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Dance and Music: A Guide to Dance Accompaniment for Musicians and Dance Teachers / Edition 1
     

Dance and Music: A Guide to Dance Accompaniment for Musicians and Dance Teachers / Edition 1

by Harriet Cavalli
 

ISBN-10: 0813018870

ISBN-13: 9780813018874

Pub. Date: 04/15/2010

Publisher: University Press of Florida

"Harriet Cavalli has been a great influence on me and my work with music. She understands dance accompaniment better than anyone and explains how and why in her book."-- Mark Morris, artistic director, Mark Morris Dance Group

"An insightful and detailed guide that will help novice dance musicians to navigate the demanding and often unstated

Overview

"Harriet Cavalli has been a great influence on me and my work with music. She understands dance accompaniment better than anyone and explains how and why in her book."-- Mark Morris, artistic director, Mark Morris Dance Group

"An insightful and detailed guide that will help novice dance musicians to navigate the demanding and often unstated expectations of the dance class, providing an invaluable resource for both dance teachers and dance musicians."-- Kathryn Daniels, Cornish College of the Arts, Seattle

"All dance accompanists and teachers must own this publication."-- Ruth C. Petrinovic, consultant, Alabama Ballet School, Birmingham

Harriet Cavalli, internationally recognized as one of the most talented and experienced specialists in the art of music for dancers and dance teachers, presents here the definitive book on accompaniment, as well as her personal--often humorous--look behind the scenes at the world of dance. The text is enhanced by diagrams and 83 complete musical examples, providing a wealth of repertoire choices.

One of the most comprehensive books to acknowledge the intimate link between music and ballet technique, Dance and Music emphasizes the necessity of effective communication between dance teachers and their accompanists. Cavalli lays the groundwork with descriptions of most musical forms used in the dance classroom and stresses the need for teachers to make music a living part of their classes.

For the inexperienced accompanist, she describes the pianistic demands of the profession, as well as the qualities of dance steps and movements that will facilitate the identification of suitable music. She also discusses the kinds of dance classes an accompanist may work in and offers a lengthy section on the functions of a pianist in a dance company.

With forty years in the field, and firsthand knowledge of what dancing feels like and how to re-create that feeling, Cavalli invites musicians to move gracefully into the special, sometimes intimidating world of dance accompaniment.

Harriet Cavalli is the company pianist for Martin Schläpfer’s BallettMainz at the Mainz State Theater in Germany. She has worked for most of the major dance institutions in New York, such as the Joffrey and Harkness Ballets and American Ballet Theater, and with the Royal Winnipeg Ballet, First Chamber Dance Company in Seattle, Zurich Opera Ballet, Basel Ballet, and Bern Ballet. In addition, she has studied ballet with Perry Brunson, Maria Swoboda, Flemming Halby, Donna Silva, and Martin Schläpfer.

Product Details

ISBN-13:
9780813018874
Publisher:
University Press of Florida
Publication date:
04/15/2010
Edition description:
First
Pages:
446
Product dimensions:
7.00(w) x 10.00(h) x 0.90(d)

Table of Contents

Forewordxiii
Prefacexv
1.What Is Dance Accompaniment?1
2.Essential Elements of Music for Dance4
Rhythm4
Meter/time signature5
Melody6
Tempo8
Harmony8
Tonality9
Phrasing9
Dynamics11
Line11
Style12
3.Musical Forms for Dance and How to Count Them15
2/4 or [characters not reproducible] -Examples 3-12: all are twos17
Tango (habanera, beguine, zapote, samba, rumba, etc.)-Examples 3 and 3a17
March (to be discussed under 4/4s)17
Rag-Example 417
Polka-Example 518
Coda, galop, can-can (sometimes even "circus music")-Examples 6 and 718
Czardas-friszka-Example 819
Miscellaneous-Examples 9-1219
3/4-Examples 13-29: sixes and threes20
Sarabande-Example 13: six or three20
Polonaise/Polacca-Examples 14 and 15: six20
Bolero-Example 16: six21
Minuet-Example 17: six or three22
Landler-Example 18: three (sometimes six)22
Mazurka-Examples 19-21: three (occasionally six)23
Waltz-Examples 22-28: three24
Slow waltz-Example 2224
Medium-tempo waltz-Example 2324
Spanish waltz-Example 2424
Viennese waltz25
Fast waltz-Example 2525
"Big waltz" or "grand allegro waltz"-Examples 26-2825
Miscellaneous-Example 29: six27
3/8-Examples 30-33: all are threes27
Medium-tempo-Examples 30 and 3127
Allegro-Examples 32 and 3328
4/4 or C -Examples 34-39; all are twos28
Czardas-lassu-Examples 34a and 34b29
March-Example 3529
Gavotte-Example 3630
Stop time-Example 3730
Miscellaneous-Examples 38 and 3930
6/8-Examples 40-48: all are threes except the 6/8 march (two)31
Barcarolle-Example 40: three31
March-Example 41: two31
"Big waltz" or "grand allegro waltz"-Examples 42 and 43: three32
Tarantella-Example 44: three32
Miscellaneous-Examples 45-48: all are threes33
9/8-Example 49: six34
12/8-Example 50: three34
The adagio-Examples 51-6435
2/4 adagio-Example 51: two37
3/4 adagio-Examples 52-55: threes and sixes38
3/8 adagio-Example 56: three39
4/4 or C adagio-Examples 57-60: twos39
6/8 adagio-Example 61: three40
9/8 adagio-Example 62: six40
12/8 adagio-Examples 63 and 64: two (rarely, three)40
4.For Dance Teachers44
Music and you44
Music and your students55
How a new dance teacher deals with an accompanist61
Learning to count correctly63
Face to face with your accompanist in the studio68
Where to demonstrate68
What to say during a demonstration69
How to get a combination started73
Preparations (introductions, "four-for-nothings," lead-ins, etc.)74
How to correct faulty tempos75
The second side of barre combinations76
How to continue a combination76
How to stop a combination77
How to finish a combination78
How to organize groups of students in the center79
How to mark clearly80
Dos and don'ts for dance teachers81
Dos81
Don'ts83
Checklist86
5.For Accompanists87
Background information for beginning accompanists95
Classroom etiquette95
The structure of a dance class96
The barre (sometimes called side practice)97
The center (sometimes called centre practice)98
How teachers demonstrate99
Qualities of steps and movements100
At the barre102
Plies102
Tendus104
The degage family104
Ronds de jambe a terre105
In two105
In three105
Fondus106
Frappes106
Adagios/Developpes107
Petits battements serres and battus108
Ronds de jambe en l'air108
Grands battements and battements en cloche and en balancoire109
Grands battements with the leg going up on the count109
Grands battements with the leg going up on "and"109
Grands battements en cloche and en balancoire109
Stretching110
The cambre family110
Cambres and circular ports de bras within plie combinations112
Medium-tempo waltz112
Slow waltz, slow 3/4, or 9/8112
Cambres and circular ports de bras added onto rond de jambe a terre combinations112
Slow waltz112
Moderato two or tango113
Medium-tempo waltz113
Movements of the cambre family included in combinations of a non-legato quality113
In the center113
The first combinations in the center113
Adagios114
The turn/pirouette family115
The adagio turn or pirouette115
"Normal" pirouette combinations115
Turns in attitude and arabesque116
Turns in succession116
Chaines/Deboules116
Soutenu turn116
Tour en l'air116
Balances117
Sautes/jumps117
Changements117
Petit allegro118
Medium allegro120
Grand allegro120
Turns in succession120
Reverence/port de bras120
The tools of an accompanist's trade122
Repertoire122
How to develop it122
Improvisation122
When you must improvise122
Using written music123
Syllabus music124
Collections of music124
Czerny etudes125
Operas and operettas126
Salon music126
The traditional ballet repertoire127
Show tunes128
Where to find it128
How to organize it129
In binders130
By step131
By complete class131
By form132
By composer132
In your head133
Adaptation of music134
Mechanical phrasing136
Kinesthetic phrasing and accents139
Important musical additions144
Starts (preparations, introductions, "four-for-nothings," "four ins," lead-ins, vamps, and who knows what else)144
Two-bar or six-count preparations145
Four-count preparations145
Two chords147
Without preparation148
Transitions (also known as bridges)148
Balances150
Finishes151
Arpeggiation152
Pianistic approaches to producing an orchestral sound154
Pianistic methods159
Posture and stamina161
Octaves163
The elusive arm muscle164
The use of the fourth finger on black keys166
Fingering168
Pedaling168
Reverse pedaling169
The sostenuto (middle) pedal170
The soft (damper) pedal171
How sensitive pedaling can help dancers breathe correctly171
Tone quality172
Memorization173
Sightreading174
Pianos you may meet175
Miscellaneous176
An overview of various dance classes177
Pre-ballet and children's classes177
Adult beginner class179
Intermediate, advanced, and professional classes180
Point class180
Men's class181
Variations and repertoire classes181
Classes for pas de deux, adagio, partnering, double work, and so on181
Theory class182
Character class183
Tap class185
Workshops, lecture-demonstrations, visitors' day, and so on185
Auditions186
The first class for a new teacher186
Potential areas of misunderstanding188
Tempo188
Ritard188
Rubato190
Fermatas and accelerandos191
Setting and changing tempos192
Marking193
Adagios194
"Ands"196
"That's too heavy"197
Miscellaneous197
In the rehearsal room199
Company class and pre-performance warm-up199
Playing for rehearsal201
The choreographer202
The conductor203
The photographer205
Cathwords205
Tempo206
Ritards, accelerandos, and fermatas207
Problems207
Marking scores208
The grand pas de deux209
Rehearsal with tape/CD211
The music librarian214
Calling cues214
The gray areas214
Checklist216
Afterword217
Musical Examples219
Glossary401
Notes409
References415
Recommended Reading417
Index419
About the Author426

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