Listen to an excerpt from each volume of the Audio Library
“music and movement”

VOLUME 1 : pulsation & locomotion

This volume includes ten musical pieces mainly focused on the theme of locomotion. Through walking, running, jumping, slow walking, dance steps, etc., the pulsation, which is the basis of music, is embodied in the body. The pulsation (beat), in the body, is translated by steps. From the pulsation to the measure, then to the phrasing, VOLUME I brings together these musical notions intimately linked to each other, which give life and meaning to the musical discourse.

pulsation & locomotion

1. walk
2. melodic movement and repeated notes
3. 1 voice, two voices, many voices
4. changing tempo
5. 4/4 phrases
6. 4/4 playing with 5 different rhythms
7. walk in 3/4
8. five beats (changing tempo)
9. quarter notes & syncopations
10. folk dance in 2/4

VOLUME 2 : beat, subdivision and multiple

Volume 2 is based on the notion of pulsation and develops the concept of division and multiplication of the basic pulsation. This naturally leads us to different speeds, in precise relation to each other. These relations necessarily imply relations between the notions of time, space and energy, a central subject of Dalcroze pedagogy.

beat, subdivision & multiple

1. walk
2. 4/4 quarter half whole notes
3. 4/4 Sequence of fourth & eighth notes
4. quarter & eighth notes together
5. modal Suite
6. classical Suite
7. anapest & pulsation
8. 3/4 continuous canon
9. 4/4 syncopation twice as fast/twice as slow
10. irish melody

VOLUME 3 : basic rhythms

Volume 3 presents simple rhythms, created from the different note values introduced in the previous two volumes. These include mainly short-short-long and long-short-short combinations. The purpose of these musical tracks is to introduce a variety of activities that allow students to assimilate musical rhythms while developing their motor skills and coordination.

basic rhythms

1. anapest (short-short-long)
2. dactylic (long-short-short)
3. anapest & pulsation
4. dactylic & pulsation
5. anapest-dactylic alternately
6. anapest & dactylic together 1 & 2
7. canons A & B
8. trochee (long-short) & iamb (short-long)
9. continuous canon
10. playing with ostinato rhythms
11. “Keep the Rhythm” anapest ostinato

VOLUME 4 : contrasts

The subject of contrasts is a way in which young children can begin to put words to what they hear. It is an excellent teaching tool for making conscious what is often the responsibility of intuitive listening. While some of the contrasts in this volume are within the reach of younger children, others are aimed at more experienced children and even adults.

contrasts

1. walk forte piano
2a. roll the ball
2b. toss the ball
2c. roll and toss the ball
2d. bounce and toss the ball
3. sounds and rests
4a. bass and treble
4b. staccato and legato
5. up and down the ladder
6. dialogue between bass and soprano
7. three-part suite
8. gigue in major and minor
9. rondo in major and minor
10. one or two or many voices
11. moving pictures

VOLUME 5: natural movements

This volume approaches natural movements in the simplest way: the proposed music invites one to move freely, without any particular thought. The concept of complicity between the music and the student’s movement is at the basis of Jaques-Dalcroze rhythmics. This means that what the body does is consistent with the music the student hears. This complicity nourishes both the movement and the musical sense.

natural movements

1. swinging walk
2. fast walk in 3 beats
3. sway
4. gallop
5a. slow walk
5b. flea jump
5c. grasshopper
5d. toad jump
5e. locomotion sequence
6. suite
7. skip and walk
8. slow strut
9. changing tempo
10. walk and skip A_B
11. folk dance in dorian

VOLUME 6: phrasing

Phrasing is the art of conducting a musical discourse. Like the phrasing of spoken language that translates thought, musical phrasing has inflection, movement, articulation, breathing, dynamics and direction that express an intention. Bodily movement and the use of space allow one to both feel the phrasing, become aware of it and express it clearly and globally. The experience of phrasing, once inscribed in the body, leads to an intimate understanding of music.

phrasing

1A. walk in 3/4 andante
1B. walk in 3/4 lento
2. phrasing and cadence
3. phrases in 4/4
4. irregular phrases
5. phrasing dynamic and rubato
6. fugato
7. sing back
8. quarter notes and syncopations
9. rhythmic canon
10. suite

VOLUME 7: simple meter

This volume deals with binary measures in 2, 3 and 4 beats. Their common point is the division of beats, but they are very different from each other. Through a variety of exercises putting the whole body in motion, we discover the back and forth sensation of the 2-beat measure, the circular movement of the 3-beat measure, the duration – and therefore a greater use of space – induced by the 4-beat measure.

simple meter

1. changing meter
2. changing meter (repeated sequence)
3. 4/4 playing with an ostinato rhythm bass-soprano
4. 3/4 beat and division
5. four-beat measure
6. dance piece in 2/4
7. slow walk
8. interrupted canon in 3/4
9 . repeat the division
10. changing meter
11. measures of four without division

VOLUME 8: compound meter

Volume 8 is dedicated to compound division. Like volume 7, it deals with the different meters, this time from 2 to 5 beats, and in increasing order. It focuses on the feeling of the overall duration of the meter and the beats, as well as their division into three. One becomes familiar with the rhythmic cells of both ternary trochee and iamb (long-short, short-long), one plays with rhythms and creates them.

compound meter

1. 6/8 beat and division
2. 9/8 beat and division
3. 9/8 playing with repeated rhythms
4. measures of three (beats only)
5. 9/8 repeat the division
6. 12/8 beat and division
7. 12/8 beat and division fast tempo
8. compound time trochee (follow the melody)
9. compound time iamb (follow the melody)
10. 12/8 rhythmic and melodic dictation
11. 15/8 beat and division

VOLUME 9: unequal beats

After the simple and compound meters which deal with the division of a regular pulse by two or three, here are the unequal beat meters. Now, instead of dividing a pulsation, regular note values are added into groups of 2, 3 or 4. In this volume the note values are eighth notes.
Music in unequal beats reveals the richness of many cultures and gives you an irresistible desire to dance!

unequal beats

1. groups of five
2. five beats 3 plus 2
3. five beats 2 plus 3
4. melody in 5_4
5. unequal beats in 9_8
6. measures in 10_8
7. unequal meters 6_8-3_4 alternately
8. measures in 7_8
9. irregular 9_8
10. unequal 8_8A
11. unequal 8_8B
12. unequal 8_8C

VOLUME 10: “one more step”

The last volume of the collection gathers various learning elements intended for a more advanced level.
Some tracks address topics covered in previous volumes (change of meters, canon, unequal measures, rhythmic and melodic dictation), at a more complex level; others introduce the notion of polymeter, that is, the superposition of two different metric values within the same time frame, for example two beats of ternary value (6/8) with three beats of binary value (3/4). The proposed polymeters are 2><3, 3><4, 5><2, 5><3.

“one more step”

1. polymeter three_two
2. twelve eighth notes slow
3. twelve eighth notes fast
4. polymeter four_three
5. polymeter five_two
6. Polymétrie 5><3
7. groups of five
8. groups of five andante A
9. groups of five andante B
10. changing meter A
11. changing meter B
12. continuous canon
13. sing back
14. binary-ternary movement

Dans sa Librairie Audio, Françoise Lombard nous offre de magnifiques improvisations musicales construites de façon à souligner un élément spécifique du langage musical. Pour toute personne s’intéressant à l’enseignement de la musique, je le recommande fortement!

Dre. Louise Mathieu, Directrice des études, Dalcroze Canada, Présidente du Collège de l’Institut Jaques-Dalcroze (Genève)

Un matériel pédagogique tellement innovant ! Une source constante d’inspiration et une qualité d’ interprétation magnifique.

Le guide pédagogique qui accompagne les enregistrements m’est extrêmement utile et bénéfique pour mes classes d’enfants et de personnes âgées.

Mélina Dalaire, professeure de piano et spécialiste en musique et mouvement (Ottawa/Gatineau)

… comme tout ceci est pertinent, précis, beau, léger, joyeux … Merci aussi de partager tes mélodies pour improviser.

Cela va être utile à tous ceux et celles qui savent que la musique se vit et s’exprime déjà par et dans le corps, que l’on soit instrumentiste ou chanteur.

Isabelle Jacquelinet, professeur de musique à la retraite – école primaire des Amis-du-Monde (Montréal)

C’est le temps que se donne l’être humain pour cultiver son instinct musical qui lui donne accès à sa compréhension de la musique et ouvre les portes de son élan créateur. 

Françoise Lombard, Being Music, printemps 2020.

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