In this episode featuring the whole of the podcast team, we talk about what consists of an introduction for a ballet exercise, and the sorts of things you might play for an introduction.  We also talk about the difference between dancers counts and musicians counts, and how this can affect what you may give as an introduction.  We talk about the different kinds of introductions including those belonging to complex time signatures.There’s always funny stories on the podcast, and this episode is no exception.Support the show (https://www.patreon.com/balletpianopodcast)

Ballet Piano Podcast

Introductions

This episode is all about the misunderstandings that can happen in a ballet class, including timing, tempo, time signatures, and also when things have been miscommunicated by the teacher or the pianist, and you end up in a sticky patch.  Listen as we regale you with our tales of when it all went wrong, and how we got out of them.We learn from both the teacher and the pianist how best to overcome some of the most common communication issues, through their stories, knowledge and experience.  As always, it’s filled with laughter, advice, and joviality.Support the show (https://www.patreon.com/balletpianopodcast)

Misunderstandings and Miscommunication

We bring you an exciting new episode this week, hosted by Matt, and it’s about playing for repertoire, solo, and variation class.As Chris and Akiko have the most experience with this side of the job, they share with us all the insightful information about what it’s like to play those colossal ballet scores, and how they cope with the different environment of a rehearsal room instead of a classroom.As always, there’s an anecdote or two, and it’s a very interesting episode with the husband and wife team.It’s one not to be missed, and we hope you enjoy it.Support the show (https://www.patreon.com/balletpianopodcast)

Playing Ballet Repertoire

In the absence of David Yow, the three pianists bring you a Hot Topic episode very close to our hearts, and an essential skill required to becoming a successful ballet pianist.  We are discussing how we arrange existing pieces of music to make it suitable for a ballet class, and ballet phrasing.We also talk about the ways that musicians count their music, and how different that is for dancers.  And how important it is to recognise both in order to understand what the dancers and teachers mean when they count their exercise and the music.As always, there are funny anecdotes and humour in this episode and we hope you enjoy it.  Do give us a little review on Apple podcasts, and follow our social media channels for all the latest content from podcast HQ!Support the show (https://www.patreon.com/balletpianopodcast)

Arranging Ballet Class Repertoire

In this episode, we are talking about how we choose what we will play for class, the many ways you can build your repertoire, and where you can gain inspiration for choosing the tunes you play.Choosing the right piece of music is essential, so we hope you enjoy this episode filled with useful tips and as always, funny anecdotes!Support the show (https://www.patreon.com/balletpianopodcast)

Choosing Class Repertoire

In this episode, we reflect on the first series of episodes since the podcast’s inception in February 2020, and we talk a bit about what we have learnt from producing the podcast, and the journey we have been on individually, and as a team.We also talk about the current climate of Covid-19 in the UK, and how it has affected the ballet world in our own country, and globally, and how through the wonders of modern technology we were able to provide live music for classes that required it.We also announce our future plans for the podcast, including a mini series of hot topics featuring playing for pointe work, contemporary class, variation class, building your repertoire, and many more.  And we are working towards our next big series, which will be ‘In Conversation’ with some of the leading people in the ballet world, from other pianists, musical directors, dancers, choreographers and teachers.  We can’t wait to bring that to you.Also, look out for The Ballet Piano Podcast Album.  We have recorded thirty tracks of music suitable for all the exercises in a ballet class, which will be available for download very soon.So, enjoy this episode, and be sure to check out our social media channels for the newest updates and news!Support the show (https://www.patreon.com/balletpianopodcast)

In Summary

We hope you enjoy this penultimate episode in the ballet class series.  It is the second instalment of the Q&A episode where we continue to answer questions sent in to us via email and the social media channels.  This episode is slightly lighter hearted with lots of funny anecdotes. Find out what brand of shampoo David Yow uses, and how the dream team of Mr. and Mrs. Hobson met and fell in love.  There are, as always plenty of funny stories relating to our jobs in the world of classical ballet, and it’s an opportunity to learn even more about the team.Support the show (https://www.patreon.com/balletpianopodcast)

Q and A 2

We hope you enjoy this episode in which the team answer your burning questions that have been sent in over the past few weeks.  Some are serious and informative, and some are light hearted and fun, but most spark a memory or an anecdote relating to a personal experience.  In this episode, you’ll get to learn a bit more about the team, as they discuss the questions and relation to their careers in the ballet world.This is the first episode of this kind, and the first of two Q&A episodes from Ballet Piano Podcast.  Enjoy it, and look out for the second episode also. Support the show (https://www.patreon.com/balletpianopodcast)

Q and A 1

Listen to this week’s episode all about virtuosity and the impressive tricks the dancers perform in the studio and on stage.  You’ll hear David talk about the various steps and tricks that are considered virtuosic, and the pianists talk about the music typically used to accompany this section of class.  It’s what is better known as the ‘coda’, the encore if you like and comes right at the end of class.  This episode contains some funny anecdotes from the team as well as important information for novice pianists about playing for the coda for the first time, and how to gain confidence in the early years of playing for class. Support the show (https://www.patreon.com/balletpianopodcast)

Virtuosity

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!Support the show (https://www.balletpianopodcast.com/the-podcast)

Medium Allegro and Grand Allegro

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”!Support the show (https://www.balletpianopodcast.com/the-podcast)

Petit Allegro and Medium Allegro

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.Support the show (https://www.balletpianopodcast.com/the-podcast)

Pirouettes

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.  Support the show (https://www.balletpianopodcast.com/the-podcast)

Centre Adage

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!Support the show (https://www.balletpianopodcast.com/the-podcast)

Centre Practice

In this episode, #DavidYowOfInstagram talks us through what dancers experience as they transfer from barre to centre, with this first exercise which is a centre port de bras.  He educates us on the literal translation of port de bras, and how port de bras enhances the footwork to create a complete look for ballet. David teaches verbally how to find the basic arm positions, and talks through some standard port de bras sequences.  The pianists discuss how they adapt their repertoire for this particular exercise and how they sensitively help dancers find coordination, épaulement, and head alignment through music. The podcast team reference the late Sir Fredrick Ashton, who was famous for port de bras and David uses a ‘tree trunk’ analogy to explain how imperative the back is for aiding port de bras.Musically, the pianists discuss their different approaches to this exercise, and listen out for some anomalies, such as unusual introductions, and even a Mazuka for port de bras!       Support the show (https://www.patreon.com/balletpianopodcast)

Port De Bras

What is being a ballet pianist? All the information you ever needed to know about being a ballet pianist - and more!

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Ballet Piano Podcast

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