By Harriet Cavalli
Harriet Cavalli, across the world famous as essentially the most proficient and skilled experts within the artwork of song for dancers and dance lecturers, provides right here the definitive booklet on accompaniment, in addition to her personal--often humorous--look behind the curtain on the global of dance. The textual content is better by way of diagrams and eighty three entire musical examples, supplying a wealth of repertoire offerings. some of the most accomplished books to recognize the intimate hyperlink among tune and ballet procedure, Dance and tune emphasizes the need of potent communique among dance lecturers and their accompanists. Cavalli lays the basis with descriptions of such a lot musical varieties utilized in the dance school room and stresses the necessity for academics to make song a residing a part of their periods. For the green accompanist, she describes the pianistic calls for of the career, in addition to the characteristics of dance steps and events that might facilitate the id of compatible tune. She additionally discusses the categories of dance periods an accompanist may go in and provides a long part at the services of a pianist in a dance corporation. With 40 years within the box, and firsthand wisdom of what dancing appears like and the way to re-create that feeling, Cavalli invitations musicians to maneuver gracefully into the distinctive, occasionally intimidating global of dance accompaniment.
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Extra resources for Dance and Music: A Guide to Dance Accompaniment for Musicians and Dance Teachers
I would never play one in response to a request for a mazurka by a dance teacher; they are usually expecting something like one of the following three selections. Example 19 is bouncier and less legato than Chopin mazurkas, but less robust than the following two examples. Example 20 embodies what I feel are a mazurka’s normal qualities: broad, robust, pesante, and gutsy. (Those sound like adjectives for “heavy” music. ) Mazurkas are full of unique accents. The most common is reflected in the right hand of the introductions to all the mazurka examples in this book; whenever I hear a teacher counting like that, I know she’s singing a mazurka in her head.
The second section, the friszka, often has the rhythmic structure of a coda, as in example 8. This form has a Hungarian flavor. Codas, galops, can-cans, and friszkas are usually interchangeable. ); and, if the accompanist is technically advanced, often for dégagé-family, frappé, and petit battement combinations at the barre. Miscellaneous – examples 9–12 There is a huge number of 2/4s that cannot be labeled. Four examples follow, arranged in an ascending scale of tempo. Although example 9 is quite slow, it doesn’t feel like a dancer’s adagio, since the abundance of melodic accents and lack of rhythmic flow lessen the smoothness that is characteristic of most adagios.
The quality of 6/8 marches seldom varies, but there is a wide range of median tempos. How to count a 6/8 march: like duple meter marches: “ONE and two and THREE and . . ) “Big waltz” or “grand allegro waltz” - examples 42 and 43: three There may be musicians who insist that a 6/8 can never be called a waltz. But most dancers and many musicians find it diﬃcult to tell the diﬀerence between 3/4 big waltzes and 6/8 big waltzes. There are two distinctly diﬀerent categories of 6/8 big waltzes. The first group is comprised of peaks-and-valleys waltzes, as in example 42.