Tag Archives: 100 tips for working with ballet pianists

Confessions of an anxious pianist #26: Same or different music on the other side?

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Although the “anxious ballet pianist” series is officially over, I’m adding one more post now, because I realised today that after thirty years of playing for class, I still often ask myself the same question: shall I play the same or different music for the other side of an exercise?

Sitting on the fence about music on the other side

Same or different music for the other side: cat sitting on a fence

Sitting on the fence about the “same or different music on the other side?” issue.

What’s made me think about it is that I’ve just played for a teacher that I first worked with maybe 28 years ago, who made me bristle (back then, that is) by saying “Please play the same thing on the second side” after one of the first exercises at the barre. I bristled for a long time, because variety was my shtick, and was what I believed you were supposed to aim for in class: avoid boredom and sameness at all costs (see previous post on fear of repetition). I remember crying into my beer with another teacher, who cheered me up by saying “But it always feels different on the other side anyway — it’s not the same thing.

That was 28 years ago. A few months ago,  I played for that teacher again, and with the wisdom of experience, I remembered that he liked the same music on both sides, and so that’s what I did, without any bristling.  Experience had also taught me that he was a highly respected teacher with a securely individual approach and style, and that he had known exactly what he was doing when he asked for the same music on both sides. Looking at him and his class again, I realised that I had been lucky to have the correction, because it had given me something to think about for thirty years: only problems generate solutions.

Playing for him again more recently, I reminded myself not to alternate at the barre, but this introduces another anxiety: I know why I’m repeating the same music, but the class doesn’t. Do they care? Does it matter? Will they think I’m dull, or lazy? Part of me thinks that nobody probably gives a damn, they’ve got other things to worry about. And particularly in this case, the exercises are hard enough that the music needs to be there to help, not distract.

“Same or different music for the other side” is a constant dilemma (literally, a choice between two unpleasant alternatives). In another class recently, after I’d played the same music for three groups in adage in the centre, I decided maybe I could do better, so I changed the music. The teacher (one of the most experienced and musical I know) stopped me and said something like “You’ve lost them. Play what you played before, they can’t find what they need in the music.”

Now that’s an even more difficult dilemma: what I was playing wasn’t great, but it at least had the virtue of familiarity after a couple of groups. Possibly, what I was going to play would have been better had I played it the first time round, but now it was too late: better the devil you know. It’s the wise choice, but it runs counter to the pervasive idea that progress and change are unquestionably a Good Thing.

From both sides now

The trouble is that there is no right or wrong about this issue:  you just have to make a reasonable guess about what’s right in each situation, and risk getting it wrong. I probably got the idea that changing the music was a good thing because I learned my trade playing for syllabus classes where any diversion from the set music was a welcome relief. The teacher who said “It feels different on the other side” was right, and there are other occasions when changing the music has a positive effect. But there are other times when you have to let the music listen to the exercise, so to speak: when it’s new, difficult, or to achieve a very particular thing. As I’ve discovered, that might not only be with children: it can be at company class level as well, but you have to know when and where what is appropriate.

I got it wrong last week, I realised half way through pliés that the tiny rhythmic hint that the teacher had given in the marking was not just incidental or accidental, it was in fact exactly what she’d wanted. I changed the music to something more suitable halfway through the exercise, and she smiled and nodded at me.  I felt great for a moment, and then thought “Why didn’t I just do that the first time around?”  Was I clever to have sorted it mid-exercise, or stupid for not getting it right at the beginning? I don’t know.  That’s another anxiety to add to the list.

Ballet classes and dance calling

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I’ve had two conversations with people who play for ceilidhs which have made me think that there’s much more in common between dance calling and teaching a ballet class than we’d like to think.  And now I’ve found a website which has convinced me even further.

The first conversation was with a fiddle player some years ago who explained in two sentences the relationship between marches and single jigs (you can replace one with the other) and how double jigs can be replaced with another dance (can’t remember which one now). The second was with someone recently who was explaining that they were going to do their first gig as a caller rather than just a player. When he gave an example of what he was going to do, I thought “hold on, this sounds just like someone teaching ballet, except with different steps.” It wouldn’t have occurred to me, had I not just transcribed a bit of a ballet class, and seen on paper what teachers say when they mark exercises.

The point I’m getting towards is that I think we often make far too much of a palaver out of what music for ballet class involves, because we (by which I mean “the ballet world”) would like to think it’s more classy and distinguished than it really is: elegant smoke and mirrors (literally, in the case of the ballet studio). We worry about whether this piece of music or that will have the right feel and atmosphere for that exercise, but if you look at fiddle books like Kerr’s Merry Melodies, you can see immediately that for a polka, for example, you can use all kinds of music, as long as you can still polka to it – and as the fiddler pointed out, single jigs and marches are interchangeable. Whether the music’s called a galop, hornpipe, reel or whatever is neither here nor there, it’s how it goes that matters; and if nothing else, people don’t always give their tunes correct names (classical ones are the worst at that – like Widor’s so-called Pavane in 6/8).

pavane-widor

“It’s a Pavane, Jim, but not as we know it.”

And then I came across this, a “Caller’s Workshop” on the website of Colin Hume, a caller himself.  There, on a page, is about the best introduction I’ve seen to dealing with music in a ballet class – all you have to do is imagine he’s talking about ballet rather folk dance calling. It’s concise, it’s clear, it’s down to earth.  He deals with  Working With Live Music  music in a few paragraphs, without making  a (excuse the pun) song and dance about it:

So that’s one thing to discuss with the band beforehand: who counts?  The other is signals.  “One more time”, so they can go back to the original tune or just give it everything they’ve got.  “Out” — particularly in a patter square where you’re jabbering away.  “Kill”.  “Slower”.  “Faster”.  You think it’s obvious what you mean; they don’t have a clue.  Walt Tingle uses a circular movement of the hand to mean “Wind it up — finish”, but many callers use that to mean “Faster”.  Make sure you know who to give signals to — it might not be the obvious person.  I tend to give signals to the whole band, for safety.

I reckon if ballet teaching manuals were written in this style, no-one would get in such a flap over it. It’s only music, it’s only dancing, but we’d all like to think that it’s something more, something that transcends the everyday. For sure, ballet at it’s best is extraordinary and out of this world, but when it comes to class, “You think it’s obvious what you mean; they don’t have a clue” is what it boils down to (on both sides, in fact).

 

 

 

100 tips for working with ballet pianists #32: Check your pianist is ready

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Glance over to your pianist just before you say ‘and…’ to check that they are ready to play, especially if they are reading from printed music. On the other hand, if experience shows that your pianist is usually ready before you are, don’t keep asking “is that all right?” or “are you ready?” – they’ll be eager to start. The ideal is build up a rhythm between yourself and the pianist, so you’re both anticipating each other’s moves to the extent where you can increase the tempo at which a class moves when you need to.

If you find that your pianist is consistently unprepared when you want to start the exercise, it may be that you could be delivering your messages about what kind of music and tempo you want earlier in your marking, to give them more time to prepare themselves.

100 tips for working with ballet pianists #31: Be accurate about the tempo you want

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If you’re marking an exercise for dancers, it can be tempting to ‘mark’ the tempo to the pianist as well – but this is an impossibility: giving a tempo is meaningless unless it’s the one you actually want. It only has to be about four counts to set the tempo, but you have to get out of marking mode and into conductor/musician mode for those four counts in order to convey the information. When pianists say of a teacher ‘oh she’s very musical’ or ‘I love playing for him, he’s so easy to work with’, 90% of this is down to being given an accurate tempo in good time. By contrast, ‘“that’s fine, but we need it half the speed” is possibly the most disheartening thing a musician can hear – if you need to halve the speed of the music, then it’s the wrong music, and you’ve got to start searching again.

100 tips for working with ballet pianists #30 Use counts, not bars

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When you’re marking an exercise for a pianist, speak in terms of counts rather than bars, particularly with introductions (e.g. say ‘x counts in’, rather than ‘x bars in’).

Unless you are trying to work out the mathematical correspondences between a movement notation score and printed music, bars are confusing, and often irrelevant, both to teachers and pianists. Some novice pianists might ask you ‘how many bars do you mean’ if you talk in counts, but don’t get drawn into this beyond a discussion of general principles, otherwise you’ll spend half the class going over to the piano trying to sort out the pianist’s sheet music!

It’s for the pianist to get used to the idea of feeling the counts underlying the notation if they’re using printed music. Contrary to what you’ll hear dancers say against themselves, this isn’t some philosophical divide between musicians and dancers: Musicians who don’t conventionally work from notation (like rock bands – think of the drumstick ‘count-in’, for example) have no problem understanding the concept of counts.

100 tips for working with ballet pianists #29: Allow the music to speak

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When you first start teaching (whatever your subject), it’s tempting to think that nobody’s learning unless you’re talking. The truth is, an awful lot of the most significant and deep learning happens when you do nothing.

Keep silent during some exercises to allow students to respond to the music. If they are listening to you, or worried about corrections, they won’t have a chance to do this.

100 tips for working with ballet pianists #28: Practise at home

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Put on a tape or CD – of anything – and practise setting exercises aloud with the music. Marking an exercise in tempo is a musical & motor skill which needs practice. The more you use music in this way, the more confident you will be when you are in a studio. It will also prevent you from making up exercises which are fine until you try and do them in tempo!