When I first learned to drive, I read a book about the police driving test, in which you had to do a “commentary drive,” which involves describing to the examiner (while you’re driving) what you are observing on the road ahead, explaining the decisions you’re making, the precautions you’re taking, and so on. I often think of this during ballet class, because as any ballet pianist will tell you, although we seem to “just” play when the exercise starts, there’s a whole series of observations, analyses and decision-making processes going on before we lay a finger on the keyboard, and then a dozen more as we’re actually playing, some of which are so quick as to seem unconscious and instantaneous. For the novice pianist trying to learn something about how to play for class, watching another pianist has limited use, because you don’t know why they’re doing what they do. Sometimes, they don’t know either, or have forgotten by the time class is over. That’s why the video below by ballet pianist Joshua Piper (aka heavypiano) is really useful: he’s filmed a real class, with him playing, put it on YouTube, and put a short text commentary over it, usually at the beginning and ends of exercises, so you can see why he’s doing what he’s doing. [If you can’t see the embedded video, click here to see it on YouTube]
He explains, for example, that at a certain point in the barre, the teacher likes a “less is more” approach to the music, so he holds back, avoiding too much subdivision, playing chords in light touches, which gives the dancers space to move, so to speak; elsewhere he talks about trying to maintain tempo, and create a feeling of ebb and flow, of introducing a bit of stride, but not too heavy. It’s a great lesson on making your repertoire stretch, too—adapting tunes according to the tempo and feel of the exercise, so that you only just realise by the end that you know the tune, but in a different form (I’m thinking here of his styling of Korobeiniki, a.k.a. the Tetris theme.
He emphasises that what’s happening in this class at times is fairly unusual: the teacher wants him to play quiet, thin, and spacious music for exercises that would often be accompanied by more robust, circussy stuff. But that’s why the video is so useful—it demonstrates how a particular pianist adapts his style to a particular teacher and the dancers, rather than making any claims that you can apply the same musical template to every ballet class in the world. It’s the necessity to adapt that is what makes the job difficult, but also rewarding. One of my favourite comments is where he says he’s trying to “imply round movement with my LH pattern” in ronds de jambe, an exercise that’s normally taken in 3/4, but which he’s playing in 4. Finding ways to trick people’s ears into thinking they’re hearing three when they aren’t is one of my tactics, too, as I’ve described in another post.
This is a great video, and Joshua Piper plays beautifully—but I also have to say he’s lucky to have this teacher, and that class (I’m guessing it’s Ballet Austin, but I’m not sure). There are other videos to be made, where the pianist—like a police driver explaining how he is going to manoeuvre a skidding car out of a muddy ditch while pursuing criminals— shows how they try to make the eternal fondu-tango-that-is-too-slow or the ronds-de-jambe-stirring-porridge-waltz still feel like music against the most challenging odds.
The more I watch and listen to this video, the more I love the way Joshua Piper plays, his repertoire, stylings, and commentary—and the video itself, too: it makes such a nice change to have a static, wide camera angle, and a focus on a good quality recording of the sound, rather than a body mic given to the teacher, and fetishistic close-ups of dancers’ feet and sweaty faces. Ballet on TV is so darn predictable. This video gives you a feel for the calm, peaceful concentration that you get in a ballet classes, and an idea of just how exposed and focal the music can be when you’ve got a teacher who isn’t screaming over the top of it.