I>

VERA S. KOSTROVITSKAYA

100 Lessons
in
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Classical Ballet
TRANSLATED

Limelight

BY OLEG BRIANSKY

Editions

1993: New York

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Contents

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'1993
f)(~, A~! tgt)~ l IfIOll:epteml)~r'
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I : Transla/ion
Copyright @ /981 Oleg: IJriansk,Y
!/'ublishe4 Ny arralli!ement with Doubleday &- Company, [IIC,
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FIRST,SEMESTER
Fourth
ThirdLesson
Sixth
Lesson
Second
Lesson
Second
Lesson
Introduction
Fourth
Third
Lesson
About
!Using This
:AIl i'g~tsir~s;rved;III/(ler
illter~atiollal
alld P,m-American
Fifth
First FIRST
Lesson
FIRST
SEMESTER
SEMESTER
! : CopYrIght CoillVettlions. Published in the United States by
5
FIRST
YEAR
SECOND
SEMESTER
:Proscel~iu'm!Publishers ,/nc., New York and simultaneously THIRD
in
YEAR
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ca:,~
(itzh,enry
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PhQt1si~" p~gfs
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WhitesIde,
by Alex LimJ,ted,
Go~;yd Toro,nto,
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13-/9

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bylJeverley
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Gallegos
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of,Cong,re's,s Cata/ogini" in-Publ, icalioll Data

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kostrovitskaia,
V. S., (v"era
Serge~vna)
I : :1',100
/errolls in c1assi,ca/ballet~
"I

JJ.al{e~dancillg-e-Study and teaching.! I. Title.

If ITltle:; Olle hundred lessons in c1assif'al ballet,
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G/YI7;\'Ji.5.K668
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ISIJNO-S791O-068-0

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60
64
103
48
Ninth
43
37
Lesson
117
110
54
169
161
175
154
Fourth
Third
140
147
133
Lesson
Lesson
Sixth
Lesson
96
72
10
7
32
Seventh
83
89
28
Lesson
Seventh
Lesson
77
24
20
126
Lesson
Fifth
Lesson
Eighth
Eighth
Lesson
Preface

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86-27743

Book

First Lesson
Fifth
Lesson

SECOND YEAR

SECOND SEMESTER
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5, SEMESTER

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226
232
Sixth
Seventh
Lesso~
Lesson
212
Fifth
Lessoh
219
Eighth Les~on

First Lesson I
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Second Lesson

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Preface

Third Lesson I

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F~:lrth Les:l'on

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263

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Eighth LessOn

294

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286

SIXTH YEAR

304

111ird Lesson

322

313

Fourth Lesson

332

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First Lesson~,
[' Seco~d,[Less,n
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344

Third Lesson

359

352

Fourih Lesson

365

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SEVENTH YEA~

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First' ~~ssonii
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Sixth Lessoiz
Seventh Lesson

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279

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, Second Lessonl

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F01,lrthiLesson
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SECOND SEMESTER

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Fir,st ?Jessoh1,
Second'I'
Less nI
; , I Lesson
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Third,
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FIFTH YEAR

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Second,: Lesson
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EIGHTH YEAR

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Third LessoJ
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Fourth Lesson

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388
394

THE PURPOSE of this book is to present a working textbook for teachers

in choreographic institutes, ballet schools, colleges, and universities.
It is dedicated to the systematic development of a teaching technique
for the ballet lesson.
The lessons offered as examples are composed in accordance with
the eight-year study program approved by the U.S.S.R. Ministry of Culture for ballet students. The book does not analyze the execution of
each step inasmuch as this has already been covered in A. Vaganova's
Basic Principles of the Classical Ballet and in The School of Classical Ballet,
by the teachers of the Leningrad Choreographic Institute, V. Kostrovitskaya and A. Pisarev and other contributing faculty members of the school.
It is in the elementary' and intermediate classes that the teacher lays
the foundation of ballet principles through the assimilation of a large
number of steps. Accordingly, the largest number of lessons in this
book is directed toward these levels.
The book contains nine sample lessons for the first year, eight lessons
for the second through the fifth years and four lessons for the sixth
through the eighth years. In addition, the book contains forty-seven
exercises on pointes. Naturally, these examples are not intended to do
away with all the other possibilities of conducting a ballet lesson, but
they can serve as models for teachers in their independent composition
of lessons. All basic steps are covered in the two semesters of the first
year and in the first semester,of the second year. These steps are broken
down according to the musical beats. Any change in the musical tempo
indicates the degree of the technical accomplishment of the movement.
TRANSLATOR'S NOTE: All the classes in this book will be referred to as lessons and the
eight classes according to the U.S.S.R. Ministry of Culture's eight-year full proglram of
study will be indicated as ,years.

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Dunng th~ second semester of the second year, separate steps are
JUt tog~~he~J fi~s~:in simple
:nt~~ ~~st f~+fst:er of the
1~~VI~US
,yearis:s~~dy beco~e
:eparately. l'hes;e: new steps
I semester.
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combinati?ns, then in \complicated ones.

following years, the c~mbinations of the
mor~ com~lex. and newiste~s a~e maste~ed
are Included In the combinatIOns durmg
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.,In ,thei :~te~~eri~~~ years, fourt,h a~d fifth, an? in t~~ advance~ years,
lx(h;' seventll, and eighth, the analysIs of steps In musical terms IS rare;
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Is.a ~,:,l~:
~e ~ea,ch~rsli~it o.urselv;e~onlYlto the ,indication of the number
:f l(l~sl~~l bah: ~espeClally In a?aglO anq allegro)..
Ih these le!~sor;ts,:the success1VC~study10f steps IS taken mto account.
t i~ indicat~~ ia1so!in class that' a cert~in number of practiced steps
nd combina't:iorts
lthust be
repeated. THe reader should keep in mind
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Ila~a~l t,he exercls,~s are: done on 'the n~ht and the l~ft leg alternately,
~artirig hind ~ndjn!g :in fifth position. If the preparatory position is not
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I fifth, this ,ill be ;specially indicated .Ihe starting position for batte\(~nts,fdpp~~, !~attements doubles frapp~s" ronds de jaritbe en l'air,
::ld'pe'tiGsbai~e~eh'ts
sur i,'Ie clm-de-pied
is indicated i~ the first lessons,
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ut i ~?,t I? th,~ l~t~~, o~e~ .. Each ~lass e~ds with the i port de bras and
endmg !of the body, indICated In the (ootnote of the first lesson of
ilch yea~~'Alii sltJ1Kexcept those: ~n po/ntes can be iexe,cuted by men
lId wbmen ~likel When certain steps o~combinati06s are carried out
.
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{'~ome~o~\'yl
h!li~
~n the I:footnote,
indicating the
'quired 'sltep:~r,c0l'Ilbination recoI"llmended, by us. In the book, exercises
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poirit~s'
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a~
of that
each~esson.
Ho~ever,
the lessons
i,n,such
" the end
a w~y
t e exercises
~n p,ointes
should
)t ibe:gl~en ?n, th~1~ame day as th~ JUmps. i!
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One ,of:the :tun~amental requirements lof classical ballet method is a
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larp,
,tute;~r,i'the
d~~n~i~.H,us.
:mu~lcal accompamment
~cal:,e?,uc~tio.n':,.Atthe)
of a class
~e~ingrad
ISbased ~ho~eogra~hic.
on ImprOViSatiOn.
Inhe,ex~rc~ses i1t:th~ barieand in dl~ center are almost bntirely accompaedb'
.' y!~~,SIC~
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I ~ ~I d agIO,
. III
~ egro, an d' i steps on pomtes,
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, : . Ill'~rr~~ovl~~t~on..
lP~O~~S~~IO~
lalf.9r~~tesl ~It~ wr.1U~nmusIC.
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Anlmprovlsktlon can be InsplH;d by alpersonal musIcal thought, or
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e pia~i~~ :m~~ kJ~j~ctively interpre~ a~yl written musical. composition.

lie: musi{: m4st !strictly adhere to the' dancing patt~rn proposed by
'h'i1'
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t ."e,is,
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e,t~achJf:and
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definite/hythm
to the
[f,' fot examffle,i l:Iatte\fients fondus are executed in lone combination
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then
the: Ii rhythJt
of the mel6diousness
mu~ical
phrase inmust
th ,I batt~inenlS
fleFtl
a !lfloWing
the
il. 'iff~reri~Haracter~
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execution of battements fondus, and then changing to sharp sta<

during the battements frappes. By providing a definite tempo, m
and rhythm, the music exposes and accentuates the characteristi,
the steps and thereby helps in'their execution. Simultaneously it t
the students to discern the correspondence between the elemen
the music and the steps by bringing them into relief. The observ
of the rhythm together with the creative fantasy of the pianist (~
varied improvisation) enric~es the quality of the class. A definite m
tempo, and rhythmical pattern expose and accentuate the precisi(
the steps; the melody, presented in varied harmonies, creates an ,
tional coloring of the movement, subordinating the step to the l'
and providing a musical ambience for the lesson. We disappro'
the notated music conventionally used in the exercises at the. barr<
in the center, because the creative coordination of steps with a ri
followed accompaniment either inhibits the teacher in the constru
of the combination or may conflict with the musical composition. No
music is only helpful in providing tempo and meter. In allegro
pointes exercises notated music-fragments
of musical composition
ballet music-must be selected by the pianist according to the chal
of the steps and combination.
If in ballet performance the ballet master submits completely t,
music, translating its form and content into choreographic imagery .
just the reverse takes place in the classroom-here
the music must Sl
in its form to the movement. All the combinations of a lesson
be constructed with due regard to the musical phrases (regular b
starting and ending in conjunction with them. The musical phrase
be short or long: eight, sixteen, thirty-two measures, ete. It is also I
ble to construct combinations and adagio exercises on one and ;
musical phrases such as: twelve, twenty-four measures, ete. The p
participates creatively in the course of the daily lesson and in the m'
education of the students. He skillfully selects ballet music in
instances when the teacher's exercise requires notated music.
A diagram of a ballet studio is shown, with lines that determin
placement of the poses and the direction of the steps, whethel
straight line or a diagonal, or in a circle during the exercises i
center. The aim of the book is to assist the inquiring teacher i
independent composition of classes and in the planning of each '
course of study.
I
We hope also that the experience of the teachers of the Lenil
Choreographic Institute, which provides the basis for this textbool
help in the preparation of the task at hand.

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Ji-~a'Koltrovitskaya with Oleg Bnansky in Leningrad.

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:BRIA~SKY

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fifteen wneniIlchoreographed'my
fir~t full evening of ballet. After
p~rform~anc~ ~t Ith~:Pale.is des B~aux-Arl:s in BI"USSel~,a Russian dele-

"A~

Ie
pf' th~IBe!ki~n-'Soviet:
mission
me and
offered
w1uld
h~ve me
had the
to
,~ipil,it,
yl.pf a',lba(l~t:!care~~
in t~ei:appro~ched
!S~>vietl,Unio~.
vejBelgi~m for: the Imtenslve course of study that ISthe RUSSIansystem
ba~lft; e~~ca:~i~~, 'a,~d I ~lti~~t~l~ decidFdi that the ~ffer carried with
'00I' mat;lX
ut;lae<;eptable:condltlons.
AndI yet for
theI boy that I was
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n,! son :M Rus'sran!:emigres who; had left their hom:eland as part of
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s~rhe ~ave Ifh'af ?t?ught Diaghi~ev, ~ijli1~ky, Fokint!, and Anna P~va to:th~ West.~ussla loomed for, me, mhltably, as a 'sort offountamII
II
I
ld o(:th~
d~hcer's'
art. As it was, mostlof my ballet training in the

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West was with such Russian teachers as Loubov Egorova, Victor Gso
Olga Preobrajenskaya, and Igor Schwezoff and with Soviet teaj
Vladimir Bourmeister, Leonide Gontcharov, Valentina Pereyslavec
Olga Lepeshinskaya. After establishing my career as a principal d,
with several companies in the West, I was again offered an opport
to dance in the Soviet Union, this time, in the form of an invitati(
partner Olga Lepeshinskaya of the Bolshoi Ballet. Unfortunately,
prevented by an injury which in fact forced my early retirememl
the stage.
As a Russian, I never lo~t the desire to see for myself the COI
my parents left so long ago and which they never saw again. As a da
and even more as a teacher of dance, my curiosity grew to set
Soviet ballet at home, and especially to see more of how the \V
famous Soviet ballet technique is taught.
,
Finally, as one so often must, I made my own opportunity. Iorga
a group of ballet students and balletomanes as eager as I to se
Soviet Union, and arranged a tour through Intourist. The trip was d
satisfying to me and, apparently to my companions. It became the
of many visits on which I have escorted groups to Leningrad, M(
and other cities, and arranged for them to meet directors, chor<:
phers, and teachers at the famous schools of ballet in the Soviet U
and to observe classes and rehearsals there.
In 1976, our tour bore unexpected fruit. One of our group men
Earle Mack, decided to produce and finance a documentary filo
would preserve for all time the inner workings of the Vaganova Ch
graphic Institute in Leningrad, once the Imperial Ballet School on
and certainly one of the greatest sources of genius in ballet in the"
The time I spent at the school acting as artistic director of thi~
The Children of Theatre Street. gave me an even deeper understa
and respect for the unique fabric of the school, specifically the rde
cooperative striving of the students and teachers for achievemen
artistry on the highest level. In fact the sensitive but total dedij
of those who give the training and those who receive it, becam
of the most important subjects of our film.
Which brings us to the project at hand. One day, Galina Stupn
a teacher at the Vaganova Institute gave me, as a present, a c(
One Hundred Lessons in Classical Ballet by Vera Sergeevna Kostrovit
a textbook held in very high esteem among Kostrovitskaya's colle
in the Soviet Union, as well as among the dancers and teachers I
West who were able to read it in Russian. I soon realized the U)
significance of this text; here I had. in book form, the source of
study developed by Agrippina Vaganova, a teacher so remarkabl
the Choreographic Institute of Leningrad has been renamed to

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,Vith ,high artticipation,

arranged

to visit Kostrovitskaya

at her

~~nt. i~ ~he ~U?~~~Sof Lenin~ra? I approa~hed he~ with resp~ct,

:ter a,lively discussIOn of techmque and tbrmmology 10 the teachmg
It '~nter~:atio:~a:,lll~~guage, we develop~da

mutual ;~egard an~ I

lth
here~rlie}1t~an'slation
,agre~m~nt: that ,Iofshould!
her:Ballet
book,mto
:e 'my'
Classestranslate
in CLassical
by the English.
Bolshoi
rriaSlh thadny
iAsa:rMe~~erer,:
~et~ccept
with ~his
!lmpreteden~ed
success,
,nfldeht\
~ublisher had
wo~ld
new project. My
enthu- I
ftfrit!w~s twb~old'i First; there is 'to myknowl<~dge si!mply nothing
in th.e l~~eratrt~
ballet. It}s a ~ast c<?fnpilation of'lessons effecdetaIled! to IJns~lre and assist the teacher, and to !augment the

?~

In a way, the publication of One Hundred Lessons in Classical BallI'

like the return of a gift. In past centuries, the emerging dance tradil
of Russia accepted avidly all it could learn from the great ballet masl
of the West, helping it to create a magnificent classical ballet of
own. As a result, the influence of its world-renowned emigres has
riched our ballet heritage immeasurably. Today the West, especi
the United States, has again emerged as the standard bearer for inm
tion and explosive popularity in dance, while Russia returns to V
challenge in upholding the highest classical standards in ballet educali
The process of influences h~'Scome full circle.

10 the West
thel entire
eightSecond,!
th~ bboklmakes
available
'r'~
fi.un.
ct:.ion~.'ls6.
~,.h.alt
it is '.actual!.
y i'1Va!ua~le,for
teacher
an~ stu~ent
IlrriCulurP ta,ught at the ;Yaganovk Chorkographic Institute. Vagateachi~g h~s il>eep famous for decadek within the iballet world,
the last fe~ y~ab interes'tin it has b'ecome worldwide, as the
,d th~t ptodiked 'the Russian luminariek Rudolf Nuteyev, Natalia
' I!:!
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ova, ~n~ ,Mi~ha~lBaryshnikov.' i
Lrovitskaya ~as ,al ~tudent and a protege ofVagaIiova and this
letails t~e le~so~s ~heherself taught at ithe Vaganova school, fol: the
'pr~cept~
:of her
famous mentor. She presents it progressive
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Ich to the combination, of lessons taught from the: first year to
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student of xerClses at the barre, 10 thle center of the StudiO, of

:~gto',~ndith~
~n pointes. I know of"'o such complete training
~ ~~.stem that resUlt.s.in cQmplete technical m~stery,
!;h.th; '~re~tin~:I~Jrk
ere e~se I in ~op~ Iform for, s'tud~nts starting at the lage of eight
Preparatory arm position.

,an,y,~ea~lher'pt
all the! iNay'tq ~~?cer
the ,advanced
on anylessons
level calJ
o~ the
dra~graduate
great :benefit
year. f~om
19 this bookqWhen! I have tested. the les,sons 10 my own teach 109,
b~en' sttuck iby tthe clarity with which the planned combinations
's ~nrol~ ,.fo~ltht s~uderit. Interestingly,! I a~~o.ran across :certain
of techmqu~ toat! were beyond the ca~abillties of :students not
i iri ;thel SoviF~ bal~~t method" arid thde
I delete in my classes.
,tah9ing; thik: iekttlook will provide neW insight into the scope

6c the I~e~dh'e'~in ballet, and I b~lieve withoJt any' doubt

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is'I b~;ok:l
will!1hI' l.i~e:ihe
stkmdard.s..'of teaching
wherever
it is used.
method as the

nge!

Ilt Imean~!of,~ourse, to proselytlZe,the.Yaganova

rr~c't::s~~te~i ~fl te~ching.ballet. If me~1 only' to a~rm' the very

,~'Ir~';1e~~e
t~~ Ru~slan Soviet school o~ ba~let has had on
he.wc;>rl~ovl~rim ~~Is~eh.tury. We have been msplred and moved
artists; ,we can kmly &enefit from a st~dy of the methods that

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First arm position.

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Iii croiSeelf~o-ht,pointe
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(small
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I!e ront,jl(otnt,f
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Attitude efJaeee.

Po~e!effaceefrlnt,

poiJte:

" t~ndue (big pose). 'I

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Pose ecartee back, pointe tendue.

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Pose etartee back.

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Arabesque allongee.

Pose
effacee frant
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(btgpose).

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!A,~qut;Using,~his Book
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NYil~~~foOK,~o~~ver ivaluable; can ~e~om~ confi~mg If used I? a

?gfO~tl~in'a~; lIt,If.FY hope t~at te~che~si1"ll.llea,rn fror;n the progre.s~l?n
e;x:eretse,sIn tHIs ,book; without :Iosm~ ,Sight i of the real capabilities
' i~d,i~i~?~l ~hidb~~s. T~e boo~ s~ould pe ~sed creatively. to he!p the
:l.c~erlde:Vlseifh'elmQstconstructive combmatlOns for the students tech,:a~ d~v~loPnieh~.IIt sho,"Jld not 1?ea substitute for the teacher's own
b,

us~diri ithis'l~a
,I both
'experienced
anti inexperien~ed
teachers Ifwill
of'I, ~nspiratlion
in, plantiing lessons.
it
,~aiivity,l
' Ii i I ut:hitt',
Ii I J,i
'I. asdurce
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d the oook 'an m'v~luable source of matenal, and yet their teachmg
II rerilaiH
fle~iJ:)le,and
,I;
I,book will :be unfamiliar to
Certain
:terrri~
~ked byalive.
the author: i of th:is
Isd n~t v~rs~d, In:Soviet ballet terminology., I have no desire to become
Ibioiledi in a idisdussion M "correCt" tenvinology; th9 important thing
'e ~s':t/>~ridet~t~b~ :t,heauthor'~ ,ioltenti01s. For a bett~r understanding
R~ssl~nl ~sa~el ur?e ;the senous reader. to study Fundamen.tals of. the

ISle DancebYiA,
g,t;lppma
I hav~-mcluded
:!Orne
inipor:~antl
~~rms Vaganova.,
~hat maYIseem1.mbiguous

below
to thea dISCUSSIOn
reader of

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: text. ::
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',ONGE applies 'to the position of the hand or hands, extended from
!

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the fingers
the :iel
position of
'Et~e
ONwri~t
P.01tJth~OUgh
, ES used
as piqueasonin poirit
s, traveling
in an
anyarabesque.
direction.
I Iii

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M~LL ~OS~ 'rcrfers to! the position ot arms. held, i one in' second
i

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(arm)
positi[,
n, !th,e,' ot,her
in first (arm) bosition.
:rG!~OSE re e~sit?the position of arm~ held"one
1

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it:!second (arm)

I II: : I' th~1oth~r

i Ii',
I'
p'ds,ltionl
in third (arm) positi'on.:
EV~: LJ!=NT[I'P 90 ,breaks down in the following i manner: from
I

'

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I
f

tendu and without interruption in the slow motion, raise

to 90, in any direction. Thereafter lower the leg down in the
position.
TOUR designates a turn of the body on one leg. It has been I
in the translation, instead of the more common use of the
term PIROUETTE.
TOUR LENT denotes a slow turn on the supporting leg and corrl
with the western term TOURDE PROMENADE
.
TOUR TIRE-BOUCHOr4 used here for the pirouette, where th.
ment of the working foot is under the knee of the supportl
also identified as retire.
SISSONNE SOUBRESAUT is a combined jump composed of a :
saut and a grande sissonne ouverte, which is execut~d in
to the front, to the back, in big poses, in attitude croisee, ;
effacee and in pose croisee and pose effacee front.
GRANDE SISSONNE A LA SECONDE DE VOLliE EN TOUR
EN DEDANS is a combined step executed facing the mirr
in diagonal starting with step-coupe, or a small sissonne to
fourth position croisee, as well as from pas chasse. It enc
pas. de bourree dessus en tournant or with soutenu en to
en dedans. The breakdown of the step is the following: af
small sissonne tombee croisee to the front, execute a pas '
the right arm in first, the left arm in second position, then s
the weight of the body onto the right leg in demi-plie (fourth p
croisee) execute a bigjump taking off from the heel of the sUPI
foot (right foot) and by the way of a grand battement of l
leg a la seconde at 90, execute a full turn in the air en d
to the right side, the left leg at 90, raising the arms in third p<End the jump in demi-plie facing front (side I) and folio'
pas de bourree dessus en tournant.
BIG SCENIC SISSONNE as it is called in Russian, is executed
big jump, while the arms move through first position and
respectively one in second, the other in third position. The
stretched out through the fingers, as if in an arabesque hand pc
(a~longe).
JETE ENTRELACE refers to the western term GRAND
JETE ENTO~

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fifth IIIpositioA,
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b~tish
tfie',I working
foot or the floor as, in battement
1

'I

And now, dancers, take your places, let's begin the lesson.

l!irst tear
Introducing the elementary exercisesfor mastering the
ment of the body, the legs, the arms, and the head, deveh
elementary skills in the coordination of steps.
fJ

First, the students execute the exerciseswhile standing,}

the barre, and holding it with both hands. Later, the)'
hold it with one hand facing one direction, then the ()
while executing the exerciseson the left leg, then on the
leg. The opening of the arms from the preparatory PO.I
to the first and second arm positions~preparation (l
barre and in the center-is executed to the beat offour

ductory chords. The closing of the arms back into the pre!
tory position is done to two concluding chords..
At the end of the first year of study, the preparati01
the arm positions is executed on two introductory choY(

)
3. BAlTEMENTS TENDUS IN FIRST POSITION WITH DEMI-I
16 measures in 4/4.
In the first measure: battement tendu front. In the second me,1
, demi-plie back to first position. Repeat, then execute the same move
twice to the side, twice to the back, and again twice to the side.
4. PASSE A TERRE IN FIRST POSITION. 16 measures in 4/4.
In the first measure, battement tendu to the front, without sto/
in first position, battement tendu to the back. In the second me.'
again passe through first position and battement tendu front, ete.
exercise is repeated 8 timeL
5. DEMI-ROND

DE JAM BE A TERRE (a quarter

circle). Me

4/4.

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the :bar~e,
.
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l't
f ,'facing
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~+,'second,

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Mftas
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third; and, I1fth pO~I.tlon~. Each derm-

don~ I,n'2 lPeasu~es"

change
4 chords.in
ITEMENT
TENDUS and
IN the
FIRST
PO 6~fpositions
ITION. 32]Ion
measures
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)attements
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in,
2 pleasu ,es..
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"rclses 'are',don~
II : i the I,barre., i'
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,I fL,ng
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ten us: to 'the front, ,to the side, to the ~back, and to
II

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Starting in first position. En dehors: a) On 2 beats slide the fo

the extended working leg to the front, on 2 beats, slide the foot I
side, on 2 beats bring the foot to first position, on 2 beats hol(
in this position. Repeat the exercise 4 times.
b) On 2 beats slide the foot to the side, on 2 beats slide it to the
on 2 beats bring the foot in first position and on 2 beats hold Sl
this position. Repeat the exercise 4 times.
En dedans: Repeat the same movements to the reverse side; slid
foot to the back, then to the side; thereafter, to the side, then t
front.

"

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6. EXERCISE FOR THE ARMS. Measure 3/4 (Slow Waltz).

Stand sideways to the barre either in first or in fifth position, ho
the barre with one hand and with the other arm in the prepar
position.
a) In 2 measures: from the preparatory position, the arm rises i
front to first arm position. In 2 measures: Hold this position. In 2 I
ures: The arm comes down to the preparatory position. In 2 mea~
The arm remains in the preparatory position.
b) In 2 measures: from the preparatory position, the arm rises in
to first arm position, then lifts to third arm position. In 2 mea~
the arm comes down to first position. In 2 measures: the arm (
in the preparatory position.
c) In 2 measures: the arm rises from the preparatory position l(
position. In 2 measures: open the arm to second position. In 2 me""
hold the position. In 2 measures: the arm comes down to the prepat
position.
d) In 2 measures: the arm rises to first arm position. In 2 mea~
lift the arm to third arm position. In 2 measures: the arm ope

Ie prep~~a~o~yip:o!si~ion.Each ot ~he m~~emenls cnUllllelalt:u

peated 'l times. i : !,
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ATIEM,ENTS
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"battements';teridus
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1rENDUS IN FIFTH POSITION.

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32 measures

EXF.RCISES IN THE CENTER

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to thefront'(each

battement

,thel sid~, t6 f~e ba~k a~,d t~ the side.:

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E~ERCISE

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tendu m 2 meas-

I. EXERCISE FOR THE ARMS. Measure 3/4. (Slow Waltz)

The exercise (as indicated in exercises at the barre no. 6) is exe,
simultaneously with the two arms. The legs are in first position (hv
turned out).

II

TO THE!BATfEMENTS

TENDUS

'~SiI~
r?~IITIOiN.
4/41,
.1
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ihe
first~~RS1
and I:!1~cond
beats of~e~s~,re
the measu~e:
the workmg
foot
brushes
;:1
..
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'ardon! the :floor: On the third beat: the leg is raised to 45. On

2. Measure 2/4. March.

fo~rth
bbat:i:the:
leg comes
down~ measlhe:
poin~e tendue,
on closes
the floor.
On
fir$t, tw~'
bdt~ lofthe
following
the foot
in first
lidn. On; the[t~st ~~o beats: the leg is h~ldin first position (preparaposition). The lexercise is repeated 4 times, then it is executed to

Hands on the hips. The exercise starts with the right foot; the tl
of the movement changes; proceed with slow marching steps and
gress first to fast ones, then to a fast run, etc. The exercise)s do
a circle or on the diagonal from corner to corner: 6 to 2, from 2
from 4 to 8, from 8 to 4 (See diagram).

! '

:;ide ~nd to tpe hack. ,

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'R~P~RATOR:~ .tXER~ISE FOR BArtEMENTS

2/4

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FRAPPES. MeasTHE FIXED POINTS OF THE STUDIO

'2the
~ntroduct~fY
chords: the(preparation).
foot. brushes,tn pointe
the side
first or fifth'position
the firsttendue,
measure:to bending
kdee, the fdotis placed sur Ie, cou-d~.pied front. In the second
~ure: the po~ltionis maintained. In the tllird measure: the leg extends
pointe! ten~Je: to the ,side on the udor. In the fourth measure:
positiori ,is m~intained.
The exercise is repeated 4 times, consequently
'I'!
.I

CORNER

1 (MIRROR) SIDE

2 CORt

i
I, sur Ie'i : i,: -de-pied
exec,ute~
back.i
I'
,
R~~~~f IN1 ~I~ST POSITION: 32 m,asures in 4/4.
irs,t~ea~ure;:1 r~s!e:slowly on half-toe. Se~ond measur~: stand on ~a~fThIrd measure: come down slowly. Fourth measure: stand sttll m
!

C,O,ll,

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phsit,ion.
irs~ an~sec9rd ,beats: rise on half-toe.lhird
and fo~~th beat~: stand
" FIrst and secQnd beats: come :down ~n first posmon. Thu'd and
th beat's: st<ihd 'still. Each exercise is repeated 4 times.
I

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SIDE 7
CORNER 6

3 SIDE
5 SIDE

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14

CORI'

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3. ONE HAND HOLDING THE BARRE, repeat the previous exercise

only with 2 battements tendus in each direction.
4. BATTEMENTS

TENDUS JETES IN FIFTH POSITION.

Measure

4/4.
On the first beat: brush the working foot front, pointe tendue, on the
. floor. On the second beat: throw the leg to 45. On the third beat:
bring the leg down, pointe tendue, on the floor. On the fourth beat:
close the foot in fifth position. Repeat 4 times in each direction, to
the front, to the side, to the bad< and to the side. This is executed
facing the barre.
5. ONE HAND HOLDING THE BARRE, repeat the previous exercise
only with 2 battements jetes in each direction.

II

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6. RONDS DE JAMBE A TERRE. 16 measures in 4/4.

Starting in first position. En dehors: On the first and second beats:
slide the working foot to the front, pointe tendue on the floor. On
the third and fourth beats: slide the foot to the side, pointe tendue on
the floor. On 2 beats of the following measure: slide the foot to the
back, pointe tendue on the floor. On the third and fourth beats: bring
the foot back in first position. Repeat the exercise 4 times en dehors
and 4 times en dedans, facing the barre.

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,ion, facing the ba e!:

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7. ONE HAND HOLDING THE BARRE, repeat the previous exercise

4 times en dehors and 4 times en dedans. Concluding the exercise,
execute a simple port de bras: from the preparatory position, the arm
rises to the first arm position, then to the third arm position, opens in
the second position, and comes down in the preparatory position.

I
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Sl!cbnd Lessdn

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8. BATTEMENTS FRAPPES. 8 measures in 4/4.

Preparatory position: the working leg extended to the side, pointe tendue, on the floor. On the first beat: bend the knee of the working leg,
striking the supporting leg sur Ie cou-de-pied front. On the second beat:
extend the leg to the side, pointe tendue, on the floor. On the third
and fourth beats: maintain this position. -Subsequently, the stroke is
done sur Ie cou-de-pied back, etc. The exercise is done facing the barre
and repeated 8 times.

'"

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I
E~I ERCISES
AT THE
B~RRE
:

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Mea i! urt: :'t,l4.:
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ni~plies in fiik sebrind, third, fifth; and fourth positions-2
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meas-

I I i~'executed
ii,
: the barre.
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ea,'ch' pI,i,e. '"[Ihisl
facing

T~M. EN,;rS IT~ND.'U~ IN FIFTI1 POSITION. 16 measures In

! i
II II 'to
! !! the front, to the slde,
j
i
.
,ttements
te~dus
to , the back,
and
to
I

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barre.!Eac~10riv~,
i
ii, bent:is
,
,he
again.
e,,:ecu~ed
to " full measur~ I of 4 beats,
I

'

9. PETITS BATTEMENTS

SUR LE COU-DE-PIED.

32 measures In

2/4.

Preparatory position: the working foot sur Ie cou-de-pied front. In the

first measure: the foot slightly opens to the side in second position.
In the second measure: bring the working foot sur Ie cou-de-pied back.
In the third measure: the foot slightly opens to the side in second posi-

)
llon. in tHe; ~OU,~lllmeasure: Dnllg' me 1001 sur .ie .coU-W.:-PH:U
, 'i ,.'!
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I
d 8 times.
.
T h'e exercise
liSexecute
Iacmg
t h e tluarre an'd repeate

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Bf'-T~rMEJ;JT~ ~ELEV~S LEN! S TO, 45. Measure 4/4.

,10.

In th~ fir~~I,n~a~ure: fa~s~the :workidg leg slowly lforw~~d t~ 45, fro~

~~e,fi,r;sto~
,fi~th,
pOSitIOn.
thecotnes
shond down
measure:
POSIllon. ;In th~ thf
tHuA
me~sure:
the,I~leg
slowly~amtam
mto the the
prepara~ory positli~:+:1~ri!the 'fourth.nie~sure:: maintain. t~e position in first or
_II~'fi~tp P?S~tllon:.Th~ exerose IS executed tWICe;to the front, to the
'side, :(0 tlib brCk; facmg the barre.
IIE JkL~~t
H~LF-':OE ~N FIRST, s~cONb, AND FIFTH POSITIONS. Nie~sure 2/4.
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a) :In: the
measure:
rise
onExecutb,
half-toe.th"eInexercis~
the second
measure:
(Jo~~
litot~rst!
els~a:rtl,'
ng.,POsitio,n,'.
4 times
in each come
posiI

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b~th~1 ~r~t:~e~t: dem'i~~I On fhe se~ond ~eat: rise on half-toe.

J.&.:..!'lUU'::>,U" .1'.1.1'111 rV')111V1'1.

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4. BATTEMENTS TENDUS IN FIFTH POSITION WITH D

16 measures in 4/4.
In I measure: battement tendu. In I measure: demi-plie. Ex.
to the front, to the side, to the back, and to the side.
\
5. EXERCISE FOR THE ARMS. Measure 2/4 or 3/4.
Raising and lowering ~he arms slowly in all (arm) positions: fil
first, third, second, then the following combination of arm
right arm in first position, left arm in second position; left ;
position, right arm in second position; right arm in first pr
arm in third position; left arm in first position, right arm in thir

etc.2
2

BARRE.
~~aJ;uie 3/4the(Waltz)!'
In
4 ili.ea~\.Iret:lean
body forward, straighten 'back into the starting
I

'

positi6n. I~!4 ~easi.Jres: bend; the bddy backward, straighten back into
, the stkrtinglpo'sition.i In 4 measures:! bend the body to the right side.
I' ' I", I !'
"
,In 4 mea~li~e
: bend!
the body to th~I left side. Execute the exercise 4
I,
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,:I
E?'iERCIS~S
IN
I

1:

'I; DEMI-fLIE. ,Measure 4/4.

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HE CEN~ER
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,:

third, and; fifth positions,

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2 measures

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IN FIRST POSITION. 16 measures m

"Four:
i4~1'ii,ibat~~9tw
IT I1II
te'ndus
:
to the
i
fron~, to the side, to the back and to
ithe ~iQe, :1 mea~ure for each battement.
i.

12~~,
',B1TT~rytEI':'I:rS.TENDUS

T1

,:

,Two: derri~-pl\e~:infi~st,secorid,
'c
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,I Demi'plie :in tHird: and firth positions are d6ne en face with the right foot or the left
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:f~ot
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Two battements tend us to the front, to the side, to the b

the side, 1 measure for each battement.

jtl~ee~erclse
tires Iin each p~sltlonj facmg the ~arre.
P,~"
2.1 P1r~
.i?f th.e,BODY
followl~g.
come ?own "slowly.
:12. tr,e
BENdI~
'THE'
IN I~e~sur~:
FIRST POSITION,
FACINGExecute
THE

4/4.

.I.LJ.\'.lJ..:...L'i.l"':>

First position of the feet.

THIRD

LESSON

3. BAITEMENTS TENDUS DOUBLES IN FIFTH POSITION (lowering the heel in second position). 8 measures in 4/4.
On the first beat: extend the working leg to the side, pointe tendue
on the Roor. On the second beat: lower the heel to second position.
On the third beat: raise the heel, pointe ten due on the Roor. On the
fourth beat: bring the foot in fifth position. Repeat the movement 8
times.
4. BAITEMENTS
in 2/4.

TENDUS JETES IN FIFTH POSITION.

16 mea~ures

Execute without stopping: 6n the first beat: throw the leg to 45. On
the second beat: bring the leg down to fifth position. Four bauements
tend us jetes to the front, to the side, to the back, each battement on
2 beats, and thereafter in 4 measures: releve lent to the side in second
position at 45.

II!

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I III

5. RONDS DE JAMBE A TERRE. Measure 4/4.

En dehors. On the first beat, starting in first position, slide the working foot front, and hold in fixed position. On the second beat: slide
the foot to the side, hold in fixed position. On the third beat: slide
the foot to the back, hold in fixed position. On the fourth beat: slide
the foot to first position. Repeat the exercise 4 times. Subsequently
on the identical musical measure of 4/4, execute the movement Rowingly,
without any stop to the front, to the side and to the back. Repeat the
same exercise en dedans. Concluding the exercise, execute a simple
port de bras on 2 measures of 4/4.

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EXERCISES AT TH;E BARREl

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:, Measure 4/4.
I. D~~fI-~,
~E1.
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6. BAITEMENTS
4/4.

Third,ref' son
:

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rw,Odemi~plil~~in~first, second, third, four~h, and fifth positions-2

Ires lor eacd phe.1 i
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I' T,~NDUS
,
,,," I' FIFT
~~BATTEr'
IN:
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,POSITION.
,

meas-

Ii,16

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measures
in
,

'0 theii' ,;de. to ,he h,iI<,

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,nd to

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he:
agam.tEath
IS,executed
a full
The Side
eLrcise~
I t iotigh movement
0 'are executed
holding ,thetobarr~
withmeasure
o~e hand.of 2 beats.
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SOUTENUS IN FIFTH POSITION.

8 measures in

Execute twice in each direction. On the first and second beats: extend
the working leg to the requested direction (pointe tendue) according
to the principle ofbattement tendu; simultaneously come down in demiplie on the supporting leg. On the third and fourth beats: bring the
working leg back in fifth position, stretching the supporting leg.
7. BAITEMENTS

FRAPPES 'IN ALL DIRECTIONS.

Measure 4/4.

Starting position: the working leg extended to the side, pointe tendue.
On the first beat: bend the knee, the foot striking the supporting leg
sur Ie cou-de-pied front. On the second beat: extend the leg to. the
front (pointe tendue). On the third and fourth beats: maintain this position. Subsequently execute the same movement to the side, to the back,
and to the side. This combination is repeated 8 to 16 times.

THIRD

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FIRST,YEARI1:
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BATrE
measures in 4/4. :
II..ENT~
I I t hDOUBLES
I
I k'mg I'FRAPPtS.118
. II i pOSItiOn:
(artutg,
e wor
eg exten Id e d to t h'e Sl'd e,I.pomte ten d ue
l1'thei flooHori 'the1first beat', b'end th~ kneeJ the foot striking the
Ippor~ingijeg
~n the
second beat,
.oti
sli~htl~ tb ~ut
i thb le~ou-de-piedlfront.
side! and bring it surl.le,
cou~de-pied
back.open
On the
lir~ ~~at, ;~xhnd:t~e:l~g to th~ s~~e, p9inte tendue on th~ floor. On
Ie
,fo~rth
.It;>.er~:
!~amta!n
the ~oslt1on.
~xecut.e,
t?e f~lIowmg.
double
app~s
stnlhng:
sUr
Ie cou-de-pled,
back and
bnngmg
the workmg
foot
.
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I
Ir Ie I'cetJ-~'e~Pled
front;
Re,pea,tI 8, times:
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13. RELEVE ON HALF-TOE

TIONS. Measure 4/4.

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FIFTH

POSI

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EXERCISES IN THE CENTER

II',

IN FIRST, SECOND,

Facing the barre. First measure: on the first beat, demi-plie; on thl
second beat: rise on half-toe; on the third and fourth beats: maintair
the position. Second measure: on the first and second beats, come dowr
in demi-plie; on the third and fourth beats, stretch the knees. Repeal
the exercise 4 times in each position.

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~ R: LE COU-DE,-PIED.
i: 'Ii i I I, i'
'Ir,E1i[ITS;
14
BAIT
I Ii'
'IEM,ENTS
,IIi!
SU,
16 measures in

'I

LESSON

...>0

xten~ :sim~ltabeously
'theil' b~king leg raise
to the
tendue,
onl2 introductory
'10rd~,
theside,
~nn pointe
frorh the
preparatory
position to
rst; attn p~siti6n. fOn dIe following 2 chdrds, bend the knee and place

1. DEMI-PLIE. Measure 4/4.

Ie foOt su~ Ie :d)\.l-~e-pi~d front; the arm; opeits simultaneously to second

rm', pbisitio:r).First'measiJre:
the
fo'ot open~I: slightly, to theI side in second
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Two demi-plies in first, second, third, fourth, and fifth positions, 2 meas,
ures for each demi-plie.

ositiop an? returJIssur Ie cou-de-pied ~ack. In the second measure:

Ie folcitopens I slightly to the side in second position lmd returns sur
. cou-~e-piled front. Repeat 8 times.
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O. ,'GRANt)

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' ,THIRD,' ANDI FIFTH POSIPLIE
IN ',I;FIRST, SECOND,

NS. Me~sur~ 4/4, I '

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! i i 2 grands
11 I ii' plies i in all the
Ii, enumera~ed
I
xecute
positions; :each grand plie

'10,

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done in 2 measures:
:
LP~tP~l+xJN
F6R 'RONtiS

/4.

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D~ JAMBE EN ('AIR.

Measure

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acingi the barre: starting position: raise the working leg to the side to
5. First ~eaJur~.: bend the knee, brin~ng the foot '(pointe tendue)
) the' inidd~e of the calf of the supportin~ leg. Second measure: extend
le le~ ,to trJ ~idei to 45. Repeat the movement 4 to 8 times. After a
flort tIme rhi~ Jx~~cise is carried out to th~ accompanim~nt of I measure
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16 measures in

3. BATTEMENTS TENDUS JETES IN FIRST POSITION

SIDE. Measure 2/4.

TO THE

tendus jetes, each battement on 2 beats.

4. DEMI-ROND DE JAMBE A TERRE. 16 measures in 4/4.

En dehors. First measure: on the first beat,
the front. On the second beat, slide the foot
beat, close the foot in first position. On the
position. Second measure: execute the second
:\ terre en dehors. Repeat the exercise 4 times,
5. STUDYING tPAULEMENT
SITION.

:'

slide the working foot to

to the side. On the third
fourth beat, maintain the
half of the rond de jambe
following with en dedans.

CROISE AND EFFACt IN FIFTH PO-

BATT' ~.MENTS
Tit';"90 TO THEI SIDE IN SEC,f2::4/41
I
.i! RELEVES LENTS
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TENDUS IN FIFTH POSITION.

Four battements tendus to the front, to the side, to the back, and to
the side again. Each battement to I measure of 4 beats.

Eight battements

I.

2. BATTEMENTS

4/4.

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acmg; the: barre. Flr~t :measure: iralse t~e workmg leg to the Side to
)ND from
'liP?SitIq~.
4/4.
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t e fir'st'8ormeasures
tile fifth in
position.
Second
,measure:
maintain
the
,ositi~n. T~i~d Inbsurb: bring the leg ~own to the ~tarting position
first t)r
fifrh)l
Fourth measure: hold this 'position. Repeat twice.
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6. CROISE AND EFFACE POSITIONS FRONT AND BACK. Measure

3/4 (Waltz) .
Position croisee front, fifth position, epauIement croise,
First and second measures: lift the arms to first arm
and fourth measures: raise the left arm to third arm
the right ann to second position, turning the head to

right foot front.

position. Third
position, open
the right. Fifth

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FIRST

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YEJR
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and
sixth and
~~a~Jr~s:
the righ't
foottoj ~he
the position.
front, eroise,
tendue.
Seventh
eighth slide
measures:
maintain
Holdpointe
this position
duriKg th4 4' s~~{~que~t measur~~. Thir.t~enth and fO~fteenth measures:
openithe
left ~~m,
to ;second
poslllon. Fifteenth
sixteenth
measures:
bring thel~rlns
dpwn
to the preparatory
bosition,and
closing
simultaneously
the right ifoo( in: fifth position. Carry out, likewise, the study of croise
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position ~9t~e :ba, ck, dface position to, he front, andl'to the back.
7. FIRS"IiiPORJ; DE BRAS. Measure 4{4.
,
Starti~ position': fifth position, epaulem~nt croise, right foot front, arms
in prepadtorYposition.
First measure:: on the first and second beats,
raise! the~rmk to the first arm position.: On the .third and fourth beats,
raise thearm!s to the third arm position. Second measure: on the first
and secohd, tjeats. open the arms in setond position., On the third and
fourth be~ts, ,lower the arms in the preparatory position.
l,

: i COr,-JDPORr;
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I!,4/4.
8.;i SE,
pE
~RAS. Measure,

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tartmg
posl~ldn:
ll, position,
arm'
In thlr4
arlriposition,
right
on I:,
the fits(
~rid
isecohd
beats,
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On Ithe t1'u~d;and fourth beats,

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h l': t::
I fi
cpau
ement
crOlSc, n~ t lOOt
e t
~rm in
~econdpositidn.2
First lront,
measure:
'open the
left
ann
td
second
position.
,I
I
lower: the left arm to the preparatory

'..,"

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II

Fifth /msili"

on
POS!tion.i,Jaisin~ithe
tfIe fi~$tiabd! second
right beills',
arm to',ithe
the armr
thi;','~a,rm
meet position.
in first ann
secon,
position.
d measure:
On
the third :~nd :fdJhh beats, open 'the ar~s to the startin'g position. Repeat
:

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times.'I [I "further
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the
Y~uexerJis~
mus~!nb rleltpatin;the
examJles
of ~ombinations the subdivision !of blk ~ridlsmall poses doe~ not ind'icate at great length the position

of
i~eTh~~
atiri~,~r~i
[though
~ariants
of arm
alnd head
in the by
poses
exiN
'put i:nto
practice
aet:drding
to positions
the task given
the

Fourth Lesson

all big one

poses,
inst~~ClJtl
dniyjb~:
after,one
the in
study
fundam,I ,ental
the! ~rmJ c~1
thirdof positio~,
the positiods.
other In In
second,
in
first 'posi'tidnt th~ other in third, or bo~h arms: in thi~d position.

ll'

secon
.
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t,he first and
"I the P,osition of atms var,ies betWeen
I
,! I~~the!
,I d I ma:II
I i poses",
! Inl aral>e~q eposes'
at 900 ~r:45, sotcalled half arabesques, different
a~l~ i po~iH~s i ~an be chosen, but in ~II the poses the version of the
.ann .pOsI;t110n
lm~st depen.d ;>n
,the chang~ of the, body placement, whether
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,: 1he d,ifreT~ndation:of
smallI and big
to the execution
leamng
<)rshghtly bendmg.
.
Iposes ~ertain~
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T,his allbws for a diversity
o.fCarry
s,~,all:
[a,t450
'or to,Ionbi.,4g inlroduct
;stepsI,' a] ry900
:.
oJ fteps
the sl~rting
position
chords.
,!
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, in t~e arl'Jis'titline
of the dancer.'I
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EXERCISES AT THE BARRE

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The student holds the barre with one hand .

I. DEMI-PUE

AND GRAND-PUE

IN FIRST, SECOND, FOURTI

AND FIFTH POSITIONS. Measure 4/4.

f
In first position: one demi-plie in 2 measures; two demi-plies in I mea
ure, each; two grand-plies in 2 measures. each. Execute the same
second, fourth, and fifth positions.

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FOURTH

!'

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I .EMENTS
II
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FItl
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H I.POSITION. '16, measures m
2.IBA~1
I'TENDUS.,IN
','21'4.
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'Fp,ur b~ttiet;n~n,tste'1d~s to the fr.ont,~ach on, 2 beat, . Two, double batte~
I"

~e~1lS I!~e?~u~Ito t.h~ Sid.e, each m 2 ~easures.

Fou,r battements

ten~us

eic~
t~!ur~st
'i ,.ats.
!!~ ::
: ; bles
I
Ii'
t91th~l(il2[
"b~C.1
~~Ch!,9n ~ I~~.
a.nd, .2. dOU.
batteme.nts
to the Side,
3,IBATII '.E. 'E~.TS. TENDUS:JETES .. :.PIQUE.S IN ',FIFTH POSITION.
" Me4sute: ~141: I I I " II "
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': d~ 'thb! ~rJt :a~d :setond half beats~ a: contr~lled throw of the working
i!:. I

ii.

le$to ,tht fr?rn td 45.;Onthe third ~alfbeat, a shbrt ba~tement pique.

On thel foJr~11 halr:beat, hold the leg off the floor I at 45~. On the fifth
hi~lf bht:, ,~I ~~or~ patte~e,nti pique. I pn th~ si~th[ half beat, hold ~he
'i

t~~,le~
d?*~,:clo'~i1g
i? fi~th
~~ercise,
I<;-g:
Offm.
tile floor. at: 45~'i
On positionf~epeat
Ithe seventh and the
eighth
half then
beats,exec~te
bnng
the sa ,eit~lCe to tHe side, to ,the bac~!and to the su;1e.At the conclusIOn
o:~this::e~e~~i~e,ta~e a' pos~ croisee, f~ont (~ointe t1endue; on the floor)

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il I I DEJAMBE
I I: o( 4/4.
:!;
Ai TERRE.
'i~'easure:4/4.
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, 4:.1RONDS
0'n;4
meashres
'I II
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En de\J:ors: On the first beat:' starting in first position, the working foot
:

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sli'des 1(01th1front !and, without pa~se', on the se:cond beat, slides to

the sid~ in! setond positiorl. On the third b~at: without pause, the foot
, slld~s :~o:the. back. On the fou~th b~at: p.lace the root in first position
. . flowmgly, IWltho\lt pause; contmue the CIrcular movement. Execute 4
.;: dilies,!thb? tepea,t the sam'e <:n dedans. At the codclusion, execute the
: i:

d~ t~~ b~dy o~ 2 meiasures of 4/4.

tfi~d frttl~ei ;br~s fwith a, be~ding

. St,artl~~
~IB~IT1~~~NTS:FONDU.S.1
\n 4/4.!
,pOSItiOn: the workll~g 8legm~tsur~s
I~;pomted
to the
,II

.! On the first
Side.
and seton1d! beats: ! bend th knee Of the working leg, and place the
II I I I I d
'. d fi ' '2 . 'I'
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d'
d . I'"
c'
lO:Otsur ~ cou- e-ple
ront; slmu taneous y, come own m eml-p Ie
o~th~ ~~pp~.rting.leg. On th~ third and four~h.beatf: extend the working
l~g, pl~cmgllt. pomte tendue, on the floor;, slmultl1neously, stretch the
supp<irting leg. The exercise is exed.lted twice to the front, to the side,
II, :BATI
Wi MENTS
ii,
I' FRAPPES
I I I IN ALL
I' DIRECTIONS.
I
6.:

Musical measure

",.I.
414

: :.

I'I;!I fill

,to the, bat

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~nd to ,the s~de.

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fe~ te~1
slmll,ar:
descnbeJ
, ~1IIII'j
I Ii m.I the
II mann~.~.as
:
I: ;IS,
II
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m th~. third lesson.

~alle'."e'1t~ fondus are executed facing theJ barre d~ring the. third and fourth lessons.
Sur I~ ic.luJde-pied front is practiced conditionally.
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LESSON

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At th~ conclusion, end with a pose croisee to the back, pointe tendm
and hold the position for 4 measures.
7. BATTEMENTS DOUBLES FRAPPES IN ALL DIRECTIONS.
ure 4/4.

Meas

Starting position: the working leg extends to the side, pointe tendu
on the floor. On the first beat: bend the knee, the foot striking th
supporting leg sur Ie cou-de-pied back. On the second beat: slight!
open the leg and bring it sur Ie cou-de-pied front. On the thir~ bea'
extend the leg, pointe tendue, on the floor. On the fourth beat, maintai
the position. Execute the ~ame movement to the side, to the front, t
the side, and repeat once again.
8. RONDS DE JAMBE EN L'AIR EN DEHORS AND EN DEDAN~
Measure 4/4.
Facing the barre. Starting position: raise the working leg to the sid
to 45. En dehors. On the first and second beats, bend the knee an
while executing the first half of the conventional circle, bring the foo
pointe tendue, to the middle of the calf of the supporting leg. On th
third and fourth beats: concluding the second half of the circle, stretc
the leg into the starting position. Repeat the movement 4 times, low
the leg into fifth position and subsequently raise again to the side I
45 to continue the exercise en dedans.
9. PETITS BATTEMENTS SUR LE COU-DE-PIED.
Similar execution as described in the third lesson. At the conclusic
of the exercise, rise on half-toe in fifth position, holding the barre wi,
one hand for 2 measures of 4/4.
10. BATTEMENTS RELEVES LENTS TO 90 TO THE SIDE AN
TO THE BACK. Measure 4/4.
Facing the barre. First measure: starting in fifth position, raise the It
to 90. Second measure: on the first and second beats, maintain tI
position. On the third and fourth beats, lower the leg to the startit
position. The movement is executed 2 times to the side and 2 tim
to the back.
Ii. BATTEMENTS RELEVES LENTS TO 90, FRONT.
As described in the previous exercise (10), but the student holds tl
barre with one hand.
f
12. GRANDS BATTEMENTS JETES. Measure 4/4.
Facing the barre, the student executes grands battements jetes to tl
side and to the back; thereafter holding the barre with one hand, I

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'hRSTiEAR!
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t fl~es
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tf the '",Ib~c\

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HALF.-TOE:IN
,,TI~N.
'I" 'Itieasu,re
, I ' , , 4/4.
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,,13: iRE,J~~E'ON

FIRST, SECOND,iAND FIFTH POSI, I'

I
Facing the barre. On the first beat: deri-plie. On the second beat: come
i

i
t

position. Fourth measure: the leg closes in fifth position; simultaneous I

the arms come down to the preparatory position. Follow with the simila
execution in the pose croisee back with the right leg.
4. RONDS DEJAMBE A TERRE. Measure 4/4.
En dehors. On the first beat: the working leg extends to the front, an,
holds the fixed point. On the second beat: slide to the side; hold th
fixed point. On the third beat: slide to the back; again hold the fixe,
point. On the fourth beat: bring the leg in first position. Exec~te th,
movement 4 times, subsequently follow with en dedans.

~ec6ndj I fbJrth, and; fifth positions. I:n the fourth ~nd fifth positions,

5. POSES IN CROISE ,(ND EFFACE. Flowing execution. Measur,

3/4 (Waltz).
Pose croisee front. Fifth position epaulement croise, right foot froOl
First and second measures: raise the arms to first (arm) position; simulta
neously extend the right leg to croise front (pointe tendue) on the 0001
Third and fourth measures: raise the left arm to third (arm) position
while the right arm opens to second (arm) position. The head turn
to the right. Fifth and sixth measures: the left arm operis to seconl
(arm) position. Seventh and eighth measures: the arms lower to the
preparatory position; simultaneously. the right leg closes in fifth position
Repeat the poses from 2 to 4 times, front and back, thereafter follo\'
with the execution of poses in efface.

the,:~xercisJ i'sidone;with ep,aulementicroise.!

6. THE STUDY OF THE POSES IN ECARTE BACK AND FRONT

: fourth tjeat stretch the knees.' Repeat the exercise 4 times in each posiup i on :~alfitoe. On: the third beat: ~ome down in demi-plie. On the
tioh.
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LESSON

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, cort'tinues' to :the front. s On the first beat: the working leg ,extends from
:'tJiJ firs( 6rl fifth po~ition' in the give~ direction, pointe tendue on the
Obbr. On! ~he: second beat: throw, tlie leg to 900 i On the third beat:
,Io'~h t~e[ I~g ;on the floor,' pointe Uhdue. On the fourth beat: bring
,the leg lin first, or, fifth position. Repleat 4 times to the side and then
"II:
,sel~aratiel1
,I,

FOURTH

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i~~ERC~~~~ IN t~E

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CENTEtt

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il.l DEMI-PuE. 16 measures in 4/4.,

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II II'IeI,.10 '2 measures;
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I 2 d em!-p I'les eac h' 10 I measure
'
. fiIrst,
neI, d eml-p
10
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'2~4!
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2.!II nAj,"I ,f,I E~TS
TEND
US, :I,N.FIiH,
POSITION.

I
1,6" measures in
F~ur b~,t~~en~s tendus' to' the, front, Ito the side, t~ the, back and side.
~~~h, ba~temen,t
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II, on, ~ beats.!
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, 3. BAiJEM:ENTS TENDUS JETES IN,FIFTH POSIjI'ION, 24 measures
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b~~t~ en.:ts ten?us jetes t? the:filo~t, :to the side, t~ the back, and
'~o I ~~e ~1df'1~~ch bat.te~ent o,~ ~ be~ts" Subsequ~~tly, 10,4 measures,
executei !the pose crOIsee front' WIth the left leg. FIrst measure: extend
thelwor~ing:leg to the front (pointe tertdue on the Odor); simultaneously
raise th~ arin~ .to first (arm) position. 'Second measure: open the arms,
~~li~i~ig~~ .a~ni;to ~he third (arm) pos~tion. and the I left to the second
(ar:m) pOSition.:;nurd measure: lower ~he nght arm to the second (arm)
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holding
th'e barre
withthe
pnesludent
hand. must
i
ii,execute grands
i
'I ballemenlSjel~s
Ii:
Arl,ersevfral
(.ess,
ons,
',inall directions,
~St~ndingiiri fifth 'position, ~paul~.heit'lcrois~, lis ;ec~mmended :at Ihe beginning of the
exercises ;in 'th~ center; when starting this lesspn. When opening the anns in firsl and
$ec'~nd(arm) positions, turn Ihe bod~ en face; Concluding the eltercise in fiflh position,
theI placeO)eot,is'in
~paulemenl crois~.'
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Measure 3/4 (Waltz).

Pose ecartee back. Fifth position, epaulement efface, right foot front
First and second measures: raise the arms to first (arm) position; simulta
neously extend the right leg to the side, pointe tendue on the Ooor
toward the directional corner 4. Third and fourth measures: raise tht
right arm to third (arm) position, while the left arm opens to second
(arm) position. The head turns to the left. Fifth and sixth measures:
the left arm open to second (arm) position. Seventh and eighth measures:
the arms lower to the preparatory position; simultaneously, the right
leg closes in fifth position. Repeat the poses from 2 to 4 times, and
approach the study of poses. in ecartee front in a similar manner.
7. FIRST AND SECOND ARABESQUES (elementary study). Measure
3/4 (Waltz).
Stand facing direction 3, in a not fully turned out first or fifth position.
First and second measures: raise the arms to first (arm) position. Third
and fourth measures: move the arms, the right to the front, the left to
the side, while getting into the proper arabesque position. (In the elementary study of poses in arabesque. the working foot remains pointe

,!

FIRST

YEAR

tendue, on the floor.) Fifth and sixth! measures: extend the left foot to
the bac( p6inte tendue on the floor. $eventh, eighth, ninth, tenth, eleventh, aild twelfth measures: hold thJ position. Thirteenth, fourteenth,
!
fifteenth, ,and I sixteenth measures: lower
the arms to the preparatory
positiorl; !sim~ltaneously, close the Ibft foot to first or fifth position.
,

'Repeat idle) pose 2 to 4 times. subsbquendy follow with the study of

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s~~on1 ha~isique: !
8, :S,E,
COND,
PORT
DE
BRAS.
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ExetUlibn similar to that described in the third lesson.
j

9~!TE~~S lEVE UUMPS) IN ~IRST AND SECONJ POSITIONS. Meas-I

Facing
ure
4/4.the" barre.
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a) On. ~he i first and second beats: clemi-plie, then jump between the
second land third beats, ending in demi-plie on the third beat. On the
, fo~rth i b;a~,stretch, the knees. Repe~t the exercise, 4 times in first and
"

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en'ding on !the second beat in demi-j>lie. On the third and fourth beats,

Leg raised in front, at the ban

s~retch
On i,t~r~lt,l?ns.!:
the;
e,!fi,'rs,'
k~ees;.5
~bea,t:,','
i demi-plie,
' ,: IIi, : I! jump ' :i between,
I: I i ! the first
iI and ! second beats,
:' b)!,
s~fbn
1~. pqR~:dE' BRAS LE~r.hNG THE'BODY TO THE FRONT, BEND, ING BACK J\ND TO THE SIDE, IN A NOT FULLY TURNED OUT
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Fifth Lesson

~IRSl;1ipb'StTIO~.8,
,Within la Ife~ ;Iesso~~, :temp~

:" finh positiO~.

! After i .the execution in
leve is execut .J d in
first and second POSItIons facmg the barre. repeat the same movement In Lhe cenLer.
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II is r<: om ",ended

Lhat all subsequent

bendin ' the "'ady.

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1. DEMI-PLIE AND GRAND-PLIE IN FIRST, SECOND, FOURTJ

AND FIFTH POSITIONS. Musical measure 4/4.

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with the port de bras and

EXERCISES AT THE BARRE

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lessons be concluded

Two demi-plies, each on .4 beats, in first position, 1 grand plie In

measures. Same execution in second, fourth and fifth positions.
2. BATTEMENTS TENDUS IN FIFTH POSITION. 16 measures

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2/4.

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Four battemenls tend us

in demi-plie to the side,
in the following manner:
the side, on the second

front, each on 2 beats, 2 bauements, tend

each in 2 measures. Distribute the moveme
on the first beat, extend the working leg
beat, close in fifth position in demi-plie. (

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Ill:f the;';subsequent
,F,iRSTYE)~.':
I!measure,
: I ,the demi-plie

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II' bl! a
[heIi fi~st
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FIFTH

is deeper;
on
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h~,s~~on1Tbr t, ftre,tch, the knee~,,',FOU,~

~~tteme~ts ~endus t~, ~he back,

LESSON

7. BATTEMENTS FRAPPES.

8. BATTEMENTS DOUBLES FRAPPES.

I,

!a",.Ch
iJ? 21ha san,
I~I de~l-phe
each
Ii: d 12
I batt,em,",eutis,,'
I ' I Ii'
I t,end,ul'
ii'
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IIto th,e"Side,
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2 ~easUn:s
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!,B~4.Erlt,~ !-I'~T~~D~~
i,~,
~t,~IN!FI [~ ,?SITlON:'l~
me"",,,

1l,2/4.!
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~11i~~~~ndu~Jet,e~ f~o,?~,sld~; I ' a~k;a~d

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sl~e,! each on 2 beats.

'ollow
~Ith a ~~se e~artee front ,n 4 me,tfo,the
sures.1t>,ackm 14
I!
~~It~~~,f??FlPSlq1r,ta~~,'a
measures
and
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II", II: II Iii, i i Iii, P,os9,: ~c,arte~
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L,P~EPARATION
FOR
RONDS
; Ih,f;
"'bil
h"
'k"
I' DEJJMBE
IL."
'h'A TERRE.
fi
'1(' 16 measures
d)
>nIt tj ,sec nu I eat, t e wor mg eg s lu S to t e ront pomte ten ue;
.i"1u(it~neJ
s'IYIta'ise
th~ arm
to first (ar~)
the third
and
~n.
"! deH,orS~I'
J1iJ
L, eas,ure:
',on"t"he;first
b, a,t; position.
dem"i-plieqn
i,in first
position;
I

0: th~ Isedmi:l (~rm) p6sition wHile thej knee of the shpporting leg is
Orth[ bd~s,! Jririg the leg to :the side, ~he am'. opens simultaneously
tralghtene .1 econd measure: on the fiI;st and second beats, mamtam
he!". positio'
beat~,
bring
the leg in first, position,
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I~'; o~ Hie
II, third and
, fourth
,
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vhile the In-! Ibw~rs ~irpultaneously to the preparatory ~osition. Repeat

he, ~?~e~erl:4]' ~i,mes~,nd suh,se~uently IfoIlow i,Withe~ dedans.

'. RONDSID"
AMBE!A
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9. RONDS DE JAM BE EN L'AIR.

10. PETITS BATTEMENTS SUR LE COU-DE-PIED.

Execution similar to that described in the fourth lesson.

II. BATTEMENTS RELEVES LENTS TO 90 IN FIFTH POSITION.

16 measures in 4/4.
I
Two releves front to 90, to the side, to the back, and to the side.
each in 2 measures. Execute the exercise, holding the barre with one
hand.
.12. GRANDS BATTEMENTS JETES IN FIFTH POSITION. 16 measures in 4/4.
Execute 2 grands battements jetes front, to the side, to the back, and
to the side, each on 4 beats. The breakdown of the movement is the
following: on the first beat, throw the working leg to 90; on the second
beat, lower the leg in fifth position; on the third and fourth beats, holcj
still in fifth position.
13. RELEVE ON HALF-TOE IN FIRST, SECOND, AND FIFTH POSI
TIONS.
Execution similar to that described in the fourth lesson.

/4.il~~,
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I ll' I: as descri,bed,
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I: the rOfrth, lesson. At,! the conclusion,
in,'"

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.,.

:r\ d~I1orsl
mea~u~e:
on thsfi~st
b~at,
position;of
a ha\~Flr~t
l:i~c1e
in plie(rond,
de jam
e, ademi-plie
terre) inin2 ~rst
measures
race
n the:secc) d ~eat, ext<;nd the workmg l,eg to the front (pomte tendue);
'I

imul~~ne~?sIYiraise the arm in first (arfu) position; ~n the third and

()urtl;ibea~~, Ning th~ ~eg sim~ltfneousl* with the arm! to second posi"

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,eCondi' m~I~',I
s~~e~ on (fi,e first and seCon~
beats,.
brin~ I the .I~g to t~e
',on,

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.ack; :~.nt~~ ~hlr? and fourth, beat,S: placel the leg m ~rs,t pOSItion, while
tretch:mg ~re knee of the supportmg leg and lowermg the arm to the

I a similar rrlahner. "

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.rep~~"~I.tor~ll
P,O$ilibn. S,U.bsequenti,Y' trace,la half t, ircle in, plie en dedans
II
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" FO~D~S.
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:~~1!E~If~TS
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f th~ exer i~e~ move i~tothe second at,abesque pose: (pointe tendue
descnbed
IIi the of
fourth
000
for 2 measures
4/4.: lesson. Ati the conclUSion

'1m,
Ila,111
ext;jutlOn,1
as
),1 holding
n thel

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14. PAS DE BOURREE WITH CHANGING FEET EN DEHORS ANI

EN DEDANS. Musical measure 4/4.
Facing the barre in fifth position, right foot front.. En dehors. On th<
upbeat, demi-plie on the right leg, lift the left foot sur Ie cou-de-piee
back. On the first beat, step on the left foot, half toe, and bring th<
right foot sur Ie Cou-de-pied front; on the second beat, step to th<
side on the right foot, half. toe, the left foot sur Ie cou-de-pied fronl
on the third beat, demi-plie on the left leg, the right foot sur Ie Coli
de-pied back; on the fourth beat, maintain the position. Repeat the move
ment subsequently to the right and to the left side from 4 to 8 times
Execute likewise the pas de bourree en dedans.l
I After several lessons, Ihis pas de bourree can be taught 10 the modified musical measur
of !l/4 or 2/4.

FIFTH
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I,EXE;RCISES
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,IN
THE
CENTER
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IN FIRST, SECOND, FOURTH,

I
AND IFII'11H POSITIQNS. Musical measure 4/4.
In 'fi~~tpo~,tiloh:12deri.i~plies, e~ch on 4 b~ats;:1 grand plie in 2 measures.
Exec'Jte 11~~wisel'the rhov'ement'in sec'nd position, land continue in

IO';lrth~bn~l!fifth'~?sitio,ns
2~emi.plies,
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II

2.'!' BATIEMENiI;S
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2/4111

each

ii, on beats:2'

TEN,DUS
I,N FIFT,If,,POSI~,
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measures
in
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Eight :batt ~ents,

front~'ecartee
side and!
back,
beats.andAtinthe4
condusioJ~
inov~ tendus
into la pose
back
witheach
the 0':1
left2 leg,
rcartee::!, fr9nt, wit~I the, rig,ht
leg:I,
:I
m~asJres'i
takeIIt ,~o~~
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II,
II,
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BATIEMENTS TENDUSJE~tS IN FIFTH POSITION. 24 measures

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Four, bauements tendu~ jetes front, to tile SIde, to thei back and to the
iide, ~ach ~n:2 be~ts. At the conclusion ~6v~into first arabesque position
.vith the left le'g!in 4 m~asures; and ther~after in 4 additional measures
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~econd~rabekque p<?sition. i '

1
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I., ~~ND~! D1J~MBE. A TER~E. 12 m asures, in 4/4,'
!'ourl~onds d~ jambe a terre en dehors! ,and 4 en dedans, each on 4
leatsl i Extbtte ,flowingly, without any ! stop. End in fifth position,
'~paulemerH hoist and continue, with the second port de bras twice,

'0

n 2I rpeasu~es
II
IIII ;ofI!I4/4 'I'each.

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'. ~,~IT~M~~T~,
SOVTENUS IN,'FIFli[HPOSITIO!'i'
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Musical measI

laragraph ;6), II I
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jim",
~escribed
i,nth,e
thi,r.l.lesson
(exercises
at ,the barre,
! Iil~~:,ex~~,
II i
II' u,:Iti9~'ias
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'. TH~RDI ~~~~~SQ~E.
.Music~,lmeasu:re 3/4.: Waltz.:
'
.
.earn In su~cess1On, as mdlcated In the fourth lesson, paragraph 7 (FIrst
i"

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nd,
,S)?'
Execute Ihe '~emi!pli~in fourth position, wilh ~palilemenl crois~. I
According toithe degi-ee of mastery, open the arm~ through the firs~,second. and third
''3!)esque position,. while simultaneously stretching the leg, pointe tendue on the Roor.
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LESSON

7. THIRD PORT DE BRAS. Musical measure 4/4.4

First measure: on the first and second beats, bend the body forwar,
on the third and fourth beats, straighten the body. Second measur
on the first and second beats, bend the body backward; on the thi.
and fourth beats, straighten the body.

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YEAIR

FIRST

8. TEMPS LEVt IN FIRST, SECOND, AND FIFTH POSITIONS. Mm

cal measure 4/4.
Similar execution, as described in the fourth lesson.

9. CHANGEMENTS DE PIEDS. Musical measure 4/4.

The execution is done fa.cing the barre or in the center, according
the level of mastery.
a) On the first and second beats, demi-plie; jump between the secOl
and third beats, ending in demi-plie on the third beat; stretch the kne
on the fourth beat.
b) On the first beat, demi-plie; jump between the first and second beal
ending in demi-plie on the second beat; stretch the knees on the thi
and fourth beats. Repeat the movement 8 times.
Port de bras can be executed as well in ~/4 (wahz). In Ihis instance, each beal 0
measure in 4/4 or in 2/4 corresponds to a single measure of the wahz.

SIXTH

LESSON

each on 2 beats. Repeat in the reverse direction and in 2 meas

move with a slow half turn (on the flat foot) toward the barre.
3. BATIEMENTS
in 2/4.

TENDUSJETES

IN FIFTH POSITION.

16 mea~

Four battements tendus jetes front, to the side, to the back and t.
side, each on 2 beats. At the conclusion, move with a half turn
from the barre (on the flat foot) to the count of 4 measures.
4. RONDS DE JAMBE A TERRE. Musical measure 2/4.
I
En dehors. On 4 introductory chords, preparation en dehors; 51
quently 8 ronds de jarqbe a terre, each on 2 beats.1 Execute prepar
en dedans, on 4 chords, thereafter 8 ronds de jambe a terre en de,
each on 2 beats. In 4 measures, make a circular movement in pi
dehors and in 4 measures again, another circular movement in pI
dedans. At the end, conclude with the third port de bras with the ber
of the body, twice, each time in 4 measures .

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'Second Semester;
Sixth Lesson
i

5. BATIEMENTS SOUTENUS RISING ON HALFTOE IN Fl

POSITION. B measures in 4/4.
Two battements soutenus to the front, to the side, to the back, al
the side twice in each direction. On the first and second beats, I
the working leg; pointe tendue on the floor and come down simul
ously in demi.plie on the supporting leg; on the third and fourth I
bring the working leg to the supporting leg, while stretching it, in
position half-toe. .

Ii.

6. BATIEMENTS

FRAPPES TO THE SIDE AT 45.8

measur

2/4.
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EXERCISES A1j THE BARRE

1.: DE~n. ,UE, GRAND PUE,

I:

AN,D RELEVE ON HALF-TOE

.

IN

'

1h' firsl1~6LiO~: 2 demi-plie~, each n 4 beats; 2 grands: plies, each in

FIRST;
SECOND,
FOURTH,
AND eF!JFTH
meas2,
measure~;
i2 releves
on halftoe,
ch on POSITIONS.
4 beats,. SameMusical
execution
in
II,

II

':..

sd:~nd!' for' ~th, an,d TENDUS

fifth positions.
2~:BATfEMENTS
IN FI W. H I: POSITION.
II

'I
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4/4.

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8 measures

in

II
II Ii:
1iwo
b.attements
tendus front,' to the" side, to the back and to the side,
"

Starting position: extend the working leg to the side at 45. 01

upbeat, the working foot strikes the supporting leg sur Ie cou-de
front; on the first beat, extend quickly to the side at 45; on the sc
beat, maintain the position. Repeat the movement 8 times.2
7. BATIEMENTS DOUBLES FRAPPES TO THE SIDE. 8 mea
in 2/4.
Starting position: extend the working leg to the side, pointe te
on the floor. On the first beat, the working foot strikes the suppa
leg sur Ie cou-de-pied front; on the second half beat, pass the foe
1In the execution of the rond de jambe;\ terre in 2/4, the passe through the first
is done on the second beat. Subsequently, when the execution is in 1/4. the passe
the first position (ending each rond de jambe) is done on one beat.

"It is helpful to combine the batlements frappes on the Roor, pointe tendue,
batlemenls frappes off the Roor at 45. with the execution of the first half of the
with pointe ten due on the Roor, and the second half off the Roor at 45.

p
d
w
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SIXTH
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F,IR,STY,E~R, i

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LESSON

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i~Ji~~-der~iedi
~~c~lhalf
bn beat,
~,h~!~.ec~nd.be1~,'e~te.h?
the\leg
to t.he
'side,!
on th~ fourth
mamtamthe' pOSitIOn.
Repeatq~ickly
the exerCise

, Il

at'i:iti~es
45. Uithl
\ II ,i. p~int~
iII.4 time's
I with;,! battements
I ii, "I tendue
I iI'Iii:
: i !II
I"':' : :!on;
I,'
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'4:
the flO~1
'ran,d
\111

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JAMB~
EN L~AIR.
m 4/4.
8l RONI?,SiDE
Sia~tlihg
~0~ili6it':
theiwo~l<ing
leg 8is measures
!o~e~ to ,the
sid'e at' ,I45. Execute
rontI: de j~m~e ldn ttie 'first and ~econd beats; trlaintairl the starting position' ion

th~ thh!d and fourth Jje~ts. Ekecute :the exercise ,4 times en

II I I I: I I ~ I:':'
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d~ho~
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Ext~nd
slight!Bt, ylthe
working leg
tile,U,-DE~PIED.
cou-de-pied Measure
front 'position
9.; PETITS
IT1, EMENTS
SURfrom
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2/4. to
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the
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~hel'l;~half
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firstextend
,beat, ~eturn
tou-de-pied
back;
the
se~i06d
slightlyt~,e
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the 'side;Ieand
on the second
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beat, ;r~t~~n'I'th~: foo~ ~ur ,le~ou-de-pied

to; 16: timfs.\ I i I
10. JA -rtE~EWTS

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DtVELOP~ES

front. Repeat the, exercise 8

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F~OM THE FIFTH POSITION TO

T,HE!SID~ A~,0:, TO THE, BA,CK,. Mea~ure 4/4.

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Faci~g t~~ bar~e,~, First tnea~ur~: ~n ~h ' first .an~ se~~nd b~a.ts, bring
the working: foot: sur Ie cou~de~pled a d main tam thiS pOSltiOn.4 On
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' beats~
,
' raise
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the third
~nd
the foo 'to thei knee of the supporting
leg (front!b~ back) and maintain I this pO$ition as well. Second measure:
cxteilii th~ le~ at 90~ in the giv~n dire~tion. Third rrieasure: maintain
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the e*ercl~e ,2' to:4 times.
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the, pbsiti.~nl
measure,:;
IO"werthl'
leg
into
fifth
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I;position. .Repeat
11. GiRA~IDS1~1TTEMENTS)~nES
PpINT~S. 16 measures In 4/4.
On the fi~st, ~eat: a sharp throw of the workmg leg I to 90. On the
;ccond be!tt; lower the leg; pointe tendue. On the third and fourth
beats:: maihthi~ ,the position. Repeat th~ exercise 4 to 8 times in all

EXERCISES IN THE CENTER

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12J RELEVE ON'i-IALF-TOE IN'FIRST, SECOr-m, AND FIFTH POSI

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2. BATTEMENTS

TEND US IN FIFTH POSITION.

IN

32 measures In

2/4.

f':xecute
nONS. aS'in the previous lessor\s.
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1. DEMI-PLIE, GRAND PLIE, AND RELEVE ON HALF-TOE

FIRST, SECOND, FOURTH, AND FIFTH POSITIONS.
Similar execution as in the exercise at the barre.5

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front, to Ihe side

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md, 10 I~e back, hl>lding IHe barre wilh one hand. I
, The ~6u-de'~i,;d position is conventionally applied 10 the front and t~ the back depending

Eight bauements tendus to the front, to the side and to the back, each
on 2 beats. At the conclusion, execute a pose croisee to the front, with
the left leg, to the count of 4 measures; then with the right leg ~ pose
in third arabesque, pointe tendue on the floor.

Execute the demi-pli~ and grand pli~ in fourth position with ~paulement
'10 !!Ihe

IIposition
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' , foot ' in the exercise.

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effac~ or crois~.

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LESSON

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2. CHANGEMENTS DE PIEDS. 8 measures in 4/4.

ii,"
, INI1F,1FT,H,POSITION.16measures
3. B,,A"
TI'IEMENTS"T,ENDU,S1,ETE,S
in 2Y4.
Four
batte~ ll'
nts tend us jetes tb the fr9nt, to the side, to the back and
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11 I each
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4. RONDS I)E JAMBE A TERRE. Measure, 2/4.
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the t~rd I p:o~iti~n port de: bras. Repe~t the combin~tion on the other
leg:and th~nl th~ sa~e dercise' en dedlms.
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'5. ~irtJE~~Nts
H>NDUS~ ~9INT~ TEN~UE O~ THE FLOOR. 8
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,
I the side,
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if rl,~,
Twd
batternents
f011dus
toI the
t6
toI the back, and to

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t,helslde,l,e~,cll o~ 4, b~a,ts,' :.
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6. BArry:r;.tE*S,F~PES
TO THSIDE'i
Exe~utio~ sibtilar to that in the exerci~e 'at the barre, but with pointe
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due
on
thei :'Ifloor.6
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Follow the lexecutionas in the fifth les on of the exercise at the barre.
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3. PAS ECHAPPE. Measure 4/4.

Execute facing the barre; according to the degree of mastery, follow
with the execution in the center.

En dehors. !ExC::~utethe preparafion on 'II'introductory; chords and follow

with' 8 roodsl de jaDlbe a terre, each onl2 beats. In 4 measures, execute
ahalf cir~)e~in plie,enl deh~rs, ettding inlfifth position; ~hen in 4 measures

,Execute 8 times, each on 4 beats.

a) First measure: on the first beat, demi-plie in fifth position, jump between the first and second beats ending in second position demi-plie
on the second beat; stretch the knees on the third and fourth "eats.
Second measure: demi-plie in second position on the first beat, jump
between the first and secoqd beats ending in fifth position demi-plie
on the second beat; stretch the knees on the third and fourth beats.
b) On the first beat, demi-plie and jump between the first and second
beats, ending in second position demi-plie on the second beat; jur;;p
between the second and third beats, ending in fifth position demi-plie
on the third beat; stretch the knees on the fourth beat. Repeat'the exercise 4 to 8 times.
4. PAS ASSEMBLE. Measure 4/4.
Facing the barre; according to the degree of mastery. follow with the
execution in the center. On the first beat, demi-plie, jump between the
first and second beats, ending in demi-plie on the second beat; stretch
the knees on the third and fourth beats. Repeat the exercise 4 to 8
times.

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TU~,n,
onllla,r~-tbe
in ,fi~""
th position
(on th,e
spot).

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I] JVEii, IN FIRST,SECOND,tD
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14/4.

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EXERCISE ON POINTES

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FIFTH rosmoNs,

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position surlle"illCOU'deoPied", in the ce,nte,r.

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E~e(:~te
tjme~s
I in ~lllpositions~ ,each oh 4 beats.
81t i$ !reco, ,m~~ded ,that'in the previotis lessons, a close study
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be made
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of the

proper

I. RELEVE IN FIRST, SECOND, AND FIFTH POSITIONS.

Measure

4/4.
Execute facing the barre; thereafter, according to the degree of mastery
(6 to 8 lessons), follow with execution in the center. On the first beat,
demi-plie; come up on pointes on the second beat; come down in qemi, plie on the third beat, and stretch the knees on the fourth beat. Repeat
the exercise in each position 8 times.