Confessions of an anxious ballet pianist day #18: Page turns

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Picture of a page of the score for Tchaikovsky's Nutcracker (Sugar Plum Fairy variation, the manège section)

The manège from the Sugar Plum Fairy variation. This line (the end of a page) should be a left hand page – if it isn’t, you’re stuffed.

I’m not a particularly tidy or obsessive person, except when it comes to scores that I have to play from. If it’s for a performance, I’ll want to know exactly what the score does long in advance: where are the page turns? Can the score be cut and pasted to make better places for turning? How thick is the paper, and what does it feel like to turn the page? How easy is it to turn two pages at once? How does it sit on the music stand? Sellotape, glue, PrittStick, loose leaves or A4 sheets stuck back-to-back, thin paper curled in a photocopier, bad pagination, poorly marked cuts, these are almost the only things in life that turn me into the kind of nutcase that could feature in Channel 4 documentary.

I think it all goes back to a single traumatic incident when I was playing for a performance by West Midlands Youth Ballet very early in my career. It was during the section choreographed for the youngest children, that consisted of several short dances accompanied by different piano solos. I had carefully pasted all the separate pieces in order into a scrapbook for the show, to avoid having loose-leaf pages on the stand. So far so good.

But in the first show, at the end of one of the dances, I realised – way too late, because the dance had finished – that I’d turned over two pages at once, thanks to a tiny protrusion of Sellotape that caused two pages to stick together as I made the page turn.  It meant that the  children had danced (let’s say) Section 4 to the music of Section 5. I realised the only thing to do was to play Section 5 again, this time, with the right dance.  To their eternal credit, you would not have known that anything had gone wrong – the children had danced an entire dance to the wrong music, and then had to work out what I was going to do next without any communication between stage and pit. We got to the end, and it was fine. I felt shamed and awed by their professionalism.

Perhaps it was that early experience that made me obsessive about page turns in all the syllabus books that I’ve prepared over the last few years for the RAD. The thing about playing for dance is that you just have to keep going, absolutely in tempo, when you’re accompanying a dancer. You can’t ask them to wait while you handle a page turn, or correct a wrong note. In an ideal world, there wouldn’t be a single difficult page turn anywhere in a ballet score. On the whole, copyists (the people who prepare scores for print) are careful to position page turns where there is a rest, or where the music leaves one hand free to make the turn.

That’s why it’s vital to get LH and RH pages in their correct position when you make a copy. By long publishing tradition, odd page numbers are always RH pages, and even page numbers are always LH pages. One of the worst things you can do to a musician is put a score through a photocopier so that even-numbered pages come out on the RH side – easily done if you’re photocopying an extract that begins on a LH page, but you don’t put a blank page on the top of the pile to force it on to the left when it comes out of the copier. Every carefully positioned page turn will now be in the wrong place, and those places that were deliberately given two-page spreads because they constitute impossible turns, are now on a page turn.*

This was the case with a score of Nutcracker I was playing from the other day. The manège, which in every other score should be (and is) on a two-page spread, was split over a LH and RH page, and you don’t have a hand free to turn. What’s worse, I turned two pages at once, because the bottom corner of the page had disintegrated, so I accidentally turned the page behind it instead. I tried to save myself, but I discovered to my horror that without the music, I haven’t a clue  what the manège of the Sugar Plum Fairy does, even though I’ve been playing it for years.  I apologised, and we started again. I turned the corner of the page up nice and sharp, so I wouldn’t miss it this time. Unfortunately, this was one fold too many, and the corner of the page ripped off in my hand.  I think it may be time to carry my own copy around with me, or learn the manège by heart.

 

* So the golden rule is, always photocopy a score starting at an odd-numbered page, even if you don’t need that first page. 

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2 thoughts on “Confessions of an anxious ballet pianist day #18: Page turns

  1. Josephine Jewkes

    West Midlands Youth Ballet was my first proper ballet school!!! It doesn’t surprise me to read about the professionalism of the children : it was a feature of the school (Solihull School of Ballet).
    As for that manège, it is cruelty to ballerinas and should be banned – beautiful though it is, it comes at the end of a very long solo (with a series of nine gargouillades if it is the original version) and before a long and energetic coda! The dancer might have been grateful to you! (No, just kidding, masochism rules OK!)

    Reply
    1. jonathan Post author

      I knew it was your school, Jo, and you’re right about the professionalism of the children (and it didn’t surprise me that you had come from there, either, when I found out).

      Amazing isn’t it that after 120 years, the men still get away with doing that weedy tarantella that’s over in less than a minute, while the women have one of the longest solos in the repertoire, manège and all, yet it’s men who get credited with being strong. Maybe it’s time for a production where the principals swap solos (or has it been done?).

      Reply

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