The ballet technique class is a system by which classical ballet dancers learn to train their body to meet the demands of choreography (Cavalli, 2001, p. 96).
Ballet classes are made up of multiple phrases of dance movements known as enchaînement or combinations.
Each combination has a sequence of individual dance steps.
These dance steps—which are given French names such as plié, tendu, and pirouette—are performed by dancers from various positions of the feet (first position, second position, etc.) along with their coordinating arm movements.
There is a fundamental difference in the role of music in the ballet technique class versus a ballet performance.
In a ballet performance, the choreographer uses music as a basis for the dancers’ movement, with the dance adjusting to the music.
In a ballet technique class, the reverse occurs; the pianist adjusts their music to the needs of the technique being taught.
Some of the earliest instances of the ballet technique class were inspired by Carlo Biasis’s advice for dancers to find a dance master in which they learn the trade (Fournier 2018).
King Louis XIV was among the first to codify ballet as an art form through his commission of twelve ballet masters that “were responsible for recording dances and choreographing divertissements for the king upon request” (Fournier 2018, para. 6).
These early masters’ main focus was to “develop dance as a system of knowledge that would provide a strong foundation of training” (Fournier 2018, para. 6). In the late 17th century, perhaps influenced by the growing knowledge of anatomy, dancers began spending time each day on positions of the feet and basic ballet steps.
As the steps became more complicated, there was also a push to keep ballet qualities of “ease, charm, lightness, and grace” (Fournier 2018, para. 11).
Thus, early ballet was not only about physical training but also about the teaching of manners to give the impression of charm in the ballet aesthetic. Ballet pedagogy seeks to have “a well-defined curriculum that allows the clear progression of work from junior to professional level” (Fournier 2018, para. 13) especially in the early stages where teachers must know how to correctly integrate artistic and physical development appropriate to the student’s age.
There are several main dance methods that dance instructors use to teach ballet just as there are different methods of piano technique in the Russian, French, Italian, and other schools.
The main dance methods that pianists will encounter in ballet technique class include
the British Royal Academy of Dance (RAD) method, which often include accompaniment sheet music volumes that correspond with the syllabi for which dancers/teachers are preparing for examinations.
The Cecchetti method tends to have written accompaniments that are used in class (in the view of some: creating very monotonous dance classes).
Lastly, is the Vaganova method, developed in Russia which tends to be the most common approach practiced in the Americas these days (Teck, 1990, pp. 174–175).
In my personal dance accompanying experience, I find that most American teachers employ a blend of several of these methods, and their automatic preference is for a majority of pieces in triple meter.
If the teacher is strictly teaching the Vaganova method, I find that they generally prefer music in duple meter.
The sequence of steps varies a bit from the different methods and from teacher to teacher, so be sure to meet with the teacher prior to playing for the first class and if you have any questions (Cavalli 2001, p. 3).
When playing in the ballet technique class, there are some aspects to take into consideration in working with ballet instructors.
Communication is the most important aspect of collaboration between pianist and ballet instructor (teacher). Ultimately, you are there to support the dancers and teacher through your music.
Cavalli (2001) equates the relationship to a healthy marriage: “Each partner respects the other’s talents and feelings; both work toward a common goal; and neither feels superior to the other” (p. 89).
Egos can sometimes be involved for either the pianist or teacher, but they should not get in the way of serving the students.
In working with ballet dancers, the dancers in ballet class will appreciate you getting to know their name. This helps to develop a professional relationship that can inspire beautiful dancing and music-making.
Most dancers do not have any formal musical training, so your playing in ballet class can have a huge impact on their musicality.
Occasionally teachers will take time in ballet class to talk about what you are playing: sometimes the specific piece (which can inspire dancers' recognition of certain pieces, composers, or compositional styles/eras) or how you are playing (development of musical terms such as accent, legato, staccato).
If the teacher does not bring it up, you can suggest after class that you would be willing to talk to dancers about why you are playing what you are playing so they can develop their musicality.
For each of the combinations at the barre, in the center, and across the floor, there is a sequence that ballet pianists need to know.
During this sequence is when the ballet pianist chooses the appropriate music for the combination. T
The teacher will explain the combination.
Sometimes the teachers demonstrate the combination themselves and at other times they call upon students to demonstrate.
Some teachers will ask the pianist for a meter––they say “4” or “3” which translates to duple or triple meter in musician’s terms––then proceed to teach the combination.
When the teacher is demonstrating the combination to the dancers, this is a time for you to watch and listen for cues as to what music to play for this combination.
Some teachers will begin the combination in a recognizable and consistent meter.
Then, as they progress in teaching the exercise, to save on time, they will discuss the patterns out of time through “marking.”
This means they will not perform the combination in full but give some visual cues as to the movements.
The time in which the teacher is demonstrating is time for you to select the appropriate music.
If it is a simple combination for the dancers then the teacher may be ready for you to play the music you have picked with the dancers in the combination.
At other times, if the combination is complicated or if students do not seem to be grasping the sequence of dance steps, then the teacher may ask them to “mark” the combination themselves (not dancing full-out) either with just the teacher talking through the combination/counting or ask them to mark it with your music.
In the ballet class, dancers usually do the combinations “on both sides,” meaning they will do the combination twice beginning with different legs or facing different directions.
There are generally two methods in which pianists play a transition between “sides” in a dance combination. Watch for cues when the teacher is teaching the combination for this transition, and ask the teacher which method they prefer before playing the combination if it is unclear.
The first way is stopping/cadencing the music once the combination is finished and then beginning the same music on the “other side.”
In the second way, the pianist is often called upon to create some transitional music between sides or rework the piece to make it continuous.
Next: Basic Protocol/Etiquette for the Ballet Technique Class