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by
Yee Sik Wong
Graduate College
The University of Iowa
Iowa City, Iowa
CERTIFICATE OF APPROVAL
_______________________
D.M.A. ESSAY
_______________
This is to certify that the D.M.A. essay of
Yee Sik Wong
has been approved by the Examining Committee
for the essay requirement for the Doctor of Musical Arts
degree at the July 2011 graduation.
Essay Committee: ___________________________________
Rene Lecuona, Essay Supervisor
___________________________________
Deanna Carter, Essay Supervisor
___________________________________
Kate Gfeller
___________________________________
Rachel Joselson
___________________________________
Volkan Orhon
ACKNOWLEDGMENTS
I would like to extend my gratitude to Professor Rene Lecuona and Professor
Deanna Carter, supervisors for this essay, for their time, guidance and valuable
suggestions through the process of this project. I am also thankful to my D.M.A. essay
committee members, Professor Kate Gfeller, Professor Rachel Joselson, and Professor
Volkan Orhon, for their time and assistance.
I wish to thank The University of Iowa Youth Ballet and the Department of Dance
at The University of Iowa for exposing me to the field of ballet accompaniment and for
giving me opportunities to be practically involved and to experiment in the field.
My thanks also to Eileen Bartos, whose editorial expertise has made the written
style of this essay more elegant and presentable. Special thanks go to composer Lan-Chee
Lam from the University of Toronto and to Calvin Wong for their generous and timely
help with the editing of my musical selections.
Finally, I want to thank my family for their unconditional support throughout the
course of my doctoral studies. Without their constant help and encouragement, this
project could have never come to fruition.
ii
TABLE OF CONTENTS
INTRODUCTION ...............................................................................................................1
Statement of the Problem..................................................................................1
Objective of this Essay .....................................................................................2
Methodology .....................................................................................................3
Limitations of the Study ...................................................................................4
CHAPTER 1 REVIEW OF THE LITERATURE ...............................................................6
CHAPTER 2 APPLYING PRINCIPLES OF MUSIC TO BALLET TECHNIQUE
CLASSES .......................................................................................................16
The Structure of a Ballet Technique Class .....................................................16
The Role of the Ballet Teacher and the Role of the Accompanist .................17
Similarities to and Differences from Instrumental and Vocal
Accompaniment .......................................................................................19
Counting .........................................................................................................23
Tempo .............................................................................................................26
Phrasing ..........................................................................................................26
Musical Introduction .......................................................................................27
Phrase Endings and Cadences ........................................................................30
Switching Sides and Vamp .............................................................................31
CHAPTER 3 RELATIONSHIP BETWEEN ESSENTIAL BALLET
MOVEMENTS AND MUSIC ........................................................................33
Combinations at the Barre ..............................................................................35
Plis .........................................................................................................35
Battements Tendus ..................................................................................36
Battements Dgags ................................................................................39
Ronds de Jambe par Terre .......................................................................40
Battements Fondus ..................................................................................42
Envelopps and Ronds de Jambe en lAir ...............................................44
Battements Frapps .................................................................................45
Adage .......................................................................................................47
Petits Battements .....................................................................................48
Balanoire / En Cloche ............................................................................49
Grands Battements...................................................................................49
Stretches ..................................................................................................51
Combinations in the Center ............................................................................52
Tendus in the Center ................................................................................52
Port de Bras and Adage ...........................................................................53
iii
Pirouettes .................................................................................................55
Petit Allegro.............................................................................................59
Medium Allegro ......................................................................................60
Grand Allegro ..........................................................................................62
Big Jumps with Beats ..............................................................................65
Turns en Diagonale (Chans) .................................................................67
Grand Pirouettes ......................................................................................67
Reverence ................................................................................................68
Pointe Class ....................................................................................................69
Slow Prances and Warm-Up ...................................................................70
Pas de Cheval ..........................................................................................70
Relevs and chapps .............................................................................71
Grand Battement Fouett Relev.............................................................73
chapp with Pirouettes from Fifth or Fourth Position...........................73
Piqu and/or Soutenu en Tournant with Pas de Bourre .........................74
Hopping on Pointe ...................................................................................75
Pas Couru and Bourre ............................................................................75
Turning en Mange and Fouetts Ronds de Jambe en Tournant .............77
Piqu Turns and Chans .........................................................................78
CHAPTER 4 ADVANCED TECHNIQUE SPECIFIC TO THE BALLET
ACCOMPANIST ............................................................................................80
Waltz Pattern ..................................................................................................80
Arpeggiation ...................................................................................................81
Alberti Bass ....................................................................................................82
March Pattern..................................................................................................82
Galop Pattern ..................................................................................................84
Melodic Influences .........................................................................................84
Tonality ...........................................................................................................85
Awareness of and Response to the Physical Accents of the Ballet
Movements .....................................................................................................86
Choosing and Modifying Pieces .....................................................................88
Aspects of Pianist Execution ..........................................................................89
Staccato and Legato .................................................................................89
The Use of Dynamics ..............................................................................90
The Ballet Accompanists Touch ............................................................91
The Use of Pedaling ................................................................................92
Interchangeable Music for Different Combinations .......................................96
Changing the Qualities of Music within a Combination ................................96
CHAPTER 5
vi
LIST OF TABLES
Table 2-1
vii
LIST OF EXAMPLES
Example 1-1
Example 1-2
Example 1-3
Unclear introduction........................................................................ 13
Example 2-1
Example 3-2
Example 3-3
Example 3-4
Example 3-5
Example 3-6
Example 3-9
viii
Waltz Pattern................................................................................... 80
Example 4-2
Arpeggiation.................................................................................... 81
Example 4-3
Alberti Bass..................................................................................... 82
Galop pattern................................................................................... 84
Example 4-6
Example 4-7
Example 4-8
INTRODUCTION
1 For ease of reading, I will sometimes use the shorter phrase ballet technique class,
instead of the more cumbersome classical ballet technique class.
Methodology
This essay begins with a review of the latest publications and research about
ballet accompaniment. I also examine several published ballet music anthologies and
review CDs intended for ballet classes as well as DVDs of recorded ballet master classes.
I then draw upon my own observations about accompanying ballet technique
classes. Since 2007, I have accompanied different levels of ballet technique classes at
The University of Iowa Youth Ballet (former Dance Forum), Interlochen Summer Arts
Camp, Interlochen Dance Institute, and the Department of Dance at the University of
Iowa. Throughout most of 2010, I observed the ballet technique classes taught by ballet
mistress and international choreographer Deanna Carter at the University of Iowa
approximately three times a week. This research was invaluable in my own
understanding of how the execution of a piece impacts the dancers.
Finally, based on my research, I offer a selection of music which I have compiled
and edited for classically trained pianists to use in ballet technique classes. In addition, I
provide detailed explanations to help the pianist understand why a piece is suitable for a
particular movement. In the process of creating my list of musical selections, I recorded
approximately 130 tracks of music. Deanna Carter and I then explored how each
selection works with different ballet movements.
Musical selections in this essay range from classical music to non-classical piano
repertoire, orchestral arrangements, excerpts from famous classical and romantic ballets,
opera excerpts, show tunes, and holiday music. For several reasons I have selected pieces
that are not technically demanding. First, I believe that most professional dance
musicians would agree that they do not have a lot of time to practice the repertoire for
classes. But second, and more importantly, it is desirable that pieces be easy to read and
play so that accompanists do not need to keep their eyes constantly glued to the score.
Instead, they should be able to assimilate and respond to the plethora of information from
the body language and gestures of the ballet teacher. Finally, I have chosen to categorize
musical selections according to different ballet movements, to allow for the clearest
presentation of my ideas as well as to be of the most use to beginning ballet accompanists.
As a ballet accompanist gains knowledge and expertise, he or she will begin to collect
and edit his or her own music.
I have chosen to use the French terms for most ballet movements because French
is the universally accepted language of classical ballet. The use of French was established
at the birth of classical ballet; the language of classical ballet was first systematized in
the Acadmie Royale de Musique et de Danse, founded by Louis XIV in 1661.2
the Royal Academy of Dance, follow their own syllabus and have their own music, so
finding music to play for class is not necessary. Also, each school has different emphases,
and thus every teacher teaches differently depending on his or her own training. In
addition, as dance musician Katherine Teck observes, when it comes to musical styles,
some teachers will wince at ballet repertoire while some adore it; some will welcome pop
and Broadway tunes while others find them inappropriate for class; some prefer on-thespot improvisation in a jazz vein while others want only folk music or excerpts from
classical concert pieces.9 Similarly, every pianist has his or her own style of playing,
and there is not only one way to play for ballet technique classes. However, there are
ways to be an effective ballet accompanist and a true collaborator with the ballet teacher.
There are hundreds of commercial CDs and ballet music anthologies designed
explicitly for ballet technique classes. My decisions about which CDs and anthologies to
examine were based on suggestions and recommendations from my advisors, ballet
teachers with whom I have worked with, and professional dance musicians. I have looked
at many of the Royal Academy of Dance (RAD) publications, as I grew up with this
system during my twelve years of ballet training.
I have chosen to limit the scope of this essay to piano accompanying for classical
ballet technique classes, the area of my expertise and passion.
8 In America, teachers generally take ideas from different schools of ballet and use those
that work for them. In the ballet world, American ballet technique is referred to as Balanchine
technique. George Balanchine (1904-1983) was one of the foremost choreographers in the
twentieth century. Born in Russia, he was instrumental in the founding of the New York City
Ballet. His highly influential ballet technique is an extension of nineteenth-century classicism.
Minden, 71.
9 Katherine Teck, Movement to Music (New York: Greenwood Press, 1990), 167.
In this chapter, I provide an overview of some of the research that has been done
in the field of ballet accompaniment.
Only four theses related to piano accompaniment for ballet have been completed
from 1980 to 2003, and no one has published a thesis on this subject for the past five
years. Musical Accompaniment for Ballet Class by Rebecca Gardner (2003)10 is for
beginning accompanists. Gardner, a dancer as well as a pianist, teaches ballet while her
mother plays for her classes. Utilizing the advantage of her own background, Gardner
sets a class, creates some combinations, and selects music for each of her own
combinations.11 Under each ballet movement, she provides a definition of the movement,
presents her combination in words by describing the intended movements in each
measure, and also briefly explains how each musical selection works with each
combination. Moreover, Gardner includes a special section discussing the roles of the
dancer, the teacher, and the pianist. Gardner has many good ideas in her thesis; however,
the music she selects for her own combinations is predominantly popular, and, in my
opinion, the texture is too thin and the rhythmic interest is not high enough in the
arrangements to provide enough support for the dancers.
A Ballet Pianists Handbook by Nancy Elizabeth MacLachlan (1998)12 is an
excellent thesis and covers many aspects of ballet accompaniment in detail. MacLachlan
first describes the characteristics of each type of dance (minuet, bolero, polka, tango, etc.);
10 Rebecca Gardner, Musical Accompaniment for Ballet Class (MA thesis, Hampshire
College, 2003).
11 Her combinations are intended for intermediate dancers (Vaganova method level IV).
12 Nancy E. MacLachlan, A Ballet Pianists Handbook (MA thesis, George Mason
University, 1998).
then she discusses classical ballet movements and provides musical examples for some
movements. She also compares different musical examples for the same exercise.
MacLachlan also provides practical suggestions to the pianists, such as the lengths of
pieces, how to count, how to best organize a portfolio of music, and how to improvise.
While most of the musical examples are very good choices, they are chosen exclusively
from the Royal Academy of Dance (RAD). Some of the RAD musical examples are short,
and the lengths of the introductions are sometimes inconsistent. MacLachlan does not
comment upon or amend these flaws.
A Manual for the Beginning Ballet Accompanist by Suzanne Knosp (1988)13 is
very informative. Knosp surveys all the basic information that a ballet accompanist needs
to know, such as how dancers count and what makes an appropriate beginning and
ending of a piece. She gives a description of the style or character of each ballet exercise,
including any specific required meter. Example 1-1 below is her presentation of the ballet
exercise Battement Frapp (see Example 1-1).
She also talks about how to develop and organize the repertoire for ballet
technique classes. However, Knosp does not include any actual musical selections in her
DMA dissertation.
13 Suzanne Knosp, A Manual for the Beginning Ballet Accompanist (DMA diss., The
University of Iowa, 1988).
8
Example 1-1 Knosps presentation of Battement Frapp.14
In his M.F.A. thesis, A Manual for the Novice Ballet Accompanist at United
States International University, Including Selected Music for a Complete Technique
Class (Barre, Pointe and Center)(1980),15 Joel Jacklich discusses all the basic aspects of
ballet accompaniment, including the class structure and the process of selecting music.
He gives detailed instructions about many facets of the music, such as phrase length,
tempo, meter, and style. He discusses the responsibilities of the accompanist, for example,
what are the pressing matters that need attention during classes, and the importance of
seeing and feeling the movements. His thesis also includes edited musical example based
on his personal experience and observations as a ballet accompanist at United States
International University. While Jacklich covers many aspects that a novice ballet
accompanist should know, in my opinion the discussions are not detailed enough for the
reader to truly understand how to accompany a ballet technique class efficiently and
effectively.
14 Ibid., 36.
15 Joel Jacklich, A Manual for the Novice Ballet Accompanist (MFA thesis, United
States International University, 1980).
In addition to the above theses, several books have been published on the subject
of dance accompaniment. These books generally dedicate a great deal of space to
accompanying for ballet, and sometimes include some information about accompanying
for other kinds of dance, such as modern dance and character dance.16
Movement to Music: Musicians in the Dance Studio by Katherine Teck (1990)17
and Dance with the Music: The World of the Ballet Musician by Elizabeth Sawyer
(1985)18 are similar books that discuss all the practical issues that a dance accompanist
needs to know. Both are very good references for dance musicians, especially the one by
Teck, which more thoroughly covers accompanying for ballet technique classes.
Movement to Music has a very useful appendix for accompanists, including forty-six
ways to vary a motif, common accompaniment patterns, and common forms that are
especially useful for ballet. Both books contain many quotations from famous
international dancers and dance teachers in which they describe what to listen for in the
music and what they expect of a good collaborative musician. Both authors cover the
classroom situation as well as the rehearsal situation; however, neither book includes any
musical examples.
The Ballet Accompanists Handbook by Laurence Galian (1989)19 is a very short
handbook for ballet accompanists and teachers. In addition to all the basic things that are
covered by the above books, Galians handbook has two special sections: one for teachers
on how to communicate with the accompanist; the other for accompanists on how to
make the music less mechanical and more supportive of the dancers movements.
16 In character dance class, dancers learn steps taken from folk dances of different
countries.
17 Katherine Teck, Movement to Music (New York: Greenwood Press, 1990).
18 Elizabeth Sawyer, Dance with the Music (Cambridge: Cambridge University Press,
1985).
19 Laurence Galian, The Ballet Accompanists Handbook (New York: L. Galian, 1989).
10
A Handbook for the Ballet Accompanist by Gerald R. Lishka (1979)20 was the
earliest comprehensive book for ballet accompanists among the references that I have
been able to review, aiming to point the pianist in the direction which will enable him to
orient himself in this challenging field.21 Suzanne Knosp includes a long summary of
this handbook in her D.M.A. essay. While there are no actual musical examples in the
handbook, Lishka provides a long list of music suggestions. I agree with Knosp that the
music suggestions are too difficult to sight-read. Also, in my experience, many of the
music selections are not suitable for the indicated exercises.22 Moreover, even though
this handbook discusses all the basic aspects that a ballet accompanist needs to know, as
Knosp mentions, Lishka does not discuss a procedure for determining which piece of
music to choose for an exercise.23 Lishka mentions pointe class briefly but only offers
very general suggestions about the nature of the music appropriate for the
accompaniment of pointe. Nevertheless, it is quite a helpful handbook to help a pianist
get started in the field of ballet accompaniment.
Quite recently two excellent books have been published that I believe every dance
musician and dance teacher should own as references. Dance and Music: A Guide to
Dance Accompaniment for Musicians and Dance Teachers by Harriet Cavalli (2001)24
first appeared in German, under the title Tanz und Musik. It is a comprehensive guide for
11
dance accompanists and teachers and is by far the most thorough book on the subject of
dance accompaniment in print. Cavalli, who specializes in the art of music for dancers
and dance teachers internationally, hopes this book will encourage more musicians to
explore the field of dance accompaniment.25 Cavalli discusses classroom etiquette,
dance class structure, how teachers demonstrate, and steps and movements, making this
book a wonderful resource for both beginning or inexperienced accompanists and
professional accompanists. Beginning or inexperienced accompanists can benefit from
her descriptions of the qualities of dance movements and her advice on selecting the
proper music, while professional accompanists can improve their playing by following
her pianistic suggestions, such as articulations and pedaling. Cavalli emphasizes the
necessity of effective communication between dance teachers and their accompanists
throughout the book, with one section of the book devoted to ways in which the dance
teacher can improve communication with the accompanist. There is also a glossary of
dance steps, movements, and positions for accompanists who may be unfamiliar with
dance vocabulary.
Moreover, Cavalli includes close to one hundred musical examples from standard
classical repertoire to rag.26 Although Cavalli does not explain very thoroughly why each
musical example works well for a particular ballet movement, she has edited all the
musical examples. I found that many of her musical examples were technically
challenging, as she makes frequent use of octaves (see Example 1-2);27 I also found
some of the introductions to be somewhat confusing. Nevertheless, this is a very good
resource for both dance teachers and beginning and professional dance accompanists.
25 Ibid., xv.
26 One unusual aspect of Cavallis musical selections is the omission of any music by
Johann Strauss (1825-1899), one of the most prolific composers of music for dance.
27 Cavalli mentions, [i]f necessary, an accompanist can eliminate the octaves
(preferably only in the right hand) until he is farther along technically (Cavalli, 219). However,
it is difficult for an inexperienced pianist to omit octave doublings.
12
Example 1-2 Cavallis musical example.28
A Dance Class Anthology: The Royal Academy of Dance Guide to Ballet Class
Accompaniment29 was published in 2005 by the Royal Academy of Dance, a leading
international dance examination board specializing in classical ballet. It is the only
anthology currently on the market that is solely dedicated to accompanying ballet
technique classes. The approach of this anthology is very similar to the approach I am
taking for this essay. It discusses the basic class structure and general principles of
accompanying ballet technique classes. The musical examples in the anthology are
mainly orchestral reductions for the piano, excerpts from famous ballet repertoire, and
jazz. They are classified according to different ballet exercises. For each piece of music
28 Ibid., 244.
29 Royal Academy of Dance, A Dance Class Anthology (London: Royal Academy of
Dance Enterprises Ltd., 2005).
13
there is a brief explanation of why the music was chosen. This anthology even includes
two musical examples with irregular phrasing to provide an opportunity for the dancers to
experiment with something unusual.30 However, the annotations are not very detailed;
some annotations contain only the background of the piece and do not discuss the musical
characteristics which make it appropriate for the particular ballet movement. In general,
the musical examples are too long for most ballet exercises, and the introductions are
sometimes written in a way that makes it difficult for the dancers to know when to begin.
For example, in Example 1-3 below, the fourth-beat rest in the musical introduction
makes it difficult for the dancers to feel whether the music is in 2 or in 3 (see
Counting in Chapter Two).
Taken as a whole, I found this to be a very good resource for the pianist to find a
wealth of similar and related material from which to develop a personalized repertoire32
to play for ballet technique classes. Although the approach of my essay is very similar to
the approach of this anthology, my intention is to build upon what this anthology has
already done, by including aspects of the art of ballet accompaniment that have not been
30 Ibid., 90.
31 Ibid., 51.
32 Ibid., 3.
14
explored in the anthology, such as how pianists can vary the execution of musical phrases
to enhance the dancers experience.
Advanced Principles in Teaching Classical Ballet by John White (2009)33 and
Suki Schorer on Balanchine Technique (1999)34 are books for ballet teachers. Each of
them has a short informative chapter about music for ballet technique classes. There are
some good ideas presented in both books. The authors discuss how dancers hear the
music and how ballet accompanists may provide different kinds of support to the ballet
movements. Unfortunately, the chapters concerning ballet accompaniment are relatively
short.
As you can see from the above overview, some research concerning piano
accompaniment for ballet technique classes has been done. However, this research
contains few detailed explanations of why a particular piece is chosen to support the
qualities and dynamics of the ballet movements.
Numerous collections of music are available for pianists to use in accompanying
ballet technique classes. However, in the vast majority of these collections the musical
selections are introduced by name and sometimes in conjunction with the name of the
intended ballet exercise, but without any information about the choice. I have even found
some of these pieces to be inappropriate for the indicated exercise. The Royal Academy
of Dance (RAD) has published many collections of music that go with their
examinations syllabi, but even their collections do not have explanations about what
makes each piece suitable for a particular ballet movement. My goal in writing this essay
is to help the ballet accompanist achieve a deeper understanding of what kinds of pieces
suit particular ballet movements as well as develop a clearer idea of how to play the
15
selected music to enhance the qualities and dynamics of each ballet movement. At that
point, a ballet accompanist may skillfully use the many collections of music published for
ballet accompaniment.
16
CHAPTER 2
APPLYING PRINCIPLES OF MUSIC TO
BALLET TECHNIQUE CLASSES
Every accompanist for ballet technique classes needs to be familiar with the
structure of a typical ballet technique class in order to provide music that best supports
the dancers movements. This chapter will also review the basic principles of music for
ballet technique classes. Additionally, I will focus on several areas in which dancers and
musicians have different ways of thinking about music, such as phrase structure and
counting.
17
last part of a ballet technique class, which consists of barre work and combinations en
pointe in the center as well. Ballet expert Gretchen Ward Warren describes pointe class
as the following: [a]t the advanced level, pointe class (usually forty-five minutes to one
hour in length) is an intensive session in which excerpts from female variations from the
classical repertoire are studied and virtuosity en pointe is mastered.37
Dancers do not always have the opportunity to hear the music before they execute
the combinations in class, in particular for the combinations at the barre. In the center,
however, dancers often get to mark the combination with music to see if the physical
and musical elements of the exercise are compatible. When the demonstration is
complete and the class is ready for the combination, the teacher usually signals the
accompanist either with a gesture or by announcing, Preparation or simply And.
Many of the references listed in the bibliography contain a detailed description of
the structure of a ballet technique class. Some references also contain descriptions of
sample classes showing common combinations and their order in class.
37 Warren, 349.
38 Cavalli, 69.
18
movement, lets the accompanist choose a piece, and, after hearing the music, sets an
appropriate combination of movements based on the core ballet movements.
In order to choose appropriate pieces, the accompanist needs to pay close
attention while the teacher is demonstrating to the class; the teachers voice and gestures
often reflect the qualities and dynamics of the ballet movements. Warren notes: [m]ost
teachers demonstrate exercises using a combination of words and physical movements.
Many also sing, hum, or chant [emulate] the rhythm while they demonstrate.39 Teachers
do not always fully demonstrate the movements of a combination. As Katherine Teck
says, there may be times when a teacher does not demonstrate physically but merely
asks for an exercise verbally.40 The more advanced the level of ballet technique class,
the more an accompanist encounters this kind of challenge. Therefore, it is important for
the accompanist to learn ballet terminology. Ballet terms are often descriptive and can be
inspiring to the accompanist. For example, pas de chat means step of the cat, which
evokes the movement of a cat.
Not only must the ballet accompanist choose music to suit the movements, but he
or she must also make these choices as quickly as possible. Standing and waiting in class
is not good for dancers because their muscles may cool down. Therefore, the ballet
accompanists must learn to choose music fairly quickly, optimally while watching the
teachers demonstration. The accompanist should never make the whole class wait while
he or she searches through piles of music. I agree with Cavalli that [b]y the fourth count
of a demonstration, I almost always have a concrete idea of what I will play; then I
observe further, to see if something else would work better.41
39 Warren, 72.
40 Teck, 173.
41 Cavalli, 89.
19
The ballet accompanist plays a critical role in the ballet class. As Karel Shook,
internationally known ballet master and co-founder of the Dance Theatre of Harlem
School, has said, [t]he musician assisting in the ballet class has equal importance with
the teacher.42 The musicianship of the accompanist is vital to the artistic success of the
dance class, but the accompanist should function in conjunction with the ballet teacher.
Therefore, the ballet accompanist should be open-minded in terms of tempo, dynamics,
and other musical parameters. There are obvious parallels with instrumental and vocal
accompaniment in that the ballet accompanist should not think of himself or herself as a
soloist, but rather as a true partner with the ballet teacher.
42 Teck, 9.
20
demands a high level of concentration and awareness. Once the class has begun, the
ballet accompanist must devote his or her attention to the teacher as well as to the dancers,
in order to be able to make necessary requested changes in the tempo or character of the
music. Also, if the music selected is not suitable for the combination, the accompanist
should immediately and graciously switch to another piece. Benjamin Harkarvy, a
renowned American dance teacher, has said of the ballet accompanist: I look for
involvement in the teaching process, the kind of focus that supports the teacher in his
cultivation of the professional attitude that one must always be there, totally committed,
concentrated.43
Moreover, an awareness of breathing and phrasing is essential for all kinds of
accompanists. Skilled vocal and instrumental accompanists breathe with the soloist and
have a sense of where the musical phrases are going. Ballet accompanist Rebecca
Gardner has likewise observed, good accompaniment [for ballet technique class]
incorporates movement and breath into the music; it encourages the dancers to move and
reminds them to breathe.44 Ballet accompanists who incorporate breathing into
accompanying will be in greater harmony with the ballet movements because, in a way,
they are dancing at the keyboard.
Sound projection is as important for the instrumental and vocal accompanist as for
the solo pianist, especially when the piano part has the melody. Likewise, the ballet
accompanist should be able to project sound when it is artistically appropriate: the notes
produced by the fingers cannot be effective if they are aimed into the depths of the piano.
They must, in various ways, project
studio].45
43 Sawyer, 11.
44 Gardner, 9.
45 Sawyer, 203.
21
vocal accompanist, there are differences. The most obvious is that an instrumental or a
vocal accompanist accompanies other musical lines, whereas the ballet accompanist
accompanies physical movement. In the classroom, the ballet accompanist plays music to
support the characteristics of the dance movements. A ballet accompanist must have the
ability to pay attention not only to the score, but also to the movements of the dancers and
the gestures and instructions of the teacher. A vocal or an instrumental accompanist may
have to look at his partner at entrances or phrase endings, but not nearly as frequently as a
ballet accompanist must watch the dancers and the teacher.
Another important difference between a ballet accompanist and an instrumental or
a vocal accompanist is that a ballet accompanist should not follow the tempo suggestions
marked in the score and should not adjust the tempo according to their partners (in the
case of the ballet accompanist, the dancers); rather, the accompanist should establish and
46 Teck, 168.
22
adjust the tempo only as directed to do so by the teacher. As stated in The Royal Academy
of Dance Guide to Ballet Class Accompaniment, [a]s a general rule, once you have set
the tempo, keep it exactly where it is, even if it appears that the dancer is getting off the
beat: they will be able catch up with you if you stay in tempo, but not if you change the
tempo to accommodate them.47 Instrumental and vocal accompanists, on the other hand,
generally make subtle tempo adjustments throughout a performance, which are often
planned with the soloist in rehearsals.
Another major difference between a ballet accompanist and an instrumental or a
vocal accompanist is that an accompanist for chamber music or song repertoire has to
play every note on the page and follow every performance instruction indicated on the
score. However, as stated in The Royal Academy of Dance Guide to Ballet Class
Accompaniment, breathing and dancing at the keyboard with those that you are playing
for is more important in a class than reproducing every note exactly as printed in the
score.48 Skilled ballet accompanists often modify aspects of the music presented in the
score to suit the qualities and dynamics of the movements. I discuss this in greater detail
in Chapter Four.
In addition, a pianist playing for ballet technique classes must be able to start and
stop upon the teachers requests
should never stop playing even if his partner makes mistakes or stops during a
performance.
Finally, the ballet accompanist has a responsibility for which there is no parallel
in the fields of instrumental and vocal accompaniment: to constantly search for music
which beautifully suits the characteristics of the dance movements. When the teacher
demonstrates the combination, the accompanist has to immediately analyze the tempo,
47 Royal Academy of Dance, 75.
48 Ibid., 22.
23
the qualities, and the dynamics of the movements in order to find a suitable piece to play
for the class. Furthermore, human beings get tired of hearing the same melodies. This is
why the ballet accompanist should keep broadening his or her repertoire, preparing
enough music to serve for ballet classes day after day, month after month, year after
year.49 For me, the constant search for new repertoire is one of the most enjoyable
facets of being a ballet accompanist; I gain the opportunity to discover how many
different pieces might fit a combination, and in the process learn a greater variety of
repertoire.
Counting
The most important thing for a ballet accompanist to bear in mind is that dancers
and musicians count differently. While musicians do occasionally count the number of
measures in a phrase (for example, if they are studying phrase structure or creating an
awareness of hypermeter50), musicians much more commonly count each beat within a
measure. Dancers, on the other hand, organize their phrases by keeping track of
counts.51 As Teck says, [f]or purposes of phrasing, the musician must also learn to
count the way dancers count.52
Musicians, teachers, and dancers have to remember that all combinations in a
traditional ballet technique class are either set in two beats or three beats, i.e., either in
duple meter or triple meter. Musicians refer to music written in groups of two beats as
49 Sawyer, 10.
50 Hypermeter is a term which refers to a meter at levels above the notated measures, i.e.,
the sense that measures or groups of measures organize in a way in which a measure itself serves
as a beat.
51 The number of counts sometimes corresponds to the number of measures, but
sometimes corresponds to a multiple of the number of measures.
52 Teck, 168.
24
duple meters and groups of three beats as triple meters, while dancers simply refer to a
2 or a 3. As Laurence Galian notes, [t]he [ballet] teacher is not counting measures.
She/he is giving exercise counts from which the pianist can gather the necessary
information as to meter and tempo;53 therefore it is better for the ballet teacher to tell
the accompanist whether he or she wants a 2 or a 3, rather than trying to dictate a
specific time signature. Table 2-1 shows how dancers and musicians count differently in
different meters. When counting out loud, dancers use very specific words; for a duple
they say, ONE and TWO and... and for a triple they say either ONE and a TWO and
a... or ONE - a TWO - a....
2 or 3
53 Galian, 8.
25
Occasionally, some teachers might choose irregular meters such as 5/4, 5/8, 7/8,
etc., or polymeters for a combination to provide students with a rhythmic challenge,
preparing them for the time when, as professionals, they will have to dance in ballets with
complex contemporary scores,54 as Warren notes.
54 Warren, 75.
26
Tempo
Achieving the correct tempo of a combination during demonstration is one of the
most important yet most difficult responsibilities for the accompanist. It is essential for
dancers to have the music performed at the right tempo: music that is too fast or too slow
prevents dancers from executing their movements correctly, and may even result in
injuries.
It is not easy for an accompanist to feel the tempo of a combination. Teachers
very often demonstrate or speak faster than the actual tempo that they want; this is
especially true for Adages. It is extremely helpful if the accompanist tries to mark the
combination with his or her own body, or at least with the hands; making physical hand
gestures helps establish an inner pulse. I have also found that while I am observing a
combination, it is useful to try to speak the combination in words, imitating the teachers
vocal inflections and pace. This helps me to establish the tempo of the combination easily
and to ascertain the dynamics of the ballet movements more profoundly. Nevertheless,
once the tempo is chosen, it is essential to pay close attention while accompanying, as the
teacher may ask for a further adjustment of the tempo. Through experience, a ballet
accompanist develops an instinct for the general tempo for each combination.
Phrasing
Traditionally, a ballet phrase has eight counts, which is considered squared. The
length of each combination is not fixed, although it is typically even
grouped in
multiples of eight, i.e., with a total of sixteen, thirty-two, or forty-eight counts, etc. The
most common length for a combination is either four or eight eight-count phrases, a total
of thirty-two or sixty-four counts. Since some teachers make up combinations
extemporaneously, sometimes a combination might end up with an odd number of eight-
27
count phrases. Some teachers also like to add an extra eight-count phrase at the end of
combinations at the barre for the dancers to practice their balance.
Each dance phrase is equivalent to a complete statement or sentence in verbal
language. It is essential to play compatible music with clear phrasing, so as to not confuse
the dancers. The ideal piece of music to use for a ballet technique class should make the
dancers feel they are able to do a particular movement at a certain count naturally, instead
of making dancers guess what counts their movements are supposed to be executed
on.55 Thus, music for ballet technique classes sometimes needs to be adjusted to the
counting and phrasing of the combination.
Musical Introduction
The musical introduction (often referred to by dancers as preparation) is very
important because the dancers gather essential information about the tempo, meter,
rhythm, and style of the music they will be dancing to Many teachers request that the
dancers execute an opening preparation, such as a series of arm movements, a positioning
of the legs, etc., during the musical introduction. The musical introduction also allows the
dancers to physically and mentally prepare for the combination. The introduction has to
be in the same tempo as the music that follows.
Different teachers require different lengths for the introduction. Some teachers
prefer a four-count introduction, while other teachers like an introduction of just two
chords. I agree with famous ballet teachers John White56 and Marjorie Mussman57 that a
four-count introduction is preferable to a two-count introduction. As White says, a two-
55 Cavalli, 48.
56 See note 33 above.
57 Kate Mattingly, Music Counts, Pointe 4 (2003): 81.
28
count introduction does not really give a clue as to what will be the meter, tempo, or
phraseology of the music to follow.58 Harriet Cavalli argues that a four-count
preparation for dancers is by far the most clear.59 Moreover, a four-count introduction
gives the teacher a clearer sense of the music as well: if the teacher wishes to suggest a
change in tempo or even in piece selection, he or she can stop the accompanist before
getting into the body of the piece.
However, there are two musical forms that require a different length of
introduction: the polonaise and the coda. A polonaise is a slow 3 with long phrases; a
four-count introduction would be too long. Instead, a polonaise should have a twomeasure introduction, a total of six counts (Example 2-1).
58 White, 108.
59 Cavalli, 145.
29
Example 2-2a An introduction for a coda.
There are many ways to create an introduction. The easiest way is to play the last
four dance counts of the piece: the character of the piece can be heard immediately.
However, as Cavalli observes, the piece almost always ends on the tonic, so [an
introduction comprised of the last four counts of a piece] will sound like an ending,
instead of having a preparatory, anticipatory nature.60 Furthermore, sometimes the final
phrase of a piece does not contain a clear presentation of the dance counts. Thus, a
simpler alternative is to create an introduction using the harmonic progression I-V-I-V in
the key of the piece
with the left hand playing the bass of the chord in octaves and the
right hand playing full chords (see Examples 2-3a and b).
60 Ibid., 146.
30
Example 2-3a A musical introduction using the harmonic progression I-V-I-V.
Example 2-3b Another musical introduction using the harmonic progression I-V-I-V.
31
mentally prepare for a graceful, controlled finish. Abrupt musical endings make the
dancers [feel as if they] are left hanging in the air.61 Ballet accompanists should pay
close attention to the dancers and more importantly to the teacher when the combination
is approaching the end. I usually try to form a cadence (preferably dominant to tonic) as
soon as I see the dancers finishing the last movement of a combination. Ideally, the ballet
accompanist should try to ascertain the length of the combination when the teacher
demonstrates.
Based upon my numerous hours accompanying ballet technique classes, I
recommend marking and numbering each dance phraseeach group of eight countson
the score. This helps me feel more comfortable and confident, because it helps me be
prepared to end the music at the end of any dance phrase.
Finally, some teachers might request a slight ritard at the end of a combination to
help the dancers experience a sense of completion.
61 Lishka, 8.
32
Sometimes teachers require a four-count vamp between the two sides of a barre
combination, or most often, in between groups for the center combinations. If you are
comfortable with improvisation, of course, you can make up something for the four-count
vamp. What I usually do for the requested vamp is to play the introductory harmonic
progression (I-V-I-V) again. If the combination is uneven, for example, with three eightcount phrases, I continue playing half of the last eight-count phrase as the vamp.
33
CHAPTER 3
RELATIONSHIP BETWEEN ESSENTIAL
BALLET MOVEMENTS AND MUSIC
62 Ibid., 100.
63 Lishka, 41.
64 Sawyer, 106.
34
different schools of ballet, there are different names for the same ballet movement. Thus,
this chapter is not intended to be a comprehensive ballet dictionary. Rather, the ballet
movements that I am going to discuss in this chapter are some of the most common
movements found in ballet technique classes. For each movement, I am going to first
briefly describe each movement so as to give potential accompanists an idea of what each
movement is like; more detailed references for each ballet movement can be found in
Classical Ballet Technique by Gretchen Ward Warren,65 Technical Manual and
Dictionary of Classical Ballet by Gail Grant,66 and The Video Dictionary of Classical
Ballet by Kultur International Films.67 After providing a basic definition of each
movement, I will discuss the desired qualities of each movement and explain why my
particular musical selections work for each movement. The movements are divided into
three sections: combinations at the barre, combinations in the center, and pointe class.
All of the musical selections discussed in this chapter can be found in Appendix A
of this essay. At this point it may be valuable to briefly review the nature of musical
scores. There are generally two types of performance instructions in musical scores: the
most important instructions are from the composer himself or herself; other suggestions
are from editors. In the field of ballet accompaniment, as I mentioned earlier in the
review of the literature (see Chapter One), there are many published collections of music
for pianists to use in accompanying ballet technique classes. Some editors of these
collections have chosen to leave the composers original dynamic and articulation
markings in the scores. Some anthologies contain music specifically composed for a
35
syllabus, such as the Royal Academy of Dance anthologies. These anthologies also
generally include performance instructions in the scores. However, in Dance and
Music,68 Harriet Cavalli chose to include very few performance instructions in the
musical selections. In my own musical selections, I have also chosen to omit most
performance instructions pertaining to secondary musical parameters such as dynamics,
articulation markings, pedal markings, and tempo. A ballet accompanist can vary the
execution of the music in order to better support the dancers movements; therefore a
cleaner score is often easier for the ballet accompanist to use. I will be discussing in
detail many of the musical choices open to the ballet accompanist in Chapter Four.
Plis
It is very typical for a ballet technique class to begin with a pli combination at
the barre. A pli combination usually consists of demi-plis, grand plis, and port de bras
(literally carriage of the arms) movements. Pli means bending of the knee or knees
demi-pli is half-bending of the knees while grand pli is full bending of the knees. No
matter if it is a demi-pli or grand pli, the movement should be smooth and continuous.
As Suki Schorer, a noted principal dancer with George Balanchines New York City
Ballet, notes, it is very important that the music not suggest unwanted divisions in the
pli.69
36
Cavalli advises, [t]he vast majority of teachers use slow 3/4s for their pli
combination.70 Beginning ballet students will benefit from a slow waltz for plis
because the counts are more easily heard with the waltz rhythmic patterns in the left hand.
I have selected one by Evelyne Hubler (see Appendix A: Musical Selection 1). However,
for more advanced ballet students, music with a flowing accompaniment is ideal for
helping the dancers to execute the plis in a smooth and continuous way. For example,
O mio babbino caro from Giacomo Puccinis71 opera Gianni Schicchi72 is well suited
for plis because of the fluid feeling and the sense of expansiveness created by its
flowing accompaniment (see Appendix A: Musical Selection 2). Also, as Cavalli
observes, a flowing accompaniment helps to generate fuller execution of the pli
throughout the whole leg, rather than just bending the knees.73 A sustained, singing
quality is ideal for the movement. However, it is important to remember that the purpose
of pli combinations is for dancers to warm up their muscles and build their technique
and strength; thus, music which is too emotional or sentimental might not be suitable
right at the beginning of the class.
Musical selections 1 to 3 in Appendix A are appropriate for this combination.
Battements Tendus
In battements tendus, the supporting leg stands while the other, known as the
working leg or the gesture leg, brushes along the floor to reach to point without
70 Cavalli, 102.
71 Giacomo Puccini (1858-1924), an Italian composer. He is famous for operas such as
La bohme, Tosca, Madama Butterfly, and Turandot.
72 Robert Schultz, ed., 24 Piano Transcriptions of Classical Masterpieces, 2nd ed. (Van
Nuys, CA: Alfred Publishing, 2008), 104-5. This musical example and all examples in Appendix
A have been edited by the author.
73 Cavalli, 103.
37
lifting the toe from the ground. These are very often practiced en croix74front, side,
back, sidein a repeated pattern.
38
This combination has a more andante con moto80 feeling, as Cavalli describes,
than does a regular battement tendu combination. A flowing waltz, with a feeling of
tension (for the battement tendu) and release (for the pli), is excellent for this
combination.
Musical selections 7 and 8 in Appendix A are appropriate for this combination.
Fast Tendus
A fast tendu combination is usually composed of tendus that are accent in (see
Awareness of and Response to Physical Accents of the Ballet Movements in Chapter
Four). Since the tendus have to be executed quickly, the music should be light and less
accented. In order for the dancers to achieve the quickness of the tendus, it is often
helpful for the dancers to hear an emphasis on the first beat of the movement phrase
without any other additional accents. The excerpt in my musical selections from J.
80 Cavalli, 104.
81 Charles Gounod (1818-1893), a French composer, is known for his operas Faust and
Romo et Juliette.
39
Battements Dgags
Battement dgag is similar to battement tendu but with the gesture leg brushing
off the floor from either first or fifth position. The height of the battement dgag
depends on the tempo of each combination; no matter how high the dgags are, they
should be executed with a sharp, brisk, and crisp quality.
The excerpt from the ballet Giselle in my musical selections (see Appendix A:
Musical Selection 14) is ideal for a fast dgag combination; however, the music has to
be played with specific dynamic changes. Example 3-2 shows my specific dynamic
markings for the combination. The basic principles of music for a fast dgag
combination are the same as those for a fast tendu combination.
82 Albert E. Wier, ed., The Scribner Radio Music Library (New York: C. Scribners
Sons, 1931), 5:168-9.
40
Example 3-2 Specific dynamic marking in the excerpt from the ballet Giselle.
A second musical selection (see Appendix A: Musical Selection 15), from one of
the Royal Academy of Dance publications, is, on the other hand, ideal for a relatively
slower dgag combination because of its compact melodic texture.
Musical selections 13 to 15 in Appendix A are appropriate for this combination.
83 En dehors means outward. In ballet, it refers to circling away from the center of the
body.
84 En dedans means inward. In ballet, it refers to circling towards the center of the
body.
41
A smooth waltz, for example, Frdric Chopins Waltz Op. 64 No. 1 (see
Appendix A: Musical Selection 16),85 is well suited for a rond de jambe par terre
combination because it enhances the circular quality of the movement. Moreover, as
Gretchen Ward Warren notes in her Classical Ballet Technique, [t]he musical accent in
rond de jambe par terre is as follows: the working leg passes through the 1st position on
the count (i.e., the accent) and executes the outward circle on the upbeat.86 Therefore,
this Chopin example is ideal for supporting the dynamics of the movement because of the
waltz rhythmic pattern in the left hand and the repeated half notequarter note rhythmic
pattern (see Example 3-3) in the melody.
Schorer describes a common rond de jambe par terre combination that comes
from George Balanchine: tendu front with pli on count one, demi-rond to tendu side as
the supporting leg straightens on count two; or in fifth; or in tendu (back for en dehors,
front for en dedans).87 This way of executing a rond de jambe creates a gradual
sweeping movement towards the end of the half-circle. A smooth waltz, such as my
85 Frdric Chopin, Waltzes for Piano (Warsaw: Institut Fryderyka Chopina, 1975), 48.
86 Warren, 98.
87 Schorer, 111.
42
musical selection by Franz Lehr,88 has an ideal rhythm (see Example 3-4) in the melody
to support the changes in dynamics within the movement.
Musical selections 16 to 19 in Appendix A are appropriate for this combination.
Battements Fondus
Battement fondu is like a pli but with the gesture leg in sur le cou-de-pied89
position. The gesture leg extends out onto the floor ( terre) at forty-five degrees, or at
ninety degrees when the knees are straightened; the supporting leg can be flat on the floor,
on demi-pointe, or even en pointe. This movement should be executed smoothly and
continuously like a pli, and, as Warren describes, the bending and stretching of both
legs must always be smoothly coordinated.90
88 Franz Lehr (1870-1948), an Austrian composer. He is mainly known for his operettas,
such as The Merry Widow.
89 The toe of the pointed foot is placed above the ankle bone in the front, or the heel of
the pointed foot is placed against the ankle bone in the back.
90 Warren, 106.
43
91 Chopin, 63-64.
44
Example 3-6 The rhythms in a tango.
92 Gabriel Faur (1845-1924), a French composer, organist, pianist, and teacher. He was
one of the foremost French composers of his generation.
93 IMSLP/Petrucci Music Library, Project Petrucci LLC, http://www.imslp.org
(accessed March 22, 2011).
94 The gesture leg is bent, and the toe of the pointed foot is touching the inside knee of
the supporting leg.
45
terre in that it is done to the dancers side.95 Rond de jambe en lair traditionally begins
with a battement dgag to second position on the count; then the lower part of the
gesture leg draws an oval shape to the dancers side with the point of the gesture foot
lightly touching the side of the supporting leg.
These are considered adage movements. Music for this kind of combination
therefore should be smooth and provide continuous support for the movementsusing,
for example, continuous eighth notes in the accompaniment as in the Evelyne Hubler
selection (see Appendix A: Musical Selection 24). At the same time, it is ideal to have the
melody in the right hand closely imitate the rhythmic and dynamic differences within the
movements. Because this combination can be executed to a variety of musical forms, I
am providing several different pieces for reference.
Musical selections 24 to 27 in Appendix A are appropriate for this combination.
Battements Frapps
Warren defines frapp as a sharp movement [that] must always be performed in
a dynamic manner.96 Dancers usually begin a battement frapp combination with the
gesture leg tendu to second position. Then, during the musical introduction, they bring it
back to either a flat or pointed sur le cou-de-pied position. The basic idea of a battement
frapp, according to Schorer, is that the dancer shoots the foot rapidly out from sur le
cou-de-pied to hit the floor lightly and continue out and up, finishing with a straight knee
and the foot several inches off the floor. On the return, the working knee maintains
maximum turnout as the foot returns to sur le cou-de-pied.97 Note that the dancers
95 Schorer, 119.
96 Warren, 114.
97 Schorer, 103.
46
following the Russian method do not hit the gesture leg on the floor, but the basic
principle of the battement frapp remains the same across schools.
Frapp comes from the verb meaning to strike. This explains why battements
frapps are always bright, sharp, and crisp. Music for a battement frapp combination
should have a precise attack for the striking action of the foot, very marked, and with a
well-punctuated and distinct rhythm. There are double and triple battement frapps in
which the dancers beat the gesture leg on the supporting leg for either two or three times,
respectively, before they strike the leg out. Cavalli offers two very distinct examples98
showing the rhythmical differences between single and double frapps (see Examples 37a and b), which I reproduce here because they are so useful for the ballet accompanist.
98 Cavalli, 106.
47
Lichner99 and the one from the Royal Academy of Dance publication are perfect for
double frapps combinations as well, because of the rhythmic structures in their melodies.
Adage
Adage is the French equivalent of adagio, which means slow and at ease. Adage
at the barre usually consists of a succession of slow, graceful movements such as
battements dvelopps, grand rond de jambe, port de bras, and arabesque penche,100
etc. Cavallis observation is worth remembering for both dancers and ballet accompanists:
adagios may sometimes look like a series of static poses, but in reality they are moving
positions that require a great deal of strength to both maintain andoftenelongate.101
Battement dvelopp is a movement in which the gesture leg is drawn up and
extended slowly into the air from the retir position. Grand rond de jambe is basically a
rond de jambe at ninety degrees or higher. Port de bras should be beautifully coordinated
and integrated with the adage movements. Port de bras, in particular circular port de bras,
might also be attached solely at the end of an adage combination.
The quality of these adage movements is smooth, continuous, sustained,
controlled, and elongated. Music to support them should therefore be very legato,
graceful, and substantial. Also, as ballet accompanist Nancy MacLachlan mentions of
dvelopps, you need music which can grow and expand during the phrase so it can lend
support to the working leg as the dancer slowly unfolds it from the supporting leg to an
48
extended position in the air. It matters not whether you choose duple or triple meter, as
long as the melodic line is long and fluid, and often has a slowly rising shape.102 I have
included three musical selections with different meters (see Appendix A: Musical
Selections 31 to 33), all of which have the long and fluid melodic qualities that I have just
mentioned.
Petits Battements
Very often teachers attach petits battements to the end of a battement frapp
combination. Petit battement consists of small and fast beats of the little toe or the heel of
the gesture leg which is in sur le cou-de-pied position against the supporting leg. These
movements are very brisk and crisp.
Both musical selections that I have chosen here (see Appendix A: Musical
Selections 34 and 35) have very busy-sounding melodies which reflect the movements
of the petit battement. The scores might not initially seem to have many notes in their
melodies, but the fast tempo, together with a note on every subdivision of each count,
creates the perfect qualities and dynamics for this combination. Schorer offers another
musical suggestion for this combination as she recalls her experiences with George
Balanchine: [o]n occasion he [Balanchine] would ask for the riding rhythm in the
William Tell Overture just after the bugle call (Lone Ranger music). Its incisiveness
fostered clean, sharp beats and musical clarity.103
49
Balanoire / En Cloche
Balanoire/en cloche is defined as a series of grands battements executed with a
continuous swinging motion through the first position to the fourth position front and
back.104 The gesture leg can be either straight or in attitude.105
Typically, balanoire requires music counted in 3; however, it is important to
remember that not all music in 3 is suitable for this movement. For example, a mazurka
in 3 is not suitable because its accents on either beat two or beat three creates a
heaviness in the music. Music for balanoire needs to reflect the swinging motion of the
dancers gesture leg. The two musical examples that I have included (see Appendix A:
Musical Selections 36 and 37) are excellent for balanoire because of their natural
swinging and circular feeling in the music.
Grands Battements
In grands battements, dancers toss their gesture leg up quickly to its full height.
As Schorer notes, [t]he action of grand battement is essentially the same as the one for
battement tendu and for battement tendu jet [battement dgag], except that the leg and
foot are thrown higher into air, while maintaining proper alignment of the body.106
Grand battement is a broad, firm, and energetic movement. As Cavalli notes, the
height of the movement, as well as the power necessary to get the leg to that height, must
be reflected in both the musical structure and the dynamics.107 Therefore, the music for
50
grand battement is usually the most projected and energetic compared to music for other
combinations at the barre. Both of my musical selections here (see Appendix A: Musical
Selections 38 and 39) are marches: one by Sergei Prokofiev,108 the other by Ludwig
Minkus.109 They are well suited for grands battements because of the dotted rhythms in
their melodies (see Example 3-8), which provide a sweeping feeling for the dancers
gesture leg.
Also, both pieces make use of a broad range of the keyboard as well as octaves in
either one hand or both hands, giving the music a broad and solid quality. However, the
ballet accompanist using these two pieces for grands battements must keep in mind the
height and energy of the movement and remember not to play with a heavy touch.
In making their own musical selections, ballet accompanists should keep in mind
Schorers recollection of George Balanchines requests for music for grands battements:
51
that the dancers hear and therefore feel in that kind of strong beat,
but they may not be exploding out of fifth, and they probably will
not be bringing the foot and leg back down sharply to be placed
quietly into fifth. In this case the music takes over and the dancers
do less.110
Stretches
Very often towards the end of the combinations at the barre, students will be
given some time to do stretching either on their own or as instructed by the teacher.
Music for stretches should be smooth, flowing, and relatively quiet so as to make the
dancers feel relaxed and not tense their muscles. Music should also refrain from being
dramatic or inspirational; dramatic, inspirational adagio music should be saved for adage
combinations later in the center. One of my musical selections for stretching (see
Appendix A: Musical Selection 40) is The Swan from Camille Saint- Sanss111 The
Carnival of the Animals;112 its light and graceful melodic lines encourage dancers to
stretch their bodies and muscles. My two additional musical selections here (see
Appendix A: Musical Selections 41 and 42)with similar textures and qualities as The
52
Swanare from operas: Jules Massenets Thas113 and Pietro Mascagnis Cavalleria
Rusticana.114
53
selection from Scott Joplins The Strenuous Life117 (see Appendix A: Musical Selection
45), whenever there are changes of accent in a tendu combination. The syncopated
rhythm in a rag closely imitates the dynamic differences in a tendu combination that
contains a change of accents. The lively quality of a rag can also help to create more
energy in the studiooptimum for center combinations.
I have also included a polonaise as another musical selection for center tendu
combinations (see Appendix A: Musical Selection 46). A polonaise has a special
rhythmic pattern (see Example 3-9) in which all three beats are relatively emphatic.
Musical selections 43 to 46 in Appendix A are appropriate for this combination.
117 Scott Joplin, Complete Piano Rags, ed. David A. Jasen (New York: Dover
Publications, 1988), 46-47.
54
the dancers do slow turns, such as promenade118 or adagio pirouettes in a center adage
combination.
The qualities of these movements are the same as when they are executed at the
barre. Music for these movements should again, like the adage at the barre, be very legato,
graceful, and substantial. Furthermore, music for center adage combinations can be more
sentimental, dramatic, and inspirational than at the barre, so as to make the dancers feel
as if they are really dancing. As dance musician Elizabeth Sawyer notes, [s]ince one of
the major faults of the dancers is to break down an adagio into disconnected poses, the
primary concern for the accompanist is a piece of music which forcefully (or gently)
carries the dancers impulses through the phrase and the sectionand, ultimately, the
entire adagio.119 My two musical selections here (see Appendix A: Musical Selections
47 and 48) are from the ballets La Bayadre and The Seasons. Both have inspiring,
narrative, and beautiful melodies, with well-connected and flowing accompaniments, to
keep a sustained and very legato feeling that will help dancers to connect every
movement.
I have also included two additional similar musical selections here (see Appendix
A: Musical Selections 49 and 50): one is by Evelyne Hubler and the other is the familiar
song Memory120 from the Broadway musical Cats. These two selections again have
sustained, narrative melodies which create an ideal atmosphere for center adage
combinations.
118 In promenade, slow turns executed on the whole foot with the other foot raise in
retir, attitude, or fully extended at 90 degrees (or above). Warren, 174.
119 Sawyer, 183.
120 Andrew Lloyd Webber, Now and Forever: Piano, Vocal, Guitar (Milwaukee: Hal
Leonard Corp., 2003), 69-70.
55
Pirouettes
Pirouette is a turn in place on one foot, either on demi-pointe or pointe. Pirouettes
can be executed either from fifth position or fourth position, and either en dedans or en
dehors (see footnotes 83 and 84 in this chapter). For pirouette combinations early in the
center, the gesture leg is usually in retir while the dancer is turning.
56
The rhythm in the melodywith a dotted note in beat fouris also effective in
supporting the differences in dynamics between the pli preparation and the turn
(Example 3-10).
Travelling Pirouettes
Travelling pirouettes are typically executed across the floor in smaller groups.
Pirouettes (usually from fourth position) are usually preceded by other travelling steps,
for example, balanc,123 tomb-pas de bourre,124 etc.
Because of the more dance feeling nature of the travelling pirouettes, music for
these combinations can be a bit more flowing and flexible, especially for the travelling
steps. The rhythmic framework for the pirouettes should still be strong.
Light, lyrical waltzes are in general suitable for travelling pirouettes, in particular
Viennese waltzes, such as J. Strausss Walzer nach Motiven der Operette Die
57
125 Johann Strauss, Waltzer (Hungary: Konemann Music Budapest, 1995), 68.
58
Example 3-12 The repeated rhythmic pattern in J. Strausss Waltzer Op. 367.
59
Petit Allegro
Allegro, according to Gail Grant, is a term applied to all bright and brisk
movements.126 All jumps come under this classification. The terms petit, medium,
and grand identify the size of the jumps.
Cavalli observes, [t]he first jumps in every class are almost always executed
from two feet to two feet,127 to give dancers the opportunity to warm up their feet. As
the class goes on, the jumping becomes progressively more difficult as the jumps are
executed from two feet to one foot, from one foot to two feet, and from one foot to one
foot.128 Petit allegro combinations include jumps like saut,129 changement,130
chapp,131 glissade,132 jet,133 and assembl,134 etc.
Music for petit allegro combinations should be light, bright, cheerful, and very
lively. Music for jumps, whether they are petit allegro or other, bigger jumps, should
60
convey a sense of buoyancy, a feeling of resilience, and should never make the dancers
want to stay in pli. Music with these qualities, played with the correct touch, creates a
musical push for the dancers to feel free and jump higher. It is also important for the
accompanist to keep in mind that, as Warren also mentions, [a]s a general rule, dancers,
when jumping, are always in the air on the upbeat and down on the count.135 That is
why almost all of my musical selections for jumps, such as the excerpt from one of the
variations in the ballet La Bayadre, begin with upbeats (see Awareness of and
Response to Physical Accents of the Ballet Movements in Chapter Four for details).
Among my musical selections here is another rag by Scott Joplin (see Appendix
A: Musical Selection 58). A rag is usually suitable for petit allegro combinations; it is
usually syncopated, happy, snappy, and full of vitality, with the left hand at the same time
maintaining a steady pulse.
A tarantella is generally ideal for petit allegro combinations as well. It is
particularly well suited for quick, small jumps from one foot to the other. The excerpt
from Burgmullers Twenty-five tudes Faciles, op. 100, no. 20136 is a tarantellawith
single chords on the first and fourth beats (counting as musicians do) in the left hand, and
with a continuous, running eighth-note figure in the other hand; it originated as an
exciting form of dance.
Musical selections 56 to 59 in Appendix A are appropriate for this combination.
Medium Allegro
Dancers gradually progress to larger jumps after their feet are warmed up.
Medium allegro combinations are generally slower in tempo and consist of bigger jumps
135 Warren, 244.
136 Friedrich Burgmller, Twenty-five Easy and Progressive Studies for the Piano, ed.
Louis Oesterle (New York: G. Schirmer, 1931), 24.
61
than in petit allegro. Sissonnes,137 pas de chat,138 ballonn,139 and ballott,140 etc., are
jumps usually seen in medium allegro combinations.
Because of the size of the jumps and slower tempo, medium allegro combinations
work well with a bright waltz, such as the Charles Gounod and Karl Ziehrer141 waltzes I
have selected (see Appendix A: Musical Selection 60 and 61); or with a 6/8, such as the
excerpts here from the ballet Giselle and Nikolai Rimsky-Korsakovs symphonic suite
Scheherazade (see Appendix A: Musical Selection 62 and 63).142 All have been selected
for their melodic structuresdotted rhythms and rests within the melodieswhich give
extra time and lift for the dancers to execute their jumps.
Medium allegro combinations of course can also be done to music that is counted
in 2, such as the excerpt from the ballet Nutcracker that I have also included (see
Appendix A: Musical Selection 64). Again, the effervescent melody, the dotted rhythms,
and the occasional triplets (see Example 3-14) help propel dancers into their jumps.
137 Sissonne is a jump from both feet onto one foot with the exception of sissonne
ferme, sissonne tombe and sissonne fondue, which finish on two feet. Technical Manual, s.v.
Sissonne.
138 The name of this movement translates as step of the cat. It is a jump from fifth pli,
lifting the back leg with bent knee to 90 degrees and immediately drawing the other leg up to
match it. The pose is briefly sustained en lair, traveling slightly to the side. Warren, 290.
139 This may be performed either petit or grand. In petit ballonn, the leg is extended to
the second or fourth position at 45 degrees; then the knee is bent and the foot brought sur le coude-pied. In grand ballonn, the leg is extended at 90 degrees and finished with the foot at the
knee. Technical Manual, s.v. Ballonn simple.
140 Ballott means tossed. This step consists of sur le cou-de-pied over and under
performed in a series with a light rocking quality.
141 Karl Ziehrer (1843-1922), an Austrian composer who wrote light Romantic music
similar in style to that of Johann Strauss.
142 Nikolai Rimsky-Korsakov (1844-1908), a Russian composer. He was a master of
orchestration. His symphonic suite Scheherazade is one of his best-known orchestral
compositions.
62
Example 3-14 The melodic characteristics in the excerpt from Nutcracker.
Grand Allegro
Grand allegro is the largest jumping and travelling combination in ballet
technique class. Dancers typically dance across the floor in groups. Grand allegro
combinations consist of a variety of big jumping movements such as saut in
arabesque,143 temps levs,144 chass,145 grand jet entrelac,146 grand fouett
saut,147 etc., The qualities for grand allegro combinations are always broad, powerful,
robust, and soaring.
Music for grand allegro combinations should have enough drive to help dancers
execute the grand allegro combinations with the power and soaring quality mentioned
143 Jumping in arabesque position.
144 This is a hop from one foot with the other raised in any position. Technical Manual,
s.v. Temps lev.
145 A step in which one foot literally chases the other foot out of its position; done in
series. Ibid., s.v. Chass.
146 A big leap.
147 This fouett is performed with a temps lev on the supporting foot instead of a
relev. There are numerous kinds of grands fouetts sauts. The step is preceded by a glissade,
sissonne simple, faille, etc. Technical Manual, s.v. Fouett saute, grand.
63
above. I find that grand allegro music from famous ballet repertoire such as La Bayadre,
Don Quixote, Nutcracker, etc., is the most suitable for grand allegro combinations in
class. In addition, big waltzes with thick textures, powerful basslines (especially with
octaves on the downbeat of each measure), and an uplifting rhythmic motive in the right
hand are well suited for grand allegro combinations. The excerpt from Chopins Grande
Valse Brillante148 (see Appendix A: Musical Selection 69) is ideal for its continuous
driving, uplifting, and stirring motive in the melody (see Example 3-15), making the
dancers want to get up into the air.
Grand allegro combinations are full of peaks and valleys; accompanists should be
sensitive enough to identify those peaks and valleys and provide music with the correct
accents to support the combinations. In general, the first beat of each measurewhere
the dancers are in the airshould be correspondingly strong, projected, and powerful. A
driving motif in the upbeat or towards the end of a measure, like in the La Bayadre
example and the Schubert149 example (see Examples 3-16a and b), is very helpful for
148 Chopin, 7.
149 Franz Schubert (1797-1828), an Austrian composer. He wrote about six hundred
Lieder, nine symphonies, liturgical music, operas, some incidental music, and a large body of
chamber and solo piano music.
64
conveying an intense drive for the dancers to get into the air by the first beat of the next
measure.
Musical selections 65 to 70 in Appendix A are appropriate for this combination.
Sometimes a coda might also work well for a grand allegro combination,
especially when the dancers are leaping across the floor. I have listed additional musical
suggestions in Appendix B.
65
150 A step of beating in which the dancer jumps into the air and rapidly crosses the legs
before and behind each other. Technical Manual, s.v. Entrechat.
151 A changement in which the calves are beaten together before the feet change
position. Ibid., s.v. Royale.
152 A small beating step in which the movement is broken. Briss are commenced on
one or two feet and end on one or two feet. Ibid., s.v. Bris.
153 An allegro step in which the extended legs are beaten in the air. Ibid., s.v.
Cabriole.
154 MacLachlan, 234.
66
Example 3-17 The recurring motif in the melody.
In mens classes, the dancers will practice tour en lair combinations in addition
to those jumps with beats in a regular ballet technique class. Tours en lair are essential
combinations for men, and they are often included in the variations and codas in famous
ballet repertoire. Music for tours en lair should be robust, grand, loud, and heavy, like
the selection from Georges Bizets Carmen155 and the polonaise from Pytor Ilyich
Tchaikovskys Eugene Onegin (see Appendix A: Musical Selections 72 and 73),156
whose thick chordal textures prompt the large muscle movements required for the tours
en lair.
155 Georges Bizet (1838-1875), a French composer and pianist. He is best-known for his
opera Carmen. His music was used in several ballets in the twentieth century.
156 Pyotr Ilyich Tchaikovsky (1840-1893), a Russian composer. The ballets Swan Lake,
The Sleeping Beauty, and The Nutcracker and the opera Eugene Onegin are some of his most
famous theatrical works.
67
Grand Pirouettes
Grand pirouettes are defined as a series of turns on one foot with the raised leg
held in the second position en lair, in attitude or arabesque, or in a combination of
poses.159 The supporting leg is lowered into demi-pli, then immediately pushes from
the floor to demi-pointe again in between each pirouette. Grand pirouettes are done in all
poses, both en dedans and en dehors (see footnotes number 83 and 84), and are
considered advanced movements, usually done in no less than eight turns in a row.
68
Waltzes with a thicker texture, especially a deep bass line, are also suitable for
grand pirouettes. Since grand pirouettes are physically more demanding than other kinds
of pirouettes, music with thicker texture will give dancers greater support in executing the
movements.
Reverence
Reverence is done at the end of the class as a bow to thank both the teacher and
the accompanist. As Cavalli notes, [t]eachers often dispense with a preparation before a
69
Pointe Class
Dancing in pointe shoes is an extension of dancing in soft ballet slippers in a
regular ballet technique class. Many combinations that are exclusive in pointe class are
developed from movements that are practiced in a regular ballet technique class, for
example, battement tendu with pli becomes chapps on pointe (see Relev and
chapp later in this chapter). Hence, many of the combinations that appear in regular
ballet technique classes, especially for those at the barre, might appear in a pointe class as
well; therefore, as Lishka notes, [m]uch of the literature which the accompanist uses for
(ballet) technique class may be employed in the pointe class, if certain considerations are
borne in mind.161 In general, music for pointe class needs to have a light, uplifting, and
bouncing quality. Variations from classical and romantic ballet are extremely useful for
pointe class, in particular for the center combinations.
70
Pas de Cheval
Pas de cheval is an essential exercise for stepping onto pointe. Many steps and
combinations en pointe begin with pas de cheval, for example, piqu arabesque and
tomb-pas de bourre. Pas de cheval means the step of the horse. It has a gesture
similar to a horse pawing the groundbrushing the pointed foot towards the supporting
leg and passing through sur le cou-de-pied positionbefore the execution of the tendu.
Music for this combination should reflect three different qualities within the
combinations: the circular quality of the pas de cheval, the feeling of unfolding the
gesture leg to a battement tendu, and the attack for the arrival of the tendu. My excerpt
from a variation in the ballet Raymonda (see Appendix A: Musical Selection 81) closely
reflects the necessary qualities mentioned above. In Example 3-19 below, the sixteenth
notes in the beginning of each measure reflects the circular quality; the change from
sixteenth notes to eighth notes within the measure reflects the unfolding feeling; and the
first note of the measure is the same as the last note of the previous measure, reinforcing
the sense of attack.
71
Example 3-19 The melody in the excerpt from the ballet Raymonda.
72
matter how fast or slow the combination is, music for relev and chapp combinations
should not be heavy and should convey a vitality of attack and a forthright feeling at the
moment when dancers are en pointe. Notice in Examples 3-20a and b below: the change
in note values (from either sixteenth notes to eighth notes, or vice-versa) within a
measure creates a moment of suspension for dancers to suspend en pointe. Keep in mind,
too, that music for battement tendu combinations might also work for relev and chapp
combinations because an chapp is very similar to a battement tendu en pointe.
Musical selections 82 to 86 in Appendix A are appropriate for this combination.
73
74
Example 3-21 The continuous sixteenth-note motion in the melody.
167 Sous-sus is a relev in the fifth position performed sur place or traveled forward,
backward and or to the side. The dancer springs onto the points or demi-pointes, drawing the feet
and legs tightly together. Technical Manual, s.v. Sous-sus.
75
Example 3-22 Relatively longer note-value on the downbeat.
Hopping on Pointe
Hopping on pointe consists of consecutive jumps on one foot or two feet. Dancers
jump with bent knees and land on the box of the pointe shoes, that is, the flat surface in
the front of the shoe. Hopping on pointe is like a petit allegro combination in a regular
ballet technique class, which means music for these two combinations should have
similar qualities.
Musical selection 93 in Appendix A is appropriate for this combination.
76
almost touching. She has to move her legs as quickly as possible, keeping them stretched
but not stiff. This gives the movement a light, skimming effect.169 Bourre, on the other
hand, has more of a gliding motion; it is usually executed across the floor with the feet in
fifth position, moving towards the direction of the front leg. Despite this gliding motion,
bourre should have a fluid and shimmering effect.
Music for these two movements has to be legato, light, and with lots of fast notes.
Music that is too heavy will make dancers feel heavy, too; as a result, they will not be
able to move their feet as fast as they otherwise might. All three of my musical selections
(see Appendix A: Musical Selections 94 to 96)from Mozarts Piano Sonata in A Major
K.331,170 Czernys Twenty-five Finishing Studies for the Piano Op. 755,171 and
Chopins Waltz Op. 64 No. 1172 have lots of fast notes in either one hand or both
hands, perfectly imitating and supporting the fast motion of the dancers feet. The Czerny
example is particularly good for these two movements because the continuous sixteenthnote arpeggio in the left hand (see Example 3-23) provides a sweeping feeling which
keeps the dancers moving.
77
Example 3-23 The continuous sixteenth note arpeggio in the left hand.
78
multiple turns. Also, the simple but consistent rhythmic and harmonic patterns (usually I
and V only) in the bass provide a driving force for the dancers to execute the turns
(Example 3-24).
79
relaxed moment at the end of the turn when dancers are lowering into pli. These three
things happen so quickly that most accompanists do not realize their importance. The
melodic structure of Mozarts Piano Sonata in A Major K.331173 in my musical
selections (see Example 3-25) clearly supports what the dancers need for the piqu turns.
Example 3-25 The melodic characteristics in Mozarts Piano Sonata in A Major K.331.
First, the four- sixteenth-note upbeat provides an impetus for the dancers to push
from pli without sitting in the pli position. Second, the eighth note on the downbeat
provides the suspension moment for the turn. Lastly, the eighth note rest provides a tiny
moment of relaxation before the next turn.
As mentioned earlier in the discussion of music for chans, some waltzes may
also be suitable to support the turning movements. Both waltzes by J. Strauss and
Tchaikovsky in my musical selections here can provide appropriate support for this kind
of combination. The waltz rhythmic pattern in the left hand creates a very steady pulse
and attack for the piqu turns. Also, the melodies in both waltzes have a similar kind of
rhythmic pattern (with longer note-values only) as the Mozart example earlier, which
effectively supports the dancers movements.
Musical selections 99 to 102 in Appendix A are appropriate for this combination.
173 Mozart, 163.
80
CHAPTER 4
ADVANCED TECHNIQUE SPECIFIC TO
THE BALLET ACCOMPANIST
Waltz Pattern
81
For musicians, the waltz is defined as a dance with three beats to a bar, usually
with a lilting dum-dah-dah rhythm, and with the bass part often playing the root of the
chord on the strong first beat of each bar.174 In the dance accompanists idiom, it is also
known as um-pah-pah pattern. The waltz pattern gives the dancers a very clear pulse on
each downbeat as well as the subdivisions within each measure (what dancers speak of as
ONE and a TWO and a...). It can be played either strongly or lightly depending on the
character of the movement.
Arpeggiation
82
Alberti Bass
In the Alberti bass accompaniment pattern, notes of a broken triad are played in a
specific orderlowest, highest, middle, and highest (see Example 4-3). The Alberti bass
accompaniment177 usually gives dancers a clear pulse along with a smoothly connected
feeling. In ballet accompaniment, the Alberti bass accompaniment figure is common in
music that is in a slow two.
March Pattern
A march is a musical genre with strong repetitive rhythm, used to accompany
orderly military movements and processions. The ballet accompanist very often hears a
ballet teacher requests a march for a combination, which means he or she is looking for
music that has a simple, straight forward, strongly marked, and evenly played
accompanimentwhich I call the march pattern (see Example 4-4a). The march
pattern almost always is composed in a duple meter (what dancers refer to as being in
2).
177 The ballet accompanist may also choose to use music with accompaniment patterns
similar to the Alberti bass but with a different ordering of the notes:
83
Example 4-4a March pattern.
John Philip Sousa (1854-1932), one of the most famous march composers in
nineteenth-century America, wrote many valuable marches that professional ballet
accompanists love to have in their portfolio for ballet technique classes.
The block-chord accompaniment can be considered a sub category of the march
pattern. This pattern gives a strongly marked and generally very heavy feeling (see
Example 4-4b). Block chords produce an earthbound sensation, while the standard march
pattern creates a sense of forward propulsion.
84
Galop Pattern
Galop was one of the most popular ballroom dances in the nineteenth century; its
name was derived from the galloping movement of horses. Similarly, the galop
accompaniment pattern in ballet has a long-short-long-short rhythmic characteristic that
imitates the steps of the horses (see Example 4-5). The galop accompaniment pattern is
ideal for jumps, and is most often used in music that is in compound timemost
particularly in 6/8. Galop pattern has a lively nature and is full of excitement, making
dancers want to jump or move across the floor.
Melodic Influences
Many people are under the mistaken impression that ballet accompanists simply
have to keep the beat going and need not do more than that. However, dancers are not
mere acrobats; they must do more than just demonstrate perfect technique. They have to
interpret the music and express mood and emotion through their movements. The melody
in the right hand influences the arms and internal expressiveness of the dancers. Thus, the
melody in a piece of music is actually very important. The ballet accompanist should not
underestimate the influence that the melodic material may have upon the dancers, as
Elizabeth Sawyer notes: [t]he music in [ballet technique] class should provide ample
opportunity for the development of dancers rather than acrobats.178
178 Sawyer, 83.
85
Tonality
It is important to vary the tonality of the pieces in a ballet technique class, because
playing in the same key from combination to combination sounds boring to the
accompanist as well as to the dancers and teacher. I agree with Harriet Cavallis advice
that it is wise to avoid playing more than two pieces in a row in the same key.179
Another consideration is whether a piece is in the major or the minor mode; pieces for
Adage or any other slow movements are more often in minor than pieces for jumps,
reflecting the appropriate mood and quality of these movements, since the mood and
quality usually change from combination to combination during class.
The ability to transpose a piece from one key to another right on the spot is a
valuable skill in accompanying dancers; the accompanist need not limit his or her choices
for a combination simply out of concern for playing too many pieces with the same
179 Cavalli, 9.
86
tonality. Later in this chapter, I will discuss other ways in which the ballet accompanist
may modify pieces to serve the dancers.
87
Example 4-6 An example of accent out.
88
183 Laurence Galian in The Ballet Accompanists Handbook asserts that [t]he prime
consideration in choosing music for ballet is whether or not it is phrased evenly (Galian, 1). I
disagree because the accompanist can always edit the music and adjust the musical phrasing
before class. Most of the authors in my reference list believe meter and tempo are two of the most
important factors to consider when choosing music.
184 Cavalli, 134.
89
90
Example 4-8 Use of crescendo to propel the dancers into the air.
91
92
accompaniment relatively quiet. This voicing technique provides a more open, expansive
mood for the dancers, without weighing them down.
185 Ibid.
93
Example 4-9a Traditional pedaling in Chopins Grande Valse Brillante.
This kind of pedaling may be challenging for even well-trained pianists because,
as described by Cavalli, [reverse pedaling] is in direct opposition not only to what
pianists are taught in their classical training, but also to what is written on the printed
page.186 Nonetheless, I frequently employ reverse pedaling when I want to give extra
propulsive momentum to the dancers.
Though reverse pedaling is useful and necessary in accompanying for ballet
technique classes, ballet accompanists still should use legato pedaling (sometimes
referred to as syncopated pedaling187)changing the pedal on the first note of each
94
measurewhen playing for combinations that need legato quality, such as plis, ronds de
jambes par terre, and adage combinations. The following example from Chopins Waltz
Op. 64 No. 1188 shows the use of legato pedaling. The pedaling in this example for ballet
accompanying is basically the same as Chopins original intention for solo piano. It is a
selection for the rond de jambe par terre or rond de jambe en lair combination.
With sensitive use of the pedal, ballet accompanists can make the music closely
imitate the qualities and dynamics of the ballet movements, thus providing dancers the
greatest support in class. For example, in one of my musical selections for battements
fondus at the barreBizets Carmen Habanera189an accompanist might try
depressing the damper pedal on the first beat, where the dancers bend their knees in the
battement fondu, and then release the pedal slowly on the second beat as the dancers
straighten the supporting leg and extend the working leg out (see Example 4-11). Such
pedaling is very effective in creating the sense of melting needed for the movement:
slow release of the pedal on the second beat provides the dancers with the impulse to
move out of melting.
188 Chopin, 48.
189 Albert H. Stanley, Favorite Opera Highlights (Mineola, NY: Dover
Publications, 2005), 30.
95
Example 4-11 Pedaling in Bizets Carmen Habanera.
Another example of sensitive use of pedaling to imitate closely the qualities and
dynamics of the ballet movements can be found in travelling pirouettes combinations. A
very popular travelling pirouettes combination among ballet teachers is waltz steps
(balanc in ballet terminology) with pirouettes from fourth position across the floor. A
waltz has a flowing, legato feeling in it, while pirouettes are more energetic and need
more momentum. Therefore, in a combination like this, it is helpful to the dancers if the
accompanist pedals differently for the two movements. Example 4-12 is an excerpt from
J. Strausss Walzer nach Motiven der Operette Die Fledermaus Op. 367,190 one of my
musical selections for travelling pirouette combinations. After pedaling each measure of
the waltz steps, the accompanist should lift the damper pedal precisely when the dancers
start turning; changing to less pedal or even no pedal for the pirouettes provides different
and more sparkling qualities for the dancer. It is very difficult for the dancers to do many
turns when the music is too legato or has a lazy quality.
96
Example 4-12 Pedaling in J. Strausss Walzer Op. 367.
191 Jeffrey Wagner, The Pianist at the Ballet Class, Clavier 17 (1978): 14.
97
all the advanced skills discussed so far will help an accompanist to change the qualities of
the music to reflect the changes of the movements within a combination.
Some ballet teachers have the dancers do battements tendus and battements
dgags in the same combination. The ballet accompanist can use the advanced
techniques that have been discussed in this chapter to reflect the rapid changes in the
qualities and dynamics between these two ballet movements.
Another example is port de bras, one of the smoothest movements in ballet. Thus,
combinations with port de bras phrases attached at the end, or even in the middle of a
combination, may need a change in the quality of the music. Knowing the harmonies of
the music also helps the ballet accompanist easily change the character of the music; for
example, changing a solid chord to an arpeggiated one creates a more flowing
atmosphere for the execution of the port de bras. Examples 4-13a and b, from Chopins
Waltz Op. 64 No. 1,192 work well for rond de jambe par terre or rond de jambe en lair
combinations. Example 4-13b is an illustration of how the qualities of the music can be
changed within a piece. Bear in mind that occasionally this change in the qualities of
music within a combination sometimes involves a change in the tempo, too.
98
Example 4-13b Modifying the qualities of the piece.
It is rewarding to see how dancers respond to the music in ballet technique class;
both the choice of music and the manner in which the selection is performed allow the
ballet accompanist to enhance the artistry of the dancers. The best way for the ballet
accompanist to develop these critical skills is to observe ballet technique classes and
develop his or her own ability to relate the music to the dance movements.
99
100
made a poor choice, you will usually be corrected on the spot.193 I have learned so
much from observing ballet technique classes, and I heartily recommend that ballet
accompanists of all levels take advantage of opportunities to observe ballet masters and
other ballet accompanists.
I would encourage dedicated professional accompanists to consider writing a
similar handbook on accompanying ballet technique classes. The creation of anthologies
with collected melodies from famous ballet repertoire would also be beneficial for the
ballet world; accompanists can use these anthologies as references, and ballet teachers
and dancers will become familiar with those melodies from famous ballet repertoire that
give the greatest support to the qualities and dynamics of the ballet movements.
I also hope that ballet teachers reading this essay may have a better understanding
of the music which serves their art form as well as new ideas to help them communicate
their musical desires for particular ballet movements. The ballet teacher can even use the
actual musical examples in this essay to show the accompanist what he or she is looking
for musically. Musicians and dancers hear and interpret music in a slightly different way.
The better a ballet teacher communicates with the accompanist, the better the choice of
music will be.
I have been passionate about ballet since I was a young girl and even now,
attending ballet classes remains the highlight of my week. Having the opportunity to
accompany ballet technique classes enables me to use my expertise in music to serve the
art form I love, and it was my experience accompanying for ballet technique classes
which first created the motivation to write this essay. The process of writing this essay
has reinforced my desire to be a ballet accompanist.
My goal for the near future is to record all the musical examples in this essay so
that both accompanists and ballet teachers will be able to follow my ideas more easily.
193 Wagner, 13.
101
International ballet mistress and choreographer Deanna Carter has expressed an interest
in using recordings of the musical examples. I would then like to take the musical
examples in this essay and compile an anthology categorizing pieces according to
different meters. Although, for the purposes of this essay, it was preferable to organize
the musical selections according to ballet movements, the organization of musical
selections by meter is the common procedure in the field.
Accompanying ballet technique classes is an interesting and challenging field. I
would encourage pianists to investigate this wonderful career option by observing ballet
technique classes, attending ballet performances, and talking with professional ballet
accompanists to find out more about the field. Through ballet accompanying one gains
appreciation for another art form, especially when one sees the dancers respond to the
music. I also hope that even experienced ballet accompanists have been inspired by the
ideas and suggestions in this essay as well. Keep in mind what Harriet Cavalli says: our
development as an accompanist is a never-ending processa continuing period of
growth in which we question whether a particular concept was better today than
yesterday, and in which we search for new ways to motivate dancers, thereby motivating
ourselves and contributing to our own personal and musical growth.194
102
195 Evelyne Hubler, Rythmes de danse: Classique-Jazz (Paris: G. Billaudot, 1976), 34.
103
104
196 Robert Schultz, ed., 24 Piano Transcriptions of Classical Masterpieces, 2nd ed. (Van
Nuys, CA: Alfred Publishing, 2008), 104-5.
105
106
107
108
Musical Selection 3
109
110
111
198 Peter I. Tchaikovsky, Swan Lake Opus 20 (Van Nuys, CA: Alfred Publishing Co.,
2000), 43.
112
199 Ludwig Minkus, La Source (Melville, NY: Belwin Mills Pub. Corp., 1980), 28.
113
200 Aleksandr K. Glazunov, Raymonda (New York: Boosey & Hawkes, 1898.), 110-11.
114
115
201 Johann Strauss, Waltzer (Hungary: Konemann Music Budapest, 1995), 16-17.
116
117
118
203 Maxwell Eckstein, ed., Everybodys Favorite Series, No. 3: Piano Pieces for
Children (Amsco Music Publishing Co. Inc., 1992), 40-41.
119
120
204 Albert E. Wier, ed., The Scribner Radio Music Library (New York: C. Scribners
Sons, 1931), 5:168-69.
121
122
123
124
125
126
209 Frdric Chopin, Waltzes for Piano (Warsaw: Institut Fryderyka Chopina, 1975), 48.
127
128
129
130
131
132
Musical Selection 19
133
134
135
136
137
138
215 Ibid.
139
140
141
142
143
144
218 Ludwig Minkus, La Bayadre (New York: Lyrebird Music Press, 1975), 4.
145
146
Musical Selection 27
147
148
219 IMSLP/Petrucci Music Library, http:// www.imslp.org (accessed March 22, 2011).
149
150
151
221 Royal Academy of Dancing and Leighton Lucas, Elementary Examination: Girls
Syllabus (London: The Royal Academy by Dancing, 1960), 26-27.
152
153
154
155
156
223 Royal Academy of Dancing and Leighton Lucas, Elementary Examination: Male
Examinations (London: The Royal Academy by Dancing, 1985), 8.
157
158
Musical Selection 33
159
160
224 IMSLP/Petrucci Music Library, http:// www.imslp.org (accessed March 22, 2011).
161
162
163
225 Ibid.
164
165
166
167
228 Sergey Prokofiev, Romeo and Juliet, ed. L. T. Atovmian (New York: MCA
Music, 1967), 53-54.
168
169
229 Norman Higgins, Childrens Examinations: Music (London: The Royal Academy of
Dancing, 1968), 52.
170
171
172
173
174
175
176
177
178
179
180
Musical Selection 44
181
234 Scott Joplin, Complete Piano Rags, ed. David A. Jasen (New York: Dover
Publications, 1988), 46-47.
182
183
184
185
186
187
237 Aleksandr K. Glazunov, Vremena Goda: Balet v odnom destvii, chetyrkh kartinakh
(Leningrad: Muzyka, 1984), 45-48.
188
189
190
191
192
193
239 Andrew L. Webber, Now and Forever: Piano, Vocal, Guitar (Milwaukee: Hal
Leonard Corp., 2003), 69-70.
194
195
240 Frederick Loewe, My Fair Lady & Gigi (Miami, FL: Warner Bros., 2001), 25-26.
196
197
198
242 Peter I. Tchaikovsky, Sleeping Beauty Opus 66 (Van Nuys, CA: Alfred Publishing
Co., 1985), 75.
199
200
Musical Selection 54
201
202
203
204
205
206
207
208
247 Friedrich Burgmller, Twenty-five Easy and Progressive Studies for the Piano, ed.
Louis Oesterle (New York: G. Schirmer, 1931), 24.
209
210
211
212
213
250 IMSLP/Petrucci Music Library, http:// www.imslp.org (accessed March 22, 2011).
214
215
252 Peter I. Tchaikovsky, The Nutcracker, Op. 71: Complete Ballet for Solo Piano
(Mineola, NY: Dover Publications, 2005), 19-20.
216
217
218
219
220
221
254 Royal Academy of Dance, A Dance Class Anthology (London: Royal Academy of
Dance Enterprises Ltd., 2005), 104-5.
222
223
224
225
226
227
256 Lo Delibes, Copplia (Melville, NY: Belwin Mills Pub. Corp.,1980), 18.
228
257 Chopin, 7.
229
258 Franz Schubert, Dances for Solo Piano, eds. Julius Epstein and Eusebius
Mandyczewski (New York: Dover, 1989), 38.
230
231
232
233
234
235
261 IMSLP/Petrucci Music Library, http:// www.imslp.org (accessed March 22, 2011).
236
237
238
239
240
241
242
Musical Selection 77
243
244
245
246
266 Ludwig van Beethoven, Klaviersonate Op. 13: Grande Sonate Pathtique
(Wien: Universal Edition, 2001), 11-12.
247
248
249
250
251
252
253
254
255
256
273 IMSLP/Petrucci Music Library, http:// www.imslp.org (accessed March 22, 2011).
257
258
274 Ibid.
259
260
261
Musical Selection 89
262
Musical Selection 90
263
264
277 Royal Academy of Dance, Senior Grade Examination (London: Royal Academy of
Dancing, 1978), 4.
265
278 Dmitry B. Kabalevsky, Detskie pesy dli a fortepiano (Moskva: Muzyka, 1984), 14.
266
279 Wolfgang A. Mozart, Sonatas and Fantasies for the Piano (Bryn Mawr, PA: T.
Presser Co., 1960), 155.
267
268
269
270
281 Carl Czerny, Perfection in Style Op. 755 (New York: G. Schirmer, 1939), 76-77.
271
272
273
274
275
276
277
278
279
280
281
282
283
284
Ballet Movement(s)
Musical Selection
1
Alternative Ballet
Movement(s)
Plis
Pas de Cheval
4
5
6
7
- Battements Dgags
- Relevs (Pointe)
Battement Tendu with Pli
8
9
10
11
Fast Tendus
12
13
- Piqu Turns
- chapps with Pirouettes from
Fifth or Forth Position
Relevs and chapps
Battements Dgags
Petit Allegro
14
Piqu (Barre)
15
16
17
18
19
20
21
- Plis
- Adage
Battements Fondus
- Battements Tendus with Small
Pirouettes (Center)
285
22
Battements Fondus
Adage
23
24
25
26
Adage
27
- Travelling Pirouettes
28
Battements Frapps
Petit Allegro
29
Battements Dgags
30
- Relevs
- Jump with Beats
31
Adage (Barre)
32
- Battements Fondus
- Ronds de Jambe en lAir
33
34
Petits Battements
Turning en Mange
Balanoire / En Cloche
Travelling Pirouettes
35
36
37
38
- Travelling Pirouettes
- Medium Allegro
- Big Jumps for Men
Grands Battements
39
40
Stretches
- Adage (Center)
- Bourre
41
Adage (Center)
42
- Adage (Center)
- Piqu (Pointe)
43
44
45
286
45
(Continue)
- Petit Allegro
46
47
48
49
50
51
52
Travelling Pirouettes
53
54
55
56
Grand Pirouettes
Petit Allegro
57
58
59
60
Medium Allegro
Travelling Pirouettes
61
62
63
Grand Allegro
64
65
Grand Allegro
66
67
68
69
Medium Allegro
70
71
72
Petits Battements
287
73
74
75
76
Grand Pirouettes
77
Reverence
Travelling Pirouettes
78
79
80
81
Pas de Cheval
- Battements Frapps
- Petits Battements
82
- Petit Allegro
- Pas de Bourre
83
- Battements Fondus
- Hopping on Pointe
84
85
Petit Allegro
86
87
- Grands Battements
- Big Jumps for Men
88
89
90
- Battements Frapps
- Petits Battements
- Piqu- Chans - Chasse- Pas
de Bourre
Piqu and/or Soutenu en Tournant
with Pas de Bourre
Hopping on Pointe
91
92
93
288
94
Turning en Mange
95
96
97
98
99
100
101
102
- Plis
- Ronds de Jambe par Terre
Turning en Mange and Fouetts
Ronds de Jambe en Tournant
Piqu Turns and Chans
289
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