By Harriet Cavalli

ISBN-10: 0813018870

ISBN-13: 9780813018874

Harriet Cavalli, the world over famous as probably the most proficient and skilled experts within the artwork of tune for dancers and dance academics, offers the following the definitive booklet on accompaniment, in addition to her personal--often humorous--look behind the curtain on the international of dance. The textual content is stronger by means of diagrams and eighty three whole musical examples, offering a wealth of repertoire offerings. some of the most entire books to recognize the intimate hyperlink among track and ballet method, Dance and track emphasizes the need of powerful conversation among dance academics and their accompanists. Cavalli lays the foundation with descriptions of so much musical types utilized in the dance lecture room and stresses the necessity for academics to make track a residing a part of their periods. For the green accompanist, she describes the pianistic calls for of the occupation, in addition to the features of dance steps and routine that might facilitate the identity of appropriate tune. She additionally discusses the categories of dance sessions an accompanist may fit 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 targeted, occasionally intimidating international of dance accompaniment.

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Extra info for Dance and Music: A Guide to Dance Accompaniment for Musicians and Dance Teachers

Example text

Sousa’s fame resulted mainly from his marches, yet the rhythmic structure of this selection differs radically from not only that of the first section of the piece, a 6/8 march (example 41), but also a “typical” duplemeter march, such as example 35. Oddly enough, the step called galop cannot be done organically to a musical galop. 18 ˙ Dance and Music Czardas-friszka - example 8 A czardas always has two sections. The first, the lassú, is described in the 4/4 category. The second section, the friszka, often has the rhythmic structure of a coda, as in example 8.

While a thorough knowledge of musical dance forms is vital for an accompanist and helpful for a teacher, the most productive way for a teacher to communicate her musical needs is by the way she moves and speaks and sings 15 ˙ Musical Forms for Dance and How to Count Them or hums. There are many musical forms for dance that don’t have convenient labels like rag or polacca, and a dance teacher cannot be expected to put a label on every piece of music she uses. She will get the best out of her accompanist—and her students—if she counts clearly and infuses her demonstrations with the appropriate spirit of each combination.

The peaks-and-valleys effect is very evident in big waltzes that are used to support combinations of grand allegro movement (as opposed to consecutive leaps across the floor, which need 3/8s without peaks and valleys). , on counts 1, 3, 5, 7, and so on). Therefore, those odd-numbered counts must be more accented than the even-numbered ones. What is also extremely important is the lead-ins to those odd-numbered counts. How well a dancer does the preparatory steps determines the quality of the jump, so those steps must be reflected musically.

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Dance and Music: A Guide to Dance Accompaniment for Musicians and Dance Teachers by Harriet Cavalli


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