29 June 2023

Diary of the Beginning Ballet Accompanist

WEEK 1: 2 days
Wed 28 Jun 23
Ouch.
1 class, 45 minutes, stressful.
George helped me figure out the parking garage situation.
From Rob:
    practice looking up at dancers for directions.
    when in doubt, keep playing.
    practice resolving any phrase any time.
    not too loud - always be sure you can hear the teacher.
From me:
    cut all scores that don't conform to 32 or 64 easily.
    incorporate the easiest 32/64 lead sheets you can find.
    get more tangos marked up.
    find a bigger variety of pieces in 2 around 60 bpm.
    focus on clear phrasing.
    categorize: 2 and 3, fast or slow, staccato or legato, big or small.
    to superimpose a tango or polonaise rhythm, find something with a slow harmonic rhythm.
    sometimes the accents should be on upbeats and sometimes not.
    don't freak out and rush.

Fri 30 Jun 23
3 classes, 195 mins, each worse than the previous.  Awful.
Considering quitting already.  But I can't.
From me:
    more lead sheets.
    maybe even just chord progressions.
    more fast stuff, coda stuff.
    listen carefully for 3 subdivisions!
    emotionally exhausting; it's hard to fail at something for so long.
    use a backpack, get some no-nonsense hair clips, and bring a hoodie.

WEEK 2: 4 days
Mon 03 Jul 23
2 classes, 120 mins.  Not great, but less traumatic.  Rob visited!
At times, had something close to a resting heart rate.
From Rob:
    don't do that metronome step; just make a selection.
    look up when you finish phrases, like checking a rear view mirror.
    when dancers are holding a balance, can keep playing or holding a chord.
    try to relax and enjoy playing.
    dancers can feel what we're doing, and synergy can make class magical.
    introduce yourself to the instructors.
From me:
    even more lead sheets.
    if you have an "ab" that's 32, instead of trying an "aaba" for 64, just do "abab."
    your ear hears the b after the a, so it will lead you astray.
    or if you can't deal, just cut it entirely.
    cut more stuff that requires page turns; page turns are just awful.
    cut anything that doesn't inspire movement very well.
    mark up scores in a cleaner way.
    try to be more involved with the class in general.
    memorize teacher names and try to be friendly.
New score marking rules:
    phrases in dark blue.
    32's in red.
    repeats in yellow.
    key changes in pink.
    starting key and form typed in indigo.
    form in score uses boxes, but only when repeats are necessary.
    all da capos have FIN in black with yellow.
    all page turns require a turn back link.
    any special score notes in black.

Wed 05 Jul 23
4 classes, 210 + 120 mins.
I was cool enough to actually smile at people for the first time.
Got my first few compliments - first one was for my boots, but I'll take it.
From me:
    sometimes the teachers count in 16ths and want the "and a" beats!
    so... make a new category for those.
    get more waltzes around 56-60.
    definitely get more Levy stuff!
    also get some more classical stuff - maybe a few arias.
    double check the relative tempos of your rep.
    not really using the airturn - leave it at home.
    doing okay with simple lead sheets, but lots of rep in C major :(
    5 hours and 45 minutes is too long to be sitting at the piano bench.

Thurs 06 Jul 23
2 classes, 105 + 60 mins.
First day to drive and handle the parking garage on autopilot.
Even have a regular parking spot at G9; healthy habits are drinking water and taking the stairs.
First day hanging out in the faculty lounge on break.
I'm even making friends, a little.
From me:
    while I still make errors constantly, I am now used to constantly making errors.
    still lots to catch up on (waltzes, classical, Levy), but I've started.
    am I ever going to scan any of the dance book rep?
    switch to the black backpack - this is your new ballet bag.
    2-3 hours is a good amount.

Fri 07 Jul 23
1 class, 60 mins.
Okay, 1 class was harder than I thought it would be.
I had to keep asking questions (but maybe it's a compliment that they were assuming I'd know).
Still play too long maybe half the time, but at least I don't end early anymore.
I try to vary things when I take repeats, but I'm not very creative and it sounds the same.
Stepping outside of the chord, even within the given key, feels brave right now.
Getting better and improvising during the balancé.
From me:
    ALWAYS include rhythmic "ands" in the intro, even if going very very fast!
    so much to scan, so much to play, so much to organize.
    it's hard to keep track of what to do and in what order, but there's lots of work to do.
    trying to not let this take over my life - just get a little work done each day.
    play from lead sheets a little at home: not for rep, just for practice.

WEEK 3: 5 days
Mon 10 Jul 23
1 class, 105 mins.
Only 5 kids today - really low pressure and easier than usual!
Was a little more relaxed between playing.
It always sounds like the other pianists have a fuller and more fluent sound.
That's okay - just do what you can do; nobody can expect more than that.
From me:
    start trying to end at the right time (instead of playing too long) a little more.
    keep adding rep, and keep an eye out for faster pieces.
    also start getting rid of rep you've scanned and don't want to use.
    you're starting to avoid your lead sheets, don't.
    don't be hard on yourself for playing in C; so many of them actually come that way!

Tues 11 Jul 23
2 classes, 105 + 90 mins.
Being there for over 4 hours is pretty tiring, even if some of it is break.
Not too excited about having more big days this week.
Was rather skeptical and reserved in playing today, which is not great.
In other news, I've started going through Rob's books, so that's a win.
Thought "basic ballet" might be a little easier and therefore more fun, but it wasn't really.
Met a new teacher and played in Kodosky for the first time.
From me:
    did play from simple lead sheets today but it wasn't challenging.
    definitely gravitating towards favorites and sounding like a broken record.
    stop waiting so long for the "and" - I think instructors want you to just start more.

Wed 12 Jul 23
3 classes, 165 + 45 mins.
Played for 3 new teachers in a new space.
Positively awful, just failed and failed and failed today.
Ended too short on several occasions; not sure why I had a better handle on that last week.
Played for levels 7 & 8 for the first time, and I do NOT belong there.
At least I was friendly (and apologetic).
Mama said there'll be days like this, there'll be days like this Mama said.
From me:
    just play too long all the time; this was unacceptable.
    make more folders so you don't have to scroll so much.
    you're not getting better at improvising; not sure what to do about that.
    trying to play off the chords with no melody sounded pretty bad today :(
    the action in Armstrong/Connelly is a bit stiffer.

Thurs 13 Jul 23  (Rob is back!)
2 classes, 150 mins.
I needed a day like this; I wasn't amazing, but things were just fine.
The lower level classes allow more time to make selections, and I need that.
I actually caught some weird timings successfully.
A few people might have even liked being around me today.
From me:
    check relative tempi again and delete selections you aren't using.
    read and scan more book selections.
    bring some books back for Rob tomorrow.

Fri 14 Jul 23
3 classes, 195 mins.
Well, that went a little better than expected!
It felt more like yesterday, even though I thought it would be harder.
After my first day, I was thinking that some day, a 45 minute class would feel short.
Lo and behold, my 45 minute class felt short!
From me:
    when trying to maintain a tempo, work in something technical to keep from rushing.
    as you get more comfortable accompanying, start listening more to your sound.
    keep working on Rob's books!!

WEEK 4: 3 days (my request; bake due on Friday)
Mon 17 Jul 23
3 classes, 210 + 60 mins.
Still doing okay, even after 4+ hours of playing.
Officially recovered from the trauma of last Wednesday.
Starting to have moments of connection with the class.
Enrolled my kids for the school year!
From me:
    still not always ending at the right time, but it's happening more often.
    had a slightly better sound but chose a lot of easy music.

Tue 18 Jul 23
3 classes, 150 + 90 mins.
I LEFT MY IPAD AT HOME.
I knew this day would come, but I didn't think it would be so soon.
The quality of music wasn't great.
Surprisingly, however, the day was a little less stressful than usual!
No thumbing through scores.
From me:
    I was proud of myself for varying keys quite a bit.
    I found out that my default progression is:
        I  I  X  X  I  I  X  X  I  I  IV  IV  I64  V  I  I
        where X is something else, like vi, iii, ii, bII, bVI, II, or bVII.
    I also did a lot of aeolian iv v i i progressions and morphed that into VI VII i i as well.
    Other groups of 4 repeated chords can work; Joshua Piper uses pop songs like:
        IVM7 iii7 ii7 IM7 (Loving You)
        I vi iii IV (Where Is My Mind?)
        V ii7 IV I (Bittersweet Symphony)
    I found that using i i V V, V V i i in a march was effective.

Wed 19 Jul 23
3 classes, 195 mins.
Last day of this diary!
I'm glad I forgot my ipad yesterday!  ...and also glad I did not forget it today.
A teacher hated a piece I chose, which is a real compliment!
    Teacher was comfortable telling me.
    Teacher assumed I'd be able to bounce back!
    Being treated as a professional is even better than "nice job."
Another teacher expressed disappointment that I couldn't come in later this week.
4 hours feels normal instead of long because today felt short!
I even feel a little weird about not coming in tomorrow.
I'm starting to feel settled, and more like I belong here.
The best part is that it feels great to be playing more piano ❤❤❤

21 June 2023

Notes for the Beginning Ballet Accompanist

I start playing for ballet classes next week and I have no idea what I'm doing.
Here are my notes.

Chapter I: Make a Square of 32
The most important thing to understand is the way dancers count.

When the subdivision is 2, they count "1 and 2 and..." up through 8.
    But actually, their counts are usually quarters, so an 8-count is 16 beats or 4 bars of 4/4.
    These 8-count phrases are in period structure; another 8-count follows.
    This structure is doubled for a 4 phrases of 8.
When the subdivision is 3, they count "1-and-a-2-and-a..." up through 8.
    (Sometimes they count "1 and 2 and" where "ands" are 3rd beats.)
    These are also usually quarters, so an 8-count is 24 beats, or 8 bars of 3/4.
    Like before, 8 becomes 16, which becomes 32.
Pieces that don't conform to this structure must be altered to conform to this structure.
(Sometimes this is doubled for 64, but the template is always some power of 2.)

Either way, the intro is typically half a phrase, or 4 counts "5 6 7 8."
    Intros should set the tempo and be very predictable.
    They tend to be straightforward cadences that usually end with dominant or tonic.
    Some examples:
        I I I I
        I V I I
        I V I V
        I ii I V
        I vi I V
        I ii V V
        I64 V I V

Less frequently, the dancers will think in a "6-count."
    In this case, the intro is only ONE 6-count (2 m of 3).
    These tend to be 4 6-counts total, which is like 8 3-counts.
    Often this calls for a polonaise or bolero.
    Other 6-count dances are the sarabande (2 m of 3/4) and the triple jig (2 m of 9/8).

Compound times 6/8 and 12/8 can be used for exercises in 2s and 3s depending on the tempo.

Ending cadences should be very clear and coincide with the ending of the exercise.
Sometimes space between groups or an extra balance will add counts to an exercise.
These time changes must be improvised.

Chapter II: Dances for the Ballet Pianist

Slow to medium overview
    Adagio
    March
    Mazurka/Polka Mazurka/Minuet
    Waltz
    Polonaise/Bolero/Triple Jig
    Tango

Medium to fast overview
    Jig/Quadrille/Rag/Choro/Contredanse/Hornpipe/Reel/Polka
    Mazurka
    Czardas/Galop/Can-Can/Coda/Schnellpolka
    Tarantella

Ballroom Mazurka (German)
    In 3
    Slower and less marked than Polish mazurka
    Dotted rhythms throughout the bar

Barcarolle/Sicilienne
    In 2
    6/8, 3/4, or 2/4
    Slow boat rocking rhythms

Baroque Hornpipe
    In 3
    "1eand a 2 e and 3 and"
    Handel, Purcell
    Can be used in place of a lighter polonaise

Bolero
    In 6
    Like a polonaise but faster and lighter.

Can-can
    In 2
    Straight eighths
    Fast, energetic

Choro
    In 2
    See polka and tango

Czardas
    In 2
    "1 and2 and"
    Fast, energetic

Galop
    This term means three different things:
        Dance step which is accompanied by a lilting jig-like pattern
        Dance from the 19th century in 2/4 "1 e and 2 and"
        Concert piece also called the Polka Schnell or Schnellpolka
            Related to the French can-can and Hungarian friska
            All of these form the basis of the balletic coda

Hornpipe
    In 2
    Dotted rhythms

Jig
    Single jig - long short lilting pattern
    Double jig - slower than single jig, continuous eighths
    Triple jig/slip jig - 9/8, counted in 6 (2 bars)
        Can be used in place of a lighter polonaise

Mazurka (Polish)
    In 3
    "1eand a 2 3"
    Allegretto, light and gliding, stamping feet
    Kujawiaks are slow dignified mazurkas
    Obereks are quick and wild mazurkas

Polka
    In 2
    Oom pah oom pah accompaniment, jumpy
    Developed into the Brazilian choro and theAmerican rag

Polka Mazurka (German)
    In 3
    Dotted rhythms, accents every beat of the bar

Polonaise
    In 6
    "1 and a 2 and 3 and 4 and (a) 5 and 6 and."

Rag
    In 2
    Syncopated sixteenths

Reel
    In 2
    "1 and a 2 e and a"

Schottische (pronounced "shoteesh") & Shuffle
    In 2
    Moderately fast
    Continuous dotted rhythm

Tango & Habañera
    In 2
    Accompaniment is "1eand a 2 and"
    Habañera melody is "1 a la 2 and"
    Brazilian tango & choro melody is "1 eand a 2 and"

Tarantella
    In 6/8
    Faster than double jig
    Begins with and half-bar anacrusis
    Lilting or constant eighth motion

Waltz
    In 3, but sort of in 1; not considered "truly triple"
    English or Boston waltzes are slow
    Viennese waltzes are played with a big downbeat and an early 2nd beat
    Early German waltzes are truly triple with running eighths
    ChassĂ© waltz "3 1 3 1"
    BalancĂ© waltz "3 12 3 12 3"    

Quadrille & Contredanse
    2/4 or 6/8

Chapter III: Ballet Terms
Teachers are called ballet masters or ballet mistresses.
All ballet classes have two parts: first at the barre and then away from the barre.
Exercises on the barre tend to be slower and lighter than those away from the barre.
Towards the end are big 3's and jumpy things.
Classes usually run 60 or 90 minutes.

Adage
    Typically in 3, smooth
    Flowing left hand or quarters with different inversions on beats 2 and 3

Allongé - elongated

Arabesque
    Position of a leg extended behind with arms held harmoniously

Assemblé - feet assembled or joined together

Ballon - bounce

Chassé - chased; one foot chases the other out of its position

Changement - changing of the feet

Coda
    Fast and in 2
    Very big
    Oom pah oom pah left hand
    Can-can, czardas, galop/schnellpolka, tarantella

Dégagé - to disengage
    Move through tondu, brush leg off the floor

Développé - open, unfold, developing movement
    Working leg is drawn up the knee of supporting leg then extended to an open position

Diagonals
    Traveling in a diagonal direction

Échappé - escaping
    Opening of both feet from a closed to an open position

Fondu, Fondue - sinking down
    Often calls for a tango

Frappé - to strike
    Sharp, marked style
    Quick

Grand Allegro
    Last big combination in class
    Often in 3
    Big and forceful, but not too heavy
    Big chords, octaves

Grand Battement 
    Often in 2
    Cut time, marchy
    Dotted rhythms and triplets

Jeté - throwing step, jump
    Staccato, light, energetic, spritely, airy
    Can have a syncopated right hand
    Small jumps often 2/4 or 6/8

Pas de bourrée - running
    Transitional steps

Pas de chat - step of the cat

Pas de deux - dance for two

Passé - pass
    To pass through retirĂ©

Petit Allegro
    Fiddle music
    Jigs, reels, polkas, & hornpipes
    Quadrilles

Petit Battement
    Battement tendus, dĂ©gagĂ©s, frappĂ©s, tendus relevĂ©s

Pirouette - whirl, spin

Piqué - pricked, pricking
    Staccato, light
    Not too slow

Plié - bent, bending
    Often in 3
    Gentle, slow, smooth, controlled
    Not too waltzy; maybe quarter half pattern or straight eighths

Port de bras - carriage of the arms
    Often in 3, gentle

Relevé - raised, on toes

Retiré - withdrawn
    Position of pointed toe near supporting knee

Rond de jambe - circular movement of the leg
    Often in 3, gentle

Sauté - jump, jumping

Soutenu - sustained in turning

Stop time
    Lots of space, staccato downbeats
    Keep melody followable through spaces

Tendu - stretched
    Often in 2
    More marked than PliĂ©
    Slightly marchy but not heavy
    Some left hand stride or alberti bass
    Not too abrupt or fast

Waltz steps
    Always in 3
    Waltz with oom pah pahs

Chapter IV: Advice
You'll mess up; try not to take it personally and keep doing your best.
Dance instructors can and will change things at the very last second, sometimes by accident.
Be a flexible collaborator and try to be helpful rather than right.
Mark up your music to follow 8-count phrases more easily.
If you know that a piece conforms to the 32 counts, it may be quite malleable.
Try to vary the tempo, meter, style, and mood.
Don't play too many minor pieces in a row.

Build a collection of marches, waltzes, tangos, polonaises, and mazurkas.
Build a collection of quadrilles.
Fiddle music has jigs, hornpipes, polkas, and reels; these are harder for pianists to improvise.

Improvise in the relative or parallel keys to the original changes.
High right hand octaves on the dominant can signal that it's time to change sides.
Instead of repeating an A section, consider moving onto the B section if the counts work out.
Have some harmonic progressions to fall back on.
    Try VI VII i (aeolian)
    Try I I I I I I V V, V V V V V V I I (ionian).
    Follow the descending circle of fifths
Left hand dictates rhythm, harmonies, baseline, energy, character, so practice left hand alone.
When improvising a melody, try to create a question and an answer; can be easy and simple.
It's important to be clear and musical, and it's not important to be fancy.
Watch the exercise carefully and try to inspire the dancers.
Love the music you play.