The Art of Accompanying Classical Ballet Technique Classes

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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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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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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 18 .....................................................................................130

Musical Selection 19 .....................................................................................132 Musical Selection 20 .....................................................................................133 Musical Selection 21 .....................................................................................135 Musical Selection 22 .....................................................................................136












Musical Selection 49.....................................................................................191 Musical Selection 50.....................................................................................193

Musical Selection 51.....................................................................................195



Musical Selection 54.....................................................................................200 Musical Selection 55.....................................................................................202 Musical Selection 56.....................................................................................204 Musical Selection 57.....................................................................................205


Musical Selection 59.....................................................................................208 Musical Selection 60.....................................................................................209 Musical Selection 61.....................................................................................211 Musical Selection 62.....................................................................................213



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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

The Art of Accompanying Classical Ballet Technique Classes

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