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223 Cards in this Set
- Front
- Back
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Positions of the Feet |
1st, 2nd, 3rd, 4th, 5th
Open: 2nd, 4th
Closed: 1st, 3rd, 5th |
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Theory of the Movement of the Feet |
When moving from a closed position to an open position, slide to a point and lower the heel.
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Positions of the Arms |
1st 2nd Half 2nd 5th Low 5th Middle/Front 5th High |
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Theory of the Movement of the Arms |
When moving from a low position to a high position, the arms pass through fifth front/middle.
When moving from a high position to a low position, the arms ass through second and half-second. |
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Positions of the Body |
- a la quatrieme devant: To the 4th in front - a la seconde: To the second - a la quatrieme derriere: To the 4th in back
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Movements in Dancing |
Plier: To bend
Relever: To rise
Sauter: To jump |
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Fixed Points of the Practice Room |
Select the audience which is wall 5. Beginning with the right front corner, count the corners counter-clockwise: 1, 2, 3, 4. Count the walls in the same manner: 5, 6, 7, 8. |
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Pointe tendu a terre |
Stretched point on the ground
(Execute It) |
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Pointe tendu en l'air |
Stretched point in the air at 90 degrees
(Execute It) |
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Pointe tendu demi en l'air |
Stretched point half in the air at 45 degrees
(Execute It)
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Theory of the Movement of the Head in a Pirouette |
There is one movement of the head. The head is the last to leave the designated spot and the first to return to the said spot.
(Execute It): Starting with the R foot, execute 8 marching steps turning to the R. March on 1, 2, 3, 4 then snap the head around and continue marching on 5, 6, 7, 8. |
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Plies Combination |
1st. Arms 5th low. Point to second, lower heel, demi lie, grand plie. Point to 1st and repeat. Point to fifth derriere and repeat. Point to fifth devant and repeat. |
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Music of the Plie Combination |
3/4 Time Signature
ONE-two-three, ONE-two-three, ONE-two-three, ONE-two-three.
1 measure to tendu. 1 measure to lower heel. 2 measures to demi plie. 4 measures to grand plie. |
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Translation of:
Plie-Pointe Tendue, un Demi Plie, et un Grand Plie |
Bending movements, stretched pointe, one half bending movement, and one large bending movement - In 2nd, 1st, fifth back, and fifth front |
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Battement Tendus Combination |
5th. Arms 5th low. 1 battement tendu en croix. Repeat 1 battement tendu en croix. Then 8 battements tendus a la seconde |
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Translation of:
Battements Tends En Croix et a la Seconde |
Stretched beatings in the pattern of a cross and to the second |
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Music of the Battements Tendu Combination |
2/4 Time Signature
ONE-two, ONE-two, ONE-two, ONE-two
Each Tendu gets 1 measure (2 counts) |
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Pose et Jete Combination |
5th. Arms 5th low. 2 devant, 2 seconde closing 5th devant then 5th derriere, coupe plie with front foot, coupe plie with back foot. Reverse all from the back. |
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Music for the Pose Jete Combination |
4/4 Time Signature
One-Two-Three-Four, One-Two-Three-Four
Each brush movement gets 1 measure (4 counts) |
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Translation of:
Preparation pour Pose et Jete |
Preparation for a posing step and a throwing step |
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Ronds de Jambe Combination |
1st. Arms 5th low. Arm prepares 5th middle, then a la seconde.
4 en dehors, 4 en dedan
Movement must be continuous |
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Music for the Ronds de Jambe Combination |
3/4 Time Signature
One-Two-Three, One-Two-Three, One-Two-Three, One-Two-Three
Each Ronds de Jambe gets 1 measure (3 counts) |
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Translation of:
Ronds de Jambe a Terre en Dehors et en Dedans |
Circles of the leg on the ground outward and inward |
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Battements Frappes Combination |
5th. Arm 5th low. Point a la seconde, close on ankle. 16 frappes closing devant and derriere. Finish open. Close to 5th devant after the music. |
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Music for the Battement Frappes Combination |
2/4 Time Signature
ONE-two, ONE-two, ONE-two, ONE-two
Each frappe movement with the close gets 1 measure (2 counts) |
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Translation of:
Battements Frappes |
Struck beatings |
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Grand Battements Combination |
5th position. Arm 5th low. Arm prepares to 5th front then a la seconde. 4 battements devant. 3 a la seconde closing devant first. Then one a la seconde, lower to tendu, dégagé to face barre, close 5th derriere. 4 grand battements derriere.
Each battement has 4 movements: Tendu, raise, lower, slide.
In turning toward the barre, press heel forward with the ball of the foot remaining on the floor. |
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Music for the Grand Battements Combination |
2/4 Time Signature
ONE-two, ONE-two, ONE-two, ONE-two
Each battement gets 2 measures (4 counts) |
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Translation of:
Grand Battements |
Large beatings |
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Retire Combination at the Barre |
5th position. Arm 5th low. Prepare arm fifth middle then a la seconde.
Slide up to retire and close in 5th. Total of 4 sets. 1 set is retire to derriere, retire to devant.
Retire: Side of the knee
Lower the foot toe, ball, heel. |
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Music for the Retire Combination at the Barre |
3/4 Time Signature
One-Two-Three, One-Two-Three, One-Two-Three, One-Two-Three
Each set gets 6 counts: Up 1, 2, 3, down 1, 2, 3.
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Translation of:
Retires |
Withdrawn movements |
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Développe Combination at the Barre |
5th position. Arm 5th low. 1 developpe devant, 1 a la seconde, hold in tendu a la seconde, turn to face barre, close 5th derriere.
Arm: Goes to 5th middle when you retire, then extends to a la seconde as you develop the leg out. |
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Translation of:
Developpes |
Developing or unfolding movements |
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Music for the Developpe Combination at the Barre |
3/4 Time Signature
One-Two-Three, One-Two-Three, One-Two-Three, One-Two-Three
Each développe gets 2 measures (6 counts). Develop 1, 2, 3, tendu and close fifth 1, 2, 3. |
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Echappe Releve Combination at the Barre |
5th. R foot devant. Facing barre.
16 echappes releves changes. |
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Music for the Echappe Releve Combination at the Barre |
3/4 Time Signature
One-Two-Three, One-Two-Three, One-Two-Three, One-Two-Three
Each spring gets 1 measure (3 counts): Up on 1, hold 2, close 3. |
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Translation of:
Echappes Releves Changes |
Escaping movements raised and changed |
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Releve Combination at the Barre |
5th. R foot devant. Facing barre.
7 releves in 5th, 1 echappe. Repeat. |
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Music for the Releve Combination at the Barre |
3/4 Time Signature
One-Two-Three, One-Two-Three, One-Two-Three, One-Two-Three
Each spring gets 1 measure (3 counts): Up on 1, hold 2, close 3. |
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Translation of:
Releves en Cinquieme Position |
Rises in 5th position |
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Temps Leve Combination at the Barre |
1st. Facing barre.
R foot coupe derriere: 3 temps leve, jump to 1st. Same with L. Repeat total of 8 sets. |
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Music for the Temps Leve Combination at the Barre |
2/4 Time Signature
ONE-two, ONE-two, ONE-two, ONE-two
Each spring gets 1 measure (2 counts) |
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Translation of:
Temps Leve |
Raised Movements |
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Translation of:
Exercices Au Mileau |
Exercises in the middle of the room |
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Translation of:
Exercices A la Barre |
Exercises at the barre |
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Port de Bras Combination |
5th. R foot devant facing corner 1, arms 5th low. Head inclines to corner 3.
4 premiere port de bras, 4 troisième port de bras. |
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Music for the Port de Bras Combination |
3/4 Time Signature
One-Two-Three, One-Two-Three, One-Two-Three, One-Two-Three
Premiere Port de Bras: Each one gets 4 measures: 1, 2, 3 up to 5th middle. 1, 2, 3, 1, 2, 3 to open to seconde. 1, 2, 3, to close to 5th low.
Troisième Port de Bras: 1, 2, 3 to raise to 5th high. 1, 2, 3 to incline head and arms. 1, 2, 3, 1, 2, 3 to open arms and lower to 5th low. |
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Translation of:
Port de Bras |
Carriage of the arms |
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Positions du Corps Combination
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5th. R foot devant facing wall 5. Arms 5th low.
Pointe devant using first port de bras. Repeat a la seconde and derriere. Then two battements tendus with arms 5th low to the side closing devant then derriere. Reverse all. |
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Translation of:
Positions du Corps |
Positions of the Body |
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Music for the Positions du Corps Combination |
3/8 Time Signature (Fast)
One-Two-Three-One-Two-Three-One-Two-Three-One-Two-Three
4 measures for each tendu and close (12 counts). |
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Translation of:
Adage |
Slow, controlled movements
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Retire Passe Combination in the Center |
5th. R foot devant facing wall 5. Arms 5th low. Prepare arms 5th middle then open to a la seconde.
Raise R to retire, close derriere. Same with L.
Can be done with 8 total en arriere. Or 4 en arriere et 4 en avant. |
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Translation of:
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Withdrawn movements passed to the back and to the front |
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Music for the Retire Passe Combination in the Center |
3/4 Time Signature
One-Two-Three, One-Two-Three, One-Two-Three, One-Two-Three
Each retire movement gets 1 measure (3 counts). Total of 6 counts to draw up to retire then close. |
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Translation of:
Premiere Arabesque a Terre et demi en l'air |
First arabesque on the ground and half in the air |
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Premiere Arabesque Combination in the Center |
5th. R foot devant facing wall 5. Arms 5th low.
Pointe seconde while opening arms 1st arabesque, turn to face side wall, hold, turn back to wall 5 and close fifth derriere with arms 5th low. Do total of 4 times. 3rd and 4th sets raised demi en l'air en arabesque. |
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Music for the Premiere Arabesque Combination in the Center |
3/4 Time Signature
One-Two-Three, One-Two-Three, One-Two-Three, One-Two-Three
1 measure is 3 counts. 3 measures to tendu seconde, 1 measure to turn towards wall, 3 measures of holding, 1 measure to close back to 5th.
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Troisième Arabesque Combination |
5th. R foot devant facing corner 1 in efface. Arms 5th low.
Chasse with arms 5th front, tendu derriere with arms in 3rd, lift back leg demi en l'air, lower leg, close back into fifth. Do R 4 times then L 4 times. |
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Music for the Troisieme Arabesque Combination |
3/4 Time Signature
One-Two-Three, One-Two-Three, One-Two-Three, One-Two-Three
1 measure is 3 counts. 6 counts to share, 6 counts to straighten in tendu derriere, 6 counts to raise leg en l'air, 1 measure to lower leg, 1 measure to close leg. |
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Translation of:
Troisième Arabesque En Effacee |
Third arabesque in a shaded position |
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Translation of:
Allegro |
Quick movements |
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List the Basic Steps in this Grade |
1. Coupe Dessous et Dessus 2. Grand Pas de Chat 3. Jete Devant et Derriere 4. Pose en Avant 5. Chasse |
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Translation of:
Coupe Dessous et Dessus (Adage Style) |
Cutting step under and over (slowly) |
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Coupe Dessous et Dessus Basic Step Combination |
5th with R foot devant facing wall 5. Arms 5th low.
Coupe dessous: Pointe L derriere in plie, draw into sousou, melt down with R foot finishing devant.
Coupe Dessus: Pointe R foot devant in plie, draw into sousou, melt down with L foot finishing derriere. |
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Translation of Grand Pas de Chat |
Large cat step |
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Grand Pas de Chat Basic Step Combination |
5th. R foot derriere facing wall 5. Arms 5th low.
Demi plie, bring arms into position, pas de chat. Reverse. |
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Jete Devant et Derriere Basic Step Combination |
5th. Arms 5th low. R foot derriere facing wall 5.
Execute devant then derriere. |
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Translation of:
Jete Devant et Derriere |
Throwing step in front and in back |
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Translation of:
Pose en Avant |
Posing step to the front |
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Pose en Avant Basic Step Combination |
5th. R foot devant facing wall 5. Arms 5th low.
Execute pose with R foot front then with L foot front.
Remember to spring. |
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Translation of:
Chasse |
Chasing step |
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Chasse Basic Step Combination |
5th position. R foot devant facing wall 5. Arms 5th low.
Chasse devant to tendu foot derriere with arms in pose position. Close in fifth.
May need to show to devant then side then derriere then side. |
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Translation of:
Enchainements |
Chain of steps |
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Saute Combination |
1st facing wall 5. Arms 5th low.
4 sautes in 1st, 4 in 2nd, 4 in fifth with R foot front, 4 in fifth with L foot front. Repeat.
Arm stays in fifth low |
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Translation of:
Sautes en Premiere, Seconde, et Cinquième Positions |
Jumps in first, second, and fifth positions |
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Music for the Saute Combination |
2/2 Time Signature
And-One-And-Two, And-One-And-Two, And-One-And-Two, And-One-And-Two
Up on the AND count |
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Changement Bourree Combination |
5th. R foot front facing wall 5. Arms fifth low.
3 changements, relève with hands on top of shoulders, turn towards front foot with bourrres. Finish facing wall 5. Do a total of 4 times.
Spot wall 5 in the bourree turn. |
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Music for the Changement Bourree Combination |
2/4 Time Signature
ONE-two, ONE-two, ONE-two, ONE-two
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Translation of:
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Three small changes of the feet, rise in fifth, bourree step turning |
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Pas de Chat Combination |
5th. R foot derriere facing wall 5. Arms fifth low.
3 pas de chats to the R with arms in PDC position, one changement with arms fifth low. Repeat to the L. Do a total of 4 times. |
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Music for the Pas de Chat Combination |
2/4 Time Signature
ONE-two, ONE-two, ONE-two, ONE-two
1 measure (2 counts) for each pas de chat. Same for the changement |
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Translation of:
Trois Grands Pas de Chats et un Petit Changement de Pied |
Three large cat steps and one small changing of the feet |
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Jete Combination |
5th with R foot derriere facing wall 5. Arms fifth low.
8 jetés devant. 7 jetés derriere, finishing with assemble dessous. |
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Translation of:
Jetes Devant et Derriere |
Throwing steps in front and in back
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Music for the Jete Combination |
2/2 Time Signature
And-One-And-Two, And-One-And-Two, And-One-And-Two, And-One-And-Two
2 jetes per measure. Jete on AND-ONE, jete on AND-TWO
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Pose en Avant Combination |
5th with R foot devant facing wall 5. Arms fifth low.
8 poses en avant with R foot using pose arms. Reverse |
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Music for the Pose en Avant Combination |
2/4 Time Signature
ONE-two, ONE-two, ONE-two, ONE-two
Spring out on ONE-TWO, spring together on ONE-TWO. 2 measures per pose |
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Translation of:
Poses en Avant |
Posing steps to the front |
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Pose Coupe Combination |
5th with R foot devant facing corner 1 in efface position. Arms 5th low.
3 pose coupes with arms in pose position. 1 changement to face other corner with arms fifth low. Repeat total of 4 times.
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Music for the Pose Coupe Combination |
3/4 Time Signature
One-Two-Three, One-Two-Three, One-Two-Three, One-Two-Three
Each pose coupe gets 1 measure (3 counts) and same for the changement |
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Translation of:
Deux Poses Coupes, un Pose Ferme en Cinquième, un Changement de Pied, en Efface |
Two posing steps with a cutting movement, one posing step closed in fifth, one changing of the feet, in a shaded position |
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Jete Temps Leves Combination |
5th. R foot derriere. Facing wall 5. Arms fifth low.
7 jeté temps leves. Arms open to demi seconde on the jetes, then fifth low on the temps levels. End by jumping into fifth with L foot derriere (Assemble Coupe: Assembling Step Cut). |
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Music for the Jete Temps Leves Combination |
2/4 Time Signature
ONE-two, ONE-two, ONE-two, ONE-two
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Translation of:
Jetes Devant, Temps Leves |
Throwing steps in front with raised movements |
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Echappe Saute Combination |
5th. R foot devant. Facing wall 5. Arms fifth low.
Echappe saute, 2 changement. Do a total of 6 times. Arms open demi-seconde with the echappe, then fifth low for the changements.
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Translation of:
Echappes Sautes Changes et Deux Petits Changements de Pieds |
Escaping movements jumped and changed and two small changings of the feet |
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Music for the Echappe Saute Combination |
2/2 Time Signature
And-One-And-Two, And-One-And-Two, And-One-And-Two, And-One-And-Two
1 measure (2 counts) for the echappe saute. Then 1 measure (2 counts) for the 2 changements.
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Supplementary Steps in this Grade |
1. Balance 2. Polka 3. Grand Reverence |
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Translation of:
Balance |
Balance or rocking step |
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Balance Combination |
5th. R foot derriere. Facing wall 5. Arms fifth low.
16 balances with head inclining towards foot that steps out to begin the balance.
Maintain turn out. |
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Music for the Balance Combination |
3/4 Time Signature -Think of a Waltz
One-Two-Three, One-Two-Three, One-Two-Three, One-Two-Three
Each balance gets 1 measure (3 counts) |
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Translation of:
Polka |
Step from a Bohemian Dance
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Music for the Polka Combination |
2/4 Time Signature
ONE-two, ONE-two, ONE-two, ONE-two
1 measure for each polka (2 counts) |
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Polka Combination |
5th with R foot pointed tendu devant. Arms 5th low.
Total of 16 polkas. In a circle or en diagonal. Optional use of head and arms |
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Translation of:
Grand Reverence |
Large, reverant step |
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Grand Reverence Combination |
5th. R foot devant. Facing wall 5. Arms fifth low.
Step R foot a la seconde, step L back to tendu a la quatrieme devant with arms passing from 5th front to second. Bend forward from hips to bow, change weight forward to R foot. Do a total of 4 times. |
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Music for the Grand Reverence Combination |
6/8 Time Signature
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Enrico Cecchetti lived for a total of ______ years |
78 |
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Where and when was Enrico Cecchetti born? |
- Born in a theatre dressing room - In Rome, Italy - On June 21, 1850 - Parents: Cesare and Serafina |
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From his birth, Enrico Cecchetti's life revolved around the _______________ |
Theatre |
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When Enrico was 7 years old, him and his family toured the U.S. with the ____________________ |
Ronzani Ballet
(First Italian ballet company to perform in the U.S.) |
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Enrico's parents were both _______________ |
Dancers |
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Enrico's siblings: |
Pia and Giuseppe |
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Pia, Enricho and Giuseppe all became _______________ and ______________________ |
Dancers and choreographers |
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Enrico got married in his ________________ |
Early 20s |
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Enrico's first son: |
Arrigo
(Born April 21, 1873) |
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Although no information on his first wife seems to be available, it is possible that she died in childbirth, since .............. |
Arrigo was raised by his grandparents, Cesare and Serafina |
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Enrico's second marriage was to who? |
Dancer named Giuseppina de Maria
(Studied with her at Giovanni Lepri's school in Florence) |
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Enricho's second marriage produced what children? |
- Valentino (Died at birth) - Cesare - Luigi - Mario - Riccardo - Grazioso |
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Cecchetti referred to Giuseppina de Maria as: |
"the angel of my life" |
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Why was Enrico's formal education sporadic during his childhood? |
Because of frequent touring that his family and him did |
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Cecchetti's parents planned for his career in ___________________ or ___________ |
Business or Law |
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Cecchetti's parents sent him to a: |
Boarding School in Italy |
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What happened when Enrico's parents sent him to a boarding school? |
Enrico spent more time practicing ballet then studying his lessons. He was only tolerated there for 1 year. |
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What did Enrico's parents do when he was expelled from boarding school? |
They sent him to a day school in Florence, Italy. |
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What happened when Enrico's parents sent him to a day school? |
Enrico was falsely accused and punished for an offense he did not commit. He hurled an incept that struck his teacher and he was not readmitted into the school after his behavior. |
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After being sent to boarding school and day school, Enrico finally convinced his parents to: |
Let him go study with Giovanni Lepri |
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Cecchetti's first teacher was: |
His father
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Teacher of Cecchetti when he really progressed and advanced |
Giovanni Lepri |
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Other influential teachers of Cecchetti: |
- Cesare Coppini - Caterina Baretta - Filippo Taglioni
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Major technical influence in Cecchetti's training was from: |
Carlo Blasis
(Was a colleague of Cesare Cecchetti and Filippo Baglioni) |
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Father of Ballet Pedagogy |
Carlo Blasis |
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Considered the first real ballet because it had a story line, music, dance, and costumes that were interrelated |
Ballet Comique de la Reine |
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Ballet Comique de la Reine was commissioned by whom? |
Catherine de Medici
(Was performed in 1581 to celebrate the marriage of Henri II of France)
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In 17th century France, ballet had been an important part of the court of: |
Louis XIV |
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In 1661, ________________ issued a charter for the first ballet school |
Louis XIV |
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The first ballet school, organized by Louis XIV |
Académie Royale de Musique et la Danse |
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Louis XIV's dancing master |
Pierre Beauchamps |
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Louis XIV's dancing master that codified the terminology, positions, and movements of ballet |
Pierre Beauchamps |
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In the 17th century of France, the subjects of ballets were mostly: |
Myths and legends |
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Costumes of ballets in 17th century France: |
Court dress with masks to represent the characters |
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During Enrico's lifetime, ballet was:
Flourishing in ______________ and _____________
Waning (Declining) in: _________________
Not yet appreciated in: __________________ |
Denmark & Italy
France
Russia |
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The majority of ballet dancers performing in ballet companies throughout Europe (Including Cecchetti) had been taught by: |
Carlo Blasis |
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How did Enrico get hired as a premiere danseur and second in command to Marius Petipa at the Imperial Ballet in St. Petersburg? |
The administration of the Imperial Theatres had seen Cecchetti performing at Demidov's Garden |
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After being hired at the Imperial Ballet, Cecchetti was hired where and by whom? |
Hired by Diaghilev to become the maitre de ballet of his company (Ballet Russes) |
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In 1760, who wrote a diatribe against many of the practices in ballet, suggesting that masks should be banished, dancers should use facial expressions to portray their characters, and no more high heeled shoes? |
Jean-Georges Noverre |
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Jean-Georges Noverre's ideas were not widely accepted, his reputation suffered, and his dancers were shunned for showing their legs after he did what? |
Wrote his diatribe against the practices of ballet |
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What happened after Jean-Georges Noverre published his diatribe against the practices of ballet? |
Marie Salle and Marie Cupuis de Camargo captured their audience by wearing costume to represent the character and by shortening the skirt and removing the heels so the audience could see her exciting, twinkling feet. |
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By the end of the ______________, costuming in ballet was changing. |
18th century |
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Dancers continued to be corseted until the late ____________________. |
19th century |
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How was ballet costuming changing in the 18th century? |
- Skirts no longer had panniers
- They were still bell-shaped, but they were shorter and lighter |
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This person is credited with introducing tights to match the color of the men's costumes in response to an edict by the Pope saying that male dancers were not to wear flesh colored tights, and should wear white tights. This person felt that white tights were not flattering, so he began wearing tights that matched his costumes. |
Enrico Cecchetti |
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Gradually, tutus became _____________ |
Shorter |
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The 78 years of Enrico Cecchetti's life spanned what periods of ballet? |
- End of Romantic Period - Technological & Classical Periods - Intro Experimental & Neo-Classical Periods |
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The range of subjects of ballets ranged from: |
- Personal or societal issues
- Magical, fairy tale, otherworldly creatures
- Emergence of technology and its ramifications
- Controversies |
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The earliest ballet that is still performed today: |
La Fille mal Gardee (1784) |
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Some of the ballets performed during Cecchetti's career: |
- Giselle - La Sylphide - The Gambler - Don Quixote - Paquita - The Rite of Spring |
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Audiences of ballets during Cecchetti's lifetime: |
- Romantic Period: Was a social event, audiences socialized during the performance. Would mingle in lobby during intermission to gossip - Fathers of ballerinas would sell her used items for profit and boo at other ballerinas dancing - Some audiences very critical, boo a performer off stage for not being sufficiently attractice - In Cecchetti's day, everyone went to the ballet, but only men dined with dancers |
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Social Status of dancers during Cecchetti's lifetime: |
Dancers lived together, traveled together, married each other. Like in a world of their own. Were isolated from society because of their constant travel and because people perceived them as being a odd. Social status of dancers was low. Considered second-class citizens lacking in morality. Not allowed to worship in same sanctuaries or at the same time as others. Women sometimes had affairs with men of higher status who would help support their careers or companies. Dancers were encouraged to seek liaisons with wealthy and powerful patrons to support them. |
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Cecchetti's status as a dancer: |
- Was popular and friendly with high ranking clergy in the Catholic Church. One of his favorite pupils was Giselle Caccialanza. During this time, females were only allowed to have female sponsors for their first communion. Cecchetti was granted special dispensation from the pope to be her sponsor. Plus, he arranged for a Cardinal to perform the communion rites for her. |
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During what years did Enrico Cecchetti live? |
1850-1928 |
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Two anatomical concepts that are the focus of this Grade: |
Alignment & Turnout |
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Why is it helpful for a ballet teacher to be able to identify the different body types? |
Because the ballet teacher must deal with a variety of body types, it is helpful to know the assets and limitations of each type, and be able to identify them in dancers. |
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Body with long, slender limbs with a lighter skeletal frame and good flexibility.
Assets: Flexibility
Limitations: Developing muscular strength takes more work, can lack endurance |
Ectomorph (Diana) |
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Body with medium bone structure and good muscle development.
Assets: Strength, coordination, endurance
Limitations: Limited flexibility |
Mesomorph |
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Body with medium bone structure and average muscle development.
Assets: Good strength and flexibility
Limitations: Weight control, maintaining strength and flexibility takes greater training time |
Endomorph |
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Teachers of beginning students should help to establish what main concepts? |
1. Posture/Alignment 2. Turnout |
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The dancer's posture should be taught before the beginning of barre and should be reinforced until the child can do what? |
Until the child has a feel for it and develops the self-discipline to maintain it |
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Describe correct posture and alignment for dance. |
The line of gravity should run in front of the ear, down through the pelvis, toward the front of the knee, and in front of the ankles through the instep. Head should be erect with no tension, shoulders should be level, spine lengthened, and the hip bones directed downwards. The quadriceps should be contracted, the knees should be straight but not hyper-extended, and the feet should be established as a solid base with weight distributed in the three points of contact on the foot, with pressure slightly forward along the metatarsal arch. This will ensure that when the legs are turned out, the ankles do not roll forward and the medial longitudinal arch is lifted. When all of these elements are established, the student in parallel position should be able to rise into releve without any further forward shift in weight. |
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Describe turnout. |
Is a special aesthetical and functional aspect of ballet that is not desirable of any other physical endeavor. It also counters the body's natural stance and movement. It is the outward rotation of the thigh bone (femur) in the hip socket. In beginning dancers, it must be established from the student's first position without forcing it. The knee, ankle, and foot should be properly aligned in the plie. Young students need to be reminded to use the turnout that they have, but never force more turnout by losing the proper alignment of the knee, ankle, and foot. Optimum turnout should be achieved by the age of 13 or 14 because after that, it becomes difficult to increase and maintain the flexibility of the external rotators of the hip. |
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When is the best time to deal with alignment and rotation problems? |
While the student is at the barre |
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Specific example of alignment and turnout problems in the Plie Combination of Grade I: |
The center of gravity should never fall behind the heels and the knee joint should be directly in line with the instep. |
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Specific example of alignment and turnout problems in the Battement Tendu Combination of Grade I:
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Weight should be on both feet equally in 5th position after each tendu. |
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Specific example of alignment and turnout problems in the Ronds de Jambe Combination of Grade I: |
The 2nd position rotation both en dehors and en dedan should be the same as it is in the student's best tendu to 2nd. |
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Specific example of alignment and turnout problems in the Battement Frappes of Grade I: |
If the rotation is not held in the supporting leg, the hips will not remain aligned. If the student's weight shifts forward as they finish the exercise in 5th position, the center of gravity has moved back and the weight has been on the heels instead of the metatarsal arch. |
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Specific example of alignment and turnout problems in the Grand Battements Combination of Grade I: |
To the 4th in front, the center of gravity must not shift behind the instep. To the 2nd, the movement must not be taken behind the child's best tendu to 2nd. To the 4th in back, the spine must remain lifted and the pelvis begins to realign itself, allowing the leg to lower to tendu at the end of each battement. |
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Specific example of alignment and turnout problems in the Developpe Combination of Grade I: |
Same concerns as Grand Battements. With developpes, it is more difficult to maintain rotation at the hip in the adage movement. To the 4th in front, lead the movement with the heel. To the 2nd, keep the knee where it faces in a correct retire. To the 4th in back, keep the knee on an imaginary straight line from the correct retire. |
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Specific example of alignment and turnout problems in the Echappe Releve Combination of Grade I: |
Facing the barre, students often stand too close and push away from the barre, bringing the center of gravity behind the instep. In pie in 5th position after each movement, the pelvis and spine must remain erect. |
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Grade I Anatomy:
What is located on the lateral (outer) aspect of the pelvis into which the femoral head fits in? |
Acetabulum (Hip Socket) |
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Grade I Anatomy:
What articulates with the hip via the acetabular joint (hip socket)? It articulates distally (away from the torso) with the patella (knee cap) and the tibia (shin bone). |
Femur (Thigh Bone) |
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Grade I Anatomy:
What is the bony connection of the femur proper (thigh bone) to the femoral head (ball). The ball is the uppermost portion of the femur. |
Femoral Neck |
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Grade I Anatomy:
What is the y-shaped ligament that attaches the femur to the ilium allowing stability in the hip joint? |
Iliofemoral Ligament |
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Grade I Anatomy:
Relatively non-elastic connective tissue attaching bone to bone.
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Ligaments
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Grade I Anatomy:
What is the bony structure made of the ilia (hip bones), the anterior pubic bones, and the ischia (sitting bones). These all attach to the sacrum at the sacroiliac joint. It supports the spine, provides shock absorption, and provides the sockets (acetabulum) where the femurs articulate (fit into). |
Pelvis |
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Grade I Anatomy:
What is the column of 33 irregularly shaped bones called vertebrae? |
Spine
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Grade I Anatomy:
What is the flat, narrow bone to which the rib cage, except the 11th and 12th ribs, is connected by cartilage in the front of the chest. |
Sternum |
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Grade I Anatomy:
What are the bands of connective tissue attaching muscle to bones? They are relatively inelastic. |
Tendons
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Grade I Anatomy:
What are the protrusions of the upper part of the femur which provide sites for many muscle attachments? |
Trochanters |
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What are the two primary elements of music? |
Tone and Time |
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Explain how tone and time make music. |
Tone and time, when organized into patterns, become the materials of music. Organized time becomes rhythm. Patterned tones in rhythm become melody and harmony. |
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Means "flow of measured motion" and implies the flow of movement in music. |
Rhythm |
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Why is it necessary to understand how music affects dance? |
Dance and music are inextricably tied together. They have woven their way together through cultural history. Most dancing has an essential musical component, and it is certainly a crucial partner to classical ballet. Understanding the basics of music will affect how we train our young dancers. |
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Five lines drawn horizontally in music: |
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A note can be located where on a staff? |
On a line or in a space |
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A staff with notes on it creates a what? |
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The thing found by counting the one or space where a note rests as 1 and then every line and space until you reach the next note: |
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Immediately to the right of the clef sign is the: |
Key Signature (Only relevant to the musician) |
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Immediately to the right of the key signature: |
Time Signature (Important)
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Adagio Tempo |
Very slow
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Adante Tempo |
Rather slow
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Moderato Tempo |
Moderate |
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Allegretto Tempo |
A little fast |
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Allegro Tempo |
Fast |
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Presto Tempo |
Very fast |
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Ritardanto Tempo |
Gradually slower |
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Accelerando Tempo |
Gradually faster |
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Rubato Tempo |
Variable Tempo |
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"A" Tempo |
Back to the original tempo |
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The patterns of beats may be divided into different: |
Meters |
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Two beats in a measure One accented and one unaccented |
Simple Duple Meter |
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Three beats in a measure One accented and two unaccented |
Simple Triple Meter |
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Explain Time Signature. |
The top number indicates how many beats are in a measure.
The bottom number indicates what kind of note each beat is. |
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Explain the musicality of the Battement Tendu Combination. |
2/4 Time Signature (Duple Time). The tendu is not accented, each tendu takes two measures. Equal emphasis on each measure and each movement of the tendu. The foot arrives out on 1 (accented beat) and holds on 2. It arrives back into fifth on count 1 of the second measure, and it holds for count 2. This gives it the strength and emphasis it needs to be a battement (a beat). |
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Explain the musicality of the Echappe Releve Change Combination. |
3/4 Time Signature (Triple Meter). There is one step to a measure. The rise and echappe are taken on the primary beat. The rise is held for the second beat, the spring back to fifth position happens on the third beat. The hold on the middle beat emphasizes the lift and hold the student will need to achieve a relief in pointe shoes later on - the "up" is the essence of the step. |
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Explain the musicality of the Saute Combination. |
2/2 Time Signature. The primary accent is the pie. The strength for the jump is established in the plie, and the dancer is released into the air on the unaccented beat from the power of the pie on the accented beat.
Note: Jumps are usually in a 2/2 or 2/4. |
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What does adagio mean? Give an example from the Grade I Syllabus. |
Adagio means very slow. An example from the Grade I Syllabus would be the Developpe combination at the barre. |
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What is the time signature for the Temps Leve Combination at the barre? On what beat is the dancer in the air? |
2/4 Time Signature.
Counted ONE-two, ONE-two, ONE-two, ONE-two.
Dancer is in the air on 1 and in pie on 2. |
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What is the time signature for the Port de Bras Combination au milieu? How many measures does it take to complete one Port de Bras? |
3/4 Time Signature. Counted ONE-two-three, ONE-two-three.
Both the premiere and the troisieme Port de Bras take 4 measures to complete 1 Port de Bras. |
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Ectomorph |
Long, slender limbs with a lighter skeletal frame and good flexibility.
Assets: Flexibility
Limitations: Developing muscular strength takes more work; can lack endurance |
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Mesomorph |
Medium bone structure and good muscle development.
Assets: Strength, coordination, endurance
Limitations: Tends toward limited flexibility |
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Endomorph |
Medium bone structure with only average muscle development.
Assets: Good strength and flexibility
Limitations: Weight control; maintaining strength and flexibility takes greater training time |
