Singing and Jumping PART II: CONTEMPLATING MORE CAREFULLY OUR FIXING OF THE ARCHETYPE ONTO ONE Opens the Way to a Vital AUDIBLE PITCH-TONE AND SCALE 54 Music Eurythmy1 Foundation Taking a Yet More Sensitive Look at Our First Exercise The Hexachord and the Process of Mutation A Close Consideration Our Notation: An Earthly, Material Necessity of Our Practice of Music Eurythmy The Musical World Outside of the Piano: Our Other Instruments Instruct Us About Musical Realities Past, Present and Future The Angle-Gestures Practice as an Outgrowth of Our Musical Notation and the Piano Keyboard A memoir and report by Kate Reese Hurd Transcending the Piano and Musical Notation: What If We Restore the Archetype to Our Expression? The first third of PART I posted in December 2019 at the Eurythmy Association of North America website The Unseen Impacts of What We Do prior to the completion and publication of the book PART III: KEY REVELATIONS FROM RUDOLF STEINER2 60 PREFACE The Angles in 1915 BASICS FOR THE BEST USE OF THE REPORT 1 The Bare Angles Put On Hold? General Remarks For the Reader Steiner Began to Lay a Music Eurythmy Foundation Regarding Passages Translated From the German Other Important Personalities; the Diversion Into A Musical Review and Key For Use Throughout the Angles as a Tool for Learning Music The Diatonic Scale, Tetrachords, Archetypes, the Hexachord Don’t Retrofit: Seek the Genuine Musical Experiences A Brief Background on the Art of Eurythmy; Its Foundation The Human Experience of Spoken and Musical Sound Concerning the ‘Gebilde’ of Our Tonal Music PART IV: WHY DID STEINER ALLOW FIXED ANGLES ? 69 Concerning the German Words, ‘Ton’ and ‘Note’ “Yes, you may do that, but not pedantically.” PROLOGUE: ARRIVING AT A BOUNDARY IN MY “I always said they are not tones;” the ‘absolute Terz’ MUSIC STUDIES AND PERFORMANCE 5 The Teacher Respects Individual Initiative Steiner Gave a Curriculum for Professional Eurythmy PART I: THE ARCHETYPAL SCALE AND ITS DISAPPEARANCE – A MEMOIR 6 Steiner’s Lecture Course on Eurythmy as Visible Singing Introduction to the Angle-Gestures at the End of First Year What Standing Do the Angle-Gestures Have? The Musical World That Opened Began to Close PART V: UNITING WITH THE TRULY MUSICAL – REAL ◆ J.S. Bach, Chorale, BWV 367 – 7 SOUND-EXPERIENCES LEAD TO REAL GESTURES 82 Looking More Closely at Our First Exercise The Eurythmy Meditation Second Year: Revolution Amongst the Angle-Gestures The Agrippa von Nettesheim Drawings Come to Life We Carried On Beginning to Sing ◆ Jean Marie Leclair, Sarabande in A Major – 17 Entering the Scale Degrees Might There Be Value in Angles Fixed to Pitch-Tones? Entering the Melodic Intervals Entering the Triads ENDNOTES 21 Exploring Harmonic Progressions and Modulation BIBLIOGRAPHY 25 Entering Music With Fresh Sensibilities ABOUT THE AUTHOR 26 ANNOTATED MUSIC MANUSCRIPTS – Bach’s Chorale IN CLOSING 91 and Leclair’s Sarabande provided as separate documents MATERIALS 92 ◇◇◇ ENDNOTES 94 BIBLIOGRAPHY 106 PART I continues through third year, fourth year and some ABOUT THE AUTHOR 108 post-graduate classes, and focusses on eight more pieces of MUSIC MANUSCRIPTS provided as separate documents music. Though PART V is not included here, in my article for our Spring 2019 EANA Newsletter I began to share material that pertains to this part of the report – see “The Scale Degree Intervals Give Rise to Our Tonal Music Gebilde.” Taking up what I describe in that article is a wonderful first step, which PART V builds upon and takes many steps further. PREFACE is of such paramount importance. And this is why I’ve This detailed, five-part report centers on two of a most already begun to unfold what I’ve learned regarding the uplifting aspects of life – music and the expression of treasures contained in this Gebilde, through my article for music through movement. I write as both a graduated the Spring 2019 EANA Newsletter, “The Scale Degree eurythmist and as someone who has a background in Intervals Give Rise to Our Tonal Music Gebilde.” music, having been a pianist, a player of several orches- A fellow eurythmist told me about the responses of tral instruments and a singer in choruses and chamber an audience member who had just witnessed the perform- ensembles. This is a serious, deeply-felt text, written with ance of a noted eurythmy troupe. This person disclosed the hope that its contents will be lived with rigorously and that what struck him – what brought him to inward atten- again and again in its various elements, just as I continue tion – was the last item. He said: “That was something.” to live with them. And what was that last item?: it was the presentation of This report holds joy and hope; for to light upon what I call the ‘bones-sequence’ gestures – gestures that secure knowledge is to find the seed, or seeds, within express the scale degree and melodic intervals. That made which is formative power and the promise of fruit-bear- direct feeling-sense to him. Why? Because that makes ing if given the proper care. This is the point of my work: direct feeling-sense to the human being: it is the human to find this secure knowledge and formative foundation being in its striving nature as reflected in music and in and to begin to unfold these seeds as substantial points of eurythmy movement; and out of this comes the whole departure in speech eurythmy (as in my report in 2014*) world of tonal music experience and expression. In his and now in music eurythmy, too. And it is a key part of disclosure of his perception of something that rang true my work to share what I’ve found. I have been at pains to him, this onlooker pointed to the crux of the matter for to do this, firstly through my writing. It is a vast relief to us, where our work needs to unfold the most strongly; and my heart each time I’ve found clarity on these points, and my report centers upon exactly this. so it is also a relief to share them. *(This is the detailed It is my aim to help us move toward understanding report on speech eurythmy that I posted in Autumn 2014 much more deeply the lawful tonal movements and at the Eurythmy Association of North America, EANA, vitality that constitute the foundations of music. And my website, The Speech Sound Etudes: Feeling the Gestures greatest wish is that through our knowledge of these and Finding the Figures. See the site’s artistic section.) foundations we might become not only informed, but The question of whether eurythmy can thrive in the stirred and transformed in our musical and eurythmy present and flourish well into the future is one that weighs activity. So I bid you well on this journey of discovery on me. We need this art! Intimately linked to its welfare if you choose to undertake it, either in total or in part. It is the question of whether onlookers, speakers, poets and would be hard for me to imagine that you will emerge musicians are sufficiently able to fathom what is being from it without having gained important new awarenesses expressed as eurythmy, beyond simply seeing in it an and competencies with each step. unusual kind of pleasing and at times amazing expression. At present it is easy for eurythmy and eurythmists to be Kate Reese Hurd relegated to the realm of dance expression generally. December 3, 2019 Even thoughtful persons who are well-acquainted with High Falls, New York the art can be found to argue that eurythmy grew out of the dance impulses that were prevalent at the time of its birth, nevertheless of the fact that we try to point out that the source of our movement is not the same. If we say that we express the actual movement-impulses that dwell in the elements of music and speech rather than our personal feeling-responses and ideas, and that we do not work with any kind of arbitrary choreography, how is it that this difference isn’t abundantly clear? Musicians in particular want to find themselves being met by us right in the midst of their own intensive engage- ment with musical phenomena. If our expression does not sufficiently reveal the lawful workings of music and of tonal music in particular, they cannot receive the revela- tions and sustenance they need. This is where the struc- ture of the scale, the scale-Gebilde (for an explanation of this German word, see p. 4 in the BASICS of the report) 1 BASICS FOR THE BEST USE OF THIS REPORT indicate this with an upper or lower case ‘M’ or ‘m’ General Remarks For the Reader before the number, respectively: M3 or m3; M7 or m7. It might be helpful for you to make at least a brief survey To indicate the melodic and harmonic processes of rais- of the sections of these BASICS so that you know what ing, lowering and restoring the scale degrees, I’ll use topics and materials are here for reference as you go. the symbols for sharp, flat and natural: ♯ ♭ ♮. In general, I will place each new term in a different The names of single notes will appear with the usual font and in bold. In addition, German terms and text will upper case letter-names, A, B, C, etc.; but when referring always appear in a distinct font. Citations of most sources to the names of keys and scales, I’ll use upper case for will be found in parentheses right in the text. This is major and lower case for minor – e.g., E♭, e♭ – except in because I want you to know immediately in context where the title of a piece where both major and minor keys will the quotes and source materials are to be found. appear in upper case. Some readers might want to begin with the section that focuses on the singing and jumping exercises, PART V. Roman numerals will identify the triads or chords that I think that can work just fine. However, regarding the belong to the degrees of the scale. For consonant triads, other sections of this report, I believe that you’ll find that upper case will be used for the major triads (composed of PARTS I and II prepare and support a broader perspective a M3 plus a m3), lower case for the minor ones (m3 plus and deeper understanding of what comes in PARTS III and M3). And in addition for the dissonant triads: IV, which take up Rudolf Steiner’s(2) key revelations. º will indicate diminished (m3 plus m3), e.g., iiº, viiº Since readers with various backgrounds might find + will indicate augmented (M3 plus M3), e.g., III+ this report useful, I will give clarifications along the way 7 and M7 will indicate the seventh and major seventh to try to keep everyone included if I can, especially the chords (triads with a m7 or M7 added), e.g., V7, viiº7, non-eurythmists. However, the technical musical discus- IVM7, and these chordal 7ths will usually be marked sions are essential and unavoidable. I’ve indicated when not only in the harmonic analysis of Roman numerals, the reader might safely go lightly with these and come but also as a small ‘7’ near the given note in the music back to work on them later. These will likely be the most NH will indicate non-harmonic tones (e.g., accented demanding passages, but I believe that my explorations and unaccented passing tones, appoggiaturas or into the structure of our tonal music in light of what I’ve leaning tones, retardations, suspensions, etc.) discovered about it makes these discussions particularly Here are the triads of the scale sequences of our tonal important to study if at all possible for you. music. An arrow up or down before the triad, ↑ or ↓ , will Regarding Passages Translated From the German indicate that the scale degree itself is raised or lowered: Steiner wrote and lectured in German. Therefore, for this major scale: I ii iii IV V vi viiº report concerning foundational issues in eurythmy, it has natural minor scale: i iiº III iv v VI VII been essential to go to the original German texts and harmonic minor (raised 7th degree): records to look more carefully at a number of the key i iiº III+ iv V VI ↑viiº statements that he and others made. I’ll indicate it when melodic minor ascending (raised 6th and 7th): I’ve taken part in rendering some of the German passages i ii III+ IV V ↑viº ↑viiº that I’ll be discussing. I will use the following names for members of the scale and their tonal activity. These names enable us to focus A Musical Key and Review For Use Throughout on and communicate about the experiences of relation- Here is some help – or review – for the musical dis- ship that characterize harmonic movements within tonal cussions. You might want to glance through these entries centers and during modulations – i.e., during the varied so that you’ll know what elements are deciphered here. processes of harmonic movements between tonal centers. I’m assuming that readers have a basic familiarity with The tonic is the prime and its triad (I, major; i, minor). our normal scale and its two modes, major and minor. A 5th above and below the prime are the dominant I’ll always identify the scale degrees and the melodic and the subdominant respectively: i.e., the 5th and and harmonic intervals as: prime, 2nd, 3rd, 4th, 5th, 4th scale degrees and their triads (V, IV; or v, iv). 6th, 7th, 8ve/octave. But when marking these in the music The 5th degree possesses a scale-defining power that manuscripts, or when indicating a melody line in the text points to and affirms the tonic, as does the 7th as the of the report, I will freely use straight numbers – 1, 2, 3, leading tone. The dominant triad sounds both the 5th etc.3 If there is a need to identify intervals as being major and the 7th, making it doubly-powerful in this task. or minor (if viewed as pitch measurements these are The subdominant has a gentler defining power. two whole steps or one and a half steps, respectively), I’ll A 3rd above and below the prime are the mediant and submediant respectively: the 3rd and the 6th 2

and their triads (iii, vi; or III, VI). These two triads Each triad overlaps with two other triads and can there- are a 5th apart from each other; therefore, when the fore align harmonically with one or the other of them; mediant triad sounds as major it can serve as the 5th, e.g., since the mediant overlaps with both the tonic and the dominant, in the key of the submediant. the dominant triads, I ↔︎ iii ↔ ︎ V, it might be felt as join- A 2nd above and below the prime are the supertonic ing in either the tonic or the dominant dynamic. and either the leading tone or subtonic, i.e., the 2nd The authentic cadence ends with a V–I or viiº–I resolu- and 7th and their triads (ii, viiº; or iiº, VII). tion (or V7–I or viiº7–I; also in minor). In notating har- Each instance of the major mode of the scale has a monic analysis for the pieces, I’ll use a solid line to show minor mode related to it that shares the same pitch- these connections. The half cadence ends in V or viiº tones. The prime of the relative minor is always rather than making a full resolution to the tonic. A solid the 6th degree (submediant) of the major mode; and line will show these connections, with the pending reso- correspondingly, the prime of the relative major is lution shown by a short line following the V, e.g., I–V– . 4 the 3rd degree (mediant) of the minor mode. The In the deceptive cadence, the submediant, vi, sounds relative minor of the tonic is the submediant; that of instead of the tonic, I (VI instead of i in minor). I’ll use a the dominant is the mediant, and that of the subdomi- broken line when this happens, e.g., V– –vi, viiº– –vi. The nant is the supertonic. These are the important pairs. plagal cadence ends with IV–I (IV–i in minor) – this is Parallel major and minor scales share the same often heard with the ‘Amen’ at the end of hymns. When a prime but the 3rd, 6th and 7th scale degrees are major resolution is anticipated but broken off, I will show the in the major mode of the scale and minor in the break with a double slash; e.g., V–– // . When a scale parallel natural minor mode. (Hence, as the home key degree triad is preceded by its own V or viiº chord – a of a piece they are notated with different signatures.) chord formed on its own dominant or leading tone – these In the music manuscripts, I’ve arranged the annotations chords are secondary dominant or secondary leading such that modulations to the dominant side are entered tone chords. I will use broken dashes to indicate these above those for the tonic; those to the subdominant side relationships, e.g., V/V- - -V; V/ii- - -ii. The symbol, ▶, are entered below the tonic; and transitions to the minor will mark my entries concerning the typical melodic will appear below the major. figures that facilitate cadences and modulations. The chord positions according to the lowest sounded In the text, a vertical bar, | , marks bar-lines. A dash, – , tone are: root position – root–3rd–5th (the root or prime indicates quarter note values; a short dash, - , indicates of the triad is the lowest), first inversion – 3rd–5th–root eighths or sixteenths; and a long dash, –– indicates half (the 3rd is lowest), second inversion – 5th–root–3rd note values and longer. As in musical notation, a dot, ∙ , (the 5th is lowest). If a 7th is added to the chord, there will stand for the additional value in dotted rhythms. can be a third inversion: 7th–root–3rd–5th (note that Counterpoint refers to the rhythmic, melodic and har- the chord stands on its head, with its 7th as lowest). Root monic interaction between two or more voices – such as position is naturally the most stable position. I will indi- between bass and treble on the piano; between two or cate the inversions with a superscript number before the more instruments playing together; or between soprano, triad, 1, 2, or 3. (I depart from the standard musical nota- alto, tenor and bass in choral works. tion that employs subscripts either alone or after the triad numeral because it stems from the Baroque ‘figured bass’ The Diatonic Scale, the Tetrachords, the Nature of indications that tell a keyboard player which other notes Archetypes, and the Medieval Hexachord to play with the bass line in order to ‘realize’ the desired A musical scale is called ‘diatonic’ when it appears with- chords – these other notes are identified as intervals out alteration of its members, i.e., without any raising or above the bass line and only indirectly signify the inver- lowering of its scale degrees. In Western music our stan- 6 6 4 dard diatonic scale is composed of two tetrachords – sions; e.g., (3) , 4 , 3 . This is not helpful here.) two sets of four tones. The word, ‘tetrachord,’ originated Every scale degree participates in three different triads, in the Greek and referred to four tuned strings or four e.g., the scale degree of the prime can take the role of the stops (finger placements) on a tuned string. Our lower root in the tonic triad, the role of the 3rd in the sub- tetrachord scale degrees are ‘do–re–mi–fa;’ the upper mediant triad and the role of the 5th in the subdominant are ‘sol–la–ti–do.’ In terms of their pitch-structure the triad. A M7th or m7th can be added to all of the triads, so two tetrachords in the major mode are identical: two scale degrees can also take the role of the 7th in a triad. whole-tone steps and one half-tone step. In both In addition, the raising or lowering of a scale degree will tetrachords the sounding of the fourth degree can be alter multiple chords in the key. Enormous variety and experienced as having a sense of arrival or rounding off; nuances arise depending upon which chord possibilities but there’s a big difference between them: in order to are used to harmonize a melody. 3 begin the second tetrachord we must first bridge the A Brief Background on the Art of Eurythmy and Its whole step from ‘fa’ to ‘sol,’ and then we must continue Foundation in a concerted rise with the goal of reaching the ‘octave In conversation with Dr. Rudolf Steiner in late 1911, Frau do.’ Because of this, the upper tetrachord can be felt as Clara Smits inquired with him about the possibility of involving a sense of effort, which the lower tetrachord healing the physical body through bringing about certain lacks. Every diatonic scale in the major mode has this movements within the etheric body, i.e., the ‘body’ of same lower and upper tetrachord structure and feeling of life forces, the distinct formative forces that are the effort in achieving the ‘octave do,’ as well as a sense of continual shapers of the visible, physical body. This body relinquishing it when descending back down through the is not perceptible with our physical, earthly sense organs. upper tetrachord. When the task of reaching the octave is Steiner affirmed to her this healing possibility and he impeded, the minor mode of the scale arises. In both of its quickly welcomed the interest and eagerness of Clara’s two tetrachords the third member hangs back from the daughter, Lory, to undertake learning to do this kind of fourth and in the upper tetrachord the second member movement, to which he gave the name, ‘eurythmy.’ (See also hangs back; so the 3rd, 6th and 7th of the scale all Eurythmy: Its Birth and Development, EBD, p. 15; and hang back. The octave is therefore achieved with diffi- How the New Art of Eurythmy Began, HNA, p. 11ff.) culty, and that is what is felt. Nevertheless of this natural In early 1912, Steiner began to lead Lory in the minor structure, for harmonic reasons, the 7th might be development of eurythmy first and foremost as an art raised when ascending, and for melodic reasons (ease of of movement in relation to poetry, beginning with the movement) the 6th and 7th might both be raised when expression of the inherent movement-nature of the speech ascending and restored to normal when descending. sounds (the vowels and consonants), which are themselves Each sounded instance of this two-tetrachord scale- manifestations of the etheric formative forces. Lory was structure, this scale-Gebilde, is but one audible mani- just about to turn nineteen. At the end of that year, another festation out of myriad possible manifestations. Myriad young woman, Annemarie Donath, enthusiastically joined pitches can serve as ‘do.’ The structure itself has a reality Lory in the work; and in April 1913, Steiner encouraged of its own; hence it is an inaudible, supersensible fact: an another young woman, Erna Wolfram, to join.* Both Erna archetype. As with all archetypes and their myriad mani- and Annemarie were eighteen (hence, all three were short festations, no single audible scale can lay claim to the of adulthood by two to three years). In due time their two-tetrachord scale archetype. The audible scale that we numbers grew, and some of these early eurythmists assist- call the ‘C’ major scale is not an archetype and it is ed in making eurythmy an essential part of the curriculum certainly not the archetype: it is just one manifestation for children in the new Waldorf School in Stuttgart, Ger- of the archetype. For example, all chairs are informed by many. In modified form eurythmy was also developed as the same archetypal quality of ‘chair-ness.’ If I have the a healing art. *(For further details, see HNA.) materials assembled and glued thus and so, these are the Throughout all of his work – including in the field extent of what I have: visible materials. What makes them of eurythmy – Steiner made the direct observation of fact, a chair rather than a mere assemblage or a stool or a both material and spiritual, his foundation. His approach bench, is not present in the material world. For us as is one with what Goethe* had called ‘sensible-super- human beings, what gives them their special form and sensible observation,’ meaning that through warm and serviceability is the unseen, supersensible archetype which thoughtful openness and exact observation of sensory we grasp and recognize through our thinking activity. Just phenomena, one can in fact discover the higher, spiritual as with chair parts, if I assemble audible pitches to sound realities which – although they are imperceptible, invis- one after the other, audible pitches is all I have. It is the ible and inaudible to our earthly senses – belong to these supersensible archetypal structure of scale relationships sensory phenomena and ‘in-form’ them. This objective that makes them a scale. inquiry can be referred to as “Goethean observation.” Casting back to the medieval hexachord scale-struc- Steiner also called it ‘spiritual science’ or ‘anthropo- ture can shed more light on the nature of archetypes, sophy’ – a name which points to the innate human capa- because roughly the same pitches and note-names were in city for grasping knowledge, ‘anthropo-sophy.’ This means use at that time, prior to our modern tetrachord sense of that not only can we achieve objective knowledge of sens- them: we find the same materials but a different use. In ory phenomena; we all possess latent faculties for grasp- medieval music, the first six of the eight pitch-tones were ing objective knowledge of supersensible phenomena. the main focus and were experienced as a hexachord, a These faculties only await development of the right kind. set of six made of two sets of three (note: ‘do’ was called Steiner wrote and spoke at length about the proper means ‘ut,’ and ‘ti’ was called ‘si’): ‘ut-re-mi’ and ‘fa-sol-la.’ for the wholesome preparation of our organs of higher ‘Si’ (‘ti’) was not the experience we have of it today. (I’ll cognition, with the aim of helping us avoid becoming go into this in more detail in PART II.) 4 engaged in our personal imaginings instead of true higher distinct, specific movement-impulses that actually belong cognition.5 *(Johann Wolfgang von Goethe, 1749-1832, to all of the elements of music as realities that transcend poet, novelist, playwright, philosopher and scientist.) everything of a useful or personal nature. These objective Steiner did not create the gesture-expressions that impulses are to form the content of artistic eurythmy- belong to speech eurythmy and music eurythmy; nor did expression and of eurythmy as a means of healing. he borrow from the present or past practices or traditions Concerning the ‘Gebilde’ of Our Tonal Music of others in order to arrive at them. He had no need to I find that the meaning of the German noun, ‘Gebilde,’ engage in borrowing anything. As with all of the work cannot be conveyed in a simple word or two in English. he presented and fostered, the relevant facts came from In his lectures on eurythmy, Steiner used this term in within his spiritual scientific process. Through his capa- reference to spoken and musical sound: ‘Lautgebilde’ and cities as a very advanced anthroposophist, he directly ‘Tongebilde.’ ‘Laut’ refers to sound in general or to spok- perceived the complex movements that are made by the en sound or phonetics in particular; and ‘Ton’ refers to etheric body when we are speaking and singing. And he musical sound. ‘Gebilde’ has multiple nuances. Its direct was able to serve as a midwife to fathom, follow and relation to the verb, ‘bilden,’ indicates forming, creating, reveal how these movements can be brought forth as building, constructing or structuring, shaping, moulding, artistic expressions that involve the whole body – as they fashioning or arranging. The result of these activities is would if they weren’t concentrated in our speech and the ‘Gebilde’ – the created form or shape and all of its singing. The name ‘eu-rythmy’ basically means ‘harmon- interrelated structures and functions. Nevertheless of its ious movement,’ and this name is apt when the ges- connection with the verb, ‘‘bilden,’’ the noun, ‘Gebilde,’ is tures that are made by the performer are in accord with not the same as the noun, ‘Bild,’ which refers to a picture, these inner movement-impulses. In my article, “Begin- image or portrayal; and the verb expressions that belong ning With B,” I take up the process of discovering these to ‘Bild’ also stay more so at the surface level: ‘abbilden’ – movement-impulses in light of Goethe’s sensible-super- to copy, portray, depict; ‘abmalen’ – to paint; ‘beschreib- sensible approach to knowing the world. I focus on both en,’ ‘schildern’ or ‘darstellen’ – to describe, depict, sketch, Steiner’s references to it and my own use of this approach represent. The scope of ‘Gebilde’ is far more dimensional in finding the gesture-impulse for the speech sound, B. and fundamental than these meanings. (See the Autumn 2017 EANA Newsletter.) Spoken sound (language, prose, poetry) and musical In the same year that eurythmy began, the Frenchman, sound (sung and instrumental) are earthly mediums for Émil Jaques-Dalcroze, brought out an approach to music this inner Gebilde structuring, plasticity and activity. When education which he called, “Eurhythmics.” Hence, I want we work effectively with spoken and musical sound as to help relieve the confusion that arises between these two artists, we abide within and make use of the lawful streams. As Dalcroze wrote in his article, “Eurhythmics Gebilde that is built into these phenomena, but we don’t and Its Implications,” 6 his aim was to develop “a number create this Gebilde. And in eurythmy – this new art of of exercises, whose object was to perfect the hearing movement that involves the formative life forces of the and to obtain the so-called ‘relative’ audition,” which etheric world – what we often do instinctively in our he found lacking in even the most advanced musicians. speech, music-making and movement is to be unfolded But he realized that more than developing the hearing is consciously. The aim is to reveal the objective, living and needed if the instrument of the voice (for instance) is to become really capable of giving rhythmic, timely and lawful Gebilde and cooperate with it knowingly and more harmonious expression to what is now correctly heard. and more completely and beautifully. “Sound rhythms had to be stepped, or obtained by ges- Concerning the German Words, ‘To n’ and ‘N o t e’ tures;” and a means of notation had to be found that When Steiner used the word, ‘Ton,’ in German, I “respond[s] both to the demand of the music and to the believe that his primary meanings were these: 1. our inner bodily needs of the individual.” Through intelligent con- experience of sounded tones within the Gebilde that holds sideration of what felt suitable and helpful, he created sway in music – i.e., each ‘tone’ in its supersensible reality a coordinated system of movement expression – and of as a member or degree of the musical scale, and, 2. the improvisation – that can reflect quite well the character of gesture-impulse that belongs to each scale-degree-‘tone’ musical rhythms, phrases and motifs, etc. Dalcroze wrote within this Gebilde, which we can experience super- that the resulting cultivation of musical sensibilities and sensibly and bring forth as a specific bodily movement in the development of the body as a means of expression eurythmy. brought huge benefits to children and adults. Yet the aim This characteristic movement that belongs to each of the art of eurythmy is both deeper and broader than of the scale degrees in turn is also characteristic of the this in the sense that it is intended to be founded on inner movement that belongs to the melodic interval that can research that can lead to objective perceptions of the be experienced between each degree and the prime, as 5 well as the interval of the same kind that is experienced movement for the first time (quite a few years ago). between the tones of melodies. Steiner used the word, I immediately grasped that the musical branch of this ‘Ton,’ in reference to our experience of scale degrees and art form could help me widen my inner doorways into melodic intervals, though he also used the word, ‘Inter- far-reaching musical realities, not just the poetic ones vall’ for both. (See PARTS III and IV for more on this.) that I was also drawn to. This was shortly after I met with However, my understanding is that in German, both the published work of Rudolf Steiner. I didn’t realize it ‘Ton’ and ‘Note’ (e.g., ‘Notenwert,’ note-value, duration) then, but what I was seeking in eurythmy was exactly the can apply to the symbols that we write on the page and anthroposophical, spiritual scientific approach that was analyze in music theory, that we refer to as ‘C’ and ‘D,’ the core of everything that Steiner had unfolded (see pp. etc.; and Steiner also used the word, ‘Ton,’ this way 3-4), now applied to poetry, music and artistic movement. sometimes (but not very often). This complicates matters. In my music studies at the college level,* we had Still, it seems to me highly unlikely that Steiner ever classes in music theory and sight-singing, lessons on our concerned himself with audible pitch-tone frequencies. I instruments (mine was piano), and sang in the chorus believe that for him, the reality of tones within the human (and in my case the chamber group, too); but there was experience of the tonal music-Gebilde was always first always something of a disconnect between what we could and foremost. And so, for him the written notation of understand through music theory and the experiential music would merely point to meanings 1. and 2., above. reasons why these musical laws and structures mattered The section that Felix Lindenmaier wrote for the 2016 and how they actually worked. Instruction wasn’t given German edition* of Steiner’s lectures on music euryth- for the specific purpose of experiencing more strongly my(1) sheds lght on Steiner’s orientation: “Allgemeine Hin- the distinct qualities of the scale degrees, tetrachords, weise – Rudolf Steiner und die Musiktheorie seiner Zeit” intervals and harmonies. In piano lessons with various (‘General References/Indcations/Notes – Rudolf Steiner teachers the work was more general and dealt with musi- and the Music Theory of his Time’). Though we badly cal style or form, or it focussed on physical-technical need this context, to my knowledge this section by Linden- considerations – phrasing, articulation, tonal effects, maier hasn’t yet appeared in English. In any case, I’ll to fingering, use of the pedal and translating the markings of try to foster clarity in this report by using the term ‘pitch- the composer. *(These studies led to a bachelor’s degree tone’ when the focus doesn’t completely transcend the in music a few years after I had finished a bachelor’s in audible pitches; and I’ll use the term ‘note’ when refer- English literature.) ring to the written symbols and our activity in relation to One bright light for me during these years was that them. *(This volume includes Steiner’s notes and notes of singing under the baton of a particular choral director. and letters by those who attended the lectures.) He would regularly remark on musical features, such as I’ve found that many instances of confusion that I the correspondence between a feeling element or inward might have had when trying to follow Steiner’s mean- mood in the text and the presence of parallel thirds ing in his use of the word, ‘Ton,’ have been resolved between the voices, or such as scoring that deliberately as a result of having acquired sufficiently the actual drove us up to the top of our vocal range for the reedy, inward experiences that he spoke of, that belong to our organ-like sound we’d make that the composer wanted. tonal music-Gebilde – i.e., the archetypal scale and all of We always stood in mixed arrangement so that we each the musical phenomena that are generated by it and sang surrounded by the other vocal parts: we had to hold accompany it. My sense is that Steiner experienced these our own, and we had to hear and hopefully respond to the fundamental musical phenomena so strongly and directly counterpoint – the interactions and relationships between that for him, our fixed perception and conception of them our voices. My part was the alto, the lower women’s as tied to audible pitch-tones that are measurable in range. Like the tenor, the alto plays an inner, structural frequencies, and so on, would have been utterly foreign. role between the soprano and bass lines, so I was con- tinually suffused with how my part fit in with the others PROLOGUE: ARRIVING AT A BOUNDARY IN MY and provided essential tonal character to the whole. We MUSIC STUDIES AND PERFORMANCE had no idle moments, either: we busied ourselves with Working in the same spirit that I have been bringing to ‘sketching’ our parts with an odd sub-whistle in-toning* my reapproach to speech eurythmy – speech made visible whenever the other voice parts were being focussed on. through movement in keeping with the laws that inform The openings into music that these practices provided speech – I’ve made good progress in my reapproach to didn’t lead far enough to fill my need, but they were a music eurythmy,(1) too. It was precisely because of my profound joy. *(The pitch is modulated by the tongue, but background in music and my abiding longings for deeper the lips don’t focus the air into a real whistle.) musical experiences that I responded as strongly as I did More recently, as an audience member I’ve attended upon seeing the expression of a simple poem in eurythmy quite a few master classes for pianists. But there too, I’ve 6 heard very little that might involve the distinct exper- years, I wasn’t able to maintain my work in the art after iences of the scale degrees and harmonies and the other that and I realized that I had to set it aside. building blocks of music. The closest I’ve heard a master These years later I have finally been able to take teacher say is this: “A deceptive cadence [V– –vi] doesn’t up eurythmy again and am finding sustaining depths of require you to hold back.” And another said: “On the life in it. In PART V of this report, I will describe the piano, it is our listening that carries a long tone over to inroads I’ve been making into music eurythmy expression the next tone.” This same teacher helped a player approach – inroads that lead to a well-spring of renewal for this a quick, complicated figure as a melody instead of a expression. But before doing this I want to revisit in real musically-empty hand-movement. When I asked one of the detail how I learned what are called the ‘angle-gestures’* teachers, “are pianists typically aware of the qualities of the that are used to express the melody line in pieces of music. harmonies? – such as the difference between the iii and vi Therefore, PART I will be a memoir of my experiences chords,” she answered, “no, but intuitively these might be with these gestures. PART II will be a further consideration experienced.” Surprisingly – but maybe not so surpris- of certain aspects of music and of eurythmy and our ingly – this is in spite of the fact that many of her students cultivation of it; and after this, in PARTS III and IV, I’ll (especially those who come from China where the mean- explore what Rudolf Steiner presented as fundamentals ings of words are tied to the vocal inflection of pitch) in the human experience of musical phenomena and our had absolute pitch perception or had developed ‘perfect objective expression of these through movement *(See pitch’ memory skills, i.e., they can recognize and name From the Tone Eurythmy Work, FTEW, by Zuccoli, p. 7ff; pitches by ear.* While it’s true that intuitive sensitivities see EBD, p. 71; and see here below on pp. 13 and 15.) enter into our musical expression, for me the point is to Since some readers might feel that the degree of know the scope of my sensitivities and to build on them detail that I go into is not necessary, I want to say that consciously. *(By the way, I do not have absolute pitch my experience throughout the process of composing this perception, but I’m sure that I developed some degree report has shown me that it is only when we can see how of pitch-memory skill in the past when I was actively an existing worldview has come to form the fabric of our playing music.) practice, when we can see this clearly, only then can we really begin to evaluate where we are in our development PART I: THE ARCHETYPAL SCALE AND ITS of this precious art and begin to know what to do next. DISAPPEARANCE – A MEMOIR When we continue to ask each other why the art doesn’t Because of my sense of being insufficiently fulfilled by prosper as well as we hope it will, and when its inclusion my music studies, when I witnessed that simple poem in in the core curriculum of Waldorf education can be met eurythmy (as mentioned above), I grasped the promise of with some amount of ambivalence on the part of schools, both branches of eurythmy, poetic and musical; and I especially on account of the requirements and costs of mobilized to undertake a four year program in this new its inclusion, I believe that this review in detail will be art. The focus of this report does not center on particular found to be helpful for all of us, as we work with sincere schools or teachers – not at all.7 I ask the reader to refrain devotion to nurture this art. I encourage everyone to from looking in this direction. My aim is to share as embrace this review and unfold it further with their own clearly as I can my experiences of the music eurythmy experiences and honest reflections, professionals and practice that I learned, which my teachers had likewise students alike (as the students of eurythmy were actively learned and had developed further. By and large each doing at their international gathering in 19998 ). teacher unfolded the same gesture-content in relation to Introduction to the Angles at the End of First Year music, but each had her* own way of introducing this My class had been advised not to read anything about content. *(For simplicity, I will use the feminine pronoun eurythmy – for instance, the lecture courses on music throughout this report.) eurythmy and speech eurythmy that Steiner gave in 1924. I moved to the community that the eurythmy school Our teachers wanted us to enter the art through our exper- belonged to and prepared myself by taking a “Founda- ience. As it happened, I had not read anything, though tion Year” of courses in Rudolf Steiner’s work (philo- I’m certain that some of my classmates had. I never- sophy and other topics), speech and drama, eurythmy, theless couldn’t help but have some idea of the angle- Goethean conversation, painting and woodcarving, along gestures from seeing eurythmists and schoolmates using with independent studies and work. The following Fall, them in their eurythmy expression. I entered the eurythmy program and I passed through it How our teacher brought us into working with these without any question being raised concerning my promo- gestures at the end of our first year was notable. Her tion through the four levels and my suitability for gradu- method appealed to my desire as a musician for direct, ation. Though I taught lay speech eurythmy for a few objective experiences and for knowledge of the unity 7 between musical realities and movement. But even more we had completed the scale by doing this, I found it than this, my orientation was in keeping with the stage of beautiful how the nature of these steps or degrees and life that I had just entered: the fifth seven-year period.9 their roles in the two tetrachords of the major scale could I had turned twenty-eight a year and a half earlier. The begin to awaken in me. I felt that I was beginning to period of enlarging the bounds of my life experience in experience this beautiful scale structure more strongly my early twenties had ended. I was now keen to enlarge and consciously than I had been able to in music school, my involvement with life questions and life experiences and I felt grateful. more deeply with my conscious understanding and intel- The Musical World That Opened Began to Close ligence, and to do so significantly beyond the simple Without realizing the shift that now came upon us in engagement of my senses, limbs (my physical body) and relation to these new experiences, for the few remaining life of feeling. Also, as a reflection of the nature of this weeks of the year we worked with these angle-gestures stage of my life, I made notes following classes during for the major scale, always sounding the pitch ‘C’ as which I felt that important teachings had been given. As its prime; and we began to apply them to a Chorale by I recall, roughly half of my classmates were twenty-eight Johann Sebastian Bach that is notated in the key of C.* or older, and half were under. It is recommended that In standing, we did the angle-gestures while hearing the students should have reached adulthood, age twenty-one, sounded tones of the melody, which proceeded scale-wise or are nearly there when beginning the program. much of the time so it was easy to follow. We applied the By the end of the first year, we had done quite a bit angles as corresponding to the notes in linear succession of work with musical elements, such as stepping and as written (in 4/4 time): G | C–C–D–D | E–E–D… and so expressing rhythms and the metrical flow of beats in on. *(See the pair of plain and annotated music-documents pieces, and experiencing the rise and fall of pitch. We also that I’ve provided. I’m offering the unmarked document did basic exercises that could help us develop artistic in case you’d like to approach the Chorale independent- sensitivity for our art. We were deemed ready to begin ly. You may hear it at https://www.youtube.com/watch? working with the angle-gesture expressions. v=yz7MJeUrDTo. “In allen meinen Taten, chorale BWV For our first exploration, we stood in a circle with our 367 | Johann Sebastian Bach” – ‘Where’er I go, Whate’er backs to the center so we could be private in our exper- My Task.’ Unfortunately, the bass line is barely audible iences. Our pianist sounded a first tone. It was slowly and the piece goes by very quickly.10 ) repeated a few times. Then a second tone rather higher Then we all moved along a circle doing the gestures was sounded and repeated. These two tones were repeated for the Chorale with free steps between each one and like this several more times, slowly. We were asked to making a simple jump for every G, A and B that came. listen and respond in movement however we felt prompt- Then we worked on the form – a specific path of move- ed to inwardly. I recall feeling a bit uneasy as I sought ment in space – that our teacher gave us. She showed us gestures mainly with my arms, trying to find what felt how to ‘catch’ each of the sounded tones with our angle- right. We repeated this exercise with our accompanist gestures, and ‘release’ them, always making a free move- in our practice session, too. At the next lesson, a third, ment between each one. We began to get a feeling for how higher tone was added and repeated; and then in this to carry out these gestures using this movement-tech- same lesson, we shared our experiences. We found that a nique. I noted how we handled the fermata at the end of number of us had responded in the direction of the angle- the Chorale: “a small circle with shoulders, feet follow a gestures that our teacher referred to as being for ‘C,’ ‘F’ little, and arms in ‘C’ move around on this long tone. and ‘A,’ respectively. I felt stirred by our modest success. Dwell in the tone a little while” – we held the gesture as a Again, we took up the exercise in our practice session. duration, as we would in singing. In the next lesson, the first two tones were repeated Catching and releasing the angle-gestures felt very as before and a different third tone was added; and then engaging, challenging and pleasant to do in relation to a fourth. These we called ‘D’ and ‘E.’ We now had a the sounded tones. However, when I feel back into these sequence that we called ‘C–D–E–F.’ We then faced each experiences it is also clear that outside of the fact that I other in the circle and were taught, or guided to find jumped for each G, A or B, with this technique I prepared or determine, the angles for ‘G’ and ‘B,’ below and all of my angles in the same manner. I wasn’t really mak- above the ‘A.’ We were guided toward experiencing the ing an inward transition of musical experience depending sequence, ‘G–A–B–C,’ as the upper tetrachord of the upon the specific scale degree my angle was to express. major scale, and we were shown how we could express In other words, through this catch-and-release exercise, the special activity of these three scale degrees that reach the impulse that led me to make the angle of the 2nd, toward ‘octave C’ – by jumping when we made the angle- ‘D,’ wasn’t musically different from the impulse that led gestures for each of them, ‘G–A–B.’ For this we actually me to the angle of the 3rd, ‘E’; nor was the impulse lead- jumped to form angle-positions with our legs also. When 8 ing to the 5th different from that which led to the 6th. ◆ The first fermata phrase begins in the home key of the These distinct experiences were not our focus; and quite piece as written, C major, and ends in the dominant naturally, the generic free movement between the ges- chord, G major, in a normal half-cadence in the tures supplanted the transitions that real experiences of tonic: I–V; ▶the leading of the bass, stepwise up the scale degrees would have required. I believe I was to from the prime to the 5th of the home key (as some degree aware that I was missing something – I was running eighth notes), is one of the typical half giving the appearance of making transitions in my exper- cadence voice-leading figures: 1-2-3-4-5– ; ience without actually doing so. Still, I hoped and trusted ◆ the second fermata phrase shifts when the alto line that we would be cultivating the specific musical exper- abandons the 4th degree (F) of the tonic, raising it iences that I felt needed to be there to inform the gestures. two times as the leading tone, the 7th (F♯) of the These years later, I wanted to explore this Chorale key of the dominant (G); this changes the ii chord to and experience it anew, and I’m surprised by what I find major, II, to serve as the V chord or secondary in it. Sure enough it is notated in C major, but it’s full dominant of the dominant – the V/V – so the phrase of tonal colors – it makes a number of brief references to ends in a secondary resolution in the dominant; the other keys. We had not paid any attention to this aspect progression, vi–II–V in the tonic equals the progres- at the time, and perhaps rightly so at our stage. Never- sion, ii–V–I in the dominant; ▶the bass sounds theless, this piece in six short phrases possesses a com- the typical 5–8 leading and immediately reinforces plex little music-Gebilde! This is not at all surprising the 8ve with the prime: 5– | 8––1 (D– | G––G); the coming from Bach; and in fact, a key feature in his soprano ends with the 3rd (B) of the key (G); chorales is the shifting of tonal centers.11 Here below is a ◆ the third fermata phrase reverts to the tonic when the quick summary of the shifts in this one, followed by a bass restores the 4th degree (F♮) of the tonic; but detailed log of what transpires to bring them about. at the end, the alto raises the 5th degree (G) of the Certainly as novices, these shifts would have been way tonic as the 7th (G♯) of the relative minor, vi (a), the too much for us all at once; but these are actual exper- key of the 6th degree, the submediant; the iii chord iences, and we can grow by slow steps to awaken to them. of the tonic is suddenly changed to major, III, to It is good to remember that music theory analysis can serve as a V chord, a secondary dominant – the V/vi help make the lawfulness of such changes clearer and can – in a half cadence in the relative minor; the pro- sometimes alert us to aspects we might be rushing past. gression, vi–III in the tonic (C) equals i–V in the I’ve tried to describe the changes in such a way that you relative minor – we hear the bright character of this might begin to grasp and track the musical significance of III chord in its role as a dominant; ▶the typical half the raised, lowered and restored scale degrees, to begin to cadence leading in the bass, rising from the prime understand the language they are speaking. My longing to the 5th (as eighth notes, the 3rd degree sounding has been to become oriented in exactly this way. I will in natural minor mode), 1-2-3-4- | 5–– , steers our also identify the typical cadence movements in the vocal awareness to the dominant of the relative minor; the lines that either lead us to the next tonal center or place soprano ends with the 2nd (B) of this key (a minor); passing emphasis on the dominant. I’m proceeding on the ◆ the fourth fermata phrase drops this reference to the assumption that readers who are eurythmists or musicians relative minor when the alto restores the 5th degree have a basic knowledge of musical concepts and are ready of the tonic (G♮); but the alto again abandons the to build upon them – scale structures, intervals, triads, 4th degree (F) of the tonic, raising it as the 7th (F♯) major and minor, etc. – but it might be very helpful to of the dominant, and the bass reinforces it; the ii peruse the section that I’ve provided in the BASICS (above chord of the tonic is changed to major, and again the pp. 1-2) concerning these concepts and the methods I’m II chord serves as V/V, a secondary dominant to using to present them. Readers who don’t yet feel ready the dominant: II–II–V in the tonic equals V–V–I in for these musical details might want to take it easy with the dominant – another secondary resolution in the them for now and come back to them later. dominant; ▶the bass presents powerfully-defining Summary: Half cadence in the tonic (C), figures that rise two scale steps and fall by a 3rd – Secondary resolution in the dominant (G), figures which often act to affirm the existing tonal Half cadence in the relative minor (a), center or herald a shift away from it;12 the bass Secondary resolution in the dominant (G), sounds three of these figures in quick succession (in Secondary resolution in the relative minor running eighth notes): the first figure affirms the of the dominant (e, the mediant ), tonic (C), 1-2-3-1; then a 1–4 jump to the 4th (F) Full cadence in the tonic (C). serves as a 5–8 leading to the second figure which shapes the subdominant, IV (F); a fall to the 6th (D) 9

of the subdominant evokes its submediant, vi, its ◆ and in the sixth fermata phrase the tenor and bass relative minor (d minor) – the vi/IV; but the third immediately restore the 2nd and 4th degrees of the figure abandons the 3rd (F) of this key, raising it tonic (D♮ and F♮), the alto restores the prime (C♮), as the 7th (F♯) of the dominant, steering the phrase and the piece ends in a full cadence in the home key toward another resolution in the dominant; in this (C) with three affirmations: V7–I–viiº–I–V–I; ▶the third figure the bass sounds 5-6-7-5-1– while the bass sounds the typical full cadence figure, 1–5 | 1. alto sounds the same figure-form in counterpoint I know that this will be a great deal to attend to, a lot with it, 7-1-2-7-1– ; the quick tonal movement of the to work through to follow these figures and shifts with three figures goes: tonic––emphasis on the subdomi- our experience; but such is the tonal journey and the nant––dominant of the dominant––dominant; cadence movements and counterpoint of this rich and ◆ the fifth fermata phrase asserts the home key (C), but: remarkably-compact Gebilde. the alto again abandons the 4th degree (F) of the My sense now is that these are the true complexities tonic, raising it as the 7th (F♯) of the dominant; of musical experience. These interactions are where the (G); the ii chord of the tonic is again changed to tonal colors come from. And if we become attuned to major, II, to serve as the V chord, the secondary altered scale degrees (and this is actually not so difficult) dominant of the dominant – the V/V; … – and especially to the introduction and dismissal of each but then the tenor abandons the 5th degree (D) of new 7th degree – and attuned to which altered degrees the dominant, raising it as the 7th (D♯) of the rela- lead where, we can begin to find our way into a won- tive minor of the dominant (e minor); the iii chord derful musical depth and clarity, not just in this piece but of the dominant is changed to major, III/V, to serve in all tonal music. And if, for instance, we learn the bass as the V chord, as the secondary dominant of the line and follow its tonal inclinations – not just tracking the relative minor of the dominant – the V/vi/V; the melody line and gliding on the surface of this Chorale – tenor reinforces this shift when it abandons what we will find a real opening into fostering our education was the 7th (F♯) of the dominant by sounding this in tonal movements and colors. We will then perceive same pitch-tone as the 2nd (F♯) of this new key; how the bright half cadence at the end of the third phrase and the bass sounds the ascending melodic minor calls out for a resolution to the submediant, the relative 6th and 7th of the relative minor of the dominant minor (a minor) – how it calls out for the bass to go ahead by abandoning the 4th (C) and 5th (D) of the and make the 5–8 leading and resolution – and how we’re dominant, raising them as the new 6th (C♯) and oddly thrown off when the fourth phrase straightway 7th (D♯) … and even though this new key is also abandons this direction by reverting to the minor iii chord. the key of the mediant of the tonic, all sense of As a musician, I know that I have largely manifested direct relation to the home key has disappeared; the notes as written and have merely gone along for the the phrase ends with a V–i (B–e) resolution in the ride – though hopefully with a good amount of musical relative minor of the dominant (e minor); ▶the sensitivity. But my blind progress through the musical bass begins with a typical 5–8 leading asserting terrain meant that my hearers were also unlikely to exper- the tonic, and then unfolds another sequence of ience what was actually unfolding. They were simply car- three figures in quick succession (in eighth notes): ried along on a nice ride, too, even though so much more the first one affirms the tonic (C), 1-2-3-1; the than this lies hidden in each piece, waiting to be revealed. second one abandons the 4th (F) of the tonic, again As a eurythmist, I want to ask myself: am I again going setting up the II chord as the V of the dominant; to be content to take the onlooker on a nice ride and leave but the expected dominant doesn’t come – instead, it at that? the third figure abandons both the 4th and 5th (C In our work, I suspect that all of us did in fact dimly and D) of the dominant, raising them as the new feel the odd raising and lowering of scale degrees in the 6th and 7th for a resolution in the relative minor three other voice lines of this Chorale, that were bringing of the dominant: VII–iii in the tonic equals III–vi about structural shifts in the tonal center of the piece – in the dominant, which equals V–i in the relative such as in that dynamic fifth phrase – but nevertheless minor of the dominant; and in that key the bass we jumped for every G, A and B as written, as though sounds the melodic minor leading, 5-6♯-7♯-5-1– , the piece never strayed from its home center. It didn’t with the tenor in counterpoint (also sounding the matter whether the melody pitches continued to serve as melodic minor), 7♯-1-2-7♯-1– ; the soprano ends upper tetrachord scale degrees in our home key or not: with the 3rd (G) of the key (e minor); the phrase we kept our fixed point of entry. Although new doorways in quick succession proceeds: tonic––dominant of kept opening up, we passed them by rather than taking the dominant––dominant of the relative-minor-of- the opportunity to just step outside for a moment in one the-dominant––relative minor of the dominant; 10 direction or another, in order to step back home again questions?: “If it is true that our angle-gestures belong to refreshed. And indeed, Bach could have harmonized the absolute pitches – as we thought, as we conceived them Chorale melody such that it would stay shuttered at home, to do and as we applied them – then why don’t all pitches making no journeys at all! … but that’s not what he did. have distinct absolute gestures right from the outset? Why I’m not suggesting that we could have divined these don’t the pitches that we call ‘G, A and B’ have gesture- shifts very well in our first year. And even if we did, we expressions that are independent of the scale structure? certainly wouldn’t have known what to do with them, to And if each of the pitches we use in our music do have give expression to them. But with pieces far simpler than absolute gestures, why isn’t it our primary task to find this one and taking our start with pieces that stay home – every one of the gestures as an independent fact? Or is it to feel what that’s like through and through, and to know really the case that all of the angle-gestures* are entirely what straightforward cadences feel like and what creates dependent upon our direct experience of the scale – of the them – it would be so satisfying to lay the groundwork archetype of the scale whenever this archetype manifests by working toward becoming familiar with the nature of – and that none of the gestures are absolutes for the named the Gebilde of our tonal music and growing increasingly pitches or for the written notes?” *(These gestures would able to sense it when shifts in the scale degrees and their include the modified ones that we hadn’t gotten to yet.) relationships generate tonal movements. As regards this question concerning the gestures as Casting my feelings back to my work on this Chorale, belonging – or not – to absolute pitches, I believe that I’d say that I did sense something disharmonious in how part of my sense of unease during the listening exercise I followed the melody with my angle-gestures while ignor- stemmed from my awareness that I might be essentially ing and overriding my sense of the tonal shifting. But I matching gestures with sounded tones. Though I tried to had to think that maybe this was just the way the gestures forget that I had seen such gestures before, I was still were applied in the beginning. Even so, I felt that a door trying to feel which type of ‘angle’ fit which sounded was being narrowed because of this; and I didn’t know tone best. My efforts were not in the clear as regards the why this should be happening. phenomena themselves, my experiences of them and my And another door had closed entirely: after we made expression. However, to the extent that something felt our beginning with the angle-gestures in our three initial right in what I came to – and something did – what is it? lessons with them, we didn’t do the listening exercises We didn’t give the exercises much consideration at anymore, despite the fact that they offered us some means the time, so it’s wonderful to take the opportunity to do of having direct experiences that could have helped us so now. I’d like to share some first observations concern- continue to enter the movement-impulses of these musical ing our research results as a class: Any tone sounded by phenomena and securely prove the gestures we were itself and repeated without a context would likely be per- putting to use. But although we ended that process, I still ceived as a ‘prime,’ which might prompt a gesture that felt that the lower and upper tetrachord structure and the stays within itself. The narrowest of angle-gestures would steps of the scale ascending from the prime to the octave be appropriate. (Nevertheless, I still wonder: would we had begun to open some of their secrets to me. This spoke have raised our arms straight up like we did when hear- to my sense for truth. ing a single tone, a potential prime, if we didn’t already But now, these years later, I want to ask: what was it have the idea that eurythmists did the prime with their that came to us through those listening exercises? arms straight up? And if higher pitches followed the first Looking More Closely at Our First Exercise tone – as was the case in our exercise – I also wonder: wouldn’t we feel conflicted when we lowered our arms It seems to me that through our introductory exer- while the pitch rose?) Once we had experienced this first cise, we had the impression that we had found gestures tone as the narrowest gesture, the second tone felt quite for the pitch-tones that we call ‘C, F and A,’ and then for removed from it – it was not a near angle-neighbor. It ‘D’ and E,’ and for ‘G’ and ‘B.’ Yet, when we were was much different and even had a formative feeling. subsequently led to jump with our angles for G, A and B – It could be felt as having the quality of the 4th in rela- but not for the other tones we heard – the reason that tion to the first tone. The first tone could now be a point jumping felt right to us is because it expresses our exper- of departure, seemingly a keynote, a ‘home.’ A desire to ience of these three tones when they are sounded within express a concentrated sense of awareness for the second the scale structure, within the scale-Gebilde. Hence, this tone as the 4th by calling on our upright and horizontal jumping expression depends entirely upon the scale struc- dimensions simultaneously through opening our arms out ture, not at all upon specific pitch frequencies. I want to to the sides, was perhaps appropriate. When the next tone keep a firm grip on my good, sound common sense; departed from this – feeling even less oriented to the first therefore, in reflecting upon this with sincerity of heart tone, the prime, and now relating perhaps to the octave and clarity of mind, wouldn’t I have to ask myself some above – a raised, open-armed gesture for the 6th, taking 11 us above the horizontal, might be appropriate, although I For example, by taking the major scale that we had didn’t feel the urge to jump and I also don’t recall anyone been doing with the pitch-tone ‘C’ as its prime or tonic, else reporting feeling that urge. To me, these initial inves- we were finding that we could take this as our mother- tigations seemed to form the rudiments of a foundation scale or ‘home’ and sound a new manifestation of the such that the gestures could emerge out of the experiences archetypal scale by beginning with its upper tetrachord, of the scale degrees as relationships, not as absolutes i.e., beginning with its 5th degree, its dominant, ‘G.’ But fixed to pitches. when we proceeded upward from this 5th degree while In my further exploration of this exercise, I’ve found staying within the structure of the C scale, we found that that there’s even more musical import hidden in it. In fact, upon coming to the 5th degree again we were drawn past I’ve been deeply impressed by how, in this simple suc- it to yet another C; and in essence, G remained the 5th cession of three tones, the harmonic workings of musical degree of the C scale. Why? Because the sense of arrival relationships can reveal themselves to our experience, at the octave of a major scale depends upon the activity taking us beyond even the initial intimations that I’ve of a proper upper tetrachord scale-structure, with the 7th presented just now, of prime–4th–6th. In PART II, I’ll go degree leaning toward this octave. But the 7th of G is into this exercise again from a different point of view. hanging back. It must lean upward. So the 4th degree (F) But going on … of the C scale must be abandoned and a new, higher pitch sounded in order for the new 7th degree to manifest – in Second Year: Revolution Amongst the Angle-Gestures order for the two-tetrachord archetype to assert itself and At the opening of our second year, our relationship to the the transition to be made to the new scale. We feel the angle-gestures was formally altered. We were led to take archetype insisting upon this. After this, we found that the up these angle-gestures – which for me expressed tender, upper tetrachord and 5th degree of this new scale could objective experiences of the archetypal scale-Gebilde – give rise to a next new scale in the same way, requiring and apply them to every occurrence of the named audible its own proper upper tetrachord and 7th; and so on. The pitch-tones and written notes not only in pieces written result would be a whole series of twelve new scales that in the key of C as we did in first year, but also in every would – marvelously – circle back to the home scale, each piece we worked on. And after we learned the double- beginning with the upper tetrachord and 5th degree of the angle modifications of these gestures that express raising last one. The twelfth scale would be enharmonic with and lowering processes,* we applied these double-angle- the home scale – i.e., the same pitches as those in the gestures to every occurrence of the named audible pitch- home scale would be sounded, but would be called by a tones and written notes that we associated with them. We different set of note-names. I’m not sure we grasped this exclusively referred to the angles as ‘tones’ and routinely final reality. It means that if the ‘C’ scale is taken as the called them by letter names. *(These processes involved home scale, the prime of this twelfth scale would be the modifying the arm-angles by bending the elbows with the raised 7th of the C scale itself, B♯. palms outward for raising, for ‘sharps,’ and with the We found that we could also manifest a second Circle palms inward and the arms rounded for lowering, for of related scales. Taking the ‘C’ scale as the ‘home’ scale ‘flats,’ thus forming the double-angle gestures.) and repeatedly beginning with the lower tetrachord, begin- But what did I understand regarding why I was fasten- ning with the 4th degree, F, its subdominant (called this ing the angle-gestures to specific named and sounded because the 4th degree above the prime is also found tones? We took this step as a matter-of-course, simply, a 5th below the prime), we now descended from the 4th without serious deliberation of the broader implications of degree to sound a new scale. But this time, right away we what we did, with the sense that it was self-evident that found it hard to keep hold of our home scale in our what we saw written on the page would find its reflection feeling: these four tones already felt like an upper tetra- in our gestures. Since we were beginning to learn how chord for the new scale… but then, upon beginning the scales are related to each other, it also seemed matter-of- new lower tetrachord, we felt a jolt when the 4th degree course that we would take one scale of named audible of the new scale wasn’t as we expected: it was reaching pitch-tones and keep it as the common mother-scale (so- upward, which it must not do. It needs to orient itself to-speak). We would tie its angle-gestures to the named toward the new tonic below. So the 7th degree (B) of notes and keep these associations between gestures and the C scale must be abandoned and a new lower pitch notes throughout all of the scales. The fastening could sounded in order for the right 4th to manifest – in order feel like a necessary outcome of how one scale can give for the transition to be made to the new scale. Again, the rise to another, which gives rise to another – and so on, to two-tetrachord archetype mandates the process. After this, another and another – thus generating a whole circle of we found that the lower tetrachord and 4th degree of this lawfully-related scales: a circle to which the name, Circle new scale could in this same way give rise to a next new of Fifths, is given. scale, requiring its own proper lower tetrachord and 4th 12 degree. The twelfth scale would be enharmonic with the a result, I was now working to manage all of the other C scale, the home scale – its prime would be the doubly- scales as best I could. This was complicated and difficult. lowered 2nd of the C scale, D♭♭ (‘D double-flat’). Thus For example, for the G major scale the jumps and the generation of these two Circles of Fifths leads to two angle-gestures that we called ‘G, A and B,’ that belong to scales that are enharmonic with the starting scale and with the 5th, 6th and 7th degrees of the C scale as its upper each other; they are the culmination of two processes of tetrachord, were to be applied to members of the lower overlapping tetrachords proceeding in opposite directions tetrachord of the G scale, to its prime, 2nd and 3rd; and – one to the dominant side and one to the subdominant the angle-gestures for the rest of its degrees involved no side of the home scale. jumps. This generated multifaceted conflicts within me. These two lawful processes, in both directions, domi- Since my feeling-experience tells me that the pitch-tones nant and subdominant, are harmonious. But I have come D, E and F(♯) are the upper tetrachord of this scale, when to the realization that these two Circles are not only har- I don’t jump with my angle-expressions of them I’m at monious within themselves: they are in fact an unbroken odds with this musical reality. And if I continue to jump continuity going to and fro. And the harmonious fluidity for the pitch-tones G, A and B, I’m also at odds because and continuity of these lawful Circle-of-Fifths scale my feeling-experience is that of the lower tetrachord. relationships is what provides one of the principal path- But if my experience were to cause me to leave off the ways for musical modulations – for transitions between jumps for G, A and B as the lower tetrachord, what then? tonal centers within pieces of music. (For more on the With no leg-involvement, I’d be expressing what would remarkably diverse modulation methods and pathways – have to taken as F, E and D. No matter what, the G scale not just this one – see “Modulation (music),” at https:// is turned inside-out and upside-down for me. I am at odds en.wikipedia.org/wiki/Modulation_(music)#.) with the archetype. Upon coming to an understanding of this harmonic However, at the time, the conception I came to about continuity that moves in both directions, I need to ask: in this scale whose prime is pitch-tone ‘G’ was that this is what way do the lawful scale-relationships that make up the way we are supposed to experience it; and we must this incredible music-Gebilde require us to tie our gestures therefore express it in eurythmy as inside-out and upside- to a specific audible scale with a specific named note as down in its scale structure – and indeed, for various scales its prime, to make it our overriding ‘home’ and fasten our we were provided forms in space to practice that could gesture-expressions for its scale degrees and raised and correspond to each one’s pattern of straight and modified lowered degrees onto all of the other scales? Couldn’t any angles. Still, I couldn’t help but dimly wonder: what can of the sounded scales in these Circles serve as the the onlookers make of this when they don’t know what ‘home’? Couldn’t we even manifest entire Circles in both key a piece is written in, in order to fathom what I mean directions by taking any pitch, named or not, as the prime to express with my gestures? And if my gestures run of our mother-scale, even taking a pitch that constitutes a contrary to what moves in my own experience of the quarter-tone relative to our standard tunings? scale structure that informs the music that is sounding, Yet whenever the scale-structure was our focus, the won’t my gestures run contrary to what moves in the scale we took was the one that begins with the pitch we experience of the onlookers, too? Could I and they really call ‘C.‘ Therefore, it was with the C major scale that say that the scale with G as the prime is so dramatically we learned an alternative to jumping with the G, A and different from the C scale that it must be expressed with B angle-gestures. Rather than jumping, we can express its inner structure completely altered? their heightened energy by doing iambic stepping (short– Admittedly, when we were considering this G scale as l-o-n-g) for each of them. And in minor, to express the the first scale in the dominant direction when taking the subdued, hampered character of these upper tetrachord C scale as ‘home’ and the G above it as the new prime, it members, we could do trochee stepping (l-o-n-g–short). felt fitting that our expression would convey a sense of The iambic and trochaic stepping felt fitting and expres- the brightening that this tonal movement can generate. So sive to me. But it turned out that this was only true for beginning the G scale with the three angle-gestures that this one scale: we were shown to keep the stepping fixed involve jumping could feel exactly that: brighter. How- to the upper tetrachord of this audible C scale and to ever, this being the case, then the D scale, the scale of transfer the stepping as-is to the other scales. the dominant of the dominant, should be yet brighter in My vital experiences of the scale degrees as rela- its gesture-structure. But no: its first three angle-gestures tionships between the sounded tones was becoming con- involve no jumps. And like for the dominant, its 7th fused and obscured for me. The gesture-expression of degree gesture is devoid of an upper tetrachord jump. And this archetype that I had recognized as belonging to every the A scale, the dominant of the dominant-of-the-domi- scale and key, that therefore constitutes a movable expres- nant, begins with just two jumping angle-gestures – fewer sion, was now immovable, fixed to one audible scale. As 13 than G. I was not finding and feeling a sense of musical The complexity of the angle-gesture sequence for the grounding in these shifts of relationship scale to scale. G scale is just the first of the gesture-complexities we The gradual accumulation of double-angle gestures to now began to approach. With seven straight angle-ges- the dominant side – F♯, C♯, G♯, etc. – could be regarded as tures and fourteen double-angle-gestures (seven sharply- a steady reflection of the shifts; but this additive process bent, seven bent-and-rounded), we had twenty-one fixed didn’t relieve the mismatch I felt between my experiences gestures. Each straight-angle-gesture would need to appear and my gesture-expression. Of course these ‘raised’ in a different place within the structural context of: double-angles signified each new 7th degree for the ◆ seven major scales scales that appeared, so I could take them as expressive of ◆ seven natural minor scales (five in the case of the the striving nature of the 7th in these scales. But then why angles for E and B) wasn’t the striving nature of each 7th scale degree being ◆ seven harmonic minor scales (six in the case of E) expressed likewise in the scales to the subdominant side? ◆ eight melodic minor scales Were these other 7th degrees – E, A, D, etc. – so lacking And each of the double-angle modifications of the straight in ‘7th-ness’? What justifies my complete slighting of angles would each appear in up to seven different scale these other 7th degrees in my expression? contexts, depending, Through considering much more carefully this Added to this multiplicity of contexts is the multi- accumulation of double-angles in the dominant direction, plicity of angle-gesture sequence patterns. When we add I’ve realized that it comes about for the simple reason that in the enharmonic scales* that we choose to include in in our expression, each raised 4th scale degree is being our system of notation, we encounter fifteen different kept perpetually raised visibly rather than yielding to a patterns for major scales and forty-five for the three full expression of the 7th in each new scale. The result is kinds of minor scales. *(In the major mode these scales that the expression of the quality of the 7th itself doesn’t are: B/C♭, F♯/G♭, C♯/D♭; in minor: g♯/a♭, d♯/e♭, a♯/b♭. In ever appear. And likewise in the subdominant direction, the major and minor Circles of Fifths there are actually the accumulation of double-angles comes about because five more enharmonic scales in major, and five more each former 7th degree that has been lowered is then kept in minor. These are needed in order to complete the perpetually lowered visibly rather than yielding to a full respective Circles. I’ll go over this in PART II.) expression of the quality of the 4th in each new mani- We were also shown to position the arm-angle of the festation of the archetype. The changes in relationships 7th degree, which we called ‘B,’ closer to the arm-angle and the fulfillment of these musical transitions are never of the 8ve, ‘C;’ and the angle of the 3rd degree, ‘E,’ closer actually expressed. It comes as a surprise to realize that to that of the 4th, ‘F.’ This wasn’t the case in 1915 when with each step this system of expression perpetually holds Steiner originally introduced the angle-gesture expres- onto the past … as does our system of musical notation. sions of the scale: the prime and 8ve were 0 degrees with I wanted the musical phenomena of the scales and the the arms straight up, the 4th and 5th were at 90 degrees two Circles of Fifths to be direct and deeply-felt exper- with the arms out to the sides, and the 2nd and 3rd, and iences of lawfulness, harmonious structures and qualities the 7th and 6th were at 30 and 60 degrees, respectively. of relationship that would bring life to what otherwise (See PART III.) Our reason for changing the angles of remains obscure and keeps me bound in merely intellec- the 7th and 3rd – and therefore for the 2nd and 6th also tual understanding – which is of course also necessary in – was easy to see: the distances between the arm-angles our time. I wanted my new experiences to transcend and now represented half and whole steps: they corresponded heal those which I had had in music school. And I wanted to smaller and larger differences in pitch. a clear sense of what is essential in musical experience in I recall feeling a slight sense of puzzlement at the clear contrast with what is non-essential. But for me, with introduction of half and whole steps into our expression, my movement robbed of its in-the-moment reflection of but within the scope of my practice they seemed harmless; the absolutely essential drama between the lower and they were just another aspect of the many things I needed upper tetrachords, I was losing the scale in my expression. to master. But contemplating them now, I am able to And I find in this a question of serious concern to me: recognize how full of consequence they were for me: they if I omit the jumps for the 5th, 6th and 7th degrees of induced a profound shift in my orientation to the angle- the scale that actually holds sway in the music rather expressions and confused my conception of them. I felt than making the jumps as both a musical necessity and an subtly pulled away from the intimations that our initial inner necessity (i.e., for myself in my development as a listening exercise had revealed to me (pp. 7, 10-11). This human being) – and if I also omit the struggle toward the is, I know, a very sensitive issue; but not withstanding, octave when the music sounds in minor – what are the I need to take heart, pluck up my courage and enter upon consequences of these choices to eurythmy, to the music, a discussion of it. I can’t just step around it. to ourselves and to the onlookers?13 14 Making the half and whole step pitch-structures of moving the distance from one angle to the next I have the scale visible as angle sizes was now fundamental to essentially expressed the interval between them … when I my expression. But nevertheless, I wasn’t being consist- haven’t in fact done this at all. And I know that it wasn’t ent. Firstly, I ignored the whole step between the angles of only my sense of the melodic intervals that became the 4th and 5th, ‘F’ and ‘G’ – I didn’t likewise represent confused through this method of angles-expression: my it. And secondly, when I transferred the adjusted angles to experience of the scale degrees was also disrupted. With scales other than C, these half and whole step measure- the members of the scale now being held within or ments that belong to C didn’t match up. Therefore, to oriented toward a spatial scaffold of half and whole steps compensate for the mismatch, I tried to feel where they (more-or-less), my tentative sense of each scale degree in should be in each of the other scales. For example, in the its relationship to the prime of the scale – which is so F scale, since I wasn’t making the fixed arm-angle for its fundamental to each member’s identity – was no longer 3rd degree, ‘A,’ closer to the arm-angle for its 4th, ‘B,’ supported. The practice of pacing out the angle steps as in my mind I was thinking of the fixed elbow-angle for a kind of measurement note-to-note very much compro- the pitch-tone B♭ as providing the half-step measurement. mised my sense of this essence. For example, since I was And for the G scale – where it’s not even possible to keen to acknowledge the half-step between my angle- make the fixed arm-angle for its 7th degree, ‘F,’ closer to gestures for the 7th and 8ve (regardless of the scale), the arm-angle for its 8ve, ‘G’ – in my mind I was think- that half-step took my attention. Hence, I was not vividly ing of the fixed elbow-angle for the pitch-tone F♯ as experiencing the 7th degree itself and its relation to the providing the half-step measurement. 8ve; nor was I experiencing the real melodic interval For me, these strange circumstances prompt the ques- between the two scale degrees – i.e., the minor 2nd: my tion: why was I trying to express half and whole steps experience of observing the angle distance or the juxta- in my angles-expression? In terms of music – not pitch position between an angle and a double-angle supplanted frequencies – what are half and whole steps? Answer: both of these musical experiences. And the same compro- they are melodic intervals; they are the minor and major mise of experience impacted the 3rd and 4th degrees also. 2nd. And each of us can grow to perceive these inaudible Had I been wakeful to what was happening to my elements of music inwardly. The melodic intervals are ability to experience and express the scale degrees and the musical transitions between the sounded pitch-tones melodic intervals, my whole being would have caused of a melody or a scale sequence (‘do–re–mi….’). There- me to ask: can’t we find some way to let the musicians fore, when I cause the angle-gestures to assume relative and composers keep their problem of half and whole distances from each other according to the smaller and steps? Of necessity they have to grapple with the earthly larger 2nds that come between the scale degrees in simple requirements of music making; hence, half and whole step succession, I easily begin to regard the melodic intervals increments matter, on their instruments with holes, levers between them as a matter of size. But the melodic inter- and spaces, and spelled out in clefs and symbols. But the vals are musical qualities – they are not graspable at all in content of my activity needs to be purely musical. That’s material absolutes such as size and measurement. And in the whole point of my eurythmy expression. fact, a given melodic interval is likely to feel smaller (or Before proceeding to the work we unfolded with the more accurately, ‘minor-ish’) when it comes as a descend- gestures, I want to take up one more difficulty of conse- ing transition rather than an ascending one. quence in this angles-system. We were now clearly taking I very much understand this mistake of taking the the audible C scale as the permanent overriding tonic; nature of intervals to be a matter of size rather than qual- and we expressed it as such. As a consequence of this, its ity. I know all about it! In my music studies I struggled dominant, the G scale, became the permanent dominant: with exactly this. All I knew to do to improve my sight- its angles-structure was tied to the permanent tonic and it singing skill, was to try to get better at gauging how big kept this fixed expression and identification whenever or small the leap between pitches should be for each kind and wherever it appeared in music. But what does this of interval – 3rd, 4th, major 6th, minor 6th – in a written mean? There is no way that I could have approached this melody. I didn’t know how to enter the qualities that each matter at the time; but now I am able to ask the necessary interval possesses; we weren’t shown how to open the and urgent question: how can an audible scale be regard- door to this inaudible, inward perception. It seemed that ed as a permanent dominant? My musical feeling tells no one knew how to help us do this.14 But it is within the me that the quality of ‘dominant’ only arises in relation- power of eurythmy to show the way and open the door. ship to the presence of a tonic, its tonic, which it pro- I believe that it’s deeply problematic for our expres- claims. The quality of ‘dominant’ never arises otherwise. sion when we choose to represent the minor and major Simply put, there can be no pre-existing, self-standing, melodic 2nds as lesser and greater angle-distances. With audibly-manifesting dominant scale functioning outside this representation, it is easy fall into believing that by of this immediate, in-the-moment relationship. And it is 15 the same with the quality of ‘subdominant,’ ‘submed- hose who dance or do ballet and other modes of move- iant,’ and all of the other scale relationships. ment – T’ai Chi, and even mime, etc. – typically do the same in order to unify their expression into a stream, or We Carried On to convey feeling-qualities or ‘transfer energy,’ so-to- We learned the sequence patterns for a number of the speak? They prepare for their intended movements with major scales and a couple of the minor ones that term. the right amount of stretch, tensing or relaxation just as I The angles-expression of the scale that takes ‘C’ as its did when I approached the prime, for which I must bring prime was a direct unfolding of the lower tetrachord my arms straight up overhead. They experience the varied beginning with the narrow angle above for prime, and positions and movements they make with their bodies, and opening outward down to the horizontal of the 4th. Then we do, too; and how they do their movements matters to came the effortful rising, with jumps, back up through them. This being the case, what constitutes my distinc- the upper tetrachord, as our arms closed in on the octave. tion in what I do? I need to be clear with myself con- But the other scales required us to bend and unbend our cerning what the source of my expression is. Suggestive arms in various sequences. Naturally, these structural imagination-methods and other helps cannot be its driving shifts presented difficulties for us, and in practice we force, nor can it be driven by a set of beliefs. could easily fall into learning the scales by rote practice. During this year, as always, we continued to work on Our teacher urged us to feel as if we were ‘singing’ the elements of rhythm, meter and beat, and the rise and from our collarbones out through our arms. This relieved fall of pitch. And we began to work on differentiating our rote tendency. We should ensoul the space, or feel as major and minor, firstly in our scales – the gestures for if we reached out to slip our arms into channels to send major being above the horizontal and for minor below – and receive rays from the stars. With enthusiasm I noted and then also in our quality of movement, in our expres- that “we must move and sing with our bones – feel the sion of rhythm, and in our ‘breaths’ between phrases ribs and shoulder-girdle [the structure of bones involving when shifting between major and minor sections in pieces. the collarbones and shoulder-blades], all of our bones. … We were also introduced to a wonderful new form of The bony part, our teeth and bony structures are all dead, expression for the scale degrees and the melodic intervals. but the marrow inside our bones is where our blood comes We sought to experience these musical phenomena as a from; the inside of the bones is very alive! Sing in and lawful progression of higher feeling-perception that starts through your bones, all of them! … The collarbone sings with the collarbones and proceeds bone by bone down the out the tone into the arms. SING!” Yet while embracing arms. I call these the bones-sequence gestures.15 These this image of fully singing out through my arms, at times experiences are different from the ‘singing’ through our I felt perplexed by what she said. We should sing fully but bones that we had been practicing with the angle-gestures. nevertheless interrupt ourselves: “sing through the tones – Roughly, in brief, in this sequence the prime is felt in not resting on any of them, never holding. Radiate and the collarbones and extending just into the shoulder joint; sing on. Move between the tones. … The air carries the the 2nd is felt in the upper arm; the major 3rd and minor tones – they sing all around us and in us. … The air 3rd in the outer or the inner of the two bones of the lower carries the singing of our movement and gestures. The air arm (respectively), the 4th in the compact wrist bones; the is alive and receptive, substantial.” 5th in the hand bones, the 6th around the hand and fingers I found that applying devices of active imagining to and between the fingers, the 7th as intense uncomfort- the making of the angle-gestures really did help me keep ably-energetic enlivenment going out beyond the fingers, my arms up and feel them enlivened with a stronger sense and the octave as arriving at a new, higher level with a of intention. Yet my feeling-recollection tells me that sense of release, completion or fulfillment of the sequence through my ‘singing’ and ‘moving-between’ activity I was process. The gestures we were led to do felt right and again coloring my angle-gestures with a uniform quality beautiful to me, though I was aware that I couldn’t feel of energy and expression, just as I had done with the them distinctly enough. I fervently hoped they would ‘catch-and-release’ technique that we learned at the end of grow strong and vivid in my experience. first year in our work with the Chorale. I didn’t realize it We practiced these gestures while hearing our pian- at the time, but I was now routinely giving my gestures ist play melodic intervals in pairs, always in relation to the streaming quality of the vowel ‘i ’ (ee). This new tech- the prime. We slowly ascended the scale: prime-prime, nique helped me produce a certain overall effect, but it prime-2nd, prime-3rd, prime-4th, etc. We didn’t take didn’t foster in me the distinct musical experiences that I these interval relationships in reverse order starting with felt should be alive in each of the gestures, that belong to the upper tone, i.e., 2nd-prime, 3rd-prime, etc., so we them. Instead of directing my feeling-attention into these didn’t explore the possibility that descending intervals essential experiences, I was directing my attention into might present a different experience – nor did we keep movement-imaginations. This presses me to ask: don’t repeating the octave and work our way down from it. 16 Along with these arm gestures, we learned to express bones-sequence gesture of the 3rd and a completion with the quality of each interval relationship as a movement in the gesture of the 5th. These triad members are usually space, as an interval-form.(15) (Note: The interval-forms sounded simultaneously, but in our expression we are always performed facing forward, though the relative restored them to the realm of melody by doing them in dimensions of their curves may be modified. They don’t quick succession – the major triad as out-streaming in work facing sideways or backwards.) nature and including the major 3rd; the minor triad as ◆ The prime, 2nd and 3rd stay more quietly within in-streaming and including the minor 3rd. In contrast to themselves. We moved each of these in a small not-so- these triads we then felt how dissonance has an active deep bowl-curve left-to-right or right-to-left, with the tearing-apart quality that calls on the legs for its expres- bowl open to the front. sion – bending the knees, or jumping such that one leg ◆ With the 4th comes an awakeness. A shallower curve lands in the backward direction, but “without heaviness.” is made across the front that feels filled from the back. “Dissonance takes us somewhere else … outside;” and ◆ With the 5th comes a real change. A much larger bell- upon returning, we must quickly “erase” where we’ve like curve is made to the front, still left-to-right or gone in order to resume in consonance. All of these right-to-left. Unlike the previous movements, this one expressions felt right and good to me. We explored pairs has two double curves and demands much more atten- of chords to feel how the dissonant tensions release or tion and involvement, befitting the expression of the resolve into major or minor; and then we worked on short particular outward-going nature of the 5th. pieces that were chosen for this. ◆ With the 6th a crossing enters into this outward- I recall experiencing intensity in the harmonic move- going-ness. A loop is formed to the front. With the ments of some of the pieces we worked on during the crossing comes a sense of waking up in this new out- rest of this year – such as Chopin’s Prelude in C minor, ward condition. Op. 28, No. 20; and César Franck’s Maestoso, also in ◆ With the 7th, this loop becomes indented in its out- C minor.16 Though our work didn’t involve awakening ward end. This new pair of curves demands great effort to the significance of the tensions and resolutions we to execute, very much expressive of the 7th’s intensity practiced, in reality each of these dramatic exchanges is of energy in its leaning, its climb toward the octave. defining or initiating tonal movements. Had we known ◆ And for the octave we were shown to do a small something about these movements, we might have begun circle beginning at its left or right side and proceeding to sense them and make sense of them. But as it was, we first across the front (but it seems that it has been done focussed on the chords of tension and release in simple or might also be done the same as for the prime, or linear succession, going no deeper into these musical with no movement at all). structures, much as we had done when expressing the We worked in pairs to practice these forms as com- pitch-tones in the Bach Chorale. The pieces were notated plements within the span of the scale, too – e.g., prime– in various key signatures; and in many of them, acciden- prime, prime –8ve; prime–2nd, 2nd–8ve (i.e., a 7th), etc. tals that raised or lowered the scale degrees appeared in And we also worked on melodies for which our teachers the melody. These intrigued me and I knew that at some drew forms based on these interval-form movements. point we’d be including melody tones such as these in our I want to add that in the next year we were taught that expression, too. But rather than feeling gladdened in this sequence of gestures finds a natural correspondence anticipation of that task, I felt vaguely conflicted, sensing with seven vowel sounds – the vowels being the musical complications in it. At the same time that this wonderful aspect of speech. (These seven vowels are: u, o, ah, ö, é, ü new door of harmonic expression was opening, I felt that and i.) We worked on these correspondences and then took another door might be narrowing further. Reflecting on up the expression of the calming, musical poem, “Über this now, I understand why I felt unsettled: though I might allen Gipfeln” (‘over all peaks/summits’), by Goethe.* We succeed in waking up to these raisings and lowerings, to divided into two groups, one doing the musical gestures recognize them in the context of the in-the-moment scale- and interval-forms, the other doing the vowels gestures. Gebilde and modulation processes, I’d find myself unable This was wonderful! *(You may find the poem in both to express them adequately and therefore unable to stay German and English at https://www.oxfordlieder.co.uk/ strong and secure within my experiences of them. As I song/713; “Wandrers Nachtlied II | Oxford Lieder.”) already knew, I wouldn’t ever be able to grasp the move- With our new bones-sequence gesture-skills we were ments of the melody with immediacy as it traversed the now able to open the door leading into the expression of actual scale degrees – and indeed, since the gestures are harmonies – the major and minor triads and dissonances. disconnected from the scale structure of every notated We began by awakening our feeling-perceptions of the key except C, they would continually contradict my exper- qualities of root, third and fifth. Our triad gesture iences rather than supporting them. Furthermore, my involved a step for the root or prime, followed by the expression of pitch-tones wouldn’t ever provide me with 17 experiential clues regarding changes in the tonal center – or lack of a jump would tell us which it was; but since my gestures wouldn’t require me to attain and sustain a the jump didn’t express the scale structure in the music – living perception and knowledge of what is unfolding. didn’t relate to it at all – having feeling-perceptions of With fifteen different angle-expressions for the 7th scale that actual structure wasn’t a help. Of necessity, for me degree (in the scales we bother to notate), I’d always have the result was that I had to try to ignore whatever direct to remind myself which angle the 7th was at the moment experiences I might have had of the music itself, in order – the angle of the 2nd in this scale, the angle of the raised to lay the angles-sequences into my movement. *(See the 5th in that scale – a daunting task. Each of these differing pair of plain and annotated music-documents. The Sara- expressions of the 7th would be tied to the key signature bande audio I cite in ENDNOTE 18 is only partly the same.) (in either major or minor) and kept for the whole piece, In this way we filled in the gesture-patterns and too, no matter what. strove to become graceful with them. Our teacher showed Looking at these pieces now, I’m impressed by the us how to sculpt melodic-groupings with our arms as diversity of the tonal journeys they take; and the modu- lovely, composite angle-gesture shapes. Following her lation activities between tonal centers in some of them movement, we learned how to go from one angle to the are striking. In my recent explorations, I’ve also come to next singingly, “through the marrow of our bones” and understand that it isn’t only the overt dissonances that in the space around us. That is what was important. She have characteristic directions of movement and resolution said that we shouldn’t be so concerned about the actual requirements: the triad that belongs to each of the scale gestures. I noted that she told us that “it doesn’t matter degrees has affinities and aversions in relation to those of so much if the angles we do are right or not: Sing!” And other scale degrees, too – as do the scale degrees them- I did indeed work toward making a practice of ‘singing’ selves.17 Each of these triads yields well or poorly, or just through my arms; but the idea that the content of my so-so, to this or that other triad; and they also have prefer- gestures might not matter was not a reassuring one, ences relative to rhythmic interactions and which chord especially since I had thought that it really did matter. position they like to take – root position (the root sounds Might There Be Value in Angles Fixed to Notes? as the lowest), first inversion (3rd sounds as lowest), etc. Although our teacher downplayed the importance of When we get to know their tendencies, we can begin to exactitude in making the angle-gestures, I had begun to witness what is unfolding in each phrase of every piece, adopt the view that maybe it could be anticipated that as the inclinations of the harmonies interweave – predict- distinct experiences of the named pitches themselves ably or surprisingly – to create musical tapestries. In light (together with their octave reiterations) would come to us of this, what Bach did in his harmonization of the through routine use of the angles as assigned – that is, if Chorale melody is impressive. Played as a single voice we did G, A and B with jumps always for major or with without accompaniment, the unsounded harmonies that its the alternate hampered movements for minor. In this way, tones implicitly suggest through the dispositions of the doing the angle-gestures might lead me past the mere scale degrees are thoroughly uninspired. But Bach laid association of gestures with pitch-tones to sense the real- hold of the manifold possibilities for his setting; and, ities that I felt I wasn’t experiencing in relation to them. gratefully, we nearly forget how dull the melody is – it Maybe I could yet hope for this. This is worth consider- becomes uplifting! (This appears to be one of the many ing. I believe I was not alone in thinking along these lines. that Martin Luther and others created for hymns in Ger- But if it is true, I have to believe that it matters that both man. I am aware that – like Bach – the Episcopal hymn- our arm movements and our leg movements are correct. ists made a strong effort to make better music of the Though I took this view, I remained uneasy with the standard texts and melodies. Again, see ENDNOTE 11.) linking of angle-gestures to absolute pitches, and I could Continuing our work with the angle-gestures, we took not escape this trouble. For example, even if I always up Jean Marie Leclair’s Sarabande in A Major* – a piece perform the angles correctly, how do I come to terms with that unfolds beautiful modulations right in its melody line. the fact that concert pitch ‘A’ has changed over time and Our teacher said that she didn’t want us to determine the isn’t as universal and fixed as I thought?* What if my angles we did from the written notes, and I very much musician doesn’t tune properly and plays everything flat? appreciated this. I knew what she wanted us to avoid What about the fact that my solo French horn player reads because as a pianist I’d seen that students often learned the sign for ‘A’ on the page, operates the valve levers for the angles from the written music. So instead of this, she ‘A’ on his instrument, but the pitch he sounds is the ‘E’ taught us the angles-sequences by doing them herself and a 5th lower? What if my guitarist places a capo two frets having us absorb the gestures from her movement; we up? In each of these cases, which angle-gestures should moved along with her while the music was played. This I make? What are the actual experiences that I mean to process was challenging. For instance, an ‘A’ angle and express? I need to know. When I played the B♭ clarinet a ‘D’ angle could appear quite similar and only the jump 18 in high school, if a piece was written in the key of G, I as written. Why was she gesturing D♯ rather than C♯? She played it in the key of G on my instrument, but I sounded made her D♯ angle gracefully. Maybe she simply didn’t it in the key of F. However, I felt no conflict between my like doing the C♯. Maybe that tight gesture marred her sounded tones and what was written, though there was enjoyment of this lovely piece in 3/4 time; and if to her always a difference of a whole step between them: upon the arm-angles and patterns were vehicles for her expres- decoding the notation, I experienced the musical structure sion of a personal nature, this could easily have been as it unfolded and this musical reality is what held my the case. I felt confused by what she did. Were all feeling- activity, sure and strong. We keep this reality, too, when perceptions equal? This question was not discussed, but we sing “Happy Birthday” with whatever pitches suit our I sensed that there are two vastly different kinds of feel- voices. In band and orchestra I always tuned to the sound- ing activity within us: personal feeling-responses, and ing of the pitch, A440 (440 Hz, the pitch frequency in objective feeling-perceptions that reveal realities in rela- cycles-per-second), so this is the pitch that I could most tion to music and eurythmy. Didn’t we need to learn to readily produce out of myself, no matter what name I gave discriminate between them?19 If so, and assuming that my it; hence, if any pitch has a feeling of being the prime for classmate possessed some amount of true musical feeling- me, it would be this pitch, not the pitch we call ‘C.’ I’ve sensitivity, what might her gesture have meant to her? read that while people who have ‘absolute pitch’ per- I believe my feeling-perceptions of the opening of ception run into trouble if the tuning changes, those who this piece give me the makings of a real answer: C♯ is the have developed ‘perfect pitch’ memory skills are quite 3rd degree of the scale of the piece. From there, this adaptable: it doesn’t matter whether concert pitch is A440 opening motif leads directly to the A just below, which is or A415: whichever tuning is current in their work is the prime. After that, the motif rises to E, the 5th degree. their frame of pitch-reference – groups that specialize in To my feeling-perception, in the context of the music Baroque pieces use A415, roughly a half-step lower than itself as an experience, and in the context of the arche- A440. *(See Patrick Thilmany’s article, “The Relevance typal scale – which my classmate perhaps unknowingly of Concert Pitch,” http://waldorfmusic.org/the-relevance- felt – this sounded tone, C♯, possesses the quality of the of-concert-pitch/. Italy wants the standard pitch, A440, to 3rd. Indeed it does. Then comes the prime: the quality of be lowered to reduce the strain on singers’ voices. Some ‘home.’ If so, in her unknowing awareness my classmate people advocate that A432 should be the standard tuning.) would not want to make a tight, sharp gesture for this first In my classwork I continually sought to feel a true tone, nor would she then want to open her arms out and correspondence between the angle-gestures and the jump for the next one. In fact, her musical sense would sounded pitch-tones, to feel my gesture as being as real tell her not to do that – it nullifies everything about the as if I produced tones with my arms just as I would on an opening of this piece. And she would likewise not want to instrument. However, to be honest, my hours of practice go from there to the gesture belonging to the 3rd and outside of class brought up the same unresolved question. therefore not jump: her experience would tell her that this At those times, I ‘heard’ the melody or scale only from is the 5th, not the 3rd; and if she felt this 5th consciously, within myself, so what pitches was I hearing? For sure, she would also feel that she has to jump. they were not the actual pitches – I don’t possess absolute Our teacher kept working to help all of us unfold this pitch perception and memory. The only reality for me opening motif with the right feeling, over and over again. during these work sessions was the reality of the musical She showed us how to move from the C♯ to the A below structures, the scale and the tonal context. it, and then up to the E – from the gesture of the raised Despite what our teacher had said about the actual prime to that of the 6th, to that of the 3rd. But now I angles not mattering so much, in our work with Leclair’s know why we couldn’t achieve the gesture-sequence the Sarabande one day, she tried to persuade one of my way she wanted us to: nothing in our direct experience of classmates that she really must form the narrow angle the music had the power to inspire us to unfold it with for ‘C♯’ as written; the student was doing ‘D♯.’ This this sequence of fixed-angles. It felt arbitrary. Hence, we C♯ initiates the opening motif of the piece. The teacher could only strive to master the sequence as a gesture- actually formed the student’s arms physically and did so shape unto itself. In reality, we simply needed to be repeatedly, to create for her the C♯ gesture with her arms expressing the 3rd, then the prime, then the 5th: the actual bent sharply over her head. The student was completely scale degrees. These are real experiences that each of cooperative, but she did not keep this C♯ on her own; she us can have – experiences that give rise to legitimate, did not learn to do that gesture for this note in the piece. deeply-shared gestures that transcend everything of a What happened there has stayed with me. What I personal and preconceived nature. With these we could found striking about the exchange and the outcome was also grow to be able to express the descending melodic this: my classmate didn’t appear to feel any conflict at all 3rd and the ascending melodic 5th, too, as relationships between the angle she made and the tone that was played living between the scale degrees that open this piece. 19 Our practice of giving expression to the angle-gesture For me, in the Sarabande an overall coloring can only of the raised prime, C♯, when this musical phenomenon is really come from the fact that the violinist plays the prime not present, together with my classmate’s commitment to and the 5th of the tonic key as open A and E on the upper the expression of the angle of the raised 2nd, D♯, when two strings. This adds bright resonance whenever these this phenomenon is likewise not present, require me to important pitch-tones are sounded. Since this Sarabande ask the question, “why would I carry out a eurythmy doesn’t begin in the written key of C, no special coloring gesture whose origin in my experience is not clear?” actually happens in relation to C. So what does happen? What am I doing? I can’t just carry on without knowing – What tonal movements are awake in it and ready to be not knowing leaves a void in my activity. I need a living expressed as musical realities? Here below is a quick justification for what I do. Perhaps if I give this Sara- summary of its tonal shifts, followed by a log of what bande a more thorough consideration, I could uncover transpires in it step by step. (See the annotated manu- better grounds for the gestures we tried to apply to it. script; and as before, please go easy with these details and Intellectually, I can grasp that if I view the piece in come back to them later if you’re not yet ready for them.) the context of a Circle of Fifths generated by the scale of Summary: First part, repeated – the pitch, ‘C,’ its scale is arrived at three scales in the Tentative cadence in the tonic (A), m. 5, dominant direction: it is the scale of the dominant of the Full cadence in the dominant (E); dominant-of-the-dominant of C. But the Sarabande opens Second part, in quick succession, repeated – simply and directly with its own proper scale-Gebilde Passing resolution in the tonic (A), relative to its own prime. The complete music-Gebilde Passing resolution in the dominant-of-the- that it possesses fills my immediate feeling-perception as dominant (B), a concrete reality. I have no sense of a vital relationship to C at all; I’ve experienced no modulation from the key Passing resolution in the dominant (E), of C. The idea that the Sarabande is endowed with the Deceptive to full cadence in the tonic (A). quality of the dominant of the dominant-of-the-dominant ◆ The first part (an eight measure phrase that repeats) of C – and perhaps gaining a certain quality from this – is begins in the home key as written, A major; soon the an abstraction for my feeling-perception. accompaniment abandons the 4th (D) of the tonic, From another harmonic perspective, I can grasp intel- raising it as the 7th (D♯) of the dominant, turning lectually that the written keynote of the Sarabande is the the ii chord major; this II chord as the V chord, as major mode of the submediant of C (i.e., the parallel major the secondary dominant of the dominant, E major, of the relative minor of C). But do I experience it as that? creates a brief V–I resolution in the dominant; then I have to admit that I didn’t; and I still don’t. Again, I per- the accompaniment restores the 4th degree of the ceive no vital relationship to C. The mere notation and tonic (D♮) and a brief resolution to the tonic is made, key signature on the page, which inform me which rela- V–I; but then the melody abandons the 4th, raising tive pitches, higher and lower, are to be played, cannot be it (D♯) as the 7th of the dominant again; the accom- the driving force of my expression. However, if the piece paniment repeats the 7th and a full cadence in the actually began with written C and modulated from there dominant (E) is made; the progression, vi–↑ivº–II– 7 7 to the submediant, the key of the 6th, the relative minor, II –V–I–II–II –V in the tonic, equals the progres- 7 7 and from there to the major mode of this key, I would sion, ii–viiº–V–V –I–IV–V–V –I in the dominant. indeed have cause to experience this as a reality, as no ◆ The second part begins with a single eight measure mere abstraction. And even more than this, my sense is phrase: ▶ the melody opens in the dominant (E) that I would feel with immediacy that its entire scale- with the typical leading, 1– ∙2-3-4 |5 ; but when the Gebilde would then be imbued with the mood of the 6th. melody abandons the 7th (D♯), lowering it as the The new key would assert its own scale-Gebilde in rela- normal 4th (D♮) of the tonic, the dominant is aban- tion to its own prime, all of which would be endowed in doned and we hear a passing V–I resolution in the addition with the quality, the mood, of the 6th, since all tonic … but then the accompaniment abandons the of its scale degrees receive their identities and character prime (A) of the tonic, raising it as the 7th (A♯) of exclusively by merit of their direct relationship to itself the supertonic, ii (b minor), of the home key; this as their prime. This is where my feeling-inquiry leads me. 7th turns the vi chord of the tonic to major, VI, to In poetry, a whole line or even a whole poem might be serve as the V of the supertonic – as the V/ii – so we imbued with a special quality – the quality of a particular expect a V–i resolution in this minor supertonic, but vowel, for instance – but the movement-impulses of the the melody and accompaniment abandon the normal sounds and the structure of the syllables and words all 3rd (D) in this key, raising it (D♯) so that we hear remain intact. So too in music, the actual scale structure V–I instead: a resolution in the major supertonic, B at work in each phrase is likewise the foundation. major – which is the dominant-of-the-dominant; … 20

but then when the melody abandons the 7th (A♯) of out from the center to make divisions of 30 degrees, each this key, lowering it as the 4th (A♮) of the dominant, labeled with the letter names for the seven tones as the dominant takes over again, sounding V–I; … but corresponding to our arm and leg angles for the gestures. then the accompaniment abandons the 7th (D♯) of The other is a seven-star drawn with the pitch-tone C at the dominant, lowering it as the 4th (D♮) of the tonic; the top. Proceeding star-wise, the remaining pitch-tones the tonic takes over … but it makes a deceptive reso- found their places, such that when viewing the page, D lution to the submediant, its relative minor, vi (F♯), and B became the ‘feet’ left and right, F and G the lower V– –vi, and only then a full cadence in the tonic, I– ‘arms,’ and A and E the upper ‘arms.’ I marked the region ii7–V7–I; ▶the leading of the melody during this of C, E and G “tonic;” A, F and C “subdominant;” and G, tonal journey involves a specific figure that initiates B and D “dominant;”* and I recorded that the lower each of these tonal centers with a 2–5 leading that tetrachord is done with palms down and the upper with shapes the new dominant chord followed by the palms up, and that angles for major scales are done from new lower tetrachord: in the dominant this leading the shoulders up, and those for minor in the region below unfolds as 5–8– ∙ 7♭ | 7♭ -6-5-6-∙5 4 | : so at first we the shoulders. *(My teacher knew that she could use these hear the secure 5–8 leading in the dominant, but terms with me as a musician. For our pieces in class, my when the 7th (D♯) of the dominant is abandoned our recollection and notes show that we didn’t discuss these experience shifts and we hear the figure shaping a tonal qualities at all.) V–I resolution in the tonic: 2–5– ∙ 4 | 4-3-2-3- ∙2 1 | ; I noted that she told me that “the tones [the angles], this same tonal-shaping figure repeats in the domi- because they are more difficult to feel, more objective nant of the dominant, and then begins to be repeated than the intervals, can be misused – as in modern music ? in the dominant; but instead of completing, a shift is They become very physical, earthed, treated as separate made to the tonic, but it in turn diverts into a decep- from their cosmic origin and nature. The intervals [the tive cadence in its submediant, vi (F♯), V– –vi, and bones-sequence gestures] are not so readily abused, so only then is a full cadence in the home key (A) made. readily regarded only as objective and not felt.” I fol- ◆ As a written-out repeat, the same eight-measure jour- lowed these notes with two entries to myself:: “what ney is taken again with a slightly different lead-in. would it be like to misuse intervals…“ and “give example Reflecting on the modulations within this Sarabande, of misused tones….” How would I know if I am misusing and upon its tonal-shaping figures that carry it to the key the angles or the bones-sequence gestures? However, I of its own dominant-of-the-dominant and back again! – didn’t bring this up for discussion with her again. I think I going both directions – I reach the conclusion that this felt that these issues were beyond my scope as a novice. unique music-Gebilde must be unfolded as the core of the But what my teacher explained to me placed my indi- eurythmy expression of this piece. For this, I will need to vidual quandaries about the angle-gestures into the context undertake a sensitive feeling-inquiry in order to clarify of eurythmy practice generally. Indeed, my own exper- the following: 1. At what moment do I actually perceive iences at the time confirmed what she said, that these each shift in tonal center to begin? 2. When does the gestures are “more difficult to feel;” but now I understood transition complete each time? 3. How long is the new that this lack in the experiential underpinnings of a critical center kept? and 4. How might I reveal these musical aspect of our expression was actually recognized as being facts through my gestures and movement-expression? common among eurythmists. I wasn’t alone. Contemplat- It was one of the strongest longings of my heart to be ing this today, I ask: well, what happens when I don’t able to go on the tonal journey that is presented by the actually feel the significance of a gesture as an expression music-Gebilde of each piece, to bring it out of obscurity of a distinct objective experience prompted in me by the and to express my objective experience of each journey music itself? What happens when I undertake to fashion in full consciousness through my movement. Whatever a specified form, a movement, for which the content is would bring me nearer to this is still what I wanted in my vague or even absent for me? If I don’t seek out and lay study of this art. hold of the content that truthfully belongs to it, doesn’t Near the end of second year, I spoke about the angle- the void invite some other content to fill it? My exper- gestures with my teacher at that time (yet a different one). ience showed that I will fill it – as I must – with personal- I recorded that she told me that these are “the response of subjective, imaginary, intellectual or generally agreed- the human being to the rays coming from the cosmos. upon inputs that are external to what should be there and Star-song, musical, mathematical, pure. We receive them therefore arbitrary. And when I do this, I will “misuse” a and ray out through the angles.” I noted: “Pythagoras, 6th gesture-movement. Perhaps I begin to understand what c[entury] BC. Mathematics. Music. Intervals.” I drew two she meant with the word, ‘misuse’… charts. The first shows a circle with twelve lines radiating I want to say that at that time, since I couldn’t come to any conclusions in relation to our angle-gestures, I 21 really did embrace doing the scales and pieces as we were to render the German name, ‘Toneurythmy,’ as a simple carry- led to do them, as singingly as I could and as best I could. over of the elements of the name. But we don’t present ‘Laut- I remember feeling something comforting about it, that eurythmy’ as ‘sound’ or ‘speech sound’ eurythmy. Instead, we each note had its customary angle, each scale had its own refer to the general field within which we encounter the speech pattern, and melodies had gesture-shapes that I must work sounds: ‘speech’ eurythmy. I prefer to do the same with ‘tones’ as sound: ‘Ton’ phenomena belong to music eurythmy just as at mastering. This work felt much like the work I did to phonetic ‘Laut’ phenomena belong to speech eurythmy. master the fingering and movements I had to make on the But the chief reason that I gravitate toward the name, 20 musical instruments I’ve played – movements that I ‘music eurythmy,’ is because the commonly-adopted name, associated with the notes, scales and melodies. I made it ‘tone eurythmy,’ places this problematic word, ‘tone,’ in the second nature to play this scale with this set of actions spotlight (see the section on pp. 4-5 here). My experiences and that scale with that set of actions; and then I shaped tell me that we need to do everything we can to make it clear my movements to sound each piece of music. I’m sure that the audible tones and their audible durations are not our that my familiarity with this process sustained me as I business, that our gestures are not supposed to be stand-ins for occupied myself with the angle-sequences, patterns and these audible phenomena. Our sole business in music eurythmy shapes. Nevertheless, I was becoming ever more aware involves their relationships with each other and what lives between them. What we normally experience in a dim or that these gestures weren’t making it easier for me to unconscious fashion of this inaudible context is to be rendered fulfill the long-standing desire I’d felt since my music fully conscious by the eurythmist, such that the onlooker may studies – the desire to experience the most essential begin to awaken to these unnoticed experiences also. musical archetypes within our tonal music. Though I was 2 For the TABLE OF CONTENTS and p. 1, regarding Rudolf Steiner. learning rich and valuable things concerning many See the BASICS, pp. 3-5, and see Rudolf Steiner: An Auto- aspects of music and of movement-expression, I longed to biography. Here are some additional notes on his life course: be able to find the scale-Gebilde and tonal-Gebilde and Steiner was born in 1861 and grew up in Lower Austria. His their profoundly-interdependent activity shining within father took the decision to send him to the higher elementary the very center of my feeling-experiences and expression. school, the Realschule, in a neighboring town in Hungary, where I hoped that this would come in the work we were yet to his education might fit him to become a railway engineer (his unfold in the four-year program, and I sensed that far- father worked for the railway). At age eighteen he entered the reaching benefit would come if these were central to our Technische Hochschule in Vienna where he studied natural music eurythmy expression. history (the sciences), mathematics, chemistry, philosophy and German literature. He then spent several years as the editor of ◇◇◇ Goethe’s natural scientific writings, preparing them for publica- tion. In his book, Occult Science – An Outline, published in PART I continues through third year, fourth year and some 1909, he explained how strong and thorough-going his scien- post-graduate classes, and focusses on eight more pieces tific orientation was, “He [the author] has truly made it a prin- of music. PART II goes further into certain aspects of ciple to speak or write only about those subjects in the field of music and eurythmy expression. In PARTS III and IV, I spiritual science about which he would be sufficiently able to explore in detail the nature of Rudolf Steiner’s intro- say what modern science knows about them” (see the Preface duction of the angle-gestures, his recommendations and to the first edition, about 1/3 in) – and the subjects he could counsel to the early eurythmists, and the impulses which speak on in depth were many. The architecture of the Goethe- other personalities brought to bear on the development of anum building (named after Goethe) in Dornach, Switzerland, music eurythmy. And in PART V, I unfold the singing and was his design and it included the first-ever feature of a double- jumping exercises that I have found to be so very helpful cupola consiting of two interlocking domes – the smaller one for opening the doors to the true experience of the scale over the stage and the larger one over the auditorium. After a fire destroyed the building at the end of 1922, it was rebuilt degrees, melodic intervals and harmonic elements – in sculpted cement, also at his design, and it has remained the experiences which awaken the movement-impulses that center for the efforts that he and those who have been inspired form the foundation for music eurythmy expression. Once by him have made toward unfolding anthroposophical* work in again, for the beginnings of what is in PART V, please see many fields. *(See the BASICS, pp. 3-4.) the Spring 2019 EANA article, “The Scale Degree 3 For p. 1, regarding my use of numbers for melody lines. In my Intervals Give Rise to Our Tonal Music Gebilde.” EANA article for Spring 2019, “The Scale Degree Intervals Give Rise to Our Tonal Music Gebilde,” I described how num- ENDNOTES bers can be used in place of the standard solfège syllables (‘do, 1 For the title and p. 5, regarding music eurythmy. Concerning re, mi,’ etc.). The raising and lowering of the scale degrees can eurythmy generally, please see the BASICS, pp. 3-4. Regarding be expressed in singing by changing the vowels of the number- music eurythmy in particular: as a result of my work on this words, as in the chart below. The normal syllables are shown report, I’ve become uncomfortable with calling the musical in the middle line, raised are above, and lowered are below. For branch of eurythmy, ‘tone eurythmy.’ Admittedly, it’s natural minor, the same normal number-names are applied to the minor 22 scale degrees – they are simply sung in accord with the natural thought. Thought is thereby made free and independent of all minor scale. In both major and minor, the altered vowel names sense impressions and experiences; it is concentrated in one are therefore only used for the raising or lowering of normal point which is held entirely under control. Thus a preliminary scale degrees. Note that the raised 3rd degree is indicated with center is formed for the currents of the etheric body. This the vowel ‘ai ’ (‘eye’), and the lowered 8ve with short ‘èh’: center is not yet in the region of the heart but in the head, and it appears to the clairvoyant as the point of departure ween tee thry feer feev seex seev’n eet for movements and currents. No esoteric training can be one two three four five six sev’n eight successful which does not first create this center. If the latter wayn tay thray fayr fayv sayx sayv’n èt were first formed in the region of the heart the aspiring 4 For p. 2, regarding the relative major and minor modes of the clairvoyant would doubtless obtain glimpses of the higher scale. If we take, for example, the pitch-tones of the major scale worlds, but would lack all true insight into the connection with ‘C’ as its prime, six other scales can be sounded simply by between these higher worlds and the world of our senses. changing which of the seven pitch-tones serves as the prime. This [insight of connection], however, is an unconditional We’ll quickly find that when the prime is changed, so is our necessity for man* at the present stage of evolution. The clair- experience of the scale structure. Here is what happens: voyant must not become a visionary; he must retain a firm footing upon the earth.” *(“Man” in Steiner’s work always With G as the prime, the 7th degree hangs back from the 8ve. refers to the human being without gender. I prefer to capital- With F as the prime, we feel the lower tetrachord as being ize the word: ‘Man.’ In English, ‘man’ used to be genderless.) stretched and as streaming too easily to the upper tetrachord. In essence, we prove our willingness and determination to With B, the transition to the upper tetrachord is again too easy, seek, respect and adhere to the lawfulness of the formative the upper tetrachord feels stretched, and the scale barely forces that hold sway within the etheric world. And bringing wants to leave the prime: the 2nd hangs back, and on order and strength to our thinking in harmony with truth is an descending there is little feeling of arriving ‘home.’ effective preparation by merit of the fact that the formative With E, the 2nd again hangs back and there is a weak sense of power within our thinking is one with these etheric forces. ‘home;’ the 6th hangs back while the 7th reaches upward. In his book, Theosophy, Steiner pointed out that “a develop- With D, the 2nd rises all right, and so does the 6th; the prime ment of the human powers of knowledge must precede the has a sense of being ‘home;’ but the 3rd and 7th hang back. higher knowledge” and that “unprejudiced logic and a healthy With A, the 2nd is willing to rise, and the prime has a sense of sense of truth” makes it possible for each of us to understand being ‘home;’ the transition to the upper tetrachord feels revelations of spiritual fact (p. xx) – and in fact, the feeling for effortful, but the 3rd, 6th and 7th all hang back. truth “is itself the magician that opens the ‘eyes of the spirit’ What we can feel is that the scale with A as its prime is distinct (p. xix). “We take the right attitude towards the things of the from the others by merit of possessing several characteristics in supersensible world when we assume that sound thinking and combination: 1. the scale is willing to rise away from the prime, feeling are capable of understanding everything of true know- and upon returning to the prime it has a sense of ‘home’; 2. the ledge that emerges from the higher worlds” (p. xxiii). transition from the lower to the upper tetrachord, from the 4th It is critically important to understand that true knowledge to the 5th degree, involves a sense of effort; and 3. all of the requires us to actively unite the contents of our experiences other scale degrees – the 3rd, 6th and 7th – hang back but do so with the concepts that belong to them; and it is by means of harmoniously unified in the quality of ‘hanging back.’ Because our thinking activity that we do this. Through thinking we lay of this harmony, together with the other characteristics, perhaps hold of the necessary concepts that allow us to complete what it is not surprising that we sound this particular scale-structure Steiner called “the act of cognition.” Whether or not we ordi- as the minor counterpart to the major mode of the scale. narily recognize it, this process is our sole means of differ- 5 For p. 4, regarding the development of our organs of higher entiating the myriad contents of our experiences, including all cognition (the ‘chakras’ or ‘lotus flowers’). Rudolf Steiner gave of our feeling-experiences (including those that belong to concise directions for the safe, effective development of these eurythmy). Clarity in relation to the sensings of the heart as a organs – such as in his book, Knowledge of Higher Worlds and perceptive organ depends upon our inward development of the Its Attainment, KHW, and Chapter V in his book, Occult Science preliminary center in the region of the head that Steiner – An Outline. These centers should not be directly and pre- described. It descends by stages to the region of the heart, and cociously stirred to function. As Steiner explained, all work there it enlightens what the heart receives as perception, mak- toward this goal needs to be entirely focussed on the harmoni- ing fully-conscious knowledge of these perceptions. Deepening ous development of our soul forces of thinking, feeling and the life of feeling is essential, especially in eurythmy; but willing, and the ennobling of character. And besides fostering attempting to awaken a ‘heart-thinking’ by focussing on the the healthy maturation of these higher centers themselves, the heart center directly and omitting the conscientious creation harmonious movement of etheric, life force currents between and descent of this new center that begins in the head, invites them must be prepared. In KHW, about 2/3 into the chapter the danger of a premature and faulty development of the heart entitled, “Some Results of Initiation,” Steiner wrote: center itself. Other passages that address this can be found in: “… [the student] introduces into his etheric body currents Occult Science, Ch. 5, Section 7; Anthroposophical Leading and movements which are in harmony with the laws and the Thoughts, the First Michael Letter, last paragraph, August 17, evolution of the world to which he belongs. … A simple start 1924; and the seventh Note that Steiner provided for the 1924 is made with a view to the deepening of the logical activity of edition of A Theory of Knowledge (in reference to a passage six the mind and the producing of an inward intensification of pages from the end of Ch. 16). 23

Epistemology is the branch of philosophy that takes up the sibility with you all, we have composed this open letter. This question of human knowledge. Studying Steiner’s epistemo- crisis is expressed probably in all realms of work of eurythmy, logical works, A Theory of Knowledge and The Philosophy of but also precisely in the trainings. In the eurythmy training, we Spiritual Activity, can help us gain clarity regarding the nature meet students and teachers. From the latter we expect ability of thinking and the above mentioned act of cognition. and knowledge of their subject, but today we can no longer 6 For p. 4, regarding the Eurhythmics of Dalcroze. See “E. learn eurythmy through imitation. We today can only connect Jaques-Dalcroze: Eurhythmics and Its Implications,” The ourselves by going through the eye of the needle of our own Musical Quarterly, Volume XVI, Issue 3, 1 July 1930, pp. 358– conscious training in the feelings. … During the training, we 365;” https://academic.oup.com/mq/article-abstract/XVI/ start to search for the eurythmist in ourselves, not for a general, 3/358/1090111?redirectedFrom=fulltext. ideal image.” In that same Section for the Arts Newsletter, the 7 For p. 6, regarding the eurythmy program I attended and leader of the Section at that time, Werner Barfod, used the word the teachers I had. Some readers might want to know where I “crisis” in his request for sharing from professionals to assist in studied, and it need not be a secret; but I believe that in most meeting the urgency. I am working to answer this urgency. ways and in the context of this report it is immaterial which 9 For p. 7, regarding the stage of life development I was in program I pursued. I graduated from the School of Eurythmy during eurythmy school. Steiner called it the stage of the in Spring Valley (now Chestnut Ridge) NY in 1985; and follow- Gemütseele or the Verstandeseele. These are often translated as ing this I lived for a term in Dornach, Switzerland, where I ‘Mind Soul’ and ‘Intellectual Soul.’ However, I find that neither played piano for the Eurythmeum Zuccoli and for eurythmists translation captures the nature and scope of the soul’s activity generally. Most of my teachers were seasoned and respected during this stage. In the Translators’ Note that they provided faculty from the other professional programs in Europe or for the four lectures Steiner gave on Michaelmas and the Soul- England (Dornach, Vienna, Stuttgart, The Hague, London). Forces of Man, Samuel and Loni Lockwood elaborated on the Only one came to us with a different background – she had German word, Gemüt: “When a wholly untranslatable word taught pedagogical eurythmy in one or more Waldorf Schools occurs in a text there is no adequate alternative to retaining it. for many years. These teachers served as either our regular The dictionary translates Gemüt as ‘heart, soul, mind,’ seeming faculty or came to teach for the Fall, Winter or Spring terms. to imply, ‘take your choice.’ But the word Gemüt must not be Since it is likely that some readers will also want to know, thought of as having these three separate meanings, but rather here is the briefest outline of my life course and ‘credentials’: as a unified concept embracing all three.” The Lockwoods I was born in Philadelphia PA in 1952 and was raised in the quoted Steiner: “This human Gemüt dwells in the very center of mid-Hudson Valley of New York (Red Oaks Mill, Ossining, the soul life.” New Paltz). I graduated from Vanderbilt University in Nash- 10 For p. 7, regarding the Bach Chorale. Here it is, played on an ville TN in 1974 with a major in English Literature (emphasis organ: https://www.youtube.com/watch?v=Vd77mcBHndg. The on dramatic works) and a minor in Drama. During summers organ makes everything rather muddy, but the bass line is I attended programs in England and France and served as an sometimes more audible. (I recommend that you ignore the arts counselor at Appel Farm Arts and Music Center in Elmer harmonic analysis that’s given – it doesn’t differentiate major NJ. I finished a second bachelor’s degree at SUNY New Paltz triads from minor ones, and the color-coded encryptions of in 1978, this time in music (my diploma was designated scales keep the voice lines tied to the home key even though the “summa cum laude”). I was orienting myself toward under- tonal center shifts. This is not helpful.) taking a master’s degree in musicology – especially in regard to 11 For p. 8, regarding the shifting tonal centers in Bach’s har- Baroque and early music performance practice – and possibly monization of Chorales. If you’d like to explore this, fourteen choral directing. Since I knew I’d be immersed in German of his Chorales are included in Music Literature: A Workbook texts, I took a course in German for reading knowledge. I also for Analysis; Volume I: Homophony, by Hardy and Fish. continued to study piano. But I didn’t pursue this next degree: 12 For p. 8, regarding this figure. It can be used to move quickly despite my musicality, I’d had a late start in studying music from key to key. It can serve to sound and shape the first three seriously and I felt inadequately prepared on my main instru- members of either of the tetrachords of our scale, lower or ment and in other areas of my musical skill. In 1980 I met with upper; hence it is easy to cast sets of three scale degrees as new anthroposophy and eurythmy and quickly relocated to Spring lower or upper tetrachord members at any time, especially by Valley to take the “Foundation Year” of classes and I began the raising or lowering them along with sounding a 5–8 leading to eurythmy program there the following year. define the V–I relationship, old or new. Simply repeating the 8 For p. 6, regarding the eurythmy students’ plea of 1999. I also figure a 4th higher* each time – sounding the 5–8 leading – cited their plea in my article, “Eurythmy as a Critical Art: moves the tonal center in the subdominant direction: 5– | What This Means For Its Future” (see in the Autumn 2016 8-2-3-1 | 4-5-6-4 | 7♭-8-2-7♭ | 3♭ … and so on. If the key we call EANA Newsletter). Forty-four third-year students from twelve ‘C’ is taken as the home key, we’ve gone with ease from C to F European eurythmy schools held a five-day conference. Their to B♭ to E♭. The harmonic tones in such figures – the tones that “Open letter, To all eurythmy trainings” was published in the participate in the chord at the moment – have non-harmonic Michaelmas Arts Section Newsletter from the Goetheanum for tones interspersed between them. *(Alternatively, it could repeat 1999 (p. 105). They wrote: “Eurythmy is in a crisis and it also a 5th lower and involve a 5–1 leading before each repetition.) lies in our responsibility whether or not it will have a future. To go in the dominant direction, the figure simply begins And because we do share and would like to share this respon- one step up each time. It can be rounded off by a 5–8 resolution 24 after any one of the figures: 5– | 8-2-3-1 | 2-3-4♯-2 | 3-4♯-5♯-3 | ing the forms in space needs to turn the book images upside 6 … If ‘C’ is the chosen home key, this series of figures goes down – they are drawn from the view of the onlooker.) Also see from C through D and E to a 5–8 resolution to A, with E as the Elena Zuccoli’s drawings of these forms in her booklet, From V of A – the leading of 3–6 in C equals 5–8 in A. the Tone Eurythmy Work at the Eurythmy School in Stuttgart The figure can also proceed quite naturally in an alternat- 1922-1924, pp. 22-23. (Note: these are drawn from the per- ing fashion down a 3rd and up a 4th, making use of the tonal former’s point of view, facing the onlooker.) bond between the relative major and minor modes of the scale: 16 For p. 16, regarding the Chopin and Franck pieces. You may 1-2-3-1(8) | 6-7-8-6 | 2-3-4-2 | 7-8-2-7 | 3 …. To signal the new hear and see the Chopin at https://www.youtube.com/watch? tonal center, scale degrees only need to shape the proper upper v=XeX4X_1_lo0; “Chopin: Prelude Op.28 No.20 in C Minor tetrachord structure – being raised or lowered as needed – to (Pogorelich).” And hear the Franck Maestoso at 5:09 minutes sound the dominant and set up the 5–8 leading and V–I into https://www.youtube.com/watch?v=n_Wh_wk9QwI; resolution to it: 1-2-3-1(8) | 6-7-8♯-6 | 2 . With ‘C’ as the home “Franck - Seven Pieces in C Major and C Minor.” key, the sequence goes from C via A to D, with A as the V of D. 17 For p. 17 (and pp. 1-2), regarding the triads of the scale 13 For p. 13, regarding the necessity of the expression of the degrees. Their affinities within harmonic progressions are: upper tetrachord in relation to human development. It is only I: to any other; may interrupt a progression with intention and effort that we properly develop the higher ii: ii–V, ii–viiº members and faculties of our being. Passivity doesn’t get us iii: iii– IV, iii–vi there. See Occult Science, Ch. V and see the other references in IV: IV–ii, IV–V, IV– viiº, IV–I ENDNOTE 5, above. Also see Steiner’s March 8, 1923 Stuttgart V: V–vi, V–I lecture (~3/4 in), included in The Inner Nature of Music and the vi: vi–ii, vi–iii–IV, vi– IV, vi–V Experience of Tone, where he described the connection between viiº: viiº– I, VII–III in minor the correct experience of the 5th, 6th and 7th in the scale and These triads also have preferences within chordal inversions as the soul condition underlying the faculties of higher cognition regards the roles of root, 3rd or 5th (see BASICS, p. 2): known as Imagination, Inspiration and Intuition, respectively. I: root, 1st (Note: what comes through our everyday imaginations, inspir- ii: 1st, root ations and intuitions is not what is meant here.): iii: root, 1st if preceded by a triad in root position (V–1iii) “The interval of the fifth is a real experience of imagination. IV: root, 1st He who can experience fifths correctly is actually in a posi- V: root, 1st tion to know on the subjective level what Imagination is like. vi: root, 1st if preceded by a triad in root position (I–1vi) One who experiences sixths knows what Inspiration is. viiº: 1st, 2nd (if cadential, passing, pedal or arpeggiated) Finally, one who fully experiences sevenths – if he survives this experience – knows that Intuition is. What I mean is that 18 For p. 17, regarding Leclair. I can only cite this: “12 Violin in the experience of the seventh the form of the soul’s Sonatas, Op. 1, No. 9 in A Major: III. Sarabanda. Largo, un composition is the same as clairvoyantly with Intuition. The poco allegro;” https://youtu.be/ZJPf5AKyz9U. The Sarabanda form of the soul’s composition during the experience of the is ornamented and its second section is quite different from ours. sixth is that of Inspiration with clairvoyance. The experience It evidently forms the first and third part of this third movement: of the fifth is a real Imaginative experience. The same com- Largo (our Lento), un poco Allegro, Largo (not played slowly). position of soul need only be filled with vision. Such a com- 19 For p. 18, regarding discriminating between two kinds of position of soul is definitely present in the case of music.” 14 feeling activities within ourselves, objective and personal. The For p. 14, regarding not finding the door into experiencing one unfolds as a spiritual activity, the other is restricted to the the melodic intervals in music school. For example, in my subjective soul activity of the individual person – especially see classes on Advanced Harmony one of our tasks was the taking about 2/3 into Chapter 1 in Steiner’s book, Theosophy. Soul- of musical dictation – hearing a melody or sequence of chords, level engagement with music and movement provides no foun- etc., and writing it in musical notation correctly. Our professor dation for the art of eurythmy. Only engagement on the level was a noted composer, but he gave us no clue as to how to of spiritual activity, in earnest pursuit of truth in music and improve our ability to perceive the music accurately. He said movement, can ensure the unlimited viability of our art into the little (I recall nothing) about the characteristics and qualities future. Soul content only enters into the art in relation to the of the intervals and chords that might distinguish them in our soul-moods that are evident in poetry – e.g., merriment, rever- experience. I managed somehow, but I felt inadequate. Class- ence, greed, megalomania, despair – and soul-gestures are mates who possessed absolute pitch perception would have used for the expression of these. This personal content is readily known which pitch-tones to record as symbols on the objectively present in the poetry. It is not a subjective addition page. They would have had no need of reckoning with intervals – we are not expressing how we feel about the poem personally. and chord qualities in order to complete their task, but this 20 meant that for them, too, unless they happened upon the door For p. 21, regarding instruments and carrying out sets of into these experiences on their own, this door would stay shut. actions on them. My first instrument was the piano, so I’m well- acquainted with interacting with its keyboard. I’ve also played 15 For pp. 15-16, regarding the bone-sequence gestures. Steiner the B♭ clarinet, flute, violin, string bass, viola, guitar and introduced these, accompanied by drawings, in his March 8, recorder. I briefly took up the B♭ cornet and am now acquainted 1923 lecture in Stuttgart (~ 3/4 in). See in The Inner Nature of with the fully-chromatic Hayden concertina (a button-box Music and the Experience of Tone. (Note: the person perform- accordion). I have found that the piano is the only instrument 25 among these that involves visual interaction to such a great Curative Eurythmy, eight lectures by Rudolf Steiner, Dornach, extent in the production of sounds, not just tactile interaction April 12 through April 18, 1921 and Stuttgart, October 28, with the instrument. In addition, unlike the others, it produces 1922; Rudolf Steiner Press, London, 1983. (Note: curative sound by means of the mechanical percussion of tensed strings. eurythmy is also called therapeutic eurythmy.) When playing written music on the piano, I find and sound The Early History of Eurythmy: Notebook Entries, Addresses, the written notes according to the note-names assigned to the Rehearsals, Programs, Introductions to Performances, and white and black keys of the keyboard. In learning to find the a Chronology, 1913-1924, CW 277c, translated, edited and introduced by Frederick Amrine; SteinerBooks, 2015. In right keys to press down, the usual process is largely visual at German: Die Offenbarung der sprechenden Seele, 1965. first, and with practice I acquire a tactile memory and a physical Eurythmie als sichtbarer Gesang (ESG), Rudolf Steiner, eight muscle-memory of the sequence of movements I need to make lectures, Dornach, February 19 through 27, 1924, GA278, for the specific piece. After that, I’m no longer thinking of the with two additional lectures from Stuttgart in 1923; the notes as they are on the page according to their identification as lectures and materials are edited, reviewed and supple- pitches, sharps, flats and naturals; I am in the music alone. mented for the 6th edition by Martina Maria Sam, Stefan On the flute and clarinet, the process is largely tactile, as I Hasler and Felix Lindenmaier; Rudolf Steiner Verlag, Dor- learn which fingers to move, which holes to cover (as on the nach, Switzerland, 7th edition, 2016 (same as 6th edition). recorder also) and which levers to operate, together or alone, Eurythmie als sichtbarer Gesang, Rudolf Steiner, eight lectures, and how to adjust my breath and the embouchure of my lips in Dornach, February 19 through 27, 1924, GA278; Rudolf order to translate the notes on the page into sound. On the Steiner Verlag, Dornach, Switzerland, 1956 to 1984,http:// bdn-steiner.ru/cat/ga/278.pdf: or the Rudolf Steiner Online violin, viola and string bass, I learn where to place my fingers Archive: http://anthroposophie.byu.edu/vortraege/278.pdf. on the fingerboard – which in the case of the bass might be out Eurythmy: Its Birth and Development (EBD), GA277, various of easy sight – using my hearing in order to adjust my fingers to source documents, translated by Alan Stott; Anastasi Ltd., produce the right pitches. On the guitar, I learn where to place 2002. In German: Die Entstehung und Entwickelung der my fingers on the fret-board, singly or in combinations; the Eurythmie, Rudolf Steiner Verlag Dornach, Switzerland, tuning of the pitches is pre-set by the frets. On the cornet, I 1965, 1982, 1998, 2002. must learn which of the three piston valves to use and how to Eurythmy and the Impulse of Dance, With Sketches for Euryth- adjust my breath and the embouchure of my lips (buzzing, not my Figures by Rudolf Steiner, written in collaboration by just shaping as with the flute) in order to produce the right Marjorie Raffe, Cecil Harwood and Marguerite Lundgren; pitch. And with the brighter-sounding trumpet – the cornet’s Rudolf Steiner Press, London, 1975. close relative (the cornet is warm in tone by comparison) – the Eurythmy as Visible Music (EVSing), Rudolf Steiner, eight lec- pitch can be adjusted further by operating two moveable slides tures, Dornach, February 19 through 27, 1924, GA278, in the tubing. On the concertina, I must learn which button to translated by Vera and Judy Compton-Burnett; Rudolf Steiner Press, London, 1977. press to allow air from the bellows to flow through the correct Eurythmy as Visible Singing, Rudolf Steiner, eight lectures, pre-tuned reed, causing it to vibrate. Dornach, February 19 through 27, 1924, GA278, translated So, in playing each of these instruments I have different by Alan Stott (1996-2013); Anastasi Ltd., Leominster, tactile and movement experiences. With some of them I am also Herefordshire, England, 2013. This edition includes a keenly aware of changing and controlling my breathing and Part II, “A Companion to Eurythmy As Visible Singing,” of mastering what I do with my mouth and lips. And especially by Alan Stott; and a short Part III, “Interpreting Melos: A in the case of the piano, I can have strongly visual experiences Question to the artists and thinkers of Our Time,” by Josef in relation to how I produce the sounds with its white and black Matthias Hauer, 1923, translated by Alan Stott. keys. On this instrument (and a few others), I can even exper- Eurythmy as Visible Speech (EVS), Rudolf Steiner, fifteen lec- ience my movement as a physical-athletic phenomenon; and I tures, Dornach, June 24, 1924 through July 12, 1924, can deliberately accentuate this aspect. GA279, translated by Vera and Judy Compton-Burnett; Rudolf Steiner Press, London, 1931, 1944, 1956, 1984. BIBLIOGRAPHY Five Articles from the book, Der Toneurythmy Kurs von Rudolf An Introduction to Eurythmy, sixteen talks by Rudolf Steiner, Steiner, edited by Stefan Hasler; translated and published from 1919 to 1924, translated by Gladys Hahn; Anthropo- by Dorothea Mier, Fall 2015, Spring Valley NY. The fourth sophic Press, Spring Valley NY, 1983. article is “From the Beginning Time of Tone Eurythmy – Anthroposophical Leading Thoughts: Anthroposophy as a the Indications for the Forming (Gestaltung) of the ‘Steps.’” Path of Knowledge; The Michael Mystery (ALT), Rudolf From the Tone Eurythmy Work at the Eurythmy School in Steiner, translations by George and Mary Adams; Rudolf Stuttgart 1922-1924 (FTEW), Elena Zuccoli, translator not Steiner Press, London, 1973. The Leading Thoughts and given; Walter Keller Press, Dornach, Switzerland, 1981. the Michael Letters were “given out as suggestions from A History of Western Music: Revised Edition, Donald Jay Grout; the Goetheanum” February 17, 1924 through April 12, W.W. Norton Company, Inc., New York, 1973. 1925. (Rudolf Steiner died on March 30, 1925.) How the New Art of Eurythmy Began: Lory Maier-Smits, The “Aphoristic Notes on Friedel Thomas’ Teachings in Tone First Eurythmist, Magdalene Siegloch, translator not given; Eurythmy (as her students practise, teach and pass on these Temple Lodge Publishing, London, 1997. In German: Lory teachings in oral form,” article by Stefan Hasler concerning Maier-Smits, Die erste Eurythmistin und die Anfänge der Eurythmie; Verlag am Goetheanum, Dornach, 1993. his conversation with Riikka Ojanperä, a student of Friedel The Inner Nature of Music and the Experience of Tone, (INM), Thomas-Simons; Goetheanum Arts Section Newsletter, Nr. Rudolf Steiner, selected lectures from 1906, 1922 and 64, edition on “Tone Gestures,” Easter 2016, pp. 26-29. 26

1923, translated by Maria St. Goar, edited by Alice Wulsin; translated by Henry B. Monges, revised by Gilbert Church; Anthroposophic Press, Spring Valley NY, 1983. In Ger- Anthroposophic Press, Spring Valley NY, 1971. man: Das Wesen des Musikalischen und das Tonerlebnis im “Two Questions from a Musician Concerning the Tonal Ges- Menschen, Rudolf Steiner Verlag, Dornach, Switzerland. tures,” article by Felix Lindenmaier; “Newsletter, Section “Knowledge and Initiation,” lecture by Rudolf Steiner, Lon- for the Arts, Eurythmy, Speech and Music | Puppetry,” Nr. don, April 14, 1922, published along with “Cognition of 64, Easter 2016, theme: “Tone Gestures,” from the Goethe- the Christ Through Anthroposophy,” translated by George anum, Dornach, Switzerland, pp. 6-9. Adams; Steiner Book Centre, North Vancouver, Canada, no date. In this lecture Steiner discussed ordinary cognition ABOUT THE AUTHOR and the nature of the three levels of higher cognition Kate holds degrees in music and English literature. She played known as Imagination, Inspiration and Intuition and what a number of musical instruments in her earlier years and later is required of us to achieve these; https://wn.rsarchive.org/ Lectures/GA211/English/SBC1983/KnoCog_index.html. served as a pianist while studying at the School of Eurythmy in Knowledge of Higher Worlds and Its Attainment (KHW), Rudolf Spring Valley where she graduated. For several months she Steiner, translated by George Metaxa and revised by Henry also served as a pianist for one of the eurythmy schools in B. and Lisa D. Monges; Anthroposophic Press, Spring Dornach, Switzerland. In 2016, she came out with her book, Valley NY, 1947, 1975, 1977. The Speech Sound Etudes, Vol. I: Revelations of the Logos; Michaelmas and the Soul-Forces of Man, Rudolf Steiner, four Poetic miniatures for sounding our language: a body of speech- lectures, Vienna, September 27 to October 1, 1923, trans- work for speakers, actors, eurythmists, poets, writers, singers, lated by Samuel and Loni Lockwood; Anthroposophic teachers, therapists. A description of it is near the end of Press, 1942, 1982. In German: Der Jahreskreislauf als the Autumn 2015 Newsletter of the Atmungsvorgang der Erde und die vier grossen Festeszeiten. Eurythmy Association of North Amer- Music Literature: A Workbook for Analysis; Volume I: Homo- ica (EANA). Since 2015, she has been phony, Gordon Hardy and Arnold Fish; includes fourteen reciting poems and the poetic mini- Bach Chorales; Dodd, Mead & Company, Inc., 1966. ature etudes at poetry gatherings in Occult Science – An Outline, Rudolf Steiner, 1909, translated her local mid-Hudson region and has by George and Mary Adams; Rudolf Steiner Press, London, a webpage at her poetry home base, 1969. the Woodstock Poetry Society. “Open letter. To all eurythmy trainings,” signed by forty-four third year eurythmy students from twelve European Kate’s detailed 2014 report on her speech and eurythmy work, schools; “Newsletter from the Section for the Arts of entitled, The Speech Sound Etudes: Feeling the Gestures and Eurythmy, Speech and Music,” Nr. 31, Michaelmas 1999, Finding the Figures, is posted at the EANA website in the from the Goetheanum, Dornach, Switzerland, pp. 105-06. artistic section and is available as a booklet. “Paths to Knowledge of Higher Worlds,” lecture by Rudolf Steiner, Christiana / Oslo, November 26, 1921; Anthropo- Her articles for the EANA Newsletter so far are: sophic Publishing Co., London, 1947; Steiner Book Centre, “‘The Word of My Feet:’ The Three Parts of Walking,” North Vancouver, Canada, 1970, 1980. In this lecture Spring 2015; Steiner discussed ordinary cognition and the nature of the “The Seven Rod Exercises: Honing the Agility of our two levels of higher knowledge known as Imagination Conscious Awareness,” Fall 2015; Cognition and Inspiration Cognition and what is required “Etheric Bodies are Moving to the Speech Sound of us to achieve these; https://wn.rsarchive.org/Lectures/ Etudes,” Spring 2016; 19211126p01.html. “Eurythmy as a Critical Art: What This Means for Its The Philosophy of Spiritual Activity: Fundamentals of a Modern Future,” Autumn 2016; View of the World, Results of Introspective Observations “Eurythmy as an Art that Makes Visible the Inaudible, According to the Method of Natural Science (PSA), Rudolf Steiner, translated by Rita Stebbing; Steinerbooks / Rudolf Invisible and Unsounded Contents of Poetic Steiner Publications, Blauvelt NY, 1963, 1980. Steiner Speech and Wordless Singing,” Spring 2017; himself gave the above English title for his book, Die “Beginning With B in Light of Goethe’s Sensible- Philosophie der Freiheit. ‘Freiheit’ in German and in philo- Supersensible Process,” Autumn 2017; sophy, doesn’t mean quite the same as ‘freedom’ does in “Finding Unison in the Vowels: The Hope and English usage and thinking. Blessing of Whitsun,” Spring 2018; Rudolf Steiner: An Autobiography, Rudolf Steiner, translated by “The Scale Degree Intervals Give Rise to Our Tonal Rita Stebbing; Rudolf Steiner Publications, Blauvelt NY, Music Gebilde,” Spring 2019; 1977. The German title is: Mein Lebensgang, GA28. “Speaking Visibly in Genuine Rhythm,” Autumn 2019. Rudolf Steiner on his Book, The Philosophy of Freedom: Selec- tions Arranged and Annotated by Otto Palmer, Anthro- Her booklet, A Quartet of Articles, offers the first four of these. posophic Press, 1975. A description of this music eurythmy report appeared in the A Theory of Knowledge Implicit in Goethe’s World Concep- Fall 2018 EANA Newsletter, “Singing and Jumping: A Second tion, Rudolf Steiner, 1886, second edition 1924, translated Detailed Report [to be] Posted at Our Website.” by Olin D. Wannamaker; Anthroposophic Press, Spring Valley Contact: [email protected] 121719 NY, 1968, 1978. Theosophy: An Introduction to the Supersensible Knowledge of the World and the Destination of Man, Rudolf Steiner,