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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.
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ACKNOWLEDGEMENTS
Iwishtothankmysupervisor,DrJonathanPaget,forallofhishardworkandtimeasmy supervisorthisyear.Hishugewealthofknowledgeisjustamazing.Iwouldalsoliketo thankMichaelBrettforhisassistanceandforallowingmetoanalysesomeofhis transcriptions,andobservinghisclasses.IwouldliketothankStewartSmithforsupervising methroughoutthefirstsemesterandhelpingmecomeupwithideasformythesis.Iam privilegedtohavebeensupportedandsupervisedsuchagreatartistashimself.Also,thanks tomymumaswellasteachersAnnaSleptsovaandPeterTanfieldfortheircontinued supportandcarethroughmyfinalyearofstudiesatWAAPA.
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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.
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CONTENTS
DECLARATION.........................................................................................................II ACKNOWLEDGEMENTS..........................................................................................III ABSTRACT..............................................................................................................IV CONTENTS...............................................................................................................V I. INTRODUCTION.................................................................................................1 II. III. ABACKGROUNDTODANCEACCOMPANIMENT.............................................2 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: Ialsobecameinterestedinhistoricalmodelsforimprovisationandcompositionandbegan toevaluatetheBaroquepartimentotradition,examiningwhatitcouldteachusabouthow tomouldandscaffoldimprovisationsinatonalstyle.Thetraditionofpartimentowas developedprominentlyinNaplesthroughoutthe16thand17thcentury.Theideawasthat thestudentwouldplayoffinstructionalbasslines(calledpartimenti),whichwere representationsofaharmonicstructure.Studentspracticedrealisingthesebasslinesin keyboardharmony,andabsorbedmanycompositionallessonsfromclichdmusical patternsembeddedwithinthem.Ineffect,compositioncomprisedthestringingtogetherof anumberofstockstandardpatternslearntthroughpracticingthepartimenti.1Ibecame intriguedwithwhethersuchawayofpracticingcouldaidmeasadanceaccompanist. Couldtemplatesbederivedonwhichtoformimprovisationsforadanceclass? Firstly,whatweretherequirementsofaballetpianist? Howistheaccompanimentforaballetexerciseconstructedinrelationtophrase, harmonyandcadence? Howcouldoncereplicatethisinastheirownimprovisation? HowcouldIlearntoimproviseballetexercisesfromobservinganexpertimproviserin thisstyle?
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
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
5 6
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.
7
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
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) Imperfectauthentic cadence(AC) Halfcadence(HC) English terminology Perfectcadence withclosedvoice leading Perfectcadence withopenvoice leading Imperfectcadence Progression DominanttoTonic DominanttoTonic Voiceleading Sopranomoveseither7 8or21whilethebass moves51 Sopranocloseson5or3
3. ConstructingPhrasesandPeriods
PlanA PeriodOne Antecedent Consequent EndswithHCin EndswithPACin tonic,orIACin tonic tonic PeriodTwo Antecedent Consequent EndswithHCin EndswithPACin tonic,orIACin tonic tonic
PlanB PeriodOne PeriodTwo (Modulatestodominantkey) (modulatesbacktotonic) Antecedent Consequent Antecedent Consequent EndswithPACin EndswithHCin EndswithPACon Multiple options... tonic dominant(or tonic,orIACin otherclosely tonic relatedkey)
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RobertO.Gjerdingen,Gebrauchsformulas,MusicTheorySpectrum33,no.2(Fall2011):191
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Figure6.ApartimentoexercisebyFrancescoDurante18
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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
Wallis,Lynnetal.,ADanceClassAnthology:TheRoyalAcademyofDanceGuidetoBalletClass Accompaniment,ed.JonathanStill,MelanieAdamsandSabrinaAvellini(London:RoyalAcademyofDance EnterprisesLtd,n.d.),12.
19
12
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
13
1.
PLIES
BARRE
14
15
16
17
2.
DEMIPOINT
18
3.
CENTRE
19
4.
ADAGE
20
1STADAGE
21
22
5.
PIROUETTES
23
24
6.
ALLEGRO
25
3RDALLEGRO Tempodipolkamazurka EFlatMajor TimeSignature 16BarSetting 2Bar/6CountIntroduction BATTERIEENCHANEMENTFEMALE Samemusicasimmediatelysubsequent... BATTERIEENCHANEMENTMALE (Malemenomossoconbravura) DMajor TimeSignature 16BarSetting 2Bar/6CountIntroduction
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27
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7.
POINTE
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30
RVRANCE
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C.
ANALYTICALDISCUSSION
1. AccompanimentPatterns
AccompanimentPattern AlbertiBassPattern Brokenchordpatternin4/4or2/4 Brokenchordfigurationin6/8 Arpeggiopatternin6/8 Arpeggiopatternin3/4 Simplechordalaccompanimentin3/4 Simplechordalaccompanimentin4/4 Simplechordalaccompanimentin6/8 Bassandrepeatedchordpatternin3/4 Bassandrepeatedchordpatternin4/4 Vampstylebassandchordin4/4and2/4
Noof Uses 1 6 1 2 1 2 5 1 2 1 11
10 3 1
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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.
WilliamDrabkin."Motif."InGroveMusicOnline.OxfordMusicOnline,http://0 www.oxfordmusiconline.com.library.ecu.edu.au/subscriber/article/grove/music/19221(accessedNovember 18,2011).
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Figure8.AanalysisofEXERCISE1:PLIS
EFlatMajor I I^ V $3
T&
uO ^4m T
T^5
T^5
CMinor i q T$3
T&
q^
CTo &
Q^
PACT& / Q T& I I
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Figure9.TheMusicofEXERCISE1:PLISbyMichaelBrett23
23
MichaelBrett,forthcomingpublication.
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Figure10.AnanalysisofEXERCISE2:BATTEMENTTENDUSANDGLISSS
OpeningGambit q ANTECEDENTPHRASE i ANTECEDENTPHRASE i qt T^5m E III Y^ Tm T V^5 ACV^5 - i q qr T^5m E III Y^ Vm V V i & V& i CONSEQUENTPHRASE i^ r qqO ^4 T& HCiV7 T^5 q T& q q^ iv iv 6 T^5 wO E T$3 CONSEQUENTPHRASE q^4 i q^4
HCIII V $3
PACV& - i
36
Figure11.TheMusicofEXERCISE2:BATTEMENTTENDUSANDGLISSSbyMichaelBrett24
24
MichaelBrett,forthcomingpublication.
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Figure12.AnanalysisofEXERCISE3:RONDSDEJAMBETERREANDASSEMBLSSOUTENUS
OpeningGambit I4 ^ ANTECEDENTPHRASE I ANTECEDENTPHRASE - Q I vi ii V I^ C/TO & ii RZ# I^ viiO $3 ii V& / y RZ# RZ# I I PLAGALCADENCERZ # - Q^ PLAGALCADENCERZ # CONSEQUENTPHRASE I RZ # RZ # I I viiO $3m V HCV& - eO & (OPEN) V& eO & i^ Z # T&m T uO $2 v Q y T T& CONSEQUENTPHRASE Q^ & Q ^ Z # ii V
PACT& - Q
38
Figure13.TheMusicofEXERCISE3:RONDSDEJAMBETERREANDASSEMBLSSOUTENUSbyMichael Brett25
25
MichaelBrett,forthcomingpublication.
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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
VI.
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.
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