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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

RoyalAcademyofDancing,ADanceClassAnthology:TheRoyalAcademyofDanceGuidetoBallet ClassAccompaniment(R.A.D.)(London:RoyalAcademyofDance,2005),218. HarrietCavalli,DanceandMusic:AGuidetoDanceAccompanimentforMusiciansandDance Teachers(Miami:UniversityPressofFlorida,2001). AgrippinaVaganova.TranslatedfromtheRussianbyAnatoleChujoy.Incorporatingallthematerial fromthe4thRussianed.IncludingVaganova'sSamplelessonwithmusicalaccompanimentandtranslatedby JohnBarker,BasicPrinciplesofClassicalBallet:RussianBalletTechnique,(NewYork:DoverPublications,1969), pagenr.

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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

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

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). 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.
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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

Deceptivecadence(DC) Interrupted cadence Plagalcadence Plagalcadence

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

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

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

RobertGauldin,HarmonicPracticeinTonalMusicWorkbook,SecondEdition,Workbooked.(New York,London:W.W.Norton&Company,2004),page181. RobertGauldin,HarmonicPracticeinTonalMusicWorkbook,SecondEdition,Workbooked.(New York,London:W.W.Norton&Company,2004),page181. RobertGauldin,HarmonicPracticeinTonalMusicWorkbook,SecondEdition,Workbooked.(New York,London:W.W.Norton&Company,2004),page134.

12 11 11

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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.

RobertGauldin,HarmonicPracticeinTonalMusicWorkbook,SecondEdition,Workbooked.(New York,London:W.W.Norton&Company,2004),page183. RobertGauldin,HarmonicPracticeinTonalMusicWorkbook,SecondEdition,Workbooked.(New York,London:W.W.Norton&Company,2004),page427.

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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.

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

16 17 15

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

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).

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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.

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

18

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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

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.

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

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1.
PLIES

BARRE

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

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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

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

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

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

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EXERCISEFORATTITUDEANDARABESQUE AMinor TimeSignature 16BarSetting 4Bar/4CountIntroduction

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

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2.

DEMIPOINT

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

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

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

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3.

CENTRE

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

2ndPORTDEBRAS Gminor TimeSignature 16BarSetting 2Bar/4CountIntroduction

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

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4.

ADAGE

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

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

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

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1STADAGE

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

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

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

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

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

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5.

PIROUETTES

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

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

EMBOTSRELEVSANDPOSPIROUETTESBYHALFTURN AMinor 4/4TimeSignature 32or64BarSetting,dependingonrepeats

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

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

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6.

ALLEGRO

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

1STALLEGRO EFlatMajor TimeSignature 32BarSetting 4Bar/4CountIntroduction

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

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3RDALLEGRO Tempodipolkamazurka EFlatMajor TimeSignature 16BarSetting 2Bar/6CountIntroduction BATTERIEENCHANEMENTFEMALE Samemusicasimmediatelysubsequent... BATTERIEENCHANEMENTMALE (Malemenomossoconbravura) DMajor TimeSignature 16BarSetting 2Bar/6CountIntroduction

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

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

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

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

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

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

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

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7.

POINTE

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

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

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

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

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

POINTEENCHANEMENT EFlatMajor TimeSignature 32BarSetting 4Bar/4CountIntroduction

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RVRANCE

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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

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

Comment Addsemphasisonthe'twoinabar' feelasthebassfallsonevery secondbeat. Givesthemusicaliltedfeeling. "Depictingthemovementofa boat",isadescriptionintheNew GroveDictionary.21

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

10 3 1

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

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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

OpeningGambit Q^4 ANTECEDENTPHRASE CONSEQUENTPHRASE CTo & T& T&

EFlatMajor I I^ V $3

T&

uO ^4m T

T^5

T^5

PAC T&/Q and viiO /w ii ^4 CTo & Q^4 xw$3 I ^4 V& I Qm e

CMinor i q T$3

T&

q^

EFlatmajor CTo & I^4 TZ 9 m

CTo &

Q^

CTo & Q^4

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

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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

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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.

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5.

StepstoCreatingyourOwnImprovisation

Inordertocreateonesownimprovisation,apartfromacompletetemplate,thepianist needstoconsidermanyfactors.ThelogicalorderofstepsisoutlinedbelowinFigure14.
Figure14.LogicalStepstoCreatinganImprovisation

Step1:workoutthecounting,metre,andnumberofbarsrequiredforthe particularexercise Step2:chooseakeyandcreatephrasestructuresandcadential/tonalgoals Step3:findasuitableaccompanimentpattern Step4:haveamotivic/melodicgermtodevelop

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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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.

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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.

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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.

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