DA N C E A N D M U S IC A Guide to Dance Accompaniment   Dance and Music UWF UNIVERSITYPRESS FSU FAMU UNF OF TAETS UF UCF FLOARDI U USF NIVERSITYSYSTEM FGCUFIFUAU Florida A&M University, Tallahassee Florida Atlantic University, Boca Raton Florida Gulf Coast University, Ft. Myers Florida International University, Miami Florida State University, Tallahassee University of Central Florida, Orlando University of Florida, Gainesville University of North Florida, Jacksonville University of South Florida, Tampa University of West Florida, Pensacola Dance and Music (cid:1) A Guide to Dance Accompaniment for Musicians and Dance Teachers Harriet Cavalli University Press of Florida Gainesville ·Tallahassee ·Tampa ·Boca Raton Pensacola ·Orlando ·Miami ·Jacksonville ·Ft. Myers Copyright 2001 by Harriet Cavalli Printed in the United States of America on acid-free paper All rights reserved First printing in German as Tanz und Musik: March 1998, to commemorate the 25th anniversary of the Swiss Ballet Teachers’ Association (SBLV), Armin Wild, president. German translation by Barbara Hesse, Binz, Switzerland Illustrations by Thomas Ziegler, Bern, Switzerland 06 05 04 03 02 01 6 5 4 3 2 1 ISBN 0-8130-1887-0 CIP data available. The University Press of Florida is the scholarly publishing agency for the State University System of Florida, comprising Florida A&M University, Florida Atlantic University, Florida Gulf Coast University, Florida International University, Florida State University, University of Central Florida, University of Florida, University of North Florida, University of South Florida, and University of West Florida. University Press of Florida 15 Northwest 15th Street Gainesville, FL 32611–2079 http://www.upf.com To my family, the Weymouths, and especially my daughters, Celia and Beth. To the memory—and in honor—of three people who still have a profound effect on my professional life: · Maxine Cushing Gray, editor and publisher of Northwest Arts (Seattle), who gave me my first professional writing opportunity, and whose com- mitment to quality is still an inspiration; · Vera Volkova, a tiny dynamo with a monumental knowledge of dance, dancers, and psychology, who challenged me to break bad habits; and · Perry Brunson, who taught me most of what I know about dance accom- paniment, ballet technique, discipline, and commitment. And never-ending thanks to · Donna Silva, for keeping Perry Brunson’s legacy alive; and · Martin Schläpfer, for his trust, respect, integrity, and honesty. Contents Foreword xiii Preface xv 1. What Is Dance Accompaniment? 1 2. Essential Elements of Music for Dance 4 Rhythm 4 Meter/time signature 5 Melody 6 Tempo 8 Harmony 8 Tonality 9 Phrasing 9 Dynamics 11 Line 11 Style 12 3. Musical Forms for Dance and How to Count Them 15 C 2/4 or - Examples 3–12: all are twos 17 Tango (habañera, beguine, zapote, samba, rumba, etc.) - Examples 3 and 3a 17 March (to be discussed under 4/4s) 17 Rag - Example 4 17 Polka - Example 5 18 Coda, galop, can-can (sometimes even “circus music”) - Examples 6 and 7 18 Czardas-friszka - Example 8 19 Miscellaneous - Examples 9–12 19 3/4 - Examples 13–29: sixes and threes 20 Sarabande - Example 13: six or three 20 Polonaise/Polacca - Examples 14 and 15: six 20 Bolero - Example 16: six 21 Minuet - Example 17: six or three 22 Ländler - Example 18: three (sometimes six) 22 Mazurka - Examples 19–21: three (occasionally six) 23 Waltz - Examples 22–28: three 24 Slow waltz - Example 22 24 Medium-tempo waltz - Example 23 24 Spanish waltz - Example 24 24 Viennese waltz 25 Fast waltz - Example 25 25 “Big waltz” or “grand allegro waltz” - Examples 26–28 25 Miscellaneous - Example 29: six 27 3/8 - Examples 30–33: all are threes 27 Medium-tempo - Examples 30 and 31 27 Allegr o - Examples 32 and 33 28 c 4/4 or - Examples 34–39: all are twos 28 Czardas-lassú - Examples 34a and 34b 29 March - Example 35 29 Gavotte - Example 36 30 Stop time - Example 37 30 Miscellaneous - Examples 38 and 39 30 6/8 - Examples 40–48: all are threes except the 6/8 march (two) 31 Barcarolle - Example 40: three 31 March - Example 41: two 31 “Big waltz” or “grand allegro waltz” - Examples 42 and 43: three 32 Tarantella - Example 44: three 32 Miscellaneous - Examples 45–48: all are threes 33 9/8 - Example 49: six 34 12/8 - Example 50: three 34 The adagio - Examples 51–64 35 2/4 adagio - Example 51: two 37 3/4 adagio - Examples 52–55: threes and sixes 38 3/8 adagio - Example 56: three 39 c 4/4 or adagio - Examples 57–60: twos 39 6/8 adagio - Example 61: three 40 9/8 adagio - Example 62: six 40 12/8 adagio - Examples 63 and 64: two (rarely, three) 40 4. For Dance Teachers 44 Music and you 44 Music and your students 55 How a new dance teacher deals with an accompanist 61 Learning to count correctly 63 Face to face with your accompanist in the studio 68 Where to demonstrate 68 What to say during a demonstration 69 How to get a combination started 73 Preparations (introductions, “four-for-nothings,” lead-ins, etc.) 74 How to correct faulty tempos 75 The second side of barre combinations 76 How to continue a combination 76 How to stop a combination 77 How to finish a combination 78 How to organize groups of students in the center 79 How to mark clearly 80 Dos and don’ts for dance teachers 81 Dos 81 Don’ts 83 Checklist 86 5. For Accompanists 87 Background information for beginning accompanists 95 Classroom etiquette 95 The structure of a dance class 96 The barre (sometimes called side practice) 97 The center (sometimes called centre practice) 98 How teachers demonstrate 99 Qualities of steps and movements 100 At the barre 102 Pliés 102 Tendus 104 The dégagé family 104 Ronds de jambe à terre 105 In two 105 In three 105 Fondus 106 Frappés 106 Adagios/Développés 107 Petits battements serrés and battus 108 Ronds de jambe en l’air 108 Grands battements and battements en cloche and en balançoire 109 Grands battements with the leg going up on the count 109 Grands battements with the leg going up on “and” 109 Grands battements en cloche and en balançoire 109 Stretching 110 The cambré family 110 Cambrés and circular ports de bras within plié combinations 112 Medium-tempo waltz 112 Slow waltz, slow 3/4, or 9/8 112 Cambrés and circular ports de bras added onto rond de jambe à terre combinations 112 Slow waltz 112 Moderato two or tango 113 Medium-tempo waltz 113