The Origin and Development of Eurythmy 1912–1918

GA 277a — 23 August 1915, Dornach

The Apollonian Course V

On August 23, 1915, two lessons took place: one in the morning and one in the afternoon. At the end of the morning lesson, the ether wave introduced the previous day was repeated, as can be seen from the original notes of Mieta Waller, who participated for the first time that day.

But as with everything in the development of eurythmy, later there were more possibilities – as was also the case with tone eurythmy. First there was B3.1965 movement as an interval, then as a tone, then going even further: C = fundamental tone, but every scale has a fundamental tone, so every tone can be the fundamental tone.

Word and sound

Sound appears through the whole human being. The spoken word appears in the human being.

The spoken word is expressed in the human being, the musical word is expressed through the whole human being.

The spoken word is in the human being. Sound is through the whole human being.

The sound appears in the human being. The tone is the whole human being.

Tone scale / major scale

Tatiana Kisseleff, Nb // Deviations in the transcription by Johanna Mücke in () The eurhythmic tone scale
1. Raise your arms and stretch them parallel Prima
2. An angle of 30% Secunda
3. An angle of 60% Terzia
4. Stand with your feet together Quarta [90%]
5. Quinta Feet at an angle
6. Sexta Arms at an angle of 60%, feet (legs) too
7. Septima Arms at an angle of 30%, feet (legs) too

Tone scale e.... Tour[major] scale musical prime / 3rd tones 2nd vowels and consonants 1st singing / The ratio of the second to the prime, the third to the prime, the fourth, etc.

Raise your hands in a circle,

“These shapes (angles of tone eurythmy) apply to every normal key, major and minor. They are not note values, but intervals.” This is the first instruction. The second, a little later: “You must now learn to feel whether you want to use this movement as intervals or notes; it depends on the type of piece of music!” — So: C = can be the root note of C major; C: can be the fifth of F, for example; or the third of A (below); or the sixth of A (above), etc.

Now the scale: from tone to tone in degrees:

Fundamental tone C = 0 / whole tone D = 36 / whole tone E = 36 / semitone F = 18 / 90 degrees / G = the same in hands / A = 36 - whole tone / B = 36 - whole tone / C = 18 semitone

This applies to every major key for the hands and feet. / Drawing from the course: 90 degrees 0 = Prime / 36 = Second / 36 = Third / 18 = Fourth / 90 degrees / Hands / 18 - Fifth / 36 = Sixth / 18 = Seventh / 18 Octave / 90 degrees / Hands + Feet

Later, the angles were expressed by the semitones as follows: GA 2774 Prim 0° = the musical image of # / Second Arms at an angle of 36° / Sk” Third Arms at an angle of 72° / Fourth Arms at an angle of 90° / Fifth Arms remain at an angle of 90°. Legs at an angle of 30° (jump) / Sixth Arms at an angle of 54°. Legs at an angle of 60° (jump) / Seventh Arms at an angle of 18°. Legs at an angle of 30° (jump) / Octave 0° as above. (Later execution of these jumps: Fifth = small jump outwards, Sixth = slightly larger jump outwards; Seventh = back to the first jump.)

Representation in a triangle

On this occasion, Dr. Steiner also spoke of “a kind of representation in a triangle”: the person standing at the top of the triangle will sing, the person standing at the front right will make the letters, and the person standing at the front left will make the tones.

[See the illustration above]
3. Tones
2. Vowels and consonants
1. Singing

Singing / spelling / dancing sounds. The triangle

x4.) shown as an example of three lines, it can also be different,
e.g.: 4 people, 4 lines:
I sings II notes III vowels IV consonants.
Singing / notes / spelling out sounds.

Swallows = Dionysian. Dionysus is overcome by Apollo's lyre in the world poem

12 stanzas of 9 lines each, that is the cosmic poem of the world, the cosmic world poem. Dionysus is overcome by Apollo's lyre in the world poem.

And in the planetary dance, everyone had to do their entire line with all the forms. - Because I had to do the sun back then, I know this very well. - A small incident occurred during this. The sun has an interjection in both the 3rd and 6th stanzas. While practicing together, the others thought that it was not right to do as I did, lifting both feet off the ground during “O seek, O soul” and “So guide, O spirit.” “That is too Luciferic!” When Dr. Steiner arrived, I asked if I could show him something, demonstrated my O jumps, and asked if I could do it that way, as the others thought it wasn't appropriate here. He replied, “You may do so, but you must also place something on the other side of the scale to balance it out!” On another occasion, when someone was said to be too “Luciferic,” he said, “But she can feel devotion, so she's not completely Luciferic!” So you have to put devotion on the other side of the scales.