Dance and Music

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ISBN: 9780813018874 | 0813018870
Cover: Paperback
Copyright: 5/1/2001

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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.

Foreword	p. xiii
Preface	p. xv
What Is Dance Accompaniment?	p. 1
Essential Elements of Music for Dance	p. 4
Rhythm	p. 4
Meter/time signature	p. 5
Melody	p. 6
Tempo	p. 8
Harmony	p. 8
Tonality	p. 9
Phrasing	p. 9
Dynamics	p. 11
Line	p. 11
Style	p. 12
Musical Forms for Dance and How to Count Them	p. 15
2/4 or [characters not reproducible] -Examples 3-12: all are twos	p. 17
Tango (habanera, beguine, zapote, samba, rumba, etc.)-Examples 3 and 3a	p. 17
March (to be discussed under 4/4s)	p. 17
Rag-Example 4	p. 17
Polka-Example 5	p. 18
Coda, galop, can-can (sometimes even "circus music")-Examples 6 and 7	p. 18
Czardas-friszka-Example 8	p. 19
Miscellaneous-Examples 9-12	p. 19
3/4-Examples 13-29: sixes and threes	p. 20
Sarabande-Example 13: six or three	p. 20
Polonaise/Polacca-Examples 14 and 15: six	p. 20
Bolero-Example 16: six	p. 21
Minuet-Example 17: six or three	p. 22
Landler-Example 18: three (sometimes six)	p. 22
Mazurka-Examples 19-21: three (occasionally six)	p. 23
Waltz-Examples 22-28: three	p. 24
Slow waltz-Example 22	p. 24
Medium-tempo waltz-Example 23	p. 24
Spanish waltz-Example 24	p. 24
Viennese waltz	p. 25
Fast waltz-Example 25	p. 25
"Big waltz" or "grand allegro waltz"-Examples 26-28	p. 25
Miscellaneous-Example 29: six	p. 27
3/8-Examples 30-33: all are threes	p. 27
Medium-tempo-Examples 30 and 31	p. 27
Allegro-Examples 32 and 33	p. 28
4/4 or C -Examples 34-39; all are twos	p. 28
Czardas-lassu-Examples 34a and 34b	p. 29
March-Example 35	p. 29
Gavotte-Example 36	p. 30
Stop time-Example 37	p. 30
Miscellaneous-Examples 38 and 39	p. 30
6/8-Examples 40-48: all are threes except the 6/8 march (two)	p. 31
Barcarolle-Example 40: three	p. 31
March-Example 41: two	p. 31
"Big waltz" or "grand allegro waltz"-Examples 42 and 43: three	p. 32
Tarantella-Example 44: three	p. 32
Miscellaneous-Examples 45-48: all are threes	p. 33
9/8-Example 49: six	p. 34
12/8-Example 50: three	p. 34
The adagio-Examples 51-64	p. 35
2/4 adagio-Example 51: two	p. 37
3/4 adagio-Examples 52-55: threes and sixes	p. 38
3/8 adagio-Example 56: three	p. 39
4/4 or C adagio-Examples 57-60: twos	p. 39
6/8 adagio-Example 61: three	p. 40
9/8 adagio-Example 62: six	p. 40
12/8 adagio-Examples 63 and 64: two (rarely, three)	p. 40
For Dance Teachers	p. 44
Music and you	p. 44
Music and your students	p. 55
How a new dance teacher deals with an accompanist	p. 61
Learning to count correctly	p. 63
Face to face with your accompanist in the studio	p. 68
Where to demonstrate	p. 68
What to say during a demonstration	p. 69
How to get a combination started	p. 73
Preparations (introductions, "four-for-nothings," lead-ins, etc.)	p. 74
How to correct faulty tempos	p. 75
The second side of barre combinations	p. 76
How to continue a combination	p. 76
How to stop a combination	p. 77
How to finish a combination	p. 78
How to organize groups of students in the center	p. 79
How to mark clearly	p. 80
Dos and don'ts for dance teachers	p. 81
Dos	p. 81
Don'ts	p. 83
Checklist	p. 86
For Accompanists	p. 87
Background information for beginning accompanists	p. 95
Classroom etiquette	p. 95
The structure of a dance class	p. 96
The barre (sometimes called side practice)	p. 97
The center (sometimes called centre practice)	p. 98
How teachers demonstrate	p. 99
Qualities of steps and movements	p. 100
At the barre	p. 102
Plies	p. 102
Tendus	p. 104
The degage family	p. 104
Ronds de jambe a terre	p. 105
In two	p. 105
In three	p. 105
Fondus	p. 106
Frappes	p. 106
Adagios/Developpes	p. 107
Petits battements serres and battus	p. 108
Ronds de jambe en l'air	p. 108
Grands battements and battements en cloche and en balancoire	p. 109
Grands battements with the leg going up on the count	p. 109
Grands battements with the leg going up on "and"	p. 109
Grands battements en cloche and en balancoire	p. 109
Stretching	p. 110
The cambre family	p. 110
Cambres and circular ports de bras within plie combinations	p. 112
Medium-tempo waltz	p. 112
Slow waltz, slow 3/4, or 9/8	p. 112
Cambres and circular ports de bras added onto rond de jambe a terre combinations	p. 112
Slow waltz	p. 112
Moderato two or tango	p. 113
Medium-tempo waltz	p. 113
Movements of the cambre family included in combinations of a non-legato quality	p. 113
In the center	p. 113
The first combinations in the center	p. 113
Adagios	p. 114
The turn/pirouette family	p. 115
The adagio turn or pirouette	p. 115
"Normal" pirouette combinations	p. 115
Turns in attitude and arabesque	p. 116
Turns in succession	p. 116
Chaines/Deboules	p. 116
Soutenu turn	p. 116
Tour en l'air	p. 116
Balances	p. 117
Sautes/jumps	p. 117
Changements	p. 117
Petit allegro	p. 118
Medium allegro	p. 120
Grand allegro	p. 120
Turns in succession	p. 120
Reverence/port de bras	p. 120
The tools of an accompanist's trade	p. 122
Repertoire	p. 122
How to develop it	p. 122
Improvisation	p. 122
When you must improvise	p. 122
Using written music	p. 123
Syllabus music	p. 124
Collections of music	p. 124
Czerny etudes	p. 125
Operas and operettas	p. 126
Salon music	p. 126
The traditional ballet repertoire	p. 127
Show tunes	p. 128
Where to find it	p. 128
How to organize it	p. 129
In binders	p. 130
By step	p. 131
By complete class	p. 131
By form	p. 132
By composer	p. 132
In your head	p. 133
Adaptation of music	p. 134
Mechanical phrasing	p. 136
Kinesthetic phrasing and accents	p. 139
Important musical additions	p. 144
Starts (preparations, introductions, "four-for-nothings," "four ins," lead-ins, vamps, and who knows what else)	p. 144
Two-bar or six-count preparations	p. 145
Four-count preparations	p. 145
Two chords	p. 147
Without preparation	p. 148
Transitions (also known as bridges)	p. 148
Balances	p. 150
Finishes	p. 151
Arpeggiation	p. 152
Pianistic approaches to producing an orchestral sound	p. 154
Pianistic methods	p. 159
Posture and stamina	p. 161
Octaves	p. 163
The elusive arm muscle	p. 164
The use of the fourth finger on black keys	p. 166
Fingering	p. 168
Pedaling	p. 168
Reverse pedaling	p. 169
The sostenuto (middle) pedal	p. 170
The soft (damper) pedal	p. 171
How sensitive pedaling can help dancers breathe correctly	p. 171
Tone quality	p. 172
Memorization	p. 173
Sightreading	p. 174
Pianos you may meet	p. 175
Miscellaneous	p. 176
An overview of various dance classes	p. 177
Pre-ballet and children's classes	p. 177
Adult beginner class	p. 179
Intermediate, advanced, and professional classes	p. 180
Point class	p. 180
Men's class	p. 181
Variations and repertoire classes	p. 181
Classes for pas de deux, adagio, partnering, double work, and so on	p. 181
Theory class	p. 182
Character class	p. 183
Tap class	p. 185
Workshops, lecture-demonstrations, visitors' day, and so on	p. 185
Auditions	p. 186
The first class for a new teacher	p. 186
Potential areas of misunderstanding	p. 188
Tempo	p. 188
Ritard	p. 188
Rubato	p. 190
Fermatas and accelerandos	p. 191
Setting and changing tempos	p. 192
Marking	p. 193
Adagios	p. 194
"Ands"	p. 196
"That's too heavy"	p. 197
Miscellaneous	p. 197
In the rehearsal room	p. 199
Company class and pre-performance warm-up	p. 199
Playing for rehearsal	p. 201
The choreographer	p. 202
The conductor	p. 203
The photographer	p. 205
Cathwords	p. 205
Tempo	p. 206
Ritards, accelerandos, and fermatas	p. 207
Problems	p. 207
Marking scores	p. 208
The grand pas de deux	p. 209
Rehearsal with tape/CD	p. 211
The music librarian	p. 214
Calling cues	p. 214
The gray areas	p. 214
Checklist	p. 216
Afterword	p. 217
Musical Examples	p. 219
Glossary	p. 401
Notes	p. 409
References	p. 415
Recommended Reading	p. 417
Index	p. 419
About the Author	p. 426
Table of Contents provided by Syndetics. All Rights Reserved.

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Dance and Music

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Author Biography

Table of Contents

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