhythm and at the word of
command realize it twice or three times as quickly or as slowly, the
arms still beating in the first tempo. A simple example will make this
clear. {Music} twice as quickly would become {Music}.

The pupils are often asked to listen to what is played and then to
realize it. It may be a series of four bars, each one in a different
tempo, and all times are employed, including 5/4, 7/4, 9/3 and
others which are somewhat exceptional. An