same time
listening and mentally registering the one being played, so as to be
ready on the instant at the word of command, which is _hopp_, to change
to the new rhythm. We will suppose it to be as follows {Music}. This, it
will be noticed, is in 3/4 time. The pupils become accustomed to
dropping frequently into various times with the greatest ease. The three
bars would then be realized consecutively, and this process will
continue until perhaps there are six bars in all. These must all be so
clear in the minds of the pupils, that at the word of command, one bar,
or two bars, can be omitted on the instant, or be realized twice as
quickly, or twice as slowly; or what is still more complicated, the arms
can beat the time twice as slowly and the feet mark the notes twice as
quickly. It seems incredibly difficult to do at first, but the same
training of _thinking to time_ occurs in every lesson, in improvisation
and solfege, as well as in the rhythmic gymnastic lessons, and so the
invaluable habits of concentrated thinking, of quick and definite
action, and of control of mind over body, become established.

[1] See note, page 41

[Illustration: The Air Bath.]

[Illustration: The College: Entrance Hall.]

Each lesson is varied to a remarkable degree; in fact, Monsieur
Jaques-Dalcroze seldom repeats himself. Every day he has new ideas,
consisting of new movements, or of new uses for old ones, so that there
is never a dull moment. It must be understood, however, that the
alphabet and grammar of the movements remain the same, it is the
combinations of them that are limitless. The music is, of course, always
improvised.

A word should be said on the subject of feeling two different rhythms at
the same time. Every teacher knows the difficulty children have in
playing three notes against four on the piano. The Hellerau children can
with ease beat four with one arm and three with the other, or beat three
with the arms and two or four with the feet, or _vice versa_. And this
is not learnt in any mechanical way; the power for _feeling_ two rhythms
simultaneously is developed. Advanced pupils can realize three rhythms
at the same time. They will perhaps mark one with the arms, another with
the feet, and sing yet a third.

Another part of the work is to teach the pupils to express the type of
music that is being played; this is technically known as "Plastic
expression." The alphabet of this consists of twenty gestur