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THE ART OF ACCOMPANYING CLASSICAL BALLET TECHNIQUE CLASSES
by
Yee Sik Wong
An essay submitted in partial fulfillmentof the requirements for the Doctor of
Musical Arts degreein the Graduate College of
The University of Iowa
July 2011
Essay Supervisors: Professor Rene Lecuona
Assistant Professor Deanna Carter
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Graduate CollegeThe 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 Committeefor the essay requirement for the Doctor of Musical Artsdegree at the July 2011 graduation.
Essay Committee: ___________________________________Rene Lecuona, Essay Supervisor
___________________________________Deanna Carter, Essay Supervisor
___________________________________Kate Gfeller
___________________________________Rachel Joselson
___________________________________Volkan Orhon
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ii
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 forgiving 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.
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iii
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 TECHNIQUECLASSES .......................................................................................................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 VocalAccompaniment .......................................................................................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 BALLETMOVEMENTS AND MUSIC ........................................................................33
Combinations at the Barre ..............................................................................35
Pliés .........................................................................................................35 Battements Tendus ..................................................................................36
Battements Dégagés ................................................................................39
Ronds de Jambe par Terre .......................................................................40
Battements Fondus ..................................................................................42
Enveloppés and Ronds de Jambe en l’Air ...............................................44 Battements Frappés .................................................................................45 Adage .......................................................................................................47 Petits Battements .....................................................................................48
Balançoire / En Cloche ............................................................................49
Grands Battements ...................................................................................49 Stretches ..................................................................................................51
Combinations in the Center ............................................................................52 Tendus in the Center ................................................................................52
Port de Bras and Adage ...........................................................................53
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Pirouettes .................................................................................................55 Petit Allegro .............................................................................................59 Medium Allegro ......................................................................................60
Grand Allegro ..........................................................................................62 Big Jumps with Beats ..............................................................................65
Turns en Diagonale (Chaînés) .................................................................67 Grand Pirouettes ......................................................................................67 Reverence ................................................................................................68
Pointe Class ....................................................................................................69
Slow Prances and Warm-Up ...................................................................70 Pas de Cheval ..........................................................................................70 Relevés and Échappés .............................................................................71 Grand Battement Fouetté Relevé .............................................................73
Échappé with Pirouettes from Fifth or Fourth Position ...........................73 Piqué and/or Soutenu en Tournant with Pas de Bourrée .........................74 Hopping on Pointe ...................................................................................75
Pas Couru and Bourrée ............................................................................75 Turning en Manège and Fouettés Ronds de Jambe en Tournant .............77
Piqué Turns and Chaînés .........................................................................78
CHAPTER 4 ADVANCED TECHNIQUE SPECIFIC TO THE BALLETACCOMPANIST ............................................................................................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 BalletMovements .....................................................................................................86 Choosing and Modifying Pieces .....................................................................88
Aspects of Pianist Execution ..........................................................................89
Staccato and Legato .................................................................................89 The Use of Dynamics ..............................................................................90 The Ballet Accompanist’s Touch ............................................................91 The Use of Pedaling ................................................................................92
Interchangeable Music for Different Combinations .......................................96
Changing the Qualities of Music within a Combination ................................96
CHAPTER 5
SUMMARY AND FUTURE ..................................................................99
APPENDIX A MUSICAL SELECTIONS ......................................................................102
Musical Selection 1 .......................................................................................102 Musical Selection 2 .......................................................................................104 Musical Selection 3 .......................................................................................108
Musical Selection 4 .......................................................................................110
Musical Selection 5 .......................................................................................111 Musical Selection 6 .......................................................................................112 Musical Selection 7 .......................................................................................113 Musical Selection 8 .......................................................................................115
Musical Selection 9 .......................................................................................116
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Musical Selection 10 .....................................................................................118 Musical Selection 11 .....................................................................................120 Musical Selection 12 .....................................................................................122
Musical Selection 13 .....................................................................................123 Musical Selection 14 .....................................................................................124
Musical Selection 15 .....................................................................................125 Musical Selection 16 .....................................................................................126 Musical Selection 17 .....................................................................................128
Musical Selection 18 .....................................................................................130
Musical Selection 19 .....................................................................................132 Musical Selection 20 .....................................................................................133 Musical Selection 21 .....................................................................................135 Musical Selection 22 .....................................................................................136
Musical Selection 23 .....................................................................................138 Musical Selection 24 .....................................................................................140 Musical Selection 25 .....................................................................................142
Musical Selection 26 .....................................................................................144 Musical Selection 27 .....................................................................................146
Musical Selection 28 .....................................................................................148
Musical Selection 29 .....................................................................................150 Musical Selection 30 .....................................................................................151 Musical Selection 31 .....................................................................................152 Musical Selection 32 .....................................................................................156
Musical Selection 33 .....................................................................................158
Musical Selection 34 .....................................................................................160 Musical Selection 35 .....................................................................................163 Musical Selection 36 .....................................................................................164 Musical Selection 37 .....................................................................................166
Musical Selection 38 .....................................................................................167 Musical Selection 39 .....................................................................................169
Musical Selection 40 .....................................................................................170 Musical Selection 41 .....................................................................................173 Musical Selection 42 .....................................................................................175
Musical Selection 43 .....................................................................................179
Musical Selection 44 .....................................................................................180 Musical Selection 45 .....................................................................................181 Musical Selection 46 .....................................................................................183 Musical Selection 47 .....................................................................................185
Musical Selection 48 .....................................................................................187
Musical Selection 49.....................................................................................191 Musical Selection 50.....................................................................................193
Musical Selection 51.....................................................................................195
Musical Selection 52.....................................................................................196
Musical Selection 53.....................................................................................198
Musical Selection 54.....................................................................................200 Musical Selection 55.....................................................................................202 Musical Selection 56.....................................................................................204 Musical Selection 57.....................................................................................205
Musical Selection 58.....................................................................................207
Musical Selection 59.....................................................................................208 Musical Selection 60.....................................................................................209 Musical Selection 61.....................................................................................211 Musical Selection 62.....................................................................................213
Musical Selection 63.....................................................................................214
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Musical Selection 64 .....................................................................................215 Musical Selection 65 .....................................................................................219 Musical Selection 66 .....................................................................................221
Musical Selection 67 .....................................................................................223 Musical Selection 68 .....................................................................................227
Musical Selection 69 .....................................................................................228 Musical Selection 70 .....................................................................................229 Musical Selection 71 .....................................................................................231
Musical Selection 72 .....................................................................................233
Musical Selection 73 .....................................................................................235 Musical Selection 74 .....................................................................................237 Musical Selection 75 .....................................................................................239 Musical Selection 76 .....................................................................................241
Musical Selection 77 .....................................................................................242 Musical Selection 78 .....................................................................................244 Musical Selection 79 .....................................................................................246
Musical Selection 80 .....................................................................................248 Musical Selection 81 .....................................................................................249
Musical Selection 82 .....................................................................................250
Musical Selection 83 .....................................................................................252 Musical Selection 84 .....................................................................................253 Musical Selection 85 .....................................................................................254 Musical Selection 86 .....................................................................................256
Musical Selection 87 .....................................................................................258
Musical Selection 88 .....................................................................................260 Musical Selection 89 .....................................................................................261 Musical Selection 90 .....................................................................................262 Musical Selection 91 .....................................................................................263
Musical Selection 92 .....................................................................................264 Musical Selection 93 .....................................................................................265
Musical Selection 94 .....................................................................................266 Musical Selection 95 .....................................................................................268 Musical Selection 96 .....................................................................................270
Musical Selection 97 .....................................................................................272
Musical Selection 98 .....................................................................................274 Musical Selection 99 .....................................................................................276 Musical Selection 100 ...................................................................................278 Musical Selection 101 ...................................................................................280
Musical Selection 102 ...................................................................................282
APPENDIX B ALTERNATIVE MUSICAL SUGGESTIONS ......................................284
BIBLIOGRAPHY ............................................................................................................289
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LIST OF TABLES
Table 2-1
How Dancers and Musicians Count in Different Meters. .......................24
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LIST OF EXAMPLES
Example 1-1 Knosp’s presentation of “Battement Frappé.”................................ 8
Example 1-2 Cavalli’s musical example............................................................... 12
Example 1-3 Unclear introduction........................................................................ 13
Example 2-1 An introduction for a polonaise....................................................... 28
Example 2-2a An introduction for a coda............................................................... 29Example 2-2b Another introduction for a coda....................................................... 29
Example 2-3a A musical introduction using the harmonic progression I-V-I-V.. 30
Example 2-3b Another musical introduction using the harmonic progression
I-V-I-V............................................................................................ 30
Example 3-1 Sparse texture in J. Strauss’s operetta Der Zigeunerbaron.............. 39
Example 3-2 Specific dynamic marking in the excerpt from the ballet Giselle... 40
Example 3-3 “Half note–quarter note” rhythmic pattern...................................... 41
Example 3-4 The rhythm in the melody of Franz Lehàr’s waltz.......................... 42
Example 3-5 An excerpt from Chopin’s Waltz Op. 69 No. 1................................ 43
Example 3-6 The rhythms in a tango.................................................................... 44
Example 3-7a The rhythm of four single frappés................................................... 46
Example 3-7b The rhythm of four double frappés.................................................. 46
Example 3-8 The dotted rhythms in the Prokofiev example................................. 50
Example 3-9 The special rhythmic pattern in a polonaise.................................... 53
Example 3-10 The rhythm in the melody of My Fair Lady................................... 56
Example 3-11 The melodic shape of J. Strauss’s Waltzer Op. 367 ........................ 57
Example 3-12 The repeated rhythmic pattern in J. Strauss’s Waltzer Op. 367 ...... 58
Example 3-13 The rhythmic characteristic in a mazurka....................................... 58
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Example 3-14 The melodic characteristics in the excerpt from Nutcracker.......... 62
Example 3-15 The melodic characteristics in the Grande Valse Brillante............. 63Example 3-16a A driving motif in the La Bayadère example................................. 64
Example 3-16b A driving motif in the Schubert example....................................... 64
Example 3-17 The recurring motif in the melody.................................................. 66
Example 3-18 The rhythmic characteristics in a polka-mazurka............................ 68
Example 3-19 The melody in the excerpt from the ballet Raymonda.................... 71
Example 3-20a The change in note values within a measure................................... 72
Example 3-20b Another example of changes in note values within a measure........ 72
Example 3-21 The continuous sixteenth note arpeggio in the left hand.................77
Example 3-22 Relatively longer note-value on the downbeat................................ 75
Example 3-23 The continuous sixteenth note arpeggio in the left hand................. 77
Example 3-24 The characteristics in a coda........................................................... 78
Example 3-25 The melodic characteristics in Mozart’s Piano Sonata in
A Major K.331................................................................................. 79
Example 4-1 Waltz Pattern................................................................................... 80
Example 4-2 Arpeggiation.................................................................................... 81
Example 4-3 Alberti Bass..................................................................................... 82
Example 4-4a “March pattern.”.............................................................................. 83
Example 4-4b Block-chord accompaniment........................................................... 83
Example 4-5 Galop pattern................................................................................... 84Example 4-6 An example of “accent out.”........................................................... 87
Example 4-7 Music begins with an upbeat........................................................... 87
Example 4-8 Use of crescendo to propel the dancers into the air......................... 90
Example 4-9a Traditional pedaling in Chopin’s Grande Valse Brillante............... 93
Example 4-9b “Reverse pedaling” in Chopin’s Grande Valse Brillante............... 93
Example 4-10 Legato pedaling................................................................................94
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Example 4-11 Pedaling in Bizet’s Carmen Habanera........................................... 95
Example 4-12 Pedaling in J. Strauss’s Walzer Op. 367 ......................................... 96Example 4-13a An excerpt from Chopin’s Waltz Op. 64 No. 1.............................. 97
Example 4-13b Modifying the qualities of the piece............................................... 98
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INTRODUCTION
Statement of the Problem
Piano accompanying for classical ballet technique classes1 is a specialized area of
collaborative piano arts. It requires musical understanding and sensitivity, pianistic ability,
knowledge of specific repertoire for classical ballet, as well as communication skills and,
of course, some knowledge of the characteristics of the ballet movements. There are a
significant number of commercial publications and academic research studies pertainingto the field of ballet accompaniment. Most of them deal with the basic essential elements
of music for dance, for example, rhythm, meter, phrasing, etc., and thus provide useful
information to help pianists begin to accompany ballet technique classes.
However, in my own experience as a ballet accompanist, I have discovered that
almost none of the existing publications or ballet music anthologies includes detailed
instructions to guide pianists in understanding why a particular piece of music is suitable
for a particular exercise. Ideally, ballet accompanists are not simply providing music with
a steady pulse; they are striving to offer music that supports the artistic qualities of the
movements. That is why I devote a substantial portion of my essay to help ballet
accompanists to develop their abilities to relate music to movements.
Also, in my opinion, none of the existing resources places enough emphasis on
the importance of the piano skills needed to accompany ballet technique classes. A
pianist might choose the right piece of music for a particular exercise, but might not use
the best dynamics or articulations to fit the quality of the ballet movement.
1 For ease of reading, I will sometimes use the shorter phrase “ballet technique class,”instead of the more cumbersome “classical ballet technique class.”
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Objective of this Essay
The aim of this essay is to further explore the art of ballet accompaniment,particularly accompanying for ballet technique classes, based on what has been done in
the field of ballet accompaniment. The main focuses are the relationships between music
and ballet movements, and specific piano skills needed for the successful ballet
accompanist.
This essay is intended for classically trained pianists who are currently playing or
are interested in playing for ballet technique classes. The discussion of ballet movements
and accompanying techniques covered in this essay are designated to assist the pianist in
accompanying beginning ballet up to pre-professional levels.
Currently in the United States, The University of Arizona (Tucson) is the only
institution that offers a Master of Music in dance accompaniment program. Furthermore,
I am aware of only one professional dance musician, Miro Magloire, choreographer,
musician, and artist director of the New Chamber Ballet, who offers one-on-one training
and coaching to accompanists. The vast majority of current professional ballet
accompanists learn to play for ballet technique classes “on the job.”
This essay is also designed to be a resource for ballet teachers to communicate
more effectively with live pianists in class. Ballet teachers today have very few
opportunities to work with live musicians, and most ballet teachers have never taken any
course or training about how to work with accompanists. As a consequence, many of
them have not developed the skills to communicate in artistically meaningful ways withpianists.
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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 Académie Royale de Musique et de Danse, founded by Louis XIV in 1661.”2
Limitations of the Study
There are different schools of ballet: the French School,3 Bournonville
(Denmark),4 Cecchetti (Italy),5 the Royal Academy of Dance (England),6 Vaganova
(Soviet Russia),7 and Balanchine (American).8 Some schools, such as the Cecchetti and
2 Gretchen W. Warren, Classical Ballet Technique (Tampa: University of South FloridaPress, 1989), 1.
3 “The hallmark of the French school is a clean and sophisticated style . . . The trainingconcentrates on port de bras and epaulement [shouldering] from the earliest stages. First-yearstudents do their exercises facing the barre and holding it with both hands, sometimes doingnothing more than moving their heads properly.” Eliza G. Minden, The Ballet Companion (NewYork: Fireside Books/Simon & Schuster, 2005), 64.
4 The Bournonville method is a ballet technique and training system devised by theDanish ballet master August Bournonville (1805-1879). “It emphasizes brilliant petit and mediumallegros but never in a showy, bravura style . . . Bournonville training includes long, hard
endurance-building exercises that repeat not just left and right but in all orientations.” Ibid., 65.5 Italian ballet master Enrico Cecchetti (1850–1928) “developed a system for training
dancers called the Cecchetti method, based upon a routine set of daily exercises for each day ofthe week; it is still used by many teachers today.” Warren, 376.
6 See Chapter Two.
7 The Vaganova method is a method of teaching classical ballet that was developed byAgrippina Vaganova (1879-1951). Vaganova, a distinguished Russian ballerina and a renownedteacher, created her own instructional system—fusing elements of French, Italian and influencesfrom other Russian dancers and teachers. This system later became known to the world as theVaganova method.
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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-the-
spot 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 thosethat work for them. In the ballet world, American ballet technique is referred to as “Balanchinetechnique.” George Balanchine (1904-1983) was one of the foremost choreographers in thetwentieth century. Born in Russia, he was instrumental in the founding of the New York CityBallet. 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.
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CHAPTER 1 REVIEW OF THE LITERATURE
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 hermother 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 Pianist’s 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, HampshireCollege, 2003).
11 Her combinations are intended for intermediate dancers (Vaganova method level IV).
12 Nancy E. MacLachlan, “A Ballet Pianist’s Handbook” (MA thesis, George MasonUniversity, 1998).
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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 Frappé” (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., TheUniversity of Iowa, 1988).
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Example 1-1 Knosp’s presentation of “Battement Frappé.”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 balletaccompanist 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, UnitedStates International University, 1980).
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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 toaccompanying 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 Accompanist’s 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, Galian’s 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 dancer’s movements.
16 In character dance class, dancers learn steps taken from folk dances of differentcountries.
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 Accompanist’s Handbook (New York: L. Galian, 1989).
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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 havebeen 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
20 Gerald R. Lishka, A Handbook for the Ballet Accompanist (Bloomington: IndianaUniversity Press, 1979).
21 Ibid., ix.
22 For example, in my opinion, the music selected for the slow pirouettes, Schumann’s“Promenade” from Carnaval, Op. 9, is not optimal for the combination because the rhythmicpattern of the opening of the “Promenade” does not provide enough information for the dancersto execute the pirouettes.
23 Knosp, 11.
24 Harriet Cavalli, Dance and Music: A Guide to Dance Accompaniment for Musiciansand Dance Teachers (Gainesville: University Press of Florida, 2001).
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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 dancersand 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 goodresource for both dance teachers and beginning and professional dance accompanists.
25 Ibid., xv.
26 One unusual aspect of Cavalli’s musical selections is the omission of any music byJohann 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.
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Example 1-2 Cavalli’s musical example.28
A Dance Class Anthology: The Royal Academy of Dance Guide to Ballet Class Accompaniment 29 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 ofDance Enterprises Ltd., 2005).
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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).
Example 1-3 Unclear introduction.31
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 repertoire”32
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.
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explored in the anthology, such as how pianists can vary the execution of musical phrases
to enhance the dancer’s 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 essayis 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
33 John White, “Music and Musicality,” in Advanced Principles in Teaching Classical Ballet (Gainesville: University Press of Florida, 2009), 17:105-10.
34 Suki Schorer, Suki Schorer on Balanchine Technique (New York: A. A. Knopf, 1999).
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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 forballet accompaniment.
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CHAPTER 2
APPLYING PRINCIPLES OF MUSIC TOBALLET 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 andmusicians have different ways of thinking about music, such as phrase structure and
counting.
The Structure of a Ballet Technique Class
The structure of a ballet technique class is generally the same worldwide, with
every class divided into two parts: barre35 work and center. Barre work involves a series
of standard exercises that helps dancers warm up, as well as prepare and train them for
the steps that they will encounter in the center. At the barre, exercises are executed with
one hand on the barre, acting as a light support for the dancers as they execute the ballet
movements. When a combination is completed, the ballet teacher generally instructs the
dancers to perform the same combination on the other side, at which point the dancers
place the other hand on the barre (see “Switching Sides and Vamp” later in this chapter).In the center, the combinations are usually longer and involve dancing that
combines movements that have been practiced at the barre. Beginning-level classes
usually spend more time at the barre. Some schools have pointe36 training included in the
35 Barre means “bar.”
36 Pointe means “point.”
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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 classas 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.
The Role of the Ballet Teacher and
the Role of the Accompanist
There are three main ways in which a teacher expresses his or her musical
preference for a combination in ballet technique class. The most widely used method,
according to dance accompaniment specialist Harriet Cavalli, “is for the teacher to
demonstrate a combination to her own counts, leaving the choice of the music to the
accompanist.”38 Alternatively, some teachers require a specific piece that they have in
mind for a specific combination. Finally, sometimes a teacher suggests a particular ballet
37 Warren, 349.
38 Cavalli, 69.
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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 teacher’s 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
teacher’s 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 Iobserve further, to see if something else would work better.”41
39 Warren, 72.
40 Teck, 173.
41 Cavalli, 89.
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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 HarlemSchool, 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.
Similarities to and Differences from
Instrumental and Vocal Accompaniment
It may be interesting to compare ballet accompaniment with instrumental and
vocal accompaniment. First of all, both ballet accompanists and instrumental and vocal
accompanists have to be aware of the larger art work which is being created. Instrumental
and vocal accompanists, for example, have to know the musical work as a whole, not just
the part that he or she is playing. Many skilled accompanists are even able to sing the
other parts by heart. Likewise, the ballet accompanist must understand and appreciate the
dance movements which he or she is accompanying, and his or her playing should reflect
the qualities and dynamics of the movements.
Also, both ballet accompanists and instrumental and vocal accompanists must be
able to respond instantaneously. When something goes wrong during an instrumental or a
vocal performance, for example if the partner comes in early at entrances, the
accompanist has to adjust quickly. Accompanying ballet technique classes similarly
42 Teck, 9.
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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—go outward in to the surrounding space [the
studio].”45
43 Sawyer, 11.
44 Gardner, 9.
45 Sawyer, 203.
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Furthermore, in an ideal world, a successful partnership for all kinds of
accompanists is facilitated by knowing their partners well. In my experience, mostinstrumental and vocal accompanist find that having mutual understanding about artistic
matters with the soloist will make everyone feel more comfortable. Likewise, I have
found that mutual artistic respect between the ballet accompanist and the ballet teacher
helps create a positive learning environment for the students. Moreover, by being an
ongoing partner with the teacher, the accompanist may develop a clear understanding of
the goals of the class. For example, it is helpful to know beforehand if the teacher has
“ongoing, strong preferences or prejudices concerning the genre of musical style.”46
Some teachers like to say “just a hair faster” when they want to adjust the tempo; it is a
lot easier if the accompanist knows—from accumulated experiences of working with the
teacher— just how much faster the teacher really means.
Despite the similarities between a ballet accompanist and an instrumental or a
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.
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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 setthe 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 teacher’s requests—unlike the instrumental or vocal accompanist, who
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 parallelin 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.
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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 iswhy 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 servesas a beat.
51 The number of counts sometimes corresponds to the number of measures, butsometimes corresponds to a multiple of the number of measures.
52 Teck, 168.
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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...”.
Table 2-1 How dancers and musicians count in different meters.
Meter “2” or “3”
“2”
“3”
“2”
53 Galian, 8.
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“3”
“2”
“2”
“3”
“2”
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.
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Tempo
Achieving the correct tempo of a combination during demonstration is one of themost 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 teacher’s
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-
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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.
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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-countpreparation 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 two-
measure introduction, a total of six counts (Example 2-1).
Example 2-1 An introduction for a polonaise.
In the case of a coda or any “fast 2,” it is more desirable to have an eight-count
introduction to give the dancers enough time to prepare for the combination (see
Examples 2-2a and b).
58 White, 108.
59 Cavalli, 145.
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Example 2-2a An introduction for a coda.
Example 2-2b Another 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.
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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.
There are many examples of musical introductions provided in Chapter Four of
Gerald R. Lishka’s A Handbook for the Ballet Accompanist . The goal of the musical
introduction is to provide a clear lead-in to the body of the piece, allowing the dancers to
know exactly where beat one of the first dance phrase is, as well as establishing the basic
character of the music.
Phrase Endings and Cadences
While I have observed from personal experience that some ballet teachers do not
care whether the accompanist ends the piece with a cadence or not, I believe that it is
helpful to the dancers if the music conveys a sense of completion at the end of a
combination. If the dancers feel the end of the combination is coming, they are able to
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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 payclose 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 phrase—each group of eight counts—on
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.
Switching Sides and Vamp
As mentioned earlier, exercises at the barre are executed first on one side of the
body and then on the other. Some teachers like to have a break between the two sides of a
barre combination to give corrections or let the dancers consider possible improvements,
while others like to move straight to the other side of the barre. When the combination is
continued on the other side without a break, the accompanist can use a slight ritard at the
end of the first side so that the dancers do not have to rush to switch to the other side. Of
course, the original tempo has to be resumed immediately after the dancers switch sides.
When the dancers have switched sides, it is also important to start the music from the
beginning again in order not to confuse the dancers about the phrasing of the combination.
61 Lishka, 8.
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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 arecomfortable 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 eight-
count phrases, I continue playing half of the last eight-count phrase as the vamp.
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CHAPTER 3
RELATIONSHIP BETWEEN ESSENTIALBALLET MOVEMENTS AND MUSIC
Knowing how to apply principles of music to ballet technique classes as discussed
in the previous chapter is essential to becoming an effective ballet accompanist; however,
it is not enough. It is equally essential for a ballet accompanist to also know how each
ballet movement looks and to understand the desired qualities of each movement. Manytimes, as Harriet Cavalli says, “you can eliminate many musical choices simply by
hearing the name of the combination, which can save a lot of time. For example, when a
teacher says, ‘pliés,’ an accompanist knows a coda is never suitable; when a teacher says,
‘frappés,’ an accompanist knows a smooth waltz or adagio is never suitable.”62
Moreover, as Gerald R. Lishka notes in his handbook, “[w]hatever combination the
accompanist is playing for, he [or she] should always attempt to convey and express the
essential quality of the dance movements, whether they reflect the smoothness and grace
of an adagio, or the sharp, accented brilliance of a petit allegro jumping step.”63 Alfredo
Corrino, a highly regarded master ballet teacher from Uruguay, adds, “[t]he accompanist
must have the sensitivity to relate the quality of the music which he plays to the quality of
the dance steps to be executed.”64
As mentioned in the introduction of this essay, there is some variation among the
various ballet schools. Some schools have a fixed syllabus while other schools do not
even have a list of required combinations for a class. Also, because of the existence of
62 Ibid., 100.
63 Lishka, 41.
64 Sawyer, 106.
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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 balletmovements 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