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