Pianistic Considerations

Square Phrasing

• For most combinations, the piano music will need to be constructed in square phrases of four or eight bars in a phrase.

• Ballet music that has been prepared in anthologies for the ballet technique class will already be in this form.

• When bringing some of your own music to ballet class, you may have to adjust music to make it square. Until you are comfortable doing this on the spot, prepare your music in square phrases beforehand.

Advice on Counting

• Dancers count differently from how musicians are taught.

• Teachers/dancers count in 8s (1...2...3...4...5...6...7...8).

• One count depends on the meter and subdivision based on the movement that they are doing.

• Generally in 4/4 two quarters equal one count (1-and-2-and); but a slower 4/4 could mean one quarter note gets one count.

• Each measure in 3/4 is one count. Teachers usually do not distinguish between 2/4 and 4/4 meters.

• My general advice for musicians is if a teacher asks for a “4”, play a 4/4 or 2/4; if a teacher asks for a “3”, play a 3/4 or sometimes a 6/8.

• While teachers are demonstrating the combination, they will show what meter is needed. Listen for vocal cues eluding to subdivision:

Tempo

• A hallmark of a sensitive ballet pianist is their attention to tempo that meets the needs of the dancers.

• A ballet pianist must be willing to adjust tempi based on what is demonstrated by the teacher and during the ballet combination itself if there are signs of a need for change, such as a teacher directly asking or the tempo seeming too quick/slow for the technique being taught.

• There is not a definite tempo for each dance combination, but approximations will be made further in this online course.

Rhythm

• Cavalli (2001) puts it aptly that “rhythm is the prime moving force for a dancer” (p. 4).

• Generally, a pianist’s rhythm for ballet class should be extremely consistent and very clearly articulated.

• There is a misconception that all music for ballet class is rigid and unmusical.

• While rhythm should be consistent, if a pianist feels a rhythmic nuance will aid in the dancer’s delivery of the combination, they may do so purposefully and clearly (Cavalli 2001, p. 2).

Accentuations

• Ballet pianists are called upon to highlight the technique of various dance steps in their music by adding accentuations. This can include the use of accents, shading, nuances, breath, and pedaling (Cavalli 2001, p. 139). The accentuations needed for ballet class vary by dance combination and will be explored specifically later in this online course.

  • Specific examples of adding accentuations include the following combinations:

    • Barre 3 - Tendu where I add accents to the "off-beats" (beats 2 and 4).

    • Barre 7 - Frappé where I add accents on the "&s" of beats 1 and 3.

    • Centre 10 - Tours en l'air where I add accents to the "off-beats" (beats 2 and 4).

Physical/Technique Considerations for the Ballet Pianist

Injury Prevention

• There are various physical challenges that must be addressed when accompanying ballet class as highlighted in Lishka’s (1979) A Handbook for the Ballet Accompanist (pp. 129-133).

• A ballet pianist has the potential to develop tendinitis if they do not mindfully play the keyboard.

• Moments of relaxation between combinations and mindfully adding in relaxation/breathing points within pieces is essential for those in fast-paced ballet classes.

• Repetition is a part of the ballet class whether it be repeating a combination on the right or left side or doing the combination in various groups of dancers.

• This repetition left on “auto-pilot” by a ballet pianist can be potentially harmful.

• We must be sure we economize our motion at the keyboard and use our body to create the sound rather than only our fingers.

• Along with repetition, ballet pianists are often asked to start and stop (Lishka 1979, p. 130).

• After sitting idle, Lishka suggests preparing mentally during that time for the next period of playing rather than “jumping right in.”

• There are some points in the ballet class where ballet pianists are asked to play for long durations. These usually include stretching and the grand allegro.

• Pianists must be mindful that they do not exceed their own stamina threshold during these combinations.

• If a pianist notices some fatigue, a simplification of texture or figuration can temporarily help.

• My best advice to preventing injury is being mindful of your playing and give yourself points of relaxation.

• Throughout the ballet class, I (subtly) try to stretch and hydrate myself with water especially after long, taxing ballet combinations.

• It is unfortunate that many ballet pianists are not treated fairly in ballet class, but this comes down to being your own advocate.

Simplifying Demanding Scores

• The demands of playing for ballet class often require pianists to simplify dense or virtuosic scores in order to make them playable and to save endurance for the remainder of class.

• Specific examples of this include trimming double third passages, octave passages, and virtuosic passage work into more manageable single lines.

  • A good example of simplifying is in Centre 7: Petite Allegro 2: Ballonnés/Ballottés in which I simplified the second ending. Compare the second ending in the original score and my arranged score in which I use less eighth notes because of the quick tempo.

• Pianists should always strive to keep the rhythm and melody going in class without worrying about too many of the “small notes.” Your arms and mind will thank you later.

• In the opposite of simplification, pianists sometimes need to give the impression of a thicker texture if what they are playing is too simple to be inspiring to the dancers/teacher.

  • For example, in Centre 9 - Grand Allegro, I added bass octaves to give emphasis and a "springboard" for the dancers to jump and soar through the air.

• This often means adding filigree in the left hand to embellish the held notes. One instance in the ballet class that often requires this is stretching. While you may be able to find a piece that has a slower tempo, oftentimes the directionality of the piece is lost without filling in the held notes with arpeggios.

  • For example, in Centre 1 - Grand Adagio, see the video as to how I arpeggiated some of the left-hand chords.

• As the ballet pianist gains endurance and a more solid technique, they can begin experimenting with changing single line melodic material into octaves and filling in harmonies.

Next: Looking Up: Combining Visual and Aural in the Ballet Technique Class