Ballet Piano Podcast

In this episode we're lifting the lid on Music for medium Allegro and Grand Allegro. the team primarily discuss the biggest jump of all, which is grand allegro, but before that, David briefly rounds up the medium allegro and talks about how he as a teacher, bridges that gap between medium and grand allegro. The team digress slightly into the ways terminology differs around the world depending on training and school of thought, and how steps are called different things depending on where you dance.  Also, listen out for the very famous “lame duck” step and how according to David, the urban myth of someone doing it badly conjured up that image and the slang name was born. This episode is proudly produced and published by PodcastRecording.co.uk

In this episode, the team primarily discuss the biggest jump of all, which is grand allegro, but before that, David briefly rounds up the medium allegro and talks about how he as a teacher, bridges that gap between medium and grand allegro.

The listeners learn from David that pretty much all the jumping steps can be done at the various heights, those being terre à terre, close to the ground with the feet barely leaving the floor, petit sauté, with slightly more jump and stability, petit allegro where the jumps begin to move from the spot and travel.  After that is the medium allegro where the jumps become noticeably larger and more intense, with more height and more travel.  And the biggest jump of all is the grand allegro, where dancers travel the most, gain the most height, and show off their impressive technique and flair!

David emphasises the importance of the use of demi plié, and how that at this height of jump it is crucial for landing softly, and how the intensity of the take-off requires a slower tempo, more space in the music and generally bigger music than previously used, to create the sensation of being air born.

David also teaches the listeners of the different categories of jumps, which are two feet to two feet, two feet to one foot, one foot to two feet and one foot to one foot.  All the jumps can be categorised into one of these.  David lists the endless steps that can be used in the medium allegro.

In terms of music, the team discuss that in the jumping section of class, all the range of speed and dynamics are used from the smallest terre à terre, to the biggest grand allegro.

In this episode, the listeners learn about the division of ballet steps at medium allegro for men and women.  Men are generally more muscular and jump in a different way, and ballet repertoire lends itself to tailoring the steps for men and women. But ultimately as the dancers reach grand allegro exercise, they are trying to cover a lot of space, and everything to the extreme facility and maximum push.

The team digress slightly into the ways terminology differs around the world depending on training and school of thought, and how steps are called different things depending on where you dance.  Also, listen out for the very famous “lame duck” step and how according to David, the urban myth of someone doing it badly conjured up that image and the slang name was born.

So, the music for grand allegro, the team agree that big waltzes are generally used, but that allegro meaning quick, is really the antithesis of the what you should be playing.  Music for grand allegro, should be big, expansive within the tempo, use of octaves, and also maestoso as Chris quite rightly says.

The pianists discuss the technicalities of playing for grand allegro.  The importance of the volume of the music in encouraging the dancer to jump as high as possible, and where possible, the pianist is trying to emulate an orchestra by creating a big wall of sound.  The size of the music is going to help the dancers sail through the air.  

The pianists talk about the plethora of waltzes that can be used for grand allegro from Strauss to Richard Rodgers, as long as the waltz is as rousing as possible.  And the way the pianists accompany the grand allegro, being sensitive to the dancer’s take-off and landing is very important.  There has to be a harmonious marriage between dance and music, throughout the class, but particularly in the climactic grand allegro.

The episode finishes with a couple of funny anecdotes and lots of laughter. Get comfortable, because this is a long one!

In this episode we're lifting the lid on Music for Petit Allegro and Medium Allegro. David teaches the listener how dancers begin to jump in ballet class, and he explains in great detail how dancers prepare to jump through the use of the plié exercise, and some plié relevé exercises. The pianists then begin to discuss all the possible music that can be played for jumps, of which there are many different time signatures and styles of music that can be used.  But ultimately, the team agree that at this point in the class when the dancers are fully warm and stretched and pushing their bodies, that there is a lot of fun to be had with the music. This episode is proudly produced and published by PodcastRecording.co.uk

In this episode, David teaches the listener how dancers begin to jump in ballet class, and he explains in great detail how dancers prepare to jump through the use of the plié exercise, and some plié relevé exercises.

David also tells the listener the different positions that dancers jump in, the basic positions of 1st, 2nd, 4th, and 5th, and he quickly gives an example of the type of exercise he would set for a first jump, or warm up jump.

The listener learns from David the multitude of steps that can be included in small jumps and medium jumps, Changement, Jeté ordinaire, Soubresaut, Assemblé, Sissone, Echappé Suaté and many many more.

The pianists then begin to discuss all the possible music that can be played for jumps, of which there are many different time signatures and styles of music that can be used.  But ultimately, the team agree that at this point in the class when the dancers are fully warm and stretched and pushing their bodies, that there is a lot of fun to be had with the music.

The listener also learns in this episode what the pianists like to play for jumps, which reveals things about their character and personality that they’re able to bring to class.  

Matthew mentions quite importantly the technical element of being able to play a secure stride in the left hand, which gives the dancer the tempo and mitre to dance against, and an inventive melody in the right for decoration.

The team discuss the different tempi that are associated with different steps, as some steps go hand in hand with different tempo, and listen out for David’s “preparing the undercarriage to land”!

Listen to this episode where the team talk in depth about Music for Pirouettes!  David, the podcast ballet expert breaks down a pirouette exercise into its basic form, and teaches the importance of ‘spotting’ to aid multiple turns, and arm positions to help with the balance. The pianists talk about what types of music you can use for pirouettes and the listener will learn that there are many styles that can be used for this exercise with varying accent. The most common style of music generally used is the waltz, but you can play mazurkas, landlers, jazz waltzes, Viennese waltzes and many more. This episode is proudly produced and published by PodcastRecording.co.uk

Listen to this episode where the team talk in depth about pirouettes!  David, the podcast ballet expert breaks down a pirouette exercise into its basic form, and teaches the importance of ‘spotting’ to aid multiple turns, and arm positions to help with the balance.

The pianists talk about what types of music you can use for pirouettes and the listener will learn that there are many styles that can be used for this exercise with varying accent. The most common style of music generally used is the waltz, but you can play mazurkas, landlers, jazz waltzes, Viennese waltzes and many more.

The team talk about the importance of tempo and mitre and how pirouettes are quite rhythmical, and how adhering to a strict rhythm and obedience with the music will help the dancer achieve better pirouettes.

David asks the pianists about the necessary stamina required at this point of the class to play big and support the dancers, having played for an hour up to this point, and the pianists digress onto ballet class etiquette and all the variables that can affect the way you play for class.

The pianists get cheeky talking about ways in which they draw attention to themselves as a live pianist to politely remind dancers to comply with class etiquette.

In this episode we're discussing Music for Centre Adage. The team quickly address the current climate of Corona Virus and briefly discuss how they are still able to keep producing episodes remotely through the wonders of modern technology, and how they are coping with the self-isolation individually. As usual, the team throw to David initially to talk about the similarities and differences between the barre adage and centre adage, and how in the centre there are very little restrictions because there is no barre, and more space to move and exploit all directions and lines possible.  David also reveals how he loves the music to be slightly grander than the barre adage. This episode is proudly produced and published by PodcastRecording.co.uk

This is the first episode in the series where the team have recorded separately in lockdown.  The vocals have cleverly been mixed together by Chris Hobson.  This is due to the global pandemic of Covid-19.  We hope the quality has not been compromised too much!

The team quickly address the current climate of Corona Virus and briefly discuss how they are still able to keep producing episodes remotely through the wonders of modern technology, and how they are coping with the self-isolation individually.

As usual, the team throw to David initially to talk about the similarities and differences between the barre adage and centre adage, and how in the centre there are very little restrictions because there is no barre, and more space to move and exploit all directions and lines possible.  David also reveals how he loves the music to be slightly grander than the barre adage.

The team also discuss the steps that can be included in the adage as a way of preparing for turns and jumps that happen later in class.  For example, promenades in the adage become pirouettes in those positions, and jumps such as fouetté sauté can be rehearsed slowly in the adage.

For music, the team all agree in this episode that the quality of the adage music in the centre is similar to that of the barre adage, namely slow, legato, full textured, and sensitive to the choreography.

The pianists talk about how they accompany the centre adage in a different way than they would the barre adage, with more sensitivity to the individual dancer’s wants and needs as they stand unaided in the centre, and perhaps need more space in the music.

Listen out for the metaphor of Haagen Dazs ice cream, whereby you save it for a special occasion and it should be luxurious and used sparingly and expensively.  

In this episode we're discussing Music for Centre Practice. David discusses the importance of barre work and how it prepares the dancer for the centre, and how many of the steps and exercises from the barre can be done in the centre. As with most of the barre exercises, the pianists discuss the importance of playing with a little rubato as you begin to accompany dancers in the centre, helping them achieve the steps and exercises without the constraint of music in a strict metre. This episode is proudly produced and published by PodcastRecording.co.uk

In this episode, David discusses the importance of barre work and how it prepares the dancer for the centre, and how many of the steps and exercises from the barre can be done in the centre.

The team also talk about the centre work being more performance based as if being on stage, with the freedom to move and change direction and transfer weight.  

As with most of the barre exercises, the pianists discuss the importance of playing with a little rubato as you begin to accompany dancers in the centre, helping them achieve the steps and exercises without the constraint of music in a strict metre.

The pianists also reveal to the listeners some of the tricks they use to keep their repertoire fresh and interesting, and to avoid repeating themselves musically, along with some funny anecdotes as usual.

David poses many questions to the three pianists, about how they keep the flow of class going through the musical interpretation, what they think about when they aren’t playing, ways to keep the dancers entertained and inspired, as well as personal challenges involving technique and broadening repertoire.

We learn from this episode how mischievous Chris can be during class, always pushing the envelope and testing the teachers and dancers, to keep them listening and learning!