Edith Cowan University

Copyright Warning

You may print or download ONE copy of this document for the purpose
of your own research or study.
The University does not authorize you to copy, communicate or
otherwise make available electronically to any other person any
copyright material contained on this site.
You are reminded of the following:
Copyright owners are entitled to take legal action against persons
who infringe their copyright.
A reproduction of material that is protected by copyright may be a
copyright infringement.
A court may impose penalties and award damages in relation to
offences and infringements relating to copyright material. Higher
penalties may apply, and higher damages may be awarded, for
offences and infringements involving the conversion of material
into digital or electronic form.

TheImprovisationofStructuredKeyboard
AccompanimentsfortheBalletClass

SimonFrosi

WesternAustralianAcademyofPerformingArts
EdithCowanUniversity

ThisdissertationissubmittedforthedegreeofBachelorofMusicHonours
2011

DECLARATION

Icertifythatthisthesisdoesnot,tothebestofmyknowledgeandbelief:
(i) incorporatewithoutacknowledgmentanymaterialpreviouslysubmittedfora
degreeordiplomainanyinstitutionofhigherdegreeordiplomainanyinstitutionof
highereducation;
(ii) containanymaterialpreviouslypublishedorwrittenbyanotherpersonexcept
whereduereferenceismadeinthetextofthisthesis;
(iii) containanydefamatorymaterial;
(iv) containanydatathathasnotbeencollectedinamannerconsistentwithethics
approval.

ThiscopyisthepropertyofEdithCowanUniversity.However,theliteraryrightsofthe
authormustalsoberespected.Ifanypassagefromthisthesisisquotedorclosely
paraphrasedinapaperorwrittenworkpreparedbytheuser,thesourceofthepassage
mustbeacknowledgedinthework.Iftheuserdesirestopublishapaperorwrittenwork
containingpassagescopiedorcloselyparaphrasedfromthisthesis,whichpassageswouldin
totalconstituteaninfringingcopyforthepurposeoftheCopyrightAct,heorshemustfirst
obtainthewrittenpermissionoftheauthortodoso.

ii

ACKNOWLEDGEMENTS
Iwishtothankmysupervisor,DrJonathanPaget,forallofhishardworkandtimeasmy
supervisorthisyear.Hishugewealthofknowledgeisjustamazing.Iwouldalsoliketo
thankMichaelBrettforhisassistanceandforallowingmetoanalysesomeofhis
transcriptions,andobservinghisclasses.IwouldliketothankStewartSmithforsupervising
methroughoutthefirstsemesterandhelpingmecomeupwithideasformythesis.Iam
privilegedtohavebeensupportedandsupervisedsuchagreatartistashimself.Also,thanks
tomymumaswellasteachersAnnaSleptsovaandPeterTanfieldfortheircontinued
supportandcarethroughmyfinalyearofstudiesatWAAPA.

iii

ABSTRACT
Thisdissertationexploresthequestionofhowapianistcanlearntoimprovise
accompanimentsforaballetclass.Itaimstoexaminethebackgroundknowledgerequired
inordertoembarkuponsuchataskandtoprovideatheoreticaltoolkitforpianiststouse
inimprovising.Additionally,thisdissertationmakesadetailedcasestudyofnotated
improvisationsbyMichaelBrett,anexpertexponentofthisgenre.Athematiccatalogueis
providedofBrettsimprovisationsforaforthcomingpublication,examiningaccompaniment
figurationsandrhythmicstructures.Amoredetailedharmonicandphraseanalysisisthen
madeofthreecompletepieces,examiningthecadentialandmelodicstructuresthat
underpintheseworks.SimilartotheBaroquepartimentotradition,thesephraselevel
analysescanbeusedastemplates,providingthemiddlegroundscaffoldingforthe
improvisingpianisttoembellish.Theycanalsobetreatedasexemplarsastohowapianist
maystructuretheirownimprovisationstosuitanyparticularballetexercise.

iv

CONTENTS

DECLARATION.........................................................................................................II
ACKNOWLEDGEMENTS..........................................................................................III
ABSTRACT..............................................................................................................IV
CONTENTS...............................................................................................................V
I. INTRODUCTION.................................................................................................1
II.

ABACKGROUNDTODANCEACCOMPANIMENT.............................................2

III.

REQUIREDGENERALKNOWLEDGE.................................................................6
1.
TheRhythmicBasisofDance........................................................................6
2.
Cadences:TheirRelativeStrength................................................................6
3.
ConstructingPhrasesandPeriods................................................................7

IV. THEPARTIMENTOTRADITIONANDITSAPPLICABILITYTOSTRUCTURING
IMROVISATIONSFORTHEBALLETCLASS..........................................................................10
V. THEANALYSISOFFREEIMPROVISATIONFORTHEBALLETUSINGMICHAEL
BRETTASANEXEMPLAR...................................................................................................12
A. MYOBSERVATIONS..............................................................................................12
B. CATALOGUEANDANALYSISOFMICHAELBRETTSSCOREDIMPROVISATIONS

13
1.
BARRE.........................................................................................................14
PLIES......................................................................................................................14
2.
DEMIPOINT................................................................................................18
3.
CENTRE.......................................................................................................19
4.
ADAGE.........................................................................................................20
1STADAGE............................................................................................................21
5.
PIROUETTES................................................................................................23
6.
ALLEGRO.....................................................................................................25
7.
POINTE........................................................................................................29
C.
ANALYTICALDISCUSSION...............................................................................32
1.
AccompanimentPatterns...........................................................................32
2.
DevelopmentofMotivicIdeas....................................................................33
3.
HarmonicTemplatesDerivedfromMichaelBrettsBalletImprovisations33
4.
ImprovisingfromaTemplate.....................................................................40
5.
StepstoCreatingyourOwnImprovisation.................................................41
VI.

CONCLUSION...............................................................................................41

VII. BIBLIOGRAPHY.............................................................................................42

I.

INTRODUCTION

WhenIarrivedatPerththisyear,Iwaspreparingmyselftoplayforsomeballetclassesat
theWesternAustralianAcademyofPerformingArtsanddidn'trealisewhatadauntingtask
itistoplayforclasswithoutselectedmusic.Havingworkedasasessionalpianistplayingfor
examsandworkshopswiththeRoyalAcademyofDanceoverthelastthreeyearsIassumed
itwouldbefairlyeasyasIwasusedtoplayingwithsetmusicthatgavedetaileddirections
onexactlyhowtoplay.Theballetclassrequiresthepianisttounderstanddanceanddance
music,andtoapplythosedetaileddirectionsintothemusicwhentheyplay.Thisiswhere
theideaformythesiscame.HavingdecidedIwouldfocusonimprovisationinrelationto
theballetclass,IdecidedIwoulduseoneofAustralia'sleadingplayersandimprovisersin
thatstyle,MichaelBrett.FromthisIcameupwithsomequestions:

Firstly,whatweretherequirementsofaballetpianist?

Howistheaccompanimentforaballetexerciseconstructedinrelationtophrase,
harmonyandcadence?

Howcouldoncereplicatethisinastheirownimprovisation?

HowcouldIlearntoimproviseballetexercisesfromobservinganexpertimproviserin
thisstyle?

Ialsobecameinterestedinhistoricalmodelsforimprovisationandcompositionandbegan
toevaluatetheBaroquepartimentotradition,examiningwhatitcouldteachusabouthow
tomouldandscaffoldimprovisationsinatonalstyle.Thetraditionofpartimentowas
developedprominentlyinNaplesthroughoutthe16thand17thcentury.Theideawasthat
thestudentwouldplayoffinstructionalbasslines(calledpartimenti),whichwere
representationsofaharmonicstructure.Studentspracticedrealisingthesebasslinesin
keyboardharmony,andabsorbedmanycompositionallessonsfromclichdmusical
patternsembeddedwithinthem.Ineffect,compositioncomprisedthestringingtogetherof
anumberofstockstandardpatternslearntthroughpracticingthepartimenti.1Ibecame
intriguedwithwhethersuchawayofpracticingcouldaidmeasadanceaccompanist.
Couldtemplatesbederivedonwhichtoformimprovisationsforadanceclass?

AaronBerkowitz,TheImprovisingMind:CognitionandCreativityintheMusicalMoment(publication
place:OxfordUniversityPress,USA,2010),pagenr

II.

ABACKGROUNDTODANCEACCOMPANIMENT

Thissectiondescribeswhattheexpectationsareforadanceaccompanistinaclassroom
setting.Thebasicstructureofaballetclasscanbedividedintothreesections:barre,centre
andallegro.TheteacherinstructstheclassusingFrenchterminologyanddemonstrates
whennecessary.First,thepianistmusthaveanunderstandingofballetterminologyand,by
observingthedanceteachersinstructions,mustplaysomethingfittingtothatparticular
exercise.2
Akeyconceptthatthedanceaccompanimentpianistmustcomprehendisthatof
howdancerscountmusic,andhowthisfitsinwithanideaofmusicalperiodicity,and
particularlytheprevalenceoftheeightbarphrase.ThisiscoveredextensivelyinCavallis
DanceandMusic,3andIexpounditfurtherinthenextchapter.
AnotherkeypublicationoutliningtherequirementsofdanceaccompanistisADance
ClassAnthology,producedbytheworldsleadingballetexaminationcompany,theRoyal
AcademyofDance.Thispublicationoutlinesinanutshellwhatisrequiredoftheclassical
danceaccompanistaswellasprovidingscorestosuitoneortwoclassesworthofmusic.
Someofthemusicincludesadaptedmovementsfromballets,opera,orchestralworks,and
solopianorepertoire.Therefore,itisnotmyintentiontofocusonselectingandadapting
repertoirefortheballetclassasthishasalreadybeendonebutinsteadtofocuson
techniquesthatcouldbeusedtoimproveapianistsimprovisatoryskills.
Thereisalsoavastamountofliteraturethatgivesclassoutlinesthatinclude
directionsfortherequiredaccompanimentforcertainexercisesbutnotnecessarilyasa
guideforthepianist.OneofthesethatincludemusicalscoredmusicalexamplesisBasic
PrinciplesofClassicalBalletbyAgrippinaVaganova,whichteachesRussianballettechnique.
Asamplelessonwithmusicalaccompanimentcanbefoundinthefinalchapterofthis
book.4Iamnotdiscouragingtheuseofadaptedrepertoire,butmerelysuggestingthatthe

RoyalAcademyofDancing,ADanceClassAnthology:TheRoyalAcademyofDanceGuidetoBallet
ClassAccompaniment(R.A.D.)(London:RoyalAcademyofDance,2005),218.
3

HarrietCavalli,DanceandMusic:AGuidetoDanceAccompanimentforMusiciansandDance
Teachers(Miami:UniversityPressofFlorida,2001).

AgrippinaVaganova.TranslatedfromtheRussianbyAnatoleChujoy.Incorporatingallthematerial
fromthe4thRussianed.IncludingVaganova'sSamplelessonwithmusicalaccompanimentandtranslatedby
JohnBarker,BasicPrinciplesofClassicalBallet:RussianBalletTechnique,(NewYork:DoverPublications,1969),
pagenr.

danceaccompanistwhoisabletoimprovisewillbeabletoplayaclasswithmuchgreater
ease.
Thejoboftheballetaccompanistisverydemanding,notonlyrequiringtheabilityto
sightreaddifficultorchestralreductions,learnlargeamountsofrepertoire(whetherfrom
balletrepertoryorexaminationsyllabi),butalsotoobservetheinstructionsofthedance
teacher,watchthedancers,andplayintime.Notalldanceaccompanistshavetheabilityto
improvise,butIarguethattheseskillsarehugelybeneficial,ultimatelymakingthejobofthe
danceaccompanistlesstimeconsuming,andabletorespondmoreadequatelytothe
immediatedemandsofthejob.
Someofthebenefitsofbeingabletoimproviseintheballetclassincludethe
following:
First,astheballetclasscangoforupto30exercisesormore,usuallyinthespaceof
oneandahalfhours(dependingontheagegroupand/orlevel).Thepianistmaynotalways
havetimetofindsomethinginthepianistsbooksormemoryintimefortheclasstostart
theirexercise.
Second,whenplayingmemorisedmusic,mentalblankscanbecommon.Beingable
toimproviseandhavingasoundharmonicsenseofapiecewillenablethepianisttoadapt
themusictothedancewithaslittlestressortroubleaspossible
Third,anotheradvantageofbeingabletoimproviseistheobviousfactthatthe
pianistneedstoknowwhatisgoingonandwatchthedancerasmuchaspossible.Playing
fromscoresdivertsyourvisualfocusonthemusicstandandmerelyusingperipheralvision
tofollowthedancer.
Fourth,whilsttheinstructorisdivulginginformationonhowthedancerisgoingto
approachaparticularexercise,thepianistmaygivethemtheirundividedattentionfocusing
theirenergyonhowtheirmusiccansupportwhattheteacheranddanceristryingto
achieveinsteadofspendingtheirpreparationtimesiftingthroughtheirmusic.

TogetanideaofhowaballetclassisrunIhavepresentedIhaveincludedtwo
examplesofaballetclass.Figure1isfromtheADanceClassAnthologyissuedbytheRoyal
AcademyofDancingandFigure2isanexampleofaRussian'SixthYearclassfrom100
LessonsinClassicalBalletwrittenbyVeraS.Kostrovitskaya.Aclassmayberuninmany
differentwaysdependingonthestudentslevel,theteacher,andwhethertheyare
preparingforanexamorperformance.Butmostballetclasseshaveafairlysimilar
structure.Mostexercisesatthebarandotherdiagonalexercisesareplayedatleasttwo
3

timessothedancerhastheopportunitytopresentboththeleftsideandtherightside.On
occasions,theteachermayasksomethingontheleftsidetobeplayedslightlyslowerasitis
generallytheweakersidewhichneedstobeaccommodated.
Anotherrequirementoftheballetaccompanististomotivateandinspirethe
dancers.BalletmasterandchoreographeroftheBolshoiballet,AsafMesserer,believed
thatmusicalaccompanimentforadvanceddanceclassesshouldalwaysbe'artistically
varied,richinmelody,andinteresting.'5

Figure1.SampleclassoutlinefromADanceClassAnthology6

AsafMesserer,ClassesinClassicalBallet(NewYork:LimelightEditions,2007),pg.485.

RoyalAcademyofDancing,ADanceClassAnthology:TheRoyalAcademyofDanceGuidetoBallet
ClassAccompaniment(R.A.D.)(London:RoyalAcademyofDance,2005),20.


Figure2.SampleOutlinefrom100LessonsinClassicalBallet7

EXCERSISESATTHEBARRE
DemiPlisExercise
BattementsTendus
RondsDeJambeATerreandGrandsRondsDe
JambeJetes
BattementsFondu
RondsDeJambeEnLair
PetitsBattementsSurLeCoudepied
BattementsDevelops
GrandsBattementsJets
EXCERSISESINTHECENTER
SmallAdagioandBattementsTendus
BattementsFondu
PetitsBattementsSurLeCoudepied
GrandBattementsJetsBalancs
GrandAdagio
ALLEGRO
SissonnesFermesandEtrechatsquatre
BallonnsinPosEfface
BallottesandAssembles
GrandEchappes
GrandJeteinattitudecroisee
Glissades
PointeTendu
Coupes
Emboites
BrisesDessusDessous
Petitschangementsdepieds
EXCERSISESONPOINTE
Echappes
SissonnesSimples
GargouilladesenDehors,andPasDeChat
Jetes
ToursSurLeCoudepied
ToursGlissadeenTournant
ToursenDehorswithDegage

16Measuresin4/4
32Measuresin2/4
12Measuresin4/4
16Measuresin2/4
8Measuresin4/4
16Measuresin2/4
8Measuresin4/4
16Measuresin2/4
4Measuresin4/4
8Measuresin4/4
8Measuresin2/4
8Measuresin4/4
12Measuresin4/4
16Measuresin2/4
8Measuresin4/4
(Waltz)16Measuresin3/4
8Measuresin2/4
(Waltz)16Measuresin3/4
4Measuresin4/4
(Waltz)16Measuresin3/4
8Measuresin2/4
8Measuresin2/4
8Measuresin2/4
8Measuresin2/4
8Measuresin2/4
16Measuresin2/4
(Polka)16Measuresin2/4
8Measuresin4/4
(Waltz)16Measuresin3/4
16Measuresin2/4
8Measuresin2/4

VeraS.Kostrovitskaya,100LessonsinClassicalBallet,1stLimelighted.(NewYork:Limelight
Editions,2004),pagenr.

III.

RequiredGeneralKnowledge
1.

TheRhythmicBasisofDance

Whentalkingdancestepsandrhythm,thedancertendstousedifferentlanguagethanthe
musician.Thedancergenerallyworksincountswhereasthemusicianthinksofbeats,
measures(orbars).Whenconvertingcountsonemustconsiderthetimesignatureandthe
pulse.Forexample;ifapianistwasplayinginathreefourtimesignatureforaGrand
Battementexercise,eachbarwouldbeconsideredacountandthetempocouldbemuch
faster,perhapsadottedminimequals70beatsperminute.IfonewastoplayaBattement
Fonduexerciseinathreefourtempo,eachcrotchetwouldbeconsideredacountandwould
berelativelyequalintempotoawholebarofthegrandbattementexercise.Thereforein
theFonduexerciseyouareplayingonethirdoftheamountofnotesiftheexerciseshares
thesamemusicandcounts.
Asmostdanceteachersarenotfamiliarwithdetailedmusicalanalysisanduse
differentterminology,theytendtoaskforaparticulartypeofdanceasanexamplelikea
slowwaltz,apolka,orarag.Thisfacilitatestheaccompanistwhenplayingfromscored
music,butwhenimprovisingthemusicianmusthaveanawarenessofotherfactors,which
inanycaseshouldalsobeconsideredwhenplayingoffnotatedmusic.Acomprehensive
understandingofhowrhythm,phraseandstructuresworkwillallowthepianisttomake
theirimprovisationseasilyunderstoodandbettersynchronisedwiththedancer(s).
2.

Cadences:TheirRelativeStrength

Cadenceisthebestwayofdefiningtheendsofphrases,aswellastonality.8Cadencein
balletcanhelpguidethedancerthroughanexercise.Forthemusicaldancer,itprovides
themwithsubdivisionsofthephrase,whichifplayedcorrectlycanhelpthemwiththeir
ownsenseofphrasinganddirection.
Theimperfectauthenticcadence(IAC)andperfectauthenticcadence(PAC)are
characterizedbyadominantharmonyresolvinginthetonic.IntheUSterminologyIam
adoptinghere9,aperfectauthenticcadencereferstoclosedvoiceleading,withthesoprano

WilliamS.Rockstro,etal."Cadence."InGroveMusicOnline.OxfordMusicOnline,http://0
www.oxfordmusiconline.com.library.ecu.edu.au/subscriber/article/grove/music/04523(accessedNovember
16,2011).
9

RobertGauldin,HarmonicPracticeinTonalMusicWorkbook,SecondEdition,Workbooked.(New
York,London:W.W.Norton&Company,2004),133.SeealsoStevenG.Laitz,TheCompleteMusician:an
IntegratedApproachtoTonalTheory,Analysis,andListening,3rded.(NewYork:OxfordUniversityPress,USA,
2012),121125.

endingonthetonic,andthechordsbeinginrootposition.Thissoundsmorefinal,and
conclusiveanddesignatesthecloseofamusicalperiod.Theimperfectauthenticcadence
referstoaVIcadencethatdoesnotsatisfytheconditionsofbeingtonallyclosed(as
describedabove).Assuch,theIACdesignatestheendofaphrase,butnotacomplete
musicalperiod.Thethirdsignificantcadencetypeisthehalfcadence(HC),whichdesignates
anycadenceclosingonchordV(whetherItoV,iitoV,IVtoV,vitoV,andsoon).The
fourthsignificantcadencetypeisthedeceptivecadence(DC),beingwhereadominant
chordsnormalresolutiontotonicisevadedbysubstitutionofthesubmediant.Finally,there
istheplagalcadence,whichappearsasasubstituteforthePACinsomelateRomantic
repertoire.Figure3)summarisesthesecadencetypes,theirabbreviations,andthe
harmoniesandvoiceleadingtheydesignate.

Figure3.Cadencestypes

CadenceType
(USterminology
Perfectauthentic
cadence(PAC)

English
terminology
Perfectcadence
withclosedvoice
leading
Perfectcadence
withopenvoice
leading
Imperfectcadence

Imperfectauthentic
cadence(AC)
Halfcadence(HC)

Deceptivecadence(DC) Interrupted
cadence
Plagalcadence
Plagalcadence

Progression

Voiceleading

DominanttoTonic

Sopranomoveseither7
8or21whilethebass
moves51
Sopranocloseson5or3

DominanttoTonic

Anythinggoingtothe
Dominant
Dominantto
Submediant
Subdominanttotonic

3.

ConstructingPhrasesandPeriods

Whenassessinghowmanymeasuresonewouldplaytofitadanceexercise,itisnecessary
tofeelthemusicinphrasesandperiods.Itisalsovitaltothedancerthatthemusicisfeltin
phrasesratherthanindividualcounts,asthedancerneedstofeelthedirectionofthemusic
andhaveanaturalflowinordertogiveanorganicperformance.Whendiscussinghow
phrasesaretobedividedandthemusicalimpressiontheygive,itisusefultolabelthemby
theirtechnicalnames.
Ifadanceexerciseisplayedontwosides,thiswouldnormallycomprisetwoperiods,
eachconstructedinturnoftwodistinctphrases,oneanantecedentandoneaconsequent.

Theantecedentandtheconsequentphrasebothcombinedprovidetonalfulfilment.10The
antecedentphraseprecedestheconsequentphrase,whichisusuallylefttonallyopen
definedbyacadenceonthedominant(oranimperfectauthenticcadence).Theconsequent
istonallyclosed,thatishavingaPAC,thereforeprovidingtonalfulfilment.11Itisalsouseful
torecallthattheplagalcadencemaybeemployedtoendaphrase,althoughthisisless
common.12
Therefore,inconstructingadanceimprovisation,anaccompanistmustnormally
choosethefourcadencestobeplayedandtheirrelativestrengths.Possibleoutlinesare
givenbelowinFigure4:

Figure4.Twopossibletonalplans(withcadences)foradanceimprovisation

PlanA

PeriodOne
Antecedent
Consequent
EndswithHCin EndswithPACin
tonic,orIACin
tonic
tonic

PeriodTwo
Antecedent
Consequent
EndswithHCin EndswithPACin
tonic,orIACin
tonic
tonic

PeriodOne
PeriodTwo
(Modulatestodominantkey)
(modulatesbacktotonic)
Antecedent
Consequent
Antecedent
Consequent
EndswithPACin
EndswithHCin EndswithPACon Multiple
options...
tonic
dominant(or
tonic,orIACin
otherclosely
tonic
relatedkey)

PlanB

Understandinghowaperiodisconstructed,andbeingabletoreplicatethisasthe
danceorexercisewarrants,willensuretheharmonicstructureandtosomedegreemelodic
designwillsupportthedancersinasatisfyingway.
Anotherconsiderationinconstructingperiodsismotivicrepetition.Itisvery
commonfortheconsequentphrasetoimitateorrepeatmelodicideasfromtheantecedent

10

RobertGauldin,HarmonicPracticeinTonalMusicWorkbook,SecondEdition,Workbooked.(New
York,London:W.W.Norton&Company,2004),page181.
11 11

RobertGauldin,HarmonicPracticeinTonalMusicWorkbook,SecondEdition,Workbooked.(New
York,London:W.W.Norton&Company,2004),page181.
12

RobertGauldin,HarmonicPracticeinTonalMusicWorkbook,SecondEdition,Workbooked.(New
York,London:W.W.Norton&Company,2004),page134.

phrase.Aperiodconstructedinsuchawayiscalledaparallelperiod.Ifnosuchrepetition
isemployed,itiscalledacontrastingperiod.13
Inconstructingapairofperiodsinthisway,adanceimprovisationmaysometimes
alsobecomearecognizablemusicalformsuchasroundedbinary,oneofclassicalmusics
mostcommonformaltypes.DevelopedintheBaroque,roundedbinaryeventuallygrew
intosonataforminthelattereighteenthcenturybutpersistedastheformalmodelfor
minuets,trios,aswellasembeddedinminiaturewithinrondothemesandotherpiano
formssuchasmazurka.
Alsoknownastworepriseform,roundedbinaryisillustratedinFigure5below.

Figure5.RoundedBinaryFormasIllustratedinGauldin,HarmonicPracticeinTonalMusic14

Thefirstsection(A)isconstructedofaprogressiveperiod,theconsequentphrases
modulatingtothedominant.Thesecondsection(B)isdoublethelengthofthefirstsection
whichconsistsofasmalldevelopment(oftenconsistingofsequentialmaterial),andclosing
witharepriseoftheAsectionthatisalteredsuchthattheconsequentphrasenowstayson
thetonic.Itiseasytoseethatroundedbinaryformislikeanincipientsonataform,contain
somequalitiesofaternaryform.Inadaptingroundedbinaryforadanceclass,therepeatof
theBsectionisomittedsuchthatthetwohalvesarepreciselyequalinlength.

13

RobertGauldin,HarmonicPracticeinTonalMusicWorkbook,SecondEdition,Workbooked.(New
York,London:W.W.Norton&Company,2004),page183.
14

RobertGauldin,HarmonicPracticeinTonalMusicWorkbook,SecondEdition,Workbooked.(New
York,London:W.W.Norton&Company,2004),page427.

IV. THEPARTIMENTOTRADITIONANDITSAPPLICABILITYTO
STRUCTURINGIMROVISATIONSFORTHEBALLETCLASS

AnewtypeofimprovisatorypiececalledapartimentoaroseintheBaroqueperiodwith
theinceptionofthethoroughbass.15ThismethodwasdevelopedandpracticedinNaples
fromthe17thcentury.Theprincipalofthepartimentotraditionisthatthekeyboardplayer
wouldpracticesmallrealizations/patternsuntiltheyarewellingrainedandthenpractice
applyingtheseoverafiguredbassscoreinavarietyofwaysinmanydifferentkeys.Theidea
wasthatthenovicewouldhavetobuildupalargememoryofstoredmaterialthenlearnto
harbouritinsuchawaythattheycanperformstructuredimprovisations.16Proficient
partimentiplayerscouldhavemorethan1,000differentpatternsmemorized,whichthey
couldapplywhenneeded.17Theresultwasastyleoffreeimprovisedperformancethat
couldbeusedforcompositionalpurposesorfortheperformerthemselves.Figure6isan
exampleisapartimentobasspattern'partimentinumeratibyFrancescoDurante.Theseare
cataloguedonlinebyNorthWesternUniversity.
Howisthisapplicabletodanceaccompaniment?Ofcourseitwouldntbeexpected
thatsomeonewouldhavetoknuckledownandlearnoverathousandrealizationsinallthe
keysandbeabletoapplyitinmanydifferentways.Goodimprovisationisborneoflogic
andformalorderandthesethingshavetobelearnt.Itisacraftasmuchasanart.
Developingastrategyandmethodofhowyouwouldpracticedanceaccompaniment
improvisationsandhavingasolidstructuralfoundationwillprovidethepianistwitha
repertoireofstockstandardphrasesundertheirfingers,addingfluencyandconfidenceto
theirimprovisations.

15

BrunoNettl,etal."Improvisation."InGroveMusicOnline,OxfordMusicOnline,http://0
www.oxfordmusiconline.com.library.ecu.edu.au/subscriber/article/grove/music/13738pg2(accessed
September29,2011).
16

RobertO.Gjerdingen,Gebrauchsformulas,MusicTheorySpectrum33,no.2(Fall2011):191

17

FrancescoDurante,PartimentiSiminuiti(embellishedBasses),MonumentsofPartimenti,
http://faculty
web.at.northwestern.edu/music/gjerdingen/partimenti/collections/Durante/diminuiti/index.htm(accessed
June16,2011).FrancescoDurante,PartimentiSiminuiti(embellishedBasses),MonumentsofPartimenti,
http://faculty
web.at.northwestern.edu/music/gjerdingen/partimenti/collections/Durante/diminuiti/index.htm(accessed
June16,2011).

10

Figure6.ApartimentoexercisebyFrancescoDurante18

Moreover,thewayinwhichpartimentiwereconstructedisofgreatinterest.Firstly
thereisafiguredbasstemplate,whichprovidesthestructure,boththeharmonicstructure
andphrasestructure.Thepianistplayingofftheserealizationscouldplaytheprogression
inanydifferentkey.Thepartimentopracticecanbeadaptedtonotonlytomemorise
certainharmonicprogressionssuitedtotheeightbarphrase,butalsoforthepracticeof
differentpatternstosuittheexercise.Example;foranexerciseyoucouldplayina2/4
meterwitharepeatedlefthandvampstyleaccompaniment,orusingthesameharmonic

outlineusea6/8meterarpeggiatedaccompaniment,orevena3/4vampstylelikeawaltz.
Thesearedifferentstylesofplayingtheyareutilizingthesameharmonicstructureand
outlineanditisuptothepianisttobecreativewiththetexturesandmotivicmaterial.
Howdoesonedothisexactly?Obviously,memorisingmanyharmonicpatternscan
takealifetime.Buttheideaofapartimentoasaharmonictemplateisalsoausefulconcept.
Aharmonictemplatecanbeusedtocreateascaffoldingforembellishmentthrough
improvisation.Firstly,thestructuremustbesetineveneightbarphrases.Dependingon
thelengthoftheexercise,thepianistmayeasilyadaptthemusicbysimplyselectingwhich
phrasestouse,orrepeatingphrases.

18

FrancescoDurante,PartimentiNumerati(figuredBasses),MonumentsofPartimenti,
http://faculty
web.at.northwestern.edu/music/gjerdingen/partimenti/collections/Durante/numerati/index.htm(accessed
November17,2011).

11

V. THEANALYSISOFFREEIMPROVISATIONFORTHEBALLET
USINGMICHAELBRETTASANEXEMPLAR

Mr.Bretthasalmost30yearsexperienceplayingforprofessionalballetclasseshaving
workedinGermanyfortheStuttgartBalletandHamburgBallet;inAustraliafortheWest
AustralianBallet;andinNewZealandfortheNewZealandSchoolofDance.Hewasthe
musicdirectorfortheRoyalAcademyofDanceinAustraliaandisnowthechief
accompanistforthedancedepartmentattheWesternAustralianAcademyofPerforming
Arts.Heisalsoindemandasanaccompanistforvisitingballetcompanies,balletmaster
classes,examinationsandcontinuestoassistdanceteachersinthemusicalaspectsoftheir
training.MostoftheworkMr.Brettdoes(syllabusandrepertoireworkaside)isimprovised.
However,healsoextemporizesfrommemoryorscores.Thisisaskillhehasdevelopedby
playingingroupsandensembleswhenhewasyounger,wherehehashadtoimproviseover
simplechordprogressionsandplayalargeamountofcommercialmusic,whichoverthe
yearshasbeeningrainedintohismemorysimilartoPartimentipatterns.Nowhehasthe
abilitytoaccessthisinformationanytimeheneeds.

A.

MyObservations

WhenobservingMrBrettthefirstthingInoticedwashischoiceofrepertoire.Hetendedto
avoidusingmaterialfrompianorepertoireandusethemesfromeitherwellknowpiecesor
balletsandimprovisedaroundthem.Itseemstomakesenseastheyareavoidingrhythmic
repetitionormetricpredictability,whichisvitalfortheballetdancertofollow,whichdoes
againstwhatthegreatmastersweretryingtoachieve.19
MrBrettsstyleofmusicwasalsovarieddependingontheclass.Theclassitself
followsaspecificstructureinwhichthedancerisworkingtheirwayfromsomebasic
stretchesandexercisesgraduallybuildinguptilltheyareperforminggreatleapsandjumps.
ThemusicthereforehasasenseofdoingthisandMichaelimprovisesindifferentstylesand
dynamic/intensitytosupportthedancers.
MrBrettsopeninggambitscreateanintroductiontothedance,providingaclear
rhythmiccharactertothedancers,givingthemtheopportunitytohearwhatstyleandpulse

19

Wallis,Lynnetal.,ADanceClassAnthology:TheRoyalAcademyofDanceGuidetoBalletClass
Accompaniment,ed.JonathanStill,MelanieAdamsandSabrinaAvellini(London:RoyalAcademyofDance
EnterprisesLtd,n.d.),12.

12

theymustfollow.Generallyhewouldplayafouroreightcountintroductionallowing
enoughtimeforthedancertocatchon.Theamountofbarsthatwouldbewoulddepend
onthemeterandthepulseofthemusic.

B.

CATALOGUEANDANALYSISOFMICHAELBRETTSSCORED

IMPROVISATIONS
ImprovisationisdefinedbyBrunoNettlasfollows:

Thecreationofamusicalwork,orthefinalformofamusicalwork,asitis
beingperformed.Itmayinvolvethework'simmediatecompositionbyits
performers,ortheelaborationoradjustmentofanexistingframework,or
anythinginbetween.20

InthissectionIhavecataloguedtheimprovisationsofMichaelBrett,whicharegoingtobe
publishedinanexaminationsyllabussometimein2012.Thesewereconstructedusinga
DiskClavierpianolinkedtoacomputer,whichtranscribedwhathewasplayingintoscored
music.Aswellascataloguingthesetranscriptions,Ihavealsoanalysedandconstructed
templatesofaselectfew,whichdemonstrateclearharmonicandphrasestructures.These
structurescanbeembellishedtocreatenewworksinasimilarfashiontothepartimento
tradition.

20

BrunoNettl,etal."Improvisation."InGroveMusicOnline.OxfordMusicOnline,http://0
www.oxfordmusiconline.com.library.ecu.edu.au/subscriber/article/grove/music/13738(accessedNovember2,
2011).

13

1.

BARRE

PLIES

EFlatMajor
TimeSignature

32BarSetting
4Bar/4CountIntroduction

Brokenchordaccompanimentwithsimplemelodymostlyconsistingofcrotchets.Givesa
flowingfeelwithlongmusicalline.

BATTMENTSTENDUANDGLISSS
GMinor
2/4TimeSignature
32BarSetting
4Bar/8CountIntroduction

Nonlegatoalbertibasspatternwithastaccatomelodyconstructedwithsmallmotifs
accentuatingthebeat.Theresultisalight/snappyfeeling,whichcanhelpthedancer,
articulatetheirmovements.

RONDSDEJAMBEATERREANDASSEMBLSSOUTENUS
Cmajor
4/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

14

RONDSDEJAMBEATERREANDASSEMBLSSOUTENUS
Cmajor
4/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

Thisexercisehasaflowingquaver,brokenchordlefthandpattern.MrBrettpurposely
phrasedthelefthandquaversingroupsoffourtogiveasenseoftwocountsinabar,which
thedancerwillbefollowing.

GRANDBATTEMENTSENCROIXANDRETIRS
BFlatMajor
4/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

BATTMENTSFRAPPS
EFlatMajor
2/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

15

PETITSBATTMENTS
DMinor
2/4TimeSignature
16BarSetting
4Bar/8CountIntroduction

BATTMENTSFONDUSENCROIXANDRONDSDEJAMBEENLAIR
Cminor
4/4TimeSignature
8BarSetting
2Bar/FourCountIntroduction

DVELOPPSANDDEMIGRANDSRONDSDEJAMBE
AFlatMajor
6/8TimeSignature
9BarSetting
2Bar/4CountIntroduction

16

EXERCISEFORATTITUDEANDARABESQUE
AMinor
TimeSignature
16BarSetting
4Bar/4CountIntroduction

GRANDBATTMENTSENCLOCHE
QuickWaltz

TimeSignature
20BarSetting(4BarCoda)
4Bar/4CountIntroduction

17

2.

DEMIPOINT

RISES
AFlatMajor
4/4TimeSignature
32BarSetting
2Bar/8CountIntroduction

RELEVS
EFlatMajor
2/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

ECHAPPSRELEVSANDRELEVS
AMinor
6/8TimeSignature
16BarSetting
2Bar/4CountIntroduction

18

3.

CENTRE

1STPORTDEBRAS
CMajor
6/8TimeSignature
16BarSetting
2Bar/4CountIntroduction

2ndPORTDEBRAS
Gminor
TimeSignature
16BarSetting
2Bar/4CountIntroduction

SETEXCERCISE
FMajor
4/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

19

4.

ADAGE

EXCERSISEFORARABESQUE
DFlatMajor
4/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

EXCERSISEFORATTITUDES
EFlatMajor
4/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

TEMPSLISENAVANTANDENARRIRE
FMajor
4/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

20

1STADAGE

GMinor(TierceDePicadiEnding)
TimeSignature
32BarSetting
4Bar/4CountIntroduction

2NDADAGE
AFlatMajor
4/4TimeSignature
32BarSetting
2Bar/FourCountIntroduction

UNSEENADAGEENCHANEMENT:6/8
CMajor
6/8TimeSignature
16BarSetting
2Bar/4CountIntroduction

21

UNSEENADAGEENCHANEMENT3/4
BFlatMajor
TimeSignature
16BarSetting
4Bar/4CountIntroduction

UNSEENADAGEENCHANEMENT4/4
I.
Fminor
4/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

22

5.

PIROUETTES

PIROUETTESENDEHORS
DMinor
4/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

PIROUETTESENDEDANS
EFlatMajor,ModulatingtoAFlatMajoratmidpoint
TimeSignature
32BarSetting
4Bar/4CountIntroduction

EMBOTSRELEVSANDPOSPIROUETTESBYHALFTURN
AMinor
4/4TimeSignature
32or64BarSetting,dependingonrepeats

23

UNSEENPIROUETTESENCHAMENTMALE
BFlatMajor
4/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

TOURSENLAIRMALE
I.
CMajor
3/8TimeSignature
32BarSetting
4Bar/4CountIntroduction

24

6.

ALLEGRO

WARMUPENCHANEMENT
GMajor
6/8TimeSignature
16BarSetting
2Bar/4CountIntroduction

1STALLEGRO
EFlatMajor
TimeSignature
32BarSetting
4Bar/4CountIntroduction

2NDALLEGRO
FMajor
2/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

25

3RDALLEGRO
Tempodipolkamazurka
EFlatMajor
TimeSignature
16BarSetting
2Bar/6CountIntroduction

BATTERIEENCHANEMENTFEMALE
Samemusicasimmediatelysubsequent...

BATTERIEENCHANEMENTMALE
(Malemenomossoconbravura)
DMajor
TimeSignature
16BarSetting
2Bar/6CountIntroduction

UNSEENALLEGRONO.1POLKA
CMajor
2/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

26

UNSEENALLEGRONO.2GIGUE
AMinor
6/8TimeSignature
16BarIntroduction
2Bar/4CountIntroduction

UNSEENALLEGRONO.3MAZURKA
BFlatMajor
TimeSignature
16BarSetting
4Bar/4CountIntroduction

UNSEENALLEGRONO.4SCHOTTISCHE
DMajor
4/4TimeSignature
8BarSetting
2Bar/4CountIntroduction

27

UNSEENALLEGRONO.52/4
GMinor
2/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

UNSEENALLEGRONO.6VIENNESEWALTZ
GMajor
TimeSignature
32BarSetting
4Bar/4CountIntroduction

UNSEENALLEGRONO.7LYRICALWALTZ
FMajor
TimeSignature
32BarSetting
4Bar/4CountIntroduction

28

7.

POINTE

RISES
CMinor
4/4TimeSignature
32BarSetting
2Bar/4CountIntroduction

RELEVS
CMajor
4/4TimeSignature
16BarSetting
2Bar/4CountIntroduction

ECHAPPSRELEVSANDRELEVS
BFlatMajor
6/8TimeSignature
16BarSetting
2Bar/4CountIntroduction

29

UNSEENPOINTENO.14/4
FMajor
4/4TimeSignature
8BarSetting
2Bar/4CountIntroduction

UNSEENPOINTENO.2
CMinor
3/4TimeSignature
30BARSETTING
4Bar/4CountIntroduction

POINTEENCHANEMENT
EFlatMajor
TimeSignature
32BarSetting
4Bar/4CountIntroduction

30

RVRANCE

31

C.

ANALYTICALDISCUSSION
1.

AccompanimentPatterns

Thisnexttable(seeFigure7)isatallyofdifferentlefthandpatterns/styles,whichMrBrett
employedinhistranscribedimprovisations.Whenlearningtoimprovise,itwouldprove
usefultopracticethepatternsMrBrettusesintheratioofthissetofpieces.Asisanoverall
representativeofhowheaccompaniesaballetclass.

Figure7.AnAnalysisoftheDifferentLeftHandAccompanimentPatterns

AccompanimentPattern
AlbertiBassPattern
Brokenchordpatternin4/4or2/4
Brokenchordfigurationin6/8
Arpeggiopatternin6/8
Arpeggiopatternin3/4
Simplechordalaccompanimentin3/4
Simplechordalaccompanimentin4/4
Simplechordalaccompanimentin6/8
Bassandrepeatedchordpatternin3/4
Bassandrepeatedchordpatternin4/4
Vampstylebassandchordin4/4and2/4

Vampstylebassandchordin3/4
Vampstylebassandchordin6/8
'Barcarolle'arpeggiofollowedbychord
patternin6/8

Noof
Uses
1
6
1
2
1
2
5
1
2
1
11

10
3
1

Comment

Addsemphasisonthe'twoinabar'
feelasthebassfallsonevery
secondbeat.

Givesthemusicaliltedfeeling.
"Depictingthemovementofa
boat",isadescriptionintheNew
GroveDictionary.21

21

MauriceJ.E.BrownandKennethL.Hamilton."Barcarolle."InGroveMusicOnline.OxfordMusic
Online,http://0www.oxfordmusiconline.com.library.ecu.edu.au/subscriber/article/grove/music/02021
(accessedNovember14,2011).

32

2.

DevelopmentofMotivicIdeas

FrommyobservationsofMichaelBrett'splayingandhistranscriptions,heusuallyhasa
themeormotivewhichheplaysaroundwiththroughouttheexercise.Forexample,exercise
3(Figure7)employsarhythmicmotiveofadottedquaverfollowedbyasemiquaverthat
givesthemelodyaliltedfeel.Thismotiveisrepeatedfifteentimes.Amotiveissimplya
shortmusicalidea,whetherharmonic,melodic,rhythmicoranycombinationofthem.22
Whenimprovisingitwouldproveusefultohavesomesortofthemeorideainmindand
developitinasmanydifferentwaysaspossible.Repetitioncreatesasenseofmusical
cohesionandisnecessarytoanysuccessfulimprovisation.However,repetitionshouldnot
beoverdone:repetitionandcontrastmustalwaysbekeptinadelicatebalance.

3.

HarmonicTemplatesDerivedfromMichaelBrettsBallet

Improvisations
Figure8throughFigure12areharmonicanalysesofMichaelBrett'stranscriptions.Ihave
writtentheminfiguredbasssoonecouldreadoffthemlikeyouwouldreadoffapartimenti
basspattern.Ratherthandividingeachharmonyfromeachbar,Ihavestructuredthemin
countstomakeiteasierforthepianisttohaveanunderstandingofthedancersphraseand
beatasopposedtothemusicalone.Soiftherearetwoormoreharmonicprogressionsin
theonecount,thentheywillbewrittenintheonesquare.Itisthentheprerogativeofthe
pianisthowtheywilldivideandgivevaluetoeachoftheseharmonies.Inmostcasesthere
iseitheroneortwocountsinabar.
Ofthethreetablesinthesetemplates,thefirstrowinthetopleftcorneristhe
openinggambit.Thesecondisthefirsthalfoftheexercise,andthethirdrowisthesecond
halfoftheexercise.Ihavemarkedinthepivotalcadentialpointsandphrasenames,asthey
providetheunderlyingstructureofthemusic.Forthemusicaldancer,structureiskeytoa
successfulimprovisation,providingharmonicandrhythmicdirectionandstability.An
awarenessofthesestructureswhenpracticingwillhelpthepianistcreatetheirown
structuredimprovisations.Allgoodimprovisationsforballetclassareborneoflogicand
formalorder.

22

WilliamDrabkin."Motif."InGroveMusicOnline.OxfordMusicOnline,http://0
www.oxfordmusiconline.com.library.ecu.edu.au/subscriber/article/grove/music/19221(accessedNovember
18,2011).

33

Figure8.AanalysisofEXERCISE1:PLIS

OpeningGambit
Q^4

CTo &

T&

T&

ANTECEDENTPHRASE

CONSEQUENTPHRASE

PAC T&/Q

EFlatMajor
I

I^

V $3

T&

uO ^4m

T^5

T^5

and viiO /w

ii ^4

CTo &

Q^4

xw$3

I ^4

V&

Qm

CMinor

T$3

T&

q^

EFlatmajor
CTo &

I^4

TZ 9 m

CTo &

Q^

CTo &

Q^4

PACT& / Q
T&

34

Figure9.TheMusicofEXERCISE1:PLISbyMichaelBrett23

23

MichaelBrett,forthcomingpublication.

35

Figure10.AnanalysisofEXERCISE2:BATTEMENTTENDUSANDGLISSS

OpeningGambit
q

q^4

q^4

ANTECEDENTPHRASE

CONSEQUENTPHRASE

qqO ^4

T&

HCiV7

HCIII V $3
i

i^

T^5

T&

q^

iv

iv 6

T^5

wO

T$3

ANTECEDENTPHRASE

CONSEQUENTPHRASE

ACV^5 - i

PACV& - i
i

qt

T^5m

III

Y^

Tm

36

V^5

qr

T^5m

III

Y^

Vm

i & V&

Figure11.TheMusicofEXERCISE2:BATTEMENTTENDUSANDGLISSSbyMichaelBrett24

24

MichaelBrett,forthcomingpublication.

37

Figure12.AnanalysisofEXERCISE3:RONDSDEJAMBETERREANDASSEMBLSSOUTENUS

OpeningGambit
I 4^

Q^ & Q ^ Z #

ii

ANTECEDENTPHRASE

CONSEQUENTPHRASE

HCV& - eO & (OPEN)

PACT& - Q
I

RZ #

RZ #

viiO $3m

V&

eO &

i^ Z #

T&m

uO $2

T&

ANTECEDENTPHRASE

CONSEQUENTPHRASE

PLAGALCADENCERZ # - Q^

PLAGALCADENCERZ #

- Q
I

vi

ii

I^

C/TO &

38

ii

RZ#

I^

viiO $3

ii

V& / y

RZ#

RZ#

Figure13.TheMusicofEXERCISE3:RONDSDEJAMBETERREANDASSEMBLSSOUTENUSbyMichael
Brett25

25

MichaelBrett,forthcomingpublication.

39

4.

ImprovisingfromaTemplate

Similartothatofthebaroquepartimentibasspatterns,thisharmonicanalysiscanbeused
asthebasisofimprovisationforballetexercises.Itwouldbeagoodideatoworkthrough
thetemplatepracticingthechordsinsomedifferentkeys.Inoticedfrommyobservationsof
MichaelBrettthathewouldusemostlykeyswithuptofourflatsorsharps.Hewould
generallyusekeyswithflatsandnotmorethanfourflats,butitisuptothepianistonwhich
keystheywillbeutilizing,aslongasthereisvarietywithdifferentexercises.Perhaps,one
couldpracticebetweeneachchordtwoatatimetoensurecontinuity.Oncethepianistis
comfortablewithplayingthesechordsanddoesn'thavetomakemuchofaconsciouseffort
toperformthetemplatebeginningtoenditistimetostartapplyingdifferent
accompanimentpatternsandmotivictextures.
Ifonewantssomesuggestedbasicharmonicpatternstopracticetheycouldstartby
referringtothecatalogueofworksandpracticeapplyingthedifferentlefthandpatternsto
thetemplatethepianistisworkingon.Onecouldalsopracticestockstandardtonal
progressions,suchasthecycleoffifths,orsimilarkeyprogressions(Iviii6VIorthe
similar).Itisimportantthatthepianistpracticesthelefthandseparatelytostartofwithto
ensurethattherightharmoniesarebeingemployedintheaccompanimentpattern.
Asfarasthemelody,themeand/ormotivicmaterialisconcernedIcanoffersome
suggestionsofhowtostartpracticingthese,butitisreallytrialanderroraswellaslistening.
Agoodstartwouldbepracticingsmallsectionsofsimpleofsimplemelodiesormotives.An
example:thefirsttwobarsofJ.S.Bach'sMinuetinGmajorFromAnnaMagdalena
notebook.Playthesefirsttwobarsineveryharmonysuggestedbythetemplate(oneata
time).Makesuretousethenotesofeachchord,andnotesnotfoundintheharmonyinthe
chordshouldbethatofthescalefromthekeyofmusic.Makesuremodulationsaretaken
intoconsideration,andthatifoneisplayinginaminorkeytheyshouldalsoconsider
employingthemelodicminorscaletoavoidthedissonancebetweentheflatsixthand
raisedseventh,unlessitisdesiredbytheplayer.Thesearenotaguaranteeofagood
soundingmelodybutmerelysomesuggestionsofhowonecouldpracticeimprovisinga
melody.Themostkeyislisteningandmakingsurethecontourofthemelodyreflectsthatof
thephrasestructureandharmonicstructure.

40

5.

StepstoCreatingyourOwnImprovisation

Inordertocreateonesownimprovisation,apartfromacompletetemplate,thepianist
needstoconsidermanyfactors.ThelogicalorderofstepsisoutlinedbelowinFigure14.

Figure14.LogicalStepstoCreatinganImprovisation

Step1:workoutthecounting,metre,andnumberofbarsrequiredforthe
particularexercise

VI.

Step2:chooseakeyandcreatephrasestructuresandcadential/tonalgoals

Step3:findasuitableaccompanimentpattern

Step4:haveamotivic/melodicgermtodevelop

CONCLUSION

WhenIsetoutonmystudyforthisdissertation,mymaingoalwastoseehowIcould
becomeabetterimproviserfortheballetclass.ThekeyquestionIwasseekingtoanswer
waswhatexactlyisrequiredinordertolearntoimproviseforaballetclass.First,Ifound
thatIneededtohaveastrongunderstandingofhowaballetclassisstructured,andwhat
wasexpectedofthepianist.Second,IthenrealisedIneededtolearnmoreabouttonal
harmonyinordertostructureaneffectiveimprovisation.Ithusreadextensivelyfrom
theorytextsonthewaysthatphrasesandperiodsareconstructedintonalmusic.Third,I
wasalsointriguedbytheBaroquepartimentomethodanditsapparenthistoricalsuccessin
facilitatingstructureimprovisationsinaknownmusicalstyle.Mygoalwastodevelopmy
owntemplatestobeusedinsimilarfashiontothepartimentotradition.Fourth,Iwantedto
learnasmuchaspossiblefromtheimprovisationsofMichaelBrett.Forthelastyear,Ihave
effectivelybeenhisapprentice.Ihaveattemptedtousedmynewfoundtheoretical
knowledgetoanalysesomeofhiscompositionsandapplythemastemplatesinmyown
improvisatorypractice.Ihavefoundthatthisprojecthasgivenmeenoughtoolsto
commencerudimentaryimprovisations.Indeed,ithaslayedbarethepreviouslyhidden
structureunderlyingmuchtonalrepertoire.Inessence,theoryhastaughtmehowto
structureanimprovisation.ButobservationofMichaelBretthastaughtmethestylesand
typesofaccompanimentpatternsneeded,andthewaystodevelopmusicalmotives.This
hasbeenarichlyrewardingmusicaljourney,oneinwhichIhavecomefar,butone
presentingmanyfurthermusicalchallengesandpotentiallyalifetimetomaster.

41

VII. BIBLIOGRAPHY

Aimer,Peggy."DanceandMusic."Music&Letters15,no.1(1934):2125.
Berkowitz,Aaron.TheImprovisingMind:CognitionandCreativityintheMusicalMoment.
Publicationplace:OxfordUniversityPress,USA,2010.
Brown,MauriceJ.E.andKennethL.Hamilton."Barcarolle."InGroveMusicOnline.Oxford
MusicOnline,http://0
www.oxfordmusiconline.com.library.ecu.edu.au/subscriber/article/grove/music/020
21(accessedNovember14,2011).
Buch,DavidJ."TheSourcesofDanceMusicfortheBalletDeCourbeforeLully."Revuede
Musicologie82,no.2(1996):31431.
Cavalli,Harriet.DanceandMusic:AGuidetoDanceAccompanimentforMusiciansand
DanceTeachers(publicationplace:UniversityPressofFlorida,2001).
WilliamDrabkin."Motif."InGroveMusicOnline.OxfordMusicOnline,http://0
www.oxfordmusiconline.com.library.ecu.edu.au/subscriber/article/grove/music/192
21(accessedNovember18,2011).
Durante,Franceso.PartimentiSiminuiti(embellishedBasses),MonumentsofPartimenti,
http://faculty
web.at.northwestern.edu/music/gjerdingen/partimenti/collections/Durante/diminui
ti/index.htm(accessedJune16,2011).
Durante,Francesco.PartimentiNumerati(figuredBasses).MonumentsofPartimenti.
http://faculty
web.at.northwestern.edu/music/gjerdingen/partimenti/collections/Durante/numera
ti/index.htm(accessedNovember17,2011).
Gauldin,Robert.HarmonicPracticeinTonalMusicWorkbook,SecondEdition.Workbook
Ed.NewYork,London:W.W.Norton&Company,2004.

42

Gjerdingen,Roberto.Gebrauchsformulas.MusicTheorySpectrum33,no.2(Fall2011):
191.
Gombosi,Otto."AboutDanceandDanceMusicintheLateMiddleAges."TheMusical
Quarterly27,no.3(1941):289305.
Hammond,SandraNoll.Ballet:BeyondtheBasics.California:WavelandPrInc,2011.
Kassing,GayleandLynnMortensen,CritiquingStudentPerformanceinBallet,Dance
ReasearchJournal14,no.1(19811982):4346,
http://www.jstor.org/stable/1477949(accessedJune16,2011).
Laitz,StevenG.TheCompleteMusicianStudentWorkbook,VolumeI:AnIntegrated
ApproachtoTonalTheory,Analysis,andListening.Workbooked.publicationplace:
OxfordUniversityPress,USA,2003.
Messerer,Asaf.ClassesinClassicalBallet.NewYork:LimelightEditions,2007.
Mara,Thalia,andIllustratedbyTinaMackler.TheLanguageofBallet:anInformal
Dictionary.NewJersey:PrincetonBookCompany,1987.
Nettl,Brunoetal."Improvisation."InGroveMusicOnline.OxfordMusicOnline,http://0
www.oxfordmusiconline.com.library.ecu.edu.au/subscriber/article/grove/music/137
38pg2(accessedSeptember29,2011).
Paskevska,Anna.BothSidesoftheMirror:theScienceandArtofBallet.2nded.Pennington,
NJ.:PrincetonBookCompanyPublishers,1992.
Preston,Sophia.""GivingDanceRoomtoBreathe":DanceMusicRelationshipsinSiobhan
Davies'Choreography,19721979."DanceChronicle22,no.3(1999):32157.
Rockstro,WilliamS.etal."Cadence."InGroveMusicOnline.OxfordMusicOnline,http://0
www.oxfordmusiconline.com.library.ecu.edu.au/subscriber/article/grove/music/045
23(accessedNovember16,2011).
Sanguinetti,Giorgio."TheRealizationofPartimenti:AnIntroduction."JournalofMusic
Theory51,no.1(2007):5183.

43

Vaganova,Agrippina.TranslatedfromtheRussianbyAnatoleChujoy.Incorporatingallthe
materialfromthe4thRussianed.IncludingVaganova'sSamplelessonwithmusical,
andtranslatedbyJohnBarker.BasicPrinciplesofClassicalBallet:RussianBallet
Technique,.NewYork:DoverPublications,1969.
VeraS,Kostrovitskaya.100LessonsinClassicalBallet.1stLimelighted.NewYork:Limelight
Editions,2004.
Wallis,Lynn,JacquelineFergason,MartinCleave,CurtisProbel,andJonathanStill.ADance
ClassAnthology:TheRoyalAcademyofDanceGuidetoBalletClassAccompaniment.
EditedbyJonathanStillStill,MelanieAdamsandSabrinaAvellini.London:Royal
AcademyofDanceEnterprisesLtd,n.d.
W.DeanSutcliffeandMichaelTilmouth."Ternaryform."InGroveMusicOnline.Oxford
MusicOnline,http://0
www.oxfordmusiconline.com.library.ecu.edu.au/subscriber/article/grove/music/277
00(accessedNovember18,2011).
Woolliams,Anne.BalletStudio:anInsideView.Sydney:UreSmith,1978.

44