Classical Ballet 3 (Intermediate to Advanced)

Table of contents :
Index
I. Improving Technique and Artistry
Using This Manual
Suggestions For Improving Technique and Artistry
Correct Muscle Use
Warming Up For Ballet
II. Classes
Sample Ballet Classes
To Improve Their Sense of Balance
For An Advanced Class
With Pointe & Boys Work
III. Enchainements
Warm-Up and Barre Enchainements
Center, Port de Bras, Pirouette Enchainements
Adage Enchainements
Enchainements at the Barre For Improving Allegro
Allegro Enchainements
Pointe Enchainements
IV. Appendix
Positions of the Arms
Positions of the Feet
Directions of the Body on Stage
Stage Directions
Numbering the Directions of the Room
Thank you

Citation preview

Classical Ballet 3

Classwork & Teaching Suggestions for the Ballet Teacher of Intermediate to Advanced Students Ruth H. Brinkerhoff, B.A. Former Director, Utah Ballet Academy Registered Teacher, Royal Academy of Dance

Classical Ballet 3:

Classwork and Teaching Suggestions

for the Ballet Teacher of Intermediate to Advanced Students By Ruth H. Brinkerhoff, B.A. Former Director, Utah Ballet Academy Registered Teacher, Royal Academy of Dance

Copyright © 2016, The Ballet Source Cover design and illustrations © 2016, Eric Hungerford. All rights reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the copyright holder.

The Teacher Must Decide The Ballet Arts series of manuals provides information, activities and suggestions for the teaching of ballet to children. The materials in these books have worked well for the author, and for other teachers of her acquaintance. However, the author cannot know what approach or which physical activities will be appropriate and safe for any particular teacher, class, or student. It is the responsibility of each ballet teacher to use his or her best judgment in applying the information and teaching suggestions contained herein, and in using the activities, enchainements, dances and teaching materials contained in the Ballet Arts series from The Ballet Source.

Contents Index

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I. Improving Technique and Artistry

4

Using This Manual Suggestions For Improving Technique and Artistry Correct Muscle Use Warming Up For Ballet

II. Classes Sample Ballet Classes To Improve Their Sense of Balance For An Advanced Class Classes With Pointe & Boys Work

III. Enchainements Warm-Up and Barre Enchainements Center, Port de Bras, Pirouette Enchainements Adage Enchainements Enchainements at the Barre For Improving Allegro Allegro Enchainements Pointe Enchainements

IV. Appendix Positions of the Arms Positions of the Feet Directions of the Body on Stage Stage Directions Numbering the Directions of the Room

Thank you

5 10 17 22

23 24 55 58 61

76 77 80 82 84 86 89

91 92 93 94 95 96

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I. Improving Technique and Artistry Using This Manual

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Suggestions For Improving Technique and Artistry

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Correct Muscle Use

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Warming Up For Ballet

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Go to Index

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Using This Manual Ballet terminology does differ from system to system, and from teacher to teacher. Hopefully the terminology used here will be understood by the reader. Some explanations for terms used in this manual are on this page, and on the following. If you have a particular question, please contact The Ballet Source.

Introduction These exercises, enchainements and technical suggestions are some that were given to me as a student, many years ago. Neither the author nor The Ballet Source makes any guarantees or claims of any kind regarding the choreography and technical suggestions contained in this manual.

The abbreviations on this chart of stage directions will be used to indicate where the dancer is to face:

It is hoped that this collection of choreographed classes, and extra enchainements will be a welcome addition to your ballet teaching repertoire. It is expected that teachers will make changes and additions as suits their needs and the needs of their students, and that they will use good judgment in selecting and using the material contained in this book. Have fun with it! Introduce your students to some different challenges, and some helpful remedial work.

Stage Directions The areas of the stage are named from the performer’s point of view when facing the audience.

AUDIENCE Downstage Center Downstage Left

Stage Left

DL

DC

DANCER

L

R

C

Center Stage

Upstage UL Lengthen or shorten Left the exercises, or the classes, as needed in your school. Expand the difficulty, or simplify it; again, as is needed in your teaching situation.

Go to Index

DR

UC

UR

Upstage Center

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Downstage Right

Stage Right

Upstage Right

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Clarifications:

RELEVÉ

To indicate which foot or leg or arm to use, the capital letters R and L are used. When the term demi plié is used, unless otherwise stated, the entire exercise, going down, and coming up, is intended. The same is true for the term battement tendu. When a relevé is indicated, again, unless otherwise stated, the complete exercise is intended: going up and coming down.

Demi Plié

Demi Pointe

Demi Plié

Relevé Releve feels like a tiny jump. Spring quickly from the demi plié to the demi pointe. Spring quickly down again to the demi plié.

RISE, OR ELEVÉ

Rise, or Élevé Lift the heels off the floor, keeping the knees pulled straight. Lift through the center of the foot. Lift as high as possible without the ball of the foot coming off the floor. Lower the heels to the floor again. This movement should be done slowly and smoothly, like an “upside down Demi Plié.” However, when the term “rise” is used, it will mean lifting the heels to demi pointe, keeping the knees straight. If lowering is also wanted, the word “lower” will be used.

À Terre

Demi Pointe

À Terre

Echappé relevé ouverte would mean to do the relevé and stay. Echappé relevé fermé would mean closing to demi plié from the echappé relevé ouverte. Battement glissé is a battement tendu done off the floor about 3”. (This exercise is also known as Battement Degagé.) Degagé will be used to indicate the first half of a battement tendu: the foot stays and does not close. (Degagé means detached). Degagé will also be used to indicate this extended position, such as after a chassé, or when lowered from a developpé, etc.

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Tendu Position

Glissé Position

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Using the choreography in this manual:

Battement Tendu showing the use of the metatarsal joint, or going through the demi pointe.

THREE KINDS OF BATTEMENT FRAPPÉS

1. If unsure of what is meant in a part of an exercise, just fill it in with what seems logical to you. 2. Feel free to change any part of an exercise that does not fit your teaching style, or the students’ abilities, or what you want to work on at this time. 3. Feel free to use the exercises within any one class separately, or to mix the work in two or more classes.

Battement Frappé With Flexed or Relaxed Foot

4. This work is intended to be an addition to your teaching repertoire, not to replace it in any way. Use what works, what interests you, what challenges or improves your students performance. 5. Music: the meters and counts are intended to give an approximation of how to time and blend the parts of an exercise or enchainement. Feel free to adjust the meters and counts as seems best to you.

Battement Frappé With Wrapped Foot

Battement Frappé Piqué (or Pointed)

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Retiré Positions

Petit Retiré

Petit Retiré Devant

Petit Retiré Derriere

Demi Retiré

Demi Retiré Devant

Demi Retiré Derriere

Go to Index

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Positions of the Arms as Used in This Manual

Bra Bas

First Position

Demi Bras or Open First

Demi Seconde Position

Second Position

Third Position

Fourth Position or Attitude

Fifth Position

Open Fifth Position When Coming from Fifth

Open Fifth Position When Coming From Second, or, Diagonally Up

First Arabesque Go to Index

Third Arabesque

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Suggestions For Improving Technique and Artistry General Rule: If posture is correct, the legs and anns will have a reasonable chance to work at their best. Posture incorrect? Legs and arms will have a hard time.

needed. Now the pliés can be done in all positions without moving the supporting leg. Simply adjust the placement of the left hand on the barre.

Placing Feet for Even Turnout at the Barre

For Grand Pliés

Turn thighs out, the feet follow. Place supporting leg first, then the working leg. Need rosin to turn out at the barre? Dancer is turning out beyond ability— using the floor friction instead of their muscles—can lead to lower leg and foot injuries. Don’t use rosin to try to increase turnout—it causes wrong muscle use. Will not help center work.

For Placing Hands on the Barre Facing the barre: with arms relaxed at sides, lift where they are, and place hands on the barre, elbows next to waist. Elbows are relaxed, not sticking out. Sideways to barre: Stand in 2nd position. Lift arms to 1st, then open to 2nd. Place left hand on the barre. Elbow should be just in front of body. Hand on the barre will be a few inches further in front. Keep the barre arm relaxed, and fairly straight. Close right foot to 1st or 5th, moving left hand forward on the barre as

Go to Index

There should not be any shoulder movement during grand pliés, as this causes the back muscles to work unevenly, creating incorrect posture. Use the back to stabilize the balance. Lower, middle, and upper back areas— all must be held, supported, not allowed to drop. Stretch front of hip joint so it feels flat; this helps keep the tail down. Hips must stay slightly above the knees in all grand plié positions. Going down further causes a loss of control, and puts undesirable stress on the knee joints.

For Battement Tendu Closing to Demi Plié The legs work together, at the same time, (as in battement fondu.) As the leg moves out both legs straighten at the same time. When closing, both legs arrive at the demi plié at the same time. Timing is smooth. Don’t hold the plié, and don’t separate it from the rest of the movement.

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Alignment of the Feet in Battement Tendu

Details For Using the Feet in Battement Tendu Feel a lengthening of the leg as it moves away. Hold hips level, and still. Move the foot about two inches out of 5th with the heel still on the floor. Move the foot outward to the “demi pointe” position. Finish the movement with a full extension of the foot. Return the same way. Do this every time the foot moves out of or into a closed position.

R

The correct alignment when moving the foot out from 1st position, is to use the open 4th position, both front and back.

L

From 1st Position to 4th Position

A more effective

For Battement Glissé (also known as use of the turnout muscles is possible Battement Degagé) in open 4th than in a crossed 4th.

Don’t take the foot too high—this is a preparation for petit allegro steps. Brush to about 2” off the floor. Keep the supporting leg turned out, and its kneecap pulled up. Use the feet, use the floor.

All positions en l’air to devant or derriere are in an open 4th, with the leg directly front or back of its own hip joint.

From 5th Position to 4th Position

CENTER OF BALANCE

When brushing to the back, think of moving the thigh back rather than the foot or lower leg. Derriere might have a very slight incline of the pelvis for some dancers. The shoulders compensate by moving slightly forward, but not facing down.

This makes it possible for the rond de jambe a terre to actually increase the ability to turn out, as it was originally intended to do.

L

R

Tendus from 5th: use the crossed 4th position. The toes are inline with the supporting heel, but not crossed over any further. Once the leg goes en l’air, however, the leg should lift

Go to Index

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The path through first is the slower part, the stabilizer of the movement The dancer should feel as ifthe leg is still “underneath them” in first, while it circles. Keep hips in place. Use the feet.

directly in front of its own hip joint. This puts it in the open 4th. Legs off the floor should always be in the open 4th. It allows the turnout muscles to work more strongly, and gives a more open feel to the classic line.

To develop control in the air for allegro, practice the circular part of rond dejambe a terre just barely off the floor, using consistent turnout, and a strong, secure brush through 1st.

Battement Tendu to 2nd Position For battement tendu to 2nd position: The toes of the two feet are ina straight line, which will be somewhat in front of the dancer, and exactly perpendicular to the direction the dancer is facing.

For Assemblé Soutenu

Do not line up the extended toes with the supporting heel! This does not allow the muscles to work correctly in second position, either a terre, or when the leg is off the floor.

For Battement Fondu To improve placement, practice fondu without the extension, as simply a demi plié on one leg. This helps placement.

For Rond de Jambe a Terre The shape is a letter D, using the open 4th position, and making a straight line through 1st position.

Go to Index

Because this circular movement comes from 5th, the crossed 4ths are used for soutenus instead of the open 4ths as for rond de jambe a terre. Toes are in the same line for 2nd position. Working heel is in line with supporting heel in 4th.

R

L

The ability to turn out determines where this line for the toes in second position will be for each student.

Assemble soutenu is a rond de jambe from and to 5th position. This is how it differs from rond de jambe a terre, which is based in 1st position. Shoulders and hips must stay level and square on the fondu—don’t drop the working hip.

When extending derriere, think of moving the knee back and letting the foot follow. Battement fondu prepares for ballonnés.

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For Frappé & Petit Battement Don’t tense or constrict the ankle or knee joints—they must move freely in the correct pathways. To keep the thigh from turning in during the exercise, imagine a broom handle holding the thigh out; it can’t turn in.

A la Seconde: keep hips level; feel that the heel is slightly forward of the knee (this is a feeling, not a place). Note: don’t show the sole of the foot to the front, in 2nd. That is overturning, and is not correct technique (not correct use of muscles), according to most ballet authorities. Derriere: go through the attitude position; don’t forget to push the thigh back when moving out of the retiré.

For Grand Battement Use some pressure on the floor as the foot leaves 5th. This frees the leg to lift more easily! Get the placement right first, then work on the height of the extended leg. Keep the back steady, supported. Think about lengthening the back of the knee when extending the leg derriere.

For Battement Retiré Working leg draws a line up the supporting leg—stays in contact all the way up, and all the way down.

Understanding Extensions to the Back The reason students so often bend the knee when extending a leg to the back: 1. The muscles needed to lift the leg to the back are the same ones that bend the knee!

Keep hips absolutely level. Keep heel “in” when closing back—this helps maintain the turnout. Pull the body up on the closings—don’t sink down.

2. The muscles that straighten the knee are the same ones that lift the leg to the front.

For Developpé Devant: don’t sit back, keep torso upright and tall.

Go to Index

It takes concentration, and effort to

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teach those muscles to cooperate, and lift a straight leg to the back. Thinking about stretching the backs of the knees seems to help.

For Pirouettes en Dehors Think of the relevé devant as a “lifted 3rd”. Do a simple relevé devant, then do the turn with the same placement— this helps them find their balance.

For Pivots (Promenades) Turn by moving the heel and the inner thigh; the body is balanced above the supporting hip, with weight on the ball of the foot.

For Arabesque The leg is in the “open fourth” at the back—feel it with the back muscles. The leg is directly behind its own hip joint, and its own shoulder. Find and hold the correct position lying on the floor. Then try it standing up.

Chasse en avant into the fondu. Move through the glissé position on the relevé. Lift under the seat muscles. If weight is securely over the supporting leg, the turn will be OK. Moving only one arm on the port de bras is easier to coordinate at first.

Students learning or improving pirouettes must learn the exact placing of each part of the movement.

For Diagonal Turns

If more advanced students are having difficulty, go back to the beginning and retrain the muscles.

This method makes it easier to find correct placement and balance. (Research also shows that fewer injuries occur with this method.) Boys should always use the strong rise for turns. Girls can use the relevé with a slight displacement of the supporting foot, if they can control it.

Go to Index

Don’t sit the plié at the end—press down into it and recover. Arms ending demi bras gives a nice finish.

For Pirouettes en Dedans

For Pirouettes

At first use the strong rise. That is, do a relevé straight up, with no displacement of the foot on the floor.

Arms are in 1st. Move body forward into arms for the turn. Feel the body over the front (lifted) foot for the turn.

Don’t overdo the traveling—rather try to keep the legs underneath the dancer. When worried about covering distance, they often lose placement and control of the turns. Chaînés: On the first half turn, think of bringing the back hip around, and the back arm to 1st. On the 2nd half, spot, open arms to demi bras, bring the second hip and shoulder around.

Tips For Allegro Some tips from a professional male dancer:

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same height in all three directions.

• • • •

Use metatarsals in jumps. Turnout from hips. Maintain foot to leg alignment. Make full use of all parts·of the feet. • Use the smallest amount of force needed to produce the movement. • Relax ankles to get a deeper plié. • Use demi plié as a movement, not a position.

• Glissades—don’t forget to stretch the second leg. • Brisés—think of the underneath foot catching up to the front foot (brisé derriere). • Entrechant Six de Volé—think of it as an assemblé and an entrechant quatre.

Technical Pointers • For the upper back: lay on stomach, and keep feet on the floor. Bring arms from 2nd to 5th, then lift upper body off floor. Have someone hold the feet down. • The supporting leg stabilizes and controls movements. Lift off the supporting leg, stretch abdominals upward. Use adductors on closings.

• For 2nd position extensions: find the exactly right place during the grand rond de jambe. Don’t pitch shoulders back, especially when the leg is in 2nd en l’air. • Resilient pliés are necessary for good allegro. Learn to relax the calves and use the shin muscles (anterior tibialis) when going down into a demi plié, and when landing from a jump. (This keeps the heels on the floor.)

Go to Index

• Coupé Sauté is always jumped straight up. • Jeté Battu beats under you, not out somewhere. • Assemblés—height of the brush determines the height of the jump. Legs come together in the air before landing, even in petit assemblés.

• Maintain the natural spinal curves; these should be balanced for that person.

• Grand battements should be the

• Pas de Chat—show the two retirés in the air.

• Analyze and perfect all steps early on. Limited but correct knowledge is a good beginning, even for teaching. • For keeping weight forward in changements, hold a stick behind the back with elbows. • To keep head from jerking back on jumps, hold hands behind head. • Having the eye line raised slightly helps jumps to look higher.

For Perfection Do things in simple form to perfect them. Do movements in small pieces, then put the pieces together.

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begins with conscious, deliberate, movement planning.

Do the step simply, by itself, not in enchainements, for a few classes. If needed, analyze the parts of the movement, and do these parts in isolation a few times, to make the dancer aware of the parts. Then put it together.

For All Ballet Work . . . Think the result you want; Concentrate, or it won’t happen.

Give the muscles time to learn the new way of doing the movement. The more change you want, the more time it will take for the movement to become automatically better.

Complete ballet placement must be learned first.

The easier movements are the foundation upon which the more advanced movements are created. If the advanced work is to be strong, it must have a strong foundation.

• Have a spiritual center; radiate outward. • Explode upwards, lower gently. • Rest the eyes somewhere for adage—look at something! • There is artistic quality in the use of head and eyes—use them!

For Coordination Coordination arises from “movement planning”. That is, the dancer plans the movement in his or her mind, then teaches it to his or her muscles.

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Practice is for the muscles to become able to do a movement better—it is not for the brain, and it is not intended to entertain the dancer! Practice simple things to make them perfect. This helps the more advanced steps to improve.

For Artistry

The teacher is a professional guide, one who can help the student to know what they need to learn to be a fine dancer. But the student must do the actual teaching of their muscles. This

A Word To Students About Practice

If you love to dance, teach yourself to love every part of it, even the practicing!

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Correct Muscle Use When the legs are turned out for ballet, it is important to keep the arches lifted, and to not turn the feet further than the thighs can turn. Correct use of the muscles that control the foot, ankle, and knee joints helps to prevent problems later.

1. Foot To Leg Alignment Feet need to be in alignment with knees at alltimes. The feet, lower leg, and upper leg should line up in the same plane. This relationship should not be lost, whether in dancing or in other activities. • A dancer’s first job is to correct the alignment of each foot at the ankle, and to keep it correct, all the time! • Feet must learn to relax in order to maintain this correct alignment! The 1984 International Olympic Congress on Sports and Dance stated as one of their conclusions that the most common cause of dance injury to lower legs, ankles, and feet was the failure of dancers to keep their feet and legs aligned as nature intended. Even a slight misalignment causes a weakening of the joints involved, and an imbalance in the muscle groups of the lower leg and foot.

Turnout is accomplished mostly by the use of two muscle groups: a. Inner thigh muscles, especially the sartorious muscle; and b. The outward rotator muscle group, located at the rear of the hip joint, inside, next to the joint itself.

3. Using the Inner Thigh Muscles Have students sit on the floor with legs extended forward and together. They place their hands next to and in back of hips, arms straight, to help backs stay straight. Knees are extended, feet pointed.

Correct alignment of feet with knees is perhaps the most important concept of ballet placement for students to learn.

2. Turning Out for Ballet Turnout This is one of the qualities of style that distinguishes ballet from other dance forms. It needs to be developed slowly by gradually strengthening the muscles that produce it.

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a. Rotate the legs from parallel to turned out, and back again, about four times. b. With legs turned out, lift one leg off the floor about six inches and lower it. Do not hold the position, just go up, then down. Repeat with the other leg. Give each leg four turns. c. Tell them to think about lifting from where the sartorius muscle

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floor. Keep the front hip (pelvic) bones in contact with the floor.

starts, just inside the knee. This gives them a place to focus their effort.

They cannot lift very high in this way. Height is not the object. The purpose of this exercise is to isolate, teach and strengthen the muscles which rotate the legs outward, and which are also very important in lifting the leg in arabesque.

4. Improving Arabesques Those muscles that rotate the legs outward are the same ones that lift the leg conectly to the back in arabesques and attitudes. Learning to use these muscles correctly can add several inches to the height of the arabesque.

5. Correcting Errors in Muscle Use

An exercise to help students learn to use correct muscles for arabesques: Have students lay on the floor, face down, chins resting easily on their hands, legs extended back and together. Keep knees stretched and feet pointed. a. Rotate the legs from parallel to turned out, and back again, about four times. Have them visualize the outward rotators next to the hip joint, at the back and slightly to the side of thejoint. If they tighten the correct muscles the legs will turn out. b. With the legs turned out (keeping the knee extended and the foot pointed) lift one leg about four to six inches off the floor, then lower it again. Repeat with the other leg. The leg must lift directly behind its own hip joint, not behind the center of the body as students sometimes do. Give each leg four turns. Itis very important that only the leg lifts off the

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There are two areas of the brain involved in using muscles to create physical movement: • Pre-Motor—this is where the action is carefully, with concentration, thought out as it is performed. This is where the movement is controlled while initial learning takes place. This is where the dancer consciously plans the movement. • Motor—this is where the skill goes once the person can perform it quickly and smoothly. This is where the skill comes forward automatically, without thought, after the muscle response is learned. It happens automatically. It is what we call a “habit.” It usually takes about twelve weeks for the skill to get here from the Pre-Motor area. When we see a wrong movement pattern, a wrong technique, the wrong muscle use is being repeatedly done by the student. It is coming from the motor area. It is an established response, a habit.

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It usually takes from six to twelve weeks to change this established response. Knowing what is correct is only the beginning. Actually correcting it takes careful re-teaching of the muscles, and conscious re-planning by the student.

oversized and hard; not pretty, and not flexible. Among other things, it makes stretching harder. Most dancers won’t want overdeveloped, non flexible muscles!

No amount of concentration will instantly and permanently correct the error. If this is expected, the student may wind up thinking they cannot do it the right way.

Experts say that “short tendons” are quite rare. The “heel popping” problem in ballet is usually caused by an incorrect use of the lower leg muscles.

They may give up on ever trying to fix it. The teacher thinks they do not try. Both are wrong. No one is to blame.

6. Encouraging Correct Muscle Use For best results strengthen the “natural” or parallel use of muscles first, then strengthen in the turned out to a right angle position, and then in the dancer’s best turned out position.

7. Muscles That Do The Jumping

Correct use of the lower leg muscles is what enables a dancer tojump smoothly, gracefully, and without strain. In many dancers the “plié muscle” on the front of the shin is very weak. The calf muscles take over the shock absorbing process of the demi plié, and the heels to pop off the floor!

Do some of each during the warmup section of the class, or at the end of the barre. That will provide a secure foundation for strengthening in that person’s fully turned out position.

The calf muscles are not the muscles that bend the knees, or perform the demi plié. Their job is to extend the ankle joint and point the feet. It is the muscle on the front of the shin (anterior tibialis) that flexes the ankle, performs the demi plié, & absorbs the shock of landing from a jump. Exercises which flex the ankle will help to strengthen the plié muscles, and lessen the tendency of the heels to pop when landing from a jump.

To motivatestudents to work on correcting their muscle use, tell them: When a muscle takes over the job of another muscle, it becomes

Encouraging muscles to do the jobs they were designed to do will give greater strength and grace to the performance of all ballet movements.

The parallel and right angle strengthening lay the foundation for the fully turned out strengthening.

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8. Helping the Student Correct Errors in Muscle Use How do we help a student change a bad muscle habit? It will take time. You may need to ignore the error during center performance for a while. Whenever possible attack the cause, not the result. a. Have the student do only demi pliés, no grand pliés, until the incorrect habit is fixed. Have them do the demi pliés without shoes for the first few exercises at the barre. Then you can see and fix how the feet are behaving. b. Feet need to be relaxed at the bottom of the demi plié! The student should be able to release the toes from the floor, thereby activating those shin muscles at the bottom of the demi plié. Then, when the toes return to the floor, they must not tense up, or curl.

c. Another exercise to help, facing the barre in 1st position, and in 2nd position: 1-2

Slowly bend knees to a well turned out demi plié.

&3-4 Sauté and land in the exact same demi plié, check placement. 5-6

Slowly straighten knees, keeping knees well turned out.

7-8

Battement tendu, lower in 2nd.

1-8

Repeat in 2nd, closing to 1st.

1-16

Repeat all.

d. Have students stretch the calf muscles before and after the barre, after the adage, and after class.

An exercise to strengthen the use of demi plié in allegro, facing the barre: 1

Go down in demi plié and stay.

2

Bend toes up off floor.

3

Relax toes onto floor.

4

Keeping toes relaxed, straighten knees and turn out to 1st.

5-8

Repeat in 1st.

9-16

Repeat all in parallel 2nd and in turned out 2nd.

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e. Teach your students that the shin muscles must work while going down in a plié. The calf muscles must learn to relax and let the shin

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muscles do the plié and fondu actions. This will make their jumps higher, smoother, and safer.

A Word About Injuries Students and parents need to understand that you are a specialist in ballet, and do not have medical expertise. If they have questions about an injury from dance or sports, or any unexplained pain in class, they should ask a physiotherapist, sports medicine doctor, family doctor, etc.

Finally, when things don’t improve, or continue to not look as they should for ballet, you might want to suggest to the parent that they consult their doctor on whether or not there is a medical problem of some kind.

9. Preventing Injuries 1. Proper skeletal alignment for each individual is very important. Be as exact as is reasonable and possible. 2. Warming up and barre work needs to be at the dancer’s practice level. Using higher levels can cause injuries.

In ordinary day to day activities, and in sports or aerobics, a person can make compensations in how they move in order to accomodate, or “favor” a slight injury. Even moderately severe injuries can go unnoticed in this way long enough to make the original cause almost impossible to figuxe out.

3. Recognize each dancer’s fatigue level. Tired muscles cannot maintain correct alignment, and cannot cushion the dancer very well in allegro.

In ballet, we must use our movement range precisely, with no adjustments or favoring of minor hurts. Any injury, however slight, will show up in ballet class even if it went unnoticed elsewhere.

4. Use each dancer’s individual ability for turning out—no forcing. 5. No sway backs. Feel a lengthening of the body, a “pulling up”, to encourage greater flexibility and range of movement.

It is easy for ballet teachers to see why any small injury or bruising done elsewhere shows up in the ballet class rather than where it actually happened! Others, however, may find this explanation a bit difficult to accept.

6. Use no stress producing postures or exercises; no forced or held flexibility positions. Be patient. Remember that pain indicates some injury at the cellular level. Injured structures heal with a resistance to flexibility, not an increase of it as some seem to think. 7. Proper nutrition, and sufficient rest are an important part of the dancer’s preparation for the profession. Without these things, the dancer cannot do their best in class or performance.

Go to Index

If a student complains of pain in ballet class, very often the student has been slightly injured in some other activity.

In ballet, a good rule to give students is: “if it hurts, don’t do it.” This can help prevent injuries from happening in class, and can prevent minor injuries incurred elsewhere from being made worse. Students complaining of pain while doing ballet work, especially at the barre, should sit out the class, and take notes on what is done in class.

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Warming Up For Ballet Why Warmup? There is a pattern of traditional ballet exercises done at the barre. Most teachers these days are also giving some “pre barre warmup exercises” to their students, as a result of recent studies in the area of sports and dance.

joints that is now available, it becomes obvious that appropriate warming up is needed for all physical activities.

The Purpose of Warming Up 1. Warming up should increase circulation and heart rate gradually. 2. A gentle use of the muscles, contracting and extending, warms them up without stress.

Most students do not enter the ballet classroom sufficiently warmed up to do the traditional ballet barre. They need some gentle, appropriate warmup movements first.

3. Warming up should wake up the ballet muscle groups, so they will work correctly right from the beginning of class.

Grand pliés are the only exercise that physical therapists and orthopedics have specifically said needs to not be done until the dancer is well warmed up. Some ballet schools have attempted to solve the problem by putting a different barre exercise first, and saving the grand pliés until later.

4. Warming up with concentration should start the body and mind working as a single unit, a team. 5. Things to avoid when warming up: a. Force. b. Stress on joints and muscles. c. Working to the limit.

However, it is not just the pliés, but the entire technique of ballet for which the student needs to be warmed up in order to safely perform at their best. Rearranging the barre exercises will not solve the problem.

6. Use only the muscle effort needed to perform the movement—not more. 7. Warming up can help prevent injuries.

The content of the pre barre warmup varies. Most include flexing and extending the ankle joint, demi pliés with the feet parallel, and some relaxing, non stressful bending of the torso. Some are having their students do some barre and other movements while lying on the floor.

Explain the purpose of warming up to your students, so the gentleness of the exercises will make sense to them.

To Improve the Use of the Feet:

Some are using other forms of movement such as Yoga or Pilates for the warmups. With the knowledge of muscles and

Go to Index

1. Make the dancer more aware of exactly what their feet are doing. 2. Strengthen the muscles of the foot for the actions needed in ballet.

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II. Classes Sample Ballet Classes

24

To Improve Their Sense of Balance

55

For An Advanced Class

58

Classes With Pointe & Boys Work

61

Go to Index

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Sample Ballet Classes

Classical Ballet 3—Class #1 Warm-Up

1-8

1. Battement Tendu & Flexed Foot Facing the barre.

Port de bras bending sideways to the barre, then away, then quick tendu closing 1st.

1-8

2 grand plié in 1st.

1-8

Port de bras bending forward & back.

1-8

2 grand plié in 4th open (opposite 1st position— heels remain on the floor in this position—this gives a challenge to keep correct placement).

1

Open to battement tendu devant position.

2

Flex foot (flex ankle joint, pull foot up).

3

Point foot.

4

Demi plié in 4th.

1-8

Port de bras bending sideways.

5

Return to tendu devant position.

1-8

2 grand plié in 5th.

6

Flex foot.

1-8

7

Point foot.

Port de bras bending in a circular path—forward, to the barre, to the back, away from barre, then straighten.

8

Close 5th in demi plié. Repeat en croix.

2. Battement Tendu & Body Bending Facing the barre in 3rd for better turnout. Use a moderately slow 4/4.

4. Battement Frappé Usual preparation. 1-4

4 battement frappé devant.

5

Rise in sous-sus.

6

Lower onto front foot, back foot lifted petit retiré derriere (coupé over).

1-6

2 battement tendu devant, 2 to 2nd, 2 derriere.

7-8

Demi plié, straighten, rise & lower.

1-8

Repeat with other foot.

7

Rise in sous-sus.

Step back from barre

8

Lower onto back foot (coupé under)

1-8

1-8

With arms free to follow the action, bend body from waist in circular motion, forward, right, back, left, straighten. Repeat body bending in other direction (forward, L, back, R, straighten).

Continue en croix. 5. Full Assemblé Soutenu Feel the turnout on this one. Be sure the fondu is correctly aligned, supporting knee to foot.

Barre

1-3

Assemble soutenu en dehors (a rond de jambe from 5th en fondu, to 4th back, port de bras through 1st, to 2nd.

4

Close 5th back, arm bras bas, and straighten knees.

3. Grand Pliés 1-8

2 grand plié in 2nd.

Go to Index

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5-8

Repeat en dedans.

4-9

Repeat 2nd, derriere closing to demi plié.

1-8

Repeat all.

10-12

Demi detourné to other side

6. Petit Battement

Center 9. Tendu & Pirouette

&1-7

7 petit battement (back, front).

8

Rise to demi pointe, arm 1st.

1-2

Battement tendu R devant, closing 5th demi plié.

&915

7 petit battement on demi pointe.

3-4

Battement tendu L derriere, close 5th demi plié.

16+

Balance with arms 1st.

5

Degagé R 2nd and stay.

6

Demi rond de jambe a terre to 4th derriere.

7

Lower to demi plié 4th, arms 3rd.

7. Developpé 1-4

Developpé devant & stay, arm 1st.

8

Pirouette en dehors, close back.

5-8

Grand rond de jambe to arabesque, arm 2nd.

9-16

Repeat to other side.

1-4

Penché, arm adoré (folded over chest).

5

Recover to 2nd arabesque.

6

Coupé under, arm 1st.

7

Petit developpé devant a terre, fondu, arm 2nd, looking outward.

1-4

Developpé devant.

8

Close front, detourné away from barre to other side.

5-8

Developpé 2nd, close 5th back to face croisé.

9-12

Developpé to 2nd arabesque.

1-16

Repeat on other side.

1315

Rise in 5th, arms to 5th.

16

Lower heels to face en face, L front.

1-16

Repeat to other side.

Repeat all with double pirouettes. 10. Developpé With Stage Alignment Begin 5th en face, R foot front.

8. Grand Battement with Developpé Strong 3/4 meter—mazurka. 1

Grand battement devant & stay.

&2

Quick developpé passé derriere.

3

Close back.

&1

Sissonne ordinaire devant, chassé R to 2nd.

4-6

Reverse.

&2

Coupé under, assemblé under.

1-6

Repeat all.

&1-3

1 grand battement devant in 3 cts (lift, lower to tendu, close)

Go to Index

11. Petit Allegro

Do 4x or 8x to alternate sides. 12. Ballotté & Ballonné Use a medium, flowing waltz. Start

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by raising L foot derriere, demi retiré & fondu on R.

5-8

Repeat to other side.

9-10

Balancé forward R, back L.

&1

Ballotté on L towards DR (forward).

11

Step R into arabesque a terre, arms 5th.

&2

Ballotte on R (back).

12

&3

Coupé under, Ballonné R to 2nd to demi retiré derriere.

Fondu and slight penché as arms open and reach back, like swan wings, look back to L.

13-16

Repeat counts 9-12 to other side. 1-16

4-

Pas de chat.

1-16

Repeat all, sliding down to R knee on last count.

&

Raise R foot derriere.

5-8

Repeat on other leg.

13. Grand Jeté

DL

DR

UL

UR

Starting with R foot, from UL, on diagonal towards DR. 1-2

2 runs, grand jeté en avant.

3-4

2 runs, grand jeté en avant.

&5

Turn to face DL with coupé under R, chassé en avant on L.

&6

3 runs (R, L, R) and a big grand jeté en avant, holding the finished position.

7-8

Deepen the fondu slightly before walking UR to repeat on other leg.

14. Cool Down & Reverènce 1-4

2 balance de côté (R, L), slow soutenu turn R, arms 5th.

Go to Index

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Classical Ballet 3—Class #2 Warm-Up

1

Demi plié down and stay.

1. Floor Exercise Sitting on floor, legs straight in front, parallel, feet pointed, hands on floor next to hips for stability. Helps teach alignment of feet & legs.

2

Bend toes up off floor.

3

Relax toes onto floor.

4

Keeping toes relaxed, straighten knees and turn out to 1st.

5-8

Repeat in 1st.

9-16

Repeat all in parallel 2nd and in turned out 2nd.

1

Flex feet.

2

Point feet.

3-4

Repeat.

Barre

5-6

Turn legs out.

7

Flex feet, keeping them aligned with knees.

3. Pliés Prepare arm to 2nd.

8

Point feet, stretch toes away, (not to floor).

1-4

Grand plié in 1st.

1-2

Bend knees and put soles of feet together, relaxed, grab ankles.

5-8

Port de bras bending forward, recover.

9-12

Grand plié in 1st.

1316

Tendu & lower in 2nd position, arm lifting to high diagonal, then returning to 2nd.

3-4

Round the back & stretch head towards feet.

5-6

Lift head in line with spine, and straighten back, pulling forward on a diagonal line.

7

Bring head and back upright.

8

Open legs to wide 2nd, sit tall, arms 2nd.

1-2

Stretch over R leg, then sit tall.

3-4

Stretch over L leg, then sit tall.

5-6

Stretch forward, then sit tall, arms 5th, 2nd.

7-8

Bring legs in and hug knees, head relaxed over knees. Repeat all.

Repeat in 2nd, bending away from barre. Repeat in 5th, bending back & looking away from barre. Repeat in open 4th, bending towards barre. (Grand plié in open 4th—keep heels on floor as in 2nd position.) 4. Battement Tendu Relevé With Battement Glissé Prepare arm to 2nd.

2. Demi Pliés To strengthen the use of demi plié in allegro. Facing the barre, feet parallel.

Go to Index

27

1-4

2 battement tendu devant.

&5

Degage 2nd, lower heel.

&6

Lift heel, close front.

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&7-8

Degagé 2nd, lower heel, lift heel, close back.

9-16

Reverse.

1-16

Repeat all with battement glissés.

6. Battement Frappé With Rond de Jambe en l’air. No preparation, start in 5th, bras bas.

5. Rond de Jambe a Terre to 5 Points Prepare arm to 2nd, leave feet in 1st. Stretch the leg and keep turnout consistent to all 5 points.

1-2

Degagé 2nd, place relaxed foot on ankle, in alignment with knee.

3-4

2 frappé to 2nd, arm 1st, 2nd, closing back, front.

&

Close 5th demi plié, arm 2nd.

5

Brush to 45° a la 2nd, (supporting leg straightens), arm 2nd.

1

Degagé devant to open 4th.

2

1/4 rond to front diagonal.

6-7

1 rond de jambe en l’air en dehors.

3

1/4 rond to 2nd.

8

Close derriere, arm bras bas.

4

Close 1st.

1-8

5

Degagé to 2nd.

Repeat in reverse, preparing to cou de pied derriere, etc.

6

1/4 rond to back diagonal.

1-16

Repeat all.

7

1/4 rond to open 4th derriere.

8

Close 1st.

1-8

Repeat en dedans.

1-16

Repeat all

7. Battement Fondu 1-2

Fondu, lifting foot demi retiré devant, arm 1st.

3-4

Developpé devant to 45° or 90°, arm to 5th.

5-6

Both arms to 5th.

7

Rise.

8

Close with demi plié, bras bas. Repeat en croix

8. Developpé With Balance

Note: Diagonal points are halfway between open 4th and 2nd.

Go to Index

28

1-2

Developpé devant, arm 5th.

3-4

Fondu, straighten.

5-6

Both arms to 5th and balance.

7

Rise.

8

Close with demi plié, bras bas.

9-16

Repeat

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1-16

Repeat all to 2nd, arms 2nd, close facing barre on last count.

1-16

Repeat derriere.

1-8

Lunge R to 2nd, port de bras bending to R and recover, closing 5th back.

9-16

Repeat the lunge & port de bras to L.

Center 11. Battement Tendu With Pas de Bourrée

9. Grand Battement This is for control of turnout and for getting height even in all directions. 1-4

1 grand battement in 4 cts at 45° (point, lift, point, close).

5-8

2 grand battements in 2 cts at 90° (no higher).

1-8

Repeat to 2nd.

1-8

Repeat derriere.

*1-2

1-2

2 battement tendus over (R, L).

3-4

3 battement glissé over (R, L, R) ending in fondu (brush L to 2nd).

5-6

Pas de bourrée under with L foot, ending in fondu with R extended to 2nd.

7-8

Soutenu turn to L (bring R foot over).

12. Port de Bras With Flower Face croisé, L front, (DR); R cou de pied derriere, fully pointed, arms bras bas. 1-2

Arms reverse port de bras to open 5th, looking up to L.

Grand battement 2nd, & lunge away from barre, arm open 5th.

3-4

Close 5th, lower to bras bas.

1-2

Chassé en avant L to attitude ordinaire, a terre.

3

Return to the grand battement.

3

4

Close 5th derriere.

Fondu on L, lower to R knee, R hand down to pick up flower, L demi 2nd.

5-8

Repeat from* closing devant.

4

Transfer onto L leg, R degagé devant, R hand through 1st.

5

Stabilize posture and centering of weight, turn head to side, then bend back, rolling down from head through spine to waist.

Circle behind back, onto waist, holding flower L arm circles through bras bas, up to 4th, then 2nd, & demi 2nd.

&6-7

Fondu onto R, bourrée turn R to en face bringing flower to 1st in both hands, smell it.

5-8

Recover, rolling up from waist, head coming up last.

8

1-4

Pull away from barre, slightly rounding lower back.

Extend R hand with flower to audience, curtsy with L in back, L arm demi 2nd.

5-8

Recover, standing straight.

7-8

Rise, lower.

10. The Ballet Backbend Facing the barre. 1-4

13. Adage Croisé, R foot front in fifth.

Repeat all. Take care to to maintain a centering of the weight throughout, and equal use of muscles on both sides of the back.

Go to Index

29

1-4

Developpé croisé derriere with fondu, arms demi bras.

5-8

Straighten, arms 2nd, close on 8.

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1-8

Repeat, to ecarté, closing back.

1-8

Repeat to epaulé, but don’t close.

1-4

Pivot to other croisé (1/4 turn)

&5

Lower into lunge in 4th, arms 3rd, pirouette en dehors.

6

Lower into the lunge

7

Straighten to 3rd arabesque.

8

Close to 5th, arms directly down.

16. Temps Levé, Chassé Coupé Around a circle, start with R foot pointed forward, arms 3rd or 4th opposition.

14. Petit Allegro

1&

Step R, hop with L in attitude derriere (or devant).

2&

Gallop (chassé coupé) forward on L.

3-4

Repeat counts 1-2, starting L.

5-8

Repeat counts 1-4.

9&

Step R, temps levé 3rd arabesque.

10&

Gallop (chassé coupé) forward on L, arms 2nd.

1-4

Four changements, arms 1st.

11-12

Repeat counts 9-10 starting L.

5-8

2 glissades under (R, L), arms 3rd opposition.

13-16

Repeat counts 9-12

1-4

Four changements, arms 2nd.

5-7

3 petit jeté derriere, arms demi 2nd.

8

Pas de bourrée derriere to 5th, arms bras bas.

1-16

Repeat to the other side.

Continue through the music. 17. Reverènce

15. Allegro From 5th, R derriere. 1

Glissade derriere.

2

Assemblé over (dessus).

3

Glissade en avant.

4

Assemblé en avant.

5-6

2 sissonne fermé over, arms 3rd ordinaire to closing foot.

7

Soubresaut.

8

Entrechant quatre.

1-8

Repeat to other side.

1-16

Repeat all in reverse (devants & unders).

Go to Index

30

Intro:

Lift R to cou de pied derriere, arms demi 2nd.

1-4

4 balancés de côté, (R, L, R, L) arms 3rd opposition.

5

Step R & bring L to degagé devant, arms demi 2nd.

6

Fondu & bow, arms 1st on the bow.

7-8

Straighten slowly, arms opening to demi bras (open 1st), and bringing L foot to cou de pied derriere.

1-8

Repeat to the other side.

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Classical Ballet 3—Class #3 Warm-Up

1-8

2 grand plié in 1st.

1. Port de Bras on the Floor Lying on back on floor, arms down at sides. Feel the position of the upper back and shoulders on the floor. Keep position of shoulders as much the same as possible throughout exercise.

1-8

Port de bras forward & back.

1-8

2 grand plié in 5th.

1-8

Port de bras, circular: forward, to barre, back, away from barre, recover.

1-8

2 grand plié 4th.

1-8

Lunge forward, port de bras forward back, straighten to end 2nd arabesque at 45°.

1-4

Arms lift to 1st.

5-8

Arms continue to 5th.

9-12

Arms continue to 2nd (note that arms will be off the floor several inches).

13-16

Arms return to sides & relax.

1-16

Repeat all.

2. Stretch Calves In parallel position, facing the barre.

4. Battement Tendu With Epaulement Arm remains bras bas, shoulders & head tum slightly for epaulement: devant, towards front leg; a la second, shoulders square; derriere, shoulders towards barre, throughout exercise. 1-4

Battement tendu devant, slowly, through the foot (showing demi pointe on the way).

1

Slide R foot back, “demi pointe”

2

Lower R heel, bending L knee—be sure foot and leg are perpendicular to the barre.

5-16

Continue en croix.

1-2

Battement tendu devant.

3-6

Slowly bring hips forward, gently stretching the muscles on the back of the lower leg.

5-8

Continue en croix.

7

Straighten L knee, R foot to the demi pointe position.

&1-2

2 battement glissé.

&3-8

Continue en croix.

8

Close R foot next to L foot.

5. Battement Frappé

Repeat with L leg. Repeat all.

Barre 3. Plié

1-3

3 devant with R, arm 2nd.

&4

Rise 5th, demi detourné, lower on other side, L cou de pied devant.

5-7

3 devant with L.

1-8

2 grand plié in 2nd.

&8

Turn as above.

1-8

Port de bras sideways, both directions.

1-3

3 to 2nd with L, arm 5th.

Go to Index

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7. Rond de Jambe a Terre Prepare to 2nd.

&4

Turn as above.

5-7

3 to 2nd with R, arm 5th,

&8

Turn as above.

1-2

2 rond de jambe en dehors.

1-3

3 derriere R, arm in arabesque.

3-4

&4

Turn as above.

1 rond with plié through 1st, slow, with simple port de bras, end 2nd, legs straight, arm 2nd.

5-8

3 derriere L, arm in arabesque.

5-8

Repeat.

8

Turn as above.

9-16

Repeat all en dedans.

1-3

1 each devant, 2nd, derriere, bras bas.

&4

Turn away from barre this time.

5-7

1 each devant, 2nd, derriere, bras bas

&8

Turn away from barre to finish.

1-16 Repeat all. 8. Grand Battement & Developpé

6. Battement Fondu Prepare to 2nd.

1-4

1 grand battement devant in 4 cts. arm to 5th

&5-6

1 grand battement developpé devant, arm to open 5th.

7-8

1 grand battement straight, arm opens to 2nd.

1-24

Continue en Croix.

1-2

Fondu, developpé devant a terre, arm bras bas to 1st.

Center

3-4

Fondu, developpé devant to 45°, arm opens to 2nd.

9. Adage With Relevés

5-8

Hold the extension, both arms slowly to 5th, return to 2nd.

1-24

Continue en croix.

Go to Index

32

1-4

Grand plié 2nd.

&5-8

4 relevés: to 2nd arms 5th, to 2nd arms 2nd, to 5th arms demi 2nd, to 5th arms bras bas.

1-4

Developpé R to 3rd arabesque efface.

5-8

Promenade en dehors a full turn R (a pivot turn, moving heel)

&1-4

Coupé under, developpé L to 2nd arabesque croisé.

5-7

Promenade en dedans R a full turn.

8

Close en face.

1-24

Repeat on other side.

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10. Pirouettes Facing DL, croisé. 1

Relevé passé derriere arms 5th, turning to face DR.

2

Lower R to 4th derriere, demi plié, arms 3rd.

3-4

Pirouette en dehors, close 5th back.

5-8

Repeat on other side.

1-8

Repeat with doubles.

1-8

Repeat with triples (or attempt).

13. Changements

Coupé dessous (under).

1

Chassé forward.

&

Sauté 1st arabesque.

2

Chassé passé en avant, ending with legs straight, degagé derriere position.

3-4

Repeat with other leg.

3 petit changements.

4

Entrechant quatre.

5-8

Repeat, other foot in front.

9-16

Repeat all.

14. Cool Down & Reverènce 3/4 tempo.

11. Petit Allegro Prepare to degagé derriere. &

1-3

1-2

2 balancé de côté (R, L)

3-4

2 chaîné turns R.

5-6

Balancé en avant, en arriere.

7

3 steps forward (R, L, R).

8

Kneel on L, bow, arms sweeping back.

1-8

Repeat starting L.

Continue through the music on the diagonal, or in a circle. 12. Allegro 1-2

2 sissonne fermé en avant to DR, arms demi bras.

3

1 sissonne ouverte, arms 1st arabesque.

4

Pas de bourrée dessous (under) changing corners, ending 5th demi plié.

5-8

Repeat to other side.

1-2

2 sissonne fermé en arriere

3

1 sissonne ouverte, arms attitude opposition, effacé.

4

Pas de bourrée dessus (over), ending 5th demi plié.

5-8

Repeat on other side.

Go to Index

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Classical Ballet 3–Class #4 Warm-Up

Barre

1. Demi Plié, With Pushup Facing the barre, feet together, parallel.

2. Grand Plié Facing the barre.

1-2

Rise to demi pointe with straight knees, lower heels.

1-8

2 grand plié in 2nd.

1-4

Semi plié (bend R knee) bring L arm 5th, bend body sideways R.

3-4

Demi plié.

5-8

Repeat.

5-8

Recover to 2nd, straightening knee.

1-4

Battement tendu R to 2nd, flex foot, point foot, close.

1-16

Repeat to other side.

1-32

Repeat all in 1st (legs stay straight on side bends in 1st).

5-8

Repeat with L foot.

1-2

Holding onto the barre, step back about a foot from it, bend from the hip joint, pull away, looking down at feet, stretching shoulder joints.

3. Battement Tendu 1-8

4 tendus devant, closing to demi plié on count 8.

3-4

Straighten body (it will be inclined slightly towards barre).

1-8

Repeat a la 2nd.

5-8

Do a “pushup”: bending arms & bringing chest to the the barre, then pushing out away from it.

1-8

Repeat derriere.

1-8

Repeat a la 2nd.

1-8

Repeat the pull away and pushup. Pushups on the barre help flatten the shoulder blades.

Pushups At The Barre

Go to Index

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4. Battement Glissé Do this one for speed. &1-8

8 devant.

&1-8

8 derriere with inside foot.

&1-8

8 to 2nd with outside foot, closing last one to 1st.

&1-8

7 brushing through 1st, starting devant, closing 5th on count 8.

8. Developpé for Turnout With back to barre, arms stretched to 2nd, hands holding barre.

5. Rond de Jambe a Terre For turnout of lifted leg. Intro:

Prepare to 2nd

1-8

6 ronds en dehors, end tendu back.

1-2

Brush through 1st to attitude devant en l’air.

3-4

Demi rond to side attitude, feeling the turnout.

5-6

Open leg to a developpé 2nd.

7-8 1-16

1-4

Developpé devant, concentrating on turning out from the hip joint.

5-7

Carry leg to 2nd keeping hips in place fee1ing the turn out (don’t overturn—this would involve wrong muscle use).

8

Close 5th back.

1-8

Repeat with other leg.

1-16

Repeat all.

9. Grand Battement For turning out the lifted leg. 1-8

2 Grand battements devant, taking 4 cts each (point, lift, point, close).

Lower to tendu 2nd, feeling the turnout

1-8

Repeat a la 2nd.

Repeat en dedans.

1-8

Repeat derriere.

1-8

Repeat a la 2nd.

6. Battement Frappé 1-4

4 frappé devant.

5-6

Close 5th, rise sous-sus, coupé over.

7-8

Sous-sus, coupé under.

10. Ballet Backbend In 1st, facing barre, slow 3/4 meter. 1-3

Turn head to R, (to take pressure off neck muscles) bend upper back—as if laying head and shoulders on a shelf.

4-6

Straighten, bring head front.

1-6

Repeat, turning head L.

Repeat en croix. 7. Battement Fondu Slow counts. Prepare foot to 2nd. 1

Fondu, in demi retiré devant.

2-3

Developpé devant with rise to demi pointe.

4

Lower heel, lower working foot to tendu position.

5-16

Repeat en croix.

Go to Index

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Center 11. Adage

13. Allegro With Pirouette 1

Echappé ouverte to 4th, arms 3rd.

1-2

Developpé devant.

2

Sauté in 4th.

3-4

Demi rond to 2nd.

3-4

Pirouette en dedans R, close front.

5-6

Come directly to retiré.

5-8

Repeat to other side.

7-8

Developpé a la 2nd.

1

Echappé ouverte to 2nd, arms 2nd.

1-2

Demi Rond to derriere.

2

Sauté in 2nd, R arm 3rd.

3-4

Retiré.

3-4

Pirouette R en dehors, close back.

5-6

Developpé derriere.

5-8

Repeat last 4 cts to other side.

7-8

Demi rond to a la 2nd.

1-2

Retiré.

3-4

Developpé a la 2nd

5-6

Demi rond to devant.

1

2 runs forward (R, L).

7-8

Retiré, close.

2

Grand Jeté en avant onto R.

3-4

Repeat starting with L foot.

5-6

Repeat starting R.

7-8

Chassé passé L en avant & relevé on L to 2nd arabesque.

12. Petit Allegro

14. Grand Allegro On the diagonal, from UL to DR, one or two dancers by turns.

1

Glissade derriere R.

2

Jeté derriere onto R.

3

Pas de bourrée under, to demi plié 5th.

4

Changement battu.

5-8

Repeat to other side.

1-2

2 balancé de côté (R, L).

Also perform in reverse:

3

Step 2nd on R, gesturing with R hand, leaving L foot pointed.

Run to UR, ready to repeat on other side. 15. Cool Down & Reverènce

l

Glissade devant R.

2

Jeté devant onto R.

4

Tuck L foot in back, and curtsey.

3

Pas de bourrée over to demi plié 5th.

5-8

Repeat starting to L.

4

Changement battu.

*1-4

Step R, soutenu turn R, arms 5th.

5-8

Repeat to other side

5-8

Step back R & bow over L leg with reverse port de bras to 2nd.

9-16

Repeat from * to other side.

Go to Index

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Classical Ballet 3—Class #5 Warm-Up

1-8

Port de bras bending forward & back. 2nd side.

1. Degagé, Lunge, Side Stretch Facing the barre, in 1st.

1-8

In 1st, 2 demi plié, 1 grand plié.

Degagé R to 2nd, lunge onto a R fondu, L port de bras bending over R leg.

1-6

Demi plié, grand plié.

7-8

Rise & lower, change with tendu.

5-8

Recover, straighten R leg, close 1st.

1-8

In 5th, 2 demi plié, 1 grand plié.

9-16

Repeat to L.

9-16

Port de bras, side bend, both ways.

1-4

2. Demi Plié & Rise Facing barre in 1st. 1-4

Demi plié, straighten, rise, lower.

5-8

Repeat.

1-8

Repeat in 2nd

4. Battement Tendu & Glissé 1-8

1 battement tendu, en croix.

1-8

2 battement glissé each way.

1-16

Repeat all with port de bras: foot devant arm 1st, foot to 2nd arm 5th, foot derriere, arm arabesque, foot to 2nd, arm 2nd.

Face sideways to barre. *1

Demi plié 5th.

2

Relevé.

3

Demi Detourné to other side.

4

Lower heels.

5-8

Repeat on other side.

1-8

Repeat from *.

5. Rond de Jambe a Terre Prepare to 2nd. 1-8

8 ronds en dehors, ending effacé (Facing out from barre, arms 5th, 2nd).

1-6

Fondu arms 2nd, port de bras forward over leg, recover, arms 2nd & barre.

7-8

Pivot to en face, demi rond to 2nd.

Barre

1-8

3. Grand Plié Sideways to barre, in 2nd.

8 rond de jambe en dedans, end facing croisé (towards barre) arm 2nd arabesque.

1-4

Port de bras bending back with arm 5th, recover.

5-6

Lift leg, both arms 3rd arabesque.

7-8

Hold.

1-8

2 demi plié, 1 grand plié.

1-6

Demi plié, grand plié.

7-8

Rise & lower, change with tendu.

1-8

Repeat 1st 8 cts in 5th.

Go to Index

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6. Battement Frappé, Coupé, Petit

5

Battement en cloche to the back (accent is up).

1-2

2 frappé devant.

6

En cloche to the front.

3-4

2 frappé a la 2nd, ending front.

7

En cloche to the back.

5

Coupé over with straight legs.

8

Close derriere.

6

Coupé under with straight legs.

9-16

Repeat, starting back.

7-8

2 petit battement (2 beats each).

1-8

Repeat 2nd, and derriere (with coupés under, over).

1-8

Repeat derriere & 2nd.

1-8

Repeat 2nd & devant.

7. Rond de Jambe en l’air

Center 10. Pas de Basque With Port de Bras 3/4 Mazurka rhythm. Travels downstage. Start croisé facing DL, R foot front, R arm 4th. 1-3

Pas de basque R to face DR ending croisé, L arm up in 4th.

4-9

Repeat twice, alternate legs and corners.

1-4

2 battement retiré changé.

5-8

1 rond en l’air en dehors in 4 cts: lift to 2nd at 45°, retiré, extend, close.

1-8

Repeat en dedans.

1012

Circle arms (towards audience) & chassé forward to degagé derriere, close 5th.

1-16

Repeat all.

1-12

Repeat to other side.

8. Developpé

1-24

Repeat all.

1-4

Developpé devant with fondu.

5-6

Straighten.

7-8

Close 5th.

1-8

Repeat to 2nd.

1-4

Face barre, developpé derriere with fondu.

5-8 9-12 1316

11. Adage & Pirouette (Using the 3 Derriere Directions of the body on stage) Croise, R foot front in fifth, facing DL. 1-2

Developpé croisé derriere L with fondu, arms demi bras.

Straighten and demi rond de jambe to 2nd.

3-4

Straighten, L arm 4th, close on 8.

Demi rond de jambe to 4th derriere with fondu (same leg).

5-8

Repeat, to ecarté derriere with L, arms 4th & lower.

1-2

Developpé epaulé R, arms 2nd arabesque.

Straighten, close 5th.

3

Straighten, don’t close.

4

Pivot to en face (1/8 turn R).

5-7

Lower into fondu 4th, L arm 3rd, double pirouette L en dedans.

9. Grand Battement &1-4

1 grand battement each way en croix (accent is down).

8

Close to other croise, L front (DR).

&

Brush R foot to tendu devant.

1-16

Repeat to other side.

Go to Index

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12. Petit Allegro 1

Sissonne ordinaire devant R, arms 3rd opposing, epaulment to L foot.

2

Petit assemble devant, bras bas.

3

Sissonne ordinaire deniere.

4

Petit assemblé derriere.

5-8

3 changements, entrechant quatre.

1-8

Repeat to other side.

1-16

Repeat all in reverse.

2 sissonne fermé en avant, arms demi bras.

3

Sissonne ouverte, 1st arabesque.

4

Pas de bourrée dessous (under) ending 5th demi plié, facing DL.

5-8

Repeat to other side.

1-8

Repeat both sides.

1-2

2 sissonne fermé en arierre.

3

Sissonne ouverte, arms demi bras

4

Pas de bourree dessus (over), turning R to face DL, demi plié.

5-8

Do en arriere part to other side.

1-8

Repeat en arriere to both sides.

Posé into 1st arabesque on R, facing DR.

9-16

Repeat to other side.

15. Reverènce

13. Sissonne Effacé Face DR, R foot in front. 1-2

7-8

1-4

4 walks forward, arms 1st to 2nd.

5-6

Step R, tuck L in back, curtsey bending forward, arms reverse port de bras to reach back.

7-8

Straighten & open arms 1st to 4th L up, then to 2nd, palms up.

9-16

Other side.

14. Cool Down With epaulement to supporting foot. 1-2

2 balancés de côté (R, L).

3-4

2 balancés, R forward, L back, facing DR.

5-6

2 balancés de côté turning once to R.

Go to Index

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Classical Ballet 3—Class #6 Warm-Up

Barre

1. Battement Tendu For Turnout Face barre in 5th.

3. Pliés

1

Degagé devant

2

Turn leg in.

3

Turn leg out.

4

Close 5th.

5-8

Repeat to 2nd.

1-4

Repeat derriere.

5-8

Repeat to 2nd, closing back.

1-16

Repeat with other leg.

2. Rond de Jambe a Terre Facing the barre in 1st.

1-2

Rise to demi pointe, lower in 1st.

3-4

Demi plié in 1st.

5-8

Grand plié in 1st.

1-4

Grand plié in 1st.

5

Relevé.

6

Arms 1st.

7

Lower heels.

8

Degagé & lower in 4th.

1-16

Repeat 4th, arms 4th on balance. Quickly turn to the other side

1-16

Repeat 2nd, arms 2nd on balance

1-16

Repeat in 5th, arms arabesque on the balance.

1-4

1 rond de jambe en dehors, R leg.

5-8

1 rond de jambe en dedans, R leg.

1-4

1 rond de jambe en dedans, L leg.

5-8

1 rond de jambe en dehors, L leg.

1-4

Lunge to 2nd on R, port de bras bending over R, & recover.

5-8

Repeat lunge & port de bras to L.

1-2

Demi plié in 1st.

3

Lift L foot cou de pied derriere & fondu on R.

4

Straighten & return to 1st.

1-8

8 en dehors, ending tendu devant.

1-2

Demi plié in 1st.

1-2

Lift to 45° devant.

3

Lift R foot cou de pied derriere & fondu on L.

3-4

Demi rond en l’air to 2nd.

4

Straighten & return to 1st.

5-6

Lower to tendu.

Go to Index

4. Battement Tendu & Glissé &1

Battement tendu, close in demi plié.

&

Battement glissé, close straight.

2

Battement glissé, closing demi plié.

3-8

Continue en croix.

5. Rond de Jambe a Terre Prepare to 2nd.

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7-8

Close 5th front, degagé 2nd

Center

1-16

Repeat in reverse.

9. Adage With Pivot

6. Battement Frappé

1-4

Developpé devant en face.

1-4

4 frappés to 2nd.

5-8

Demi grand rond en l’air to 2nd.

5-8

Double frappé devant, double derriere, 2x.

1-4

Pivot to 1st arabesque.

Repeat on demi pointe.

5-8

Arms slowly to 2nd arabesque, close derriere, en face, bras bas.

7. Developpé

10. Glissades Facing DL, R front 5th.

1-4

Developpé devant R, close.

5-6

Developpé devant.

1

Glissade en avant R, L arm 3rd.

7-8

Demi grand rond de jambe en l’air to 2nd.

2

Glissade en arriere L, arms 2nd.

1-2

Pivot to face barre in arabesque.

3

3-4

Rise to demi pointe.

Glissade under R, R arm 4th (opposite closing foot, looking L).

5

Tombé to 4th back on R, leaving L, tendu devant, fondu.

&4

6-7

Port de bras forward over L leg, straighten knee, lift arms 5th.

2 battement glissé over R with 1/8 turn to en face, under R, with 1/8 turn R, to face DR ending in demi plié, croisé, arms still in 4th.

&

Demi plié in 4th, arms 2nd.

8

Relevé in arabesque on L (hands catch barre).

11. Pirouette

8. Grand Battement & En Cloche

1

Degagé 2nd with R.

2

Rond to 4th back, fondu on L leg.

3

Pirouette R en dehors.

&1-2

2 grand battement devant

4

End R 4th derriere, fondu on L.

&3

Grand devant, en cloche to derriere.

5

Bring arms to 1st.

&4

En cloche to devant, close devant.

6

Open R arm to 2nd.

&5-6

2 grand battements to 2nd.

7

Turn en dedans to L.

&7

Grand 2nd, lunge away from barre

8

Press down into 5th front.

&8

Push back onto supporting leg into grand battement 2nd, close 5th back.

&1-8

Repeat in reverse.

Go to Index

Repeat on other side.

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12. Echappé Sauté 15. Cool Down & Reverencé Hold the 5th position on the way up, With a relaxed feel, start en face. open as coming down in 2nd. From 2nd, 1-2 Full port de bras through 5th to demi 2nd. hold 2nd on way up, close 5th. &1

Echappé sauté ouverte to 2nd, arms 1st.

&2

Echappé sauté fermé to 5th, arms demi bras.

&a3

Pas de bourrée under L, to demi plie 5th, arms 2nd.

4

Changement, arms bras bas.

5-8

Repeat to other side.

13. Diagonal Coupé Chassé Face croisé, travel diagonally de côté. Start with back foot petit retiré derriere. 1

Coupé under, chassé to 2nd, ecarté.

2

Pas de bourrée under.

3

Glissade derriere.

4

Jeté ordinaire derriere

3-4

2 balancé de côté (R, L)

5

Posé effacé DR 1st arabesque 45°.

&

Fondu, L foot demi retiré derriere, arms 3rd.

6

Bourrée couru full turn R, arms 4th.

8

Step back on R & bow, sweeping arms down, out to demi 2nd.

1-8

Repeat to other side.

14. Grand Allegro &1

Temps levé, chassé en avant R in croisé, arm and shoulder forward in arabesque epaulé, look back to audience.

&a2

Turning to face other corner, step back L, step back R, relevé & developpé L with rise to croisé.

3-4

3 steps forward (L, R, L), pas de bourrée through 1st), assemblé de côté over with R, arm diagonally up, ending croisé.

Go to Index

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Classical Ballet 3—Class #7 Warm-Up

4

Lower heel to 1st position.

1. Port de Bras & Battement Tendu

5-8

Repeat, same foot.

9-12

Grand plié.

13-16

Battement tendu to 2nd, close 5th.

1-8

Degagé devant, turn leg in, turn leg out, close 5th (2x).

9-12

Grand plié in 5th

13-16

Degagé & lower to open 4th.

1-4

Degagé devant, brush through 1st to derriere, to devant, lower heel in open 4th.

9-12

Grand plié in open 4th (heels remain on floor like 2nd pos.)

13-16

Degagé, close 1st or 5th.

1-4

Arm 1st, 2nd.

5-8

Lower to demi 2nd, then to bras bas.

1-8

Repeat arms with battement tendus, 1 each way.

2. Demi Plié and Rise Facing barre, in 1st position. 1-2

Demi plié, straighten.

3-4

Rise to demi pointe, lower to 1st.

5-6

Demi plié, straighten legs.

7-8

Tendu R to 2nd, lower heel in 2nd.

1-2

Demi plié, straighten legs

3-4

Rise to demi pointe, lower in 2nd.

5-6

Demi plié, straighten legs.

7-8

Degage R in 2nd, close to 5th.

1-16

Repeat in 5th and other 5th.

4. Rond de Jambe a Terre For making positions of the working leg more exact. Using the open fourth in rond de jambe a terre allows the turnout muscles to work at their best.

Barre 3. Grand Pliés With Foot Exercises Begin in 2nd, prepare arm to 2nd. 1-8

Degagé R in 2nd, flex foot, point foot, lower in 2nd (2x).

9-12

Grand plié in 2nd.

13-16

Degage R in 2nd, close 1st.

1

Lift R heel to demi pointe.

2

Lift to full pointe (no weight).

3

Lower ball of foot to floor

Go to Index

43

1&2

Degagé 2nd, demi rond de jambe a terre en dehors to open 4th derriere, close 1st.

3&4

Degagé 2nd, demi rond de jambe a terre en dedans to open 4th devant, close 1st.

5&6

Degagé 2nd, full rond de jambe a terre en dehors, close 1st.

7&8

Degagé 2nd, full rond de jambe a terre en dedans, close 1st.

1-8

Repeat all with rond de jambes at glissé height (about 3” off the floor).

1-16

Repeat entire exercise.

TheBalletSource.com

5. Battement Frappé

Center 10. Grand Plié & Battement Tendu

1-2

Fondu, placing front foot sur le cou de pied.

3-4

Relevé and hold position.

1-4

Grand plié 5th croisé, (facing DL).

5-8

1 frappé each way, demi pointe.

&5-8

Relevé in 5th, arms 5th, hold, lower.

1-4

1 double each way, demi pointe.

&1

5-8

Close to sous-sus, demi detourné to other side, lower in 5th.

Battement tendu croisé devant, arms 4th opposition (L up).

&2

Battement tendu croisé derriere.

Repeat on other side.

&3-4

2 battement tendus ecarté.

5-6

Demi assemblé soutenu to 2nd, arms 1st, 2nd.

7-8

2 rond de jambe a terre en dehors en face, close 5th back to croisé, facing DR.

1-16

Repeat to other side.

6. Developpé 1-2

Developpé devant and stay.

3-4

Racourcci to retiré.

5-6

Developpé passé derriere.

7-8

Racourcci to retiré.

1-2

Pivot to face barre.

3-4

Developpé derriere.

5-6

Pivot to other side, arm in arabesque.

7-8

Rise, balance in 3rd arabesque.

11. Pirouette Prepare arms to 2nd.

7. Retiré & Grand Battement Prepare arm to 5th. &1-2

2 battement retiré changé (can also be called passé, because it passes through the retiré position)

&3-4

2 grand devant.

&5-6

2 retiré changé, arm to open 5th, 2nd.

&7-8

2 grand battements to 2nd.

&9-10

2 retiré change, arm to 1st & arabesque

&11-12

2 grand battement derriere.

&13-16

4 grand battement to 2nd, arm 2nd.

Go to Index

1-4

2 relevé passé derriere, arms 2nd.

5-6

Relevé passé to 4th back, arms lift to 5th, open & sweep to 3rd.

7-8

Pirouette en dehors.

9-16

Repeat on other side.

1-16

Repeat with doubles, arms 5th during the turn.

12. Piqué Turns On the diagonal. Be careful to step, piqué, etc. in the right places in the music.

44

1-2

2 piqué turns en dedans.

&

Take an extra step still in fondu.

3-4

2 piqué turns en dehors.

&

Take an extra step still in fondu.

5-8

Repeat all. Continue on the diagonal. Don’t break the rhythm.

TheBalletSource.com

13. Assemblé En Tournant Begin en face, R in 5th back. &1-2

Glissade derriere, assemblé over R.

&3&

Degagé Lto 4th back effacé, step, close 1st facing UL, step towards UL, (pas de bourree en primiere).

4

Assemblé over en tournant with R ending en face.

5-8

Repeat to other side.

14. Grand Jeté en Avant Practice low, for correct landing. Concentrate on a steady landing position, including arms. &1

Step, step (2 runs en avant) grand jeté, arms 1st to demi bras.

&a2

Step, step, grand jete arms 1st to 2nd arabesque. Continue on the diagonal.

15. Cool Down & Reverènce 1

Balancé en avant R.

2

Soutenu turn diagonally back L.

3-4

2 balancé de côté (L, R).

5-6

Step L to 2nd, fouetté relevé turn, ending fondu in 2nd arabesque facing SR (it turns L).

7

3 walks forward en face (R, L, R) arms 1st.

&8

Petit developpé passé en avant with L, fondu & bow, arms 2nd.

Go to Index

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Classical Ballet 3­—Class #8 Warm-Up

5-8

Demi plié, straight, degagé to 2nd, lower in 2nd.

1. Head For positions, and for moving independently of the body. Head movements should not involve the shoulders or back.

9-12

Demi plié, rise & lower.

13-16

Demi plié, degagé close 5th.

1-16

Repeat from * in R 5th and L 5th.

Barre

1

Head drops forward, gently, to lowered position.

2

Head straight, stretching neck gently upward.

3

Head relaxes back, gently, to raised position.

4

Head straight, gently lengthen neck.

5

Incline head to R, keeping neck gently lengthened.

6

Bring head straight.

7

Incline head to L.

8

Bring head straight.

9-10

Head 1/4 turn R, head front.

11-12

Head 1/4 turn L, head front.

13

Head 1/2 turn R, look over shoulder.

1-2

14

Bring head front.

&3-4 2 battement glissé devant.

15

Head 1/2 turn L, look over shoulder.

16

Bring head front.

2. Battement Tendu, Demi Plié Facing the barre, be aware of posture and weight placement.

3. Grand Plié Arm begins bras bas: 2nd, 1st, 5th, 4th. 1-4

Grand plié, with port de bras: 1st, 5th, 2nd, bras bas.

5-8

Grand plié with reverse port de bras: 2nd, 5th, 1st, bras bas.

1-7

Circular port de bras, bending forward, to barre, back, away, straight.

8

Degagé to next position.

4. Battement Tendu & Glissé Battement tendu devant. Continue en croix. 5. Rond de Jambe a Terre Begin in 5th. 1

Degagé devant R, arm 1st.

2

Demi plié in 4th open, arm 2nd.

1-2

Degagé R 2nd, lower heel in 2nd.

3

Transfer weight back to L foot.

3-4

Degagé 2nd, close 1st.

4

Demi rond to 2nd.

5-8

Repeat with L leg.

5-8

*1-4

Demi plié, straighten, rise, lower.

4 rond de jambe a terre en dehors, ending in degage 2nd, feel the turnout, close 5th back.

9-16

Repeat en dedans.

Go to Index

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6. Petit Battements Prepare to sur le cou de pied devant. &1

1 petit battement (back, front).

&2

Hold.

&3-4

2 petit battement.

&a5

Triple beat (back, front, back).

&a6

Triple beat (front, back, front).

&7

Petit developpé 2nd, with fondu.

&8

Straighten & bring foot cou de pied.

1-6

Repeat first six counts in reverse.

7-8

9. Grand Battements 1-4

3 devant, 1 to 2nd.

5-8

3 derriere, 1 to 2nd.

1-4

4 to 2nd, ending front.

5-8

4 en croix (1 each way).

10. Preparation for Fouetté Rond de Jambe en Tournant (Fouetté Turns) 1

Fondu, & lift leg straight to 4th devant 45°, arm 1st.

2

Relevé, leg to 2nd, arm 2nd, hold to check placement & balance.

Rise & balance in pirouette position.

3

Whip leg to retiré devant, arm 1st.

Can be repeated on demi pointe.

4

Hold, check balance.

5-8

Repeat.

7. Quick Rond de Jambe en l’air

11. Battu Practice at the Barre Facing the barre.

&a 1

Rond de jambe en dehors enl’air (lift 45°, retiré, extend 45°).

2

Close 5th back.

l-4

2 echappé sauté battu.

&a34

Rond de jambe en l’air en dedans, close 5th front.

5-7

3 entrechant quatre.

&a57

3 double ronds en dehors.

8

Changement.

8

Close 5th back.

Center

1-8

Repeat all in reverse.

12. Port de Bras Facing croise DL.

8.Racourcci 1-4

Lift leg to 90° devant, arm 1st.

5-6

Fold to retiré (racourcci), arm 2nd.

7-8

Close to 5th, bras bas.

Repeat with other foot starting front.

Continue en croix

Go to Index

47

1-4

Chassé en avant on R, straighten to degagé derriere, arms 5th.

5-6

Epaulement practice: turn upper body & incline R.

7-8

Turn upper body & incline L.

1-2

Epaulement to R, lift L leg to attitude derriere.

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3-4

Extend to 2nd arabesque.

5-6

Arms to 1st arabesque, fondu.

7-8

Pas de bourrée under (any style) to face croise DR.

1-16

Repeat to other side.

13. Cabriole & Pirouette Effacé, 5th, facing DR. This exercise is good for boys work, also.

15. Chassé Coupé On the Diagonal Chassé coupés, arms 3rd, working to show soubresaut in the air. 1

Chasse en avant.

&

Coupé sauté under Continue on the diagonal.

16. Cool Down & Reverènce

&

Petit sissonne ordinaire derriere R.

1

Balancé en avant R.

1

Coupé under with L.

2

Balancé en arriere L.

2

Cabriole devant, R on top L arm 4th.

3-4

2 balancé de côté (R, L).

3

Temps levé with grand rond en dehors R, arms 2nd.

5

Step R to 2nd.

&a4

Pas de bourrée en arriere (3 small runs backwards through 1st, R, L, R)

6

Curtsey or bow.

&5

Cabriole derriere, L on top.

7-8

Step L to 2nd, curtsey.

&a6

Pas de bourrée en avant to 4th, (2 runs forward through 1st, L, R, then place L foot in 4th devant, in demi plié, R arm 3rd)

1-8

Repeat, using a bow instead of the curtsey.

7&8

Double pirouette en dehors, closing 5th back, arms demi bras.

14. Jeté & Entrechant Begin in 5th, R back. 1

Jete ordinaire derriere.

&2

Coupé saute with developpe 2nd.

&3

Coupé over, assemblé over.

4

Entrechant six.

5-8

Repeat on other side.

Go to Index

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Classical Ballet 3—Class #9 Warm-Up 1. For Turnout Begin in 1st, facing barre.

4. Battement Tendu en Croix Optional arms: 1st with tendu devant, 2nd with tendu 2nd, arabesque with tendu derriere, demi 2nd with tendu 2nd.

1-2

Degagé R to 2nd, turn leg in.

3-4

Turn leg out, close to 1st.

1-8

1 each way closing with demi plié.

5-8

Repeat with L foot.

&1-8

2 each way closing straight, and going twice as fast.

1-8

Repeat all closing to 5th front.

2. Demi Plié & Rise Begin in 2nd, facing barre.

5. Battement Glissé For rhythm. 2 at regular speed:

1-4

Rise, lower.

&1

Out in.

5-8

Demi plié.

&2

Out in.

1-4

Demi plié.

5-8

Tendu R to 2nd, close 1st.

3-4

Out, in.

Repeat in 1st, 5th, 4th.

5-6

Out, in.

2 slow with holds:

Three very fast glissés:

Repeat all with L foot. 7&8

Barre 3. Grand Plié Sideways to the barre. Use the same setting as the demi pliés above, at a slower tempo. Begin in 2nd. 1-4

Rise, lower.

5-8

Grand plié.

1-4

Grand plié.

5-8

Tendu R 2nd, close 1st, wait.

Out in, out in, out in. Continue en croix.

6. Battement Frappé Arm prepares with the foot counts 1, 2.

Repeat in 1st, 5th, 4th

1-2

Prepare: degagé 2nd, place foot sur le cou de pied, flexed in line with knee (not wrapped—see drawing on page 7)

3-6

4 frappé forward, hold last one out.

7

Fondu, keeping placement of hips.

8

Straighten & close 5th. Continue en croix.

Repeat all on other side.

Go to Index

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7. Rond de Jambe a Terre & En l’air Music: 6/4. (Assemblé soutenu = fondu when extending the leg, straighten when closing). 1-3

Demi assemblé soutenu en dehors with fondu: fondu to 4th front, to 2nd, straighten as closing 5th back.

4-6

Repeat en dedans, close 5th front.

1-3

Grand assemblé soutenu en dehors, close 5th back.

4-6

Repeat en dedans, close 5th front.

1-12

Repeat all with straight legs.

1-12

Repeat all at 45°, no fondu.

8. Retiré A preparation for clean pirouettes. Emphasize the path of the foot to and from the retiré position.

&1-4

4 derriere, arm 2nd arabesque.

&5-8 4 to 2nd, arm 2nd. 11. Back Exercise Feet together & parallel, face barre. 1-2

Pull hips back, arms are straight.

3-4

Bend knees, heels off floor.

5-6

Bring hips forward, rise, with back arched, straighten legs to demi pointe.

7

Straighten posture.

8

Lower heels.

Center 12. Port de Bras Begin croisé. 1-3

Chassé en avant to degagé derriere, arms 2nd arabesque.

1-4

Raise front foot slowly to retiré.

5-8

Slowly close back.

4

Close 5th, bras bas.

1-8

4 retiré changé, faster.

5-6

Arms 1st then L up in attitude.

Repeat in reverse.

7

Arms directly to 1st arabesque.

8

Arms through 1st to attitude (stay for the tendus & grands).

9. Developpé 1-2

Developpé devant.

9-12

2 battement tendu devant.

3-4

Lower and close, arm stays 2nd.

13-16

5-6

Rise in 5th, (or relevé) and hold.

2 grand battement devant, arms to bras bas on count 16.

7

Bring arms to 5th and balance.

1-3

Chassé front foot to degagé 2nd, turning en face.

8

Lower and and bring arms down.

4

Close 5th front, bras bas.

Continue en croix.

5

Arms 1st.

6-7

Arms open to 2nd.

8

Stay 2nd for the tendus & grands.

4 devant, arm 5th

9-12

2 battement tendu to 2nd with L.

&5-8 4 to 2nd, arm 2nd.

13-16

2 grand battement 2nd, closing L front to croisé (DR) arms bras bas on count 16.

10. Grand Battement &1-4

Go to Index

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16. Changements for Height

13. Allegro Mazurka Mazurka is a slow, strong 3/4. Can also be done to a medium slow 2/4, by holding the 4th beat.

1-16

16 petit changements.

1-16

16 grand changements (music needs to be slower)

1

Sissonne ordinaire derriere on R leg. R arm 3rd, incline head R.

2

Petit assemblé derriere (not brushed, close straight down), arms 2nd.

1-2

Step R & point L front, lifting arms to 5th.

3

Changement, bras bas.

3-4

4-6

Repeat with other foot.

Fondu & bow over L leg, arms reverse port de bras to 2nd & straighten.

5-8

Repeat on other side.

17. Reverènce Student’s choice, or,

Repeat all. Repeat in reverse (with devants). 14. Pirouette, Entrechant &1-2

2 glissade devant R.

&3-4 2 sissonne fermé over (L, R). &a5

Pas de bourrée under to 4th with L.

&6

Double pirouette en dehors to R.

7

Changement.

8

Entrechant quatre.

15. Chassé Coupé en Tournant 1-4

3 chassé coupé straight, 1 en tournant, bring the back leg straight to 5th as for tour en l’air. Continue on the diagonal.

Go to Index

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Classical Ballet 3—Class #10 Warm-Up

1-4

1. Demi Plié & Rise Start in parallel position facing the barre.

Grand plié in 4th open (heels stay on floor in 4th open, like 2nd).

5-8

Side stretch to barre.

1-8

Repeat, with stretch away.

1-2

Demi Plié.

1-4

Grand plié in 4th crossed.

3-4

Rise & lower.

5-8

Port de bras bending forward.

5-8

Repeat.

1-8

Repeat, bending backward.

1-8

Repeat in 1st.

1-4

Grand plié in 5th.

1-8

Repeat in 2nd.

5-8

Circular port de bras.

1-4

Brush R foot 2nd, and do ankle circles.

1-8

Repeat.

5-8

Repeat with L.

4. Tendu & Plié

2. Warm up for Ankles & Feet Facing the barre. 1-4

Battement tendu 2nd, flex foot, point, close.

5-8

Repeat.

1-8

Repeat with other leg.

1-6

3 tendus.

7-8

Demi plié. En croix, twice.

5. Rond de Jambe a Terre Prepare to 2nd.

Barre

1-2

2 rond de jambe a terre en dehors.

3. Grand Pliés Face barre for 2nd, with side stretch.

3-4

1 grand rond de jambe a terre (start with fondu, straightening in degagé derriere).

5

Brush through 1st to attitude devant, 90°.

6

Demi rond de jambe to attitude in 2nd (foot points directly at floor in attitude 2nd).

1-4

Grand plié 2nd.

5-8

Port de bras with side stretch R.

1-8

Repeat with side stretch L.

7

Extend to 2nd en l’air, 90°.

1-4

Grand plié 1st.

8

Lower to degage 2nd.

5-8

Back bend head R, & recover.

1-8

Repeat en dedans with attitude derriere.

1-6

Repeat, with head L on back bend.

Close 5th to finish

Sideways to the barre:

Go to Index

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6. Battement Glissé & Petit Retiré Accent is on the closings to 5th. This one is for speed.

Center 10. Adage Enchainement

&1-2

2 glissés devant.

1-4

4 slow walks forward, with arms 1st, demi bras.

&3-4

2 glissés 2nd.

5-8

4 balancés de côté, starting R & turning once to R.

&5-8

4 petit retiré changé.

1-4

Step into attitude ordinaire derriere efface to DR.

&1-2

2 glissés derriere.

5-8

Stretch to 2nd arabesque, fondu.

&3-4

2 glissés 2nd.

1-4

&5-8

4 petit retiré changé.

3 balancés de côté LRL, then return to the 2nd arabesque fondu.

5-6

Run to back corner (L, R, L) and tour jeté turning L.

7-8

Step back to L, soutenu turn, plié & step back, arms demi bras.

7. Rond de Jambe en l’air 1-2

Developpé 2nd, 45°.

3-8

3 rond de jambe en l’air en dehors.

&

Close derriere.

1-8

Repeat en dedans.

1-16

Repeat all on demi pointe, rising on count 1, lowering on count 1 & after count 8.

8. Developpé & Penché 1-4

Developpé devant R.

5-8

Pivot to barre, leg in 2nd, R hand on barre L arm to 5th.

1-4

Pivot to other side in arabesque, L arm remains in 5th.

5-6

Penché, L arm to arabesque.

7-8

Recover, keeping leg lifted, L arm opens to 2nd, close back.

1-16

Repeat to other side.

9. Grand Battement 1-16

4 each way.

Go to Index

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14. A Zig Zag Enchainement From upstage facing DL, traveling DR, this one zig zags down to center front.

11. Glissé & Pirouette En Dedans Start with R foot, change all of the glissés to 2nd. 1-4

4 battement glissé 2nd.

1-2

Glissade derriere R, jeté derriere de côté R.

5

1 battement glissé piqué 2nd.

3

Coupé under with L.

6

Close back in demi plié 5th.

4

Assemble under de côté, R arm diagonally up.

7

Pirouette en dedans (to L), lifting back foot in back.

5-8

Repeat with L foot, facing DR, travelling towards DL.

8

Close back.

1-4

4 battement glissé 2nd.

5

1 battement glissé piqué 2nd.

6

Close front in 4th, fondu.

7

Pirouette en dedans (to R), bringing back foot in front.

8 1-16

Continue through the music. 15. Allegro &

Sissonne ordinaire devant R, arms 1st.

1

Chassé to 2nd, weight on R, arms 2nd.

2

Pas de bourrée under, arms bras bas.

Close 5th front.

3

Assemblé over arms demi 2nd.

Repeat to other side with doubles.

4

Entrechant quatre.

5-8

Repeat on other side.

12. Allegro Warmup 1-8

8 sauté 1st, arms lifting to 5th.

1-8

8 sauté 2nd, arms lowering to 2nd.

1-16

16 changement, arms lifting to open 5th, lowering to bras bas.

16. Cool Down & Reverènce Music—3/4 meter. Perform diagonally, two by two.

13. Sissonne en Avant On the diagonal, emphasize travelling on the sissonne. Repeat on alternate legs, down the diagonal. &1

Sissonne ouvert en avant, arms through 5th to 1st arabesque.

&a2

Pas de bourrée under, arms 2nd, bras bas.

Go to Index

1-4

From UL, 2 slow chaîné turns.

5-6

Facing DR, 2 balancés, side to side.

7

Posé in 1st arabesque effacé.

8

Run to DR corner & reverènce.

1-8

As next pair of dancers performs, run upstage to UR, ready to repeat on the other diagonal. After second diagonal, run off stage.

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Classical Ballet 3—Class #11 To Improve Their Sense of Balance Warm-Up

3. Battement Tendu

1. Side Stretch & Demi Plié Face barre in 2nd position.

1-4

Degagé 2nd, flex foot, point, close.

5-8

Two regular battement tendu.

1-4

Port de bras, bending R knee and bending body sideways to R, L arm in 5th.

1-8

Repeat devant.

5-8

Recover, coming up slowly from the fondu, L arm returns to barre.

1-8

Repeat derriere with inside foot

1-4

1-8

Repeat to the other side.

Degage to 2nd, lift to glissé height, (2-3”) both arms to 1st.

1-4*

Two demi plié in 2nd.

5-6

Rise slowly 1/4 or 1/2 pointe, as can balance.

5-6

Rise & lower in 2nd.

7-8

Hold, lower & close.

7-8

Degagé, close 1st.

1-8

Repeat from* in 1st.

Barre 2. Grand Plié, Reverse Port de Bras Begin sideways to the barre, in 1st. 1-4

Reverse port de bras: 2nd, 5th, 1st, bras bas; picture yourself doing grand plié with this port de bras.

5-8

Grand plié 1st, reverse port de bras.

1-4

Rise, lower, twice, feel as if growing taller as the heels lower.

&1

Glissé devant.

&2

Glissé 2nd, closing back.

5-8

Slow transfer to 2nd position, feel the balance and centering over one foot, then over two feet.

&3

Glissé derriere.

1-16

Repeat in 2nd, moving to 5th.

&4

Petit retiré, closing front.

1-16

Repeat in 5th, moving to open 4th.

1-16

Repeat in open 4th, closing 1st.

Go to Index

4. Battement Glissé From 3rd, (turnout muscles can work stronger in 3rd than in 5th).

&5-8 Repeat, closing retiré to demi plié. 1-2

55

Snatch foot to pirouette position devant, don’t relevé, just quickly straighten knee as if to relevé, feel your balance.

TheBalletSource.com

3-4

Bring arms to 1st (as for pirouette).

1-4

Demi rond de jambe to derriere 45°.

5-6

Rise, staying centered over ball of supporting foot.

5-7

Balance, arms 1st.

7-8

Lower.

8

Close, ready to reverse.

1-5

Stay, for feeling one’s balance, and keeping it the same, 5 counts.

1-16

Repeat in reverse.

6

Close 3rd back in demi plié.

7-8

Turn, ready to repeat on second side.

8. Grand Battement & Developpé 3/4 polonaise rhythm. Counts = measures.

5. Rond de Jambe a Terre Prepare to 2nd.

1-4

2 grand battement devant.

5-8

1 developpé devant & close.

1-4

4 rond de jambe a terre en dehors, ending degagé devant.

5

Lift leg 45°, sensing the balance.

6

Fold leg to attitude, still balanced.

9. “Free Finish” to Barre Let each dancer finish warming up as feels best for their muscles.

7

Fold leg to retiré (side of knee).

Center

8

Extend to degagé derriere.

1-8

Repeat all en dedans.

10. Port de Bras With Balance To challenge their sense of balance: Rise in 5th, arms to 2nd. Stay, doing port de bras forward and back. They won’t be able to bend very far the first time they try this!

6. Battement Frappé With flexed foot at the ankle, arm 2nd.

Continue en croix.

1-4

4 battement frappé to 2nd.

5-7

3 low rond de jambe en l’air en dehors.

1-2

Rise, arms 1st, 2nd.

8

Foot on ankle, devant, bras bas.

3-4

Bend forward, & recover, arms 1st.

1-4

Rise, lower, 2x, feeling balance.

5-6

Bend back, arms 5th, recover, arms 2nd.

5-6

Rise, close 5th demi pointe.

7-8

7-8

Demi detourné to other side.

Retiré passé derriere and close to demi plié, bras bas.

1-8

Repeat with other foot in front.

7. Fondu & Demi Grand Rond en l’air 1-4

Fondu, extend devant 45°, arm 5th.

5-8

Fondu, extend 2nd 45°, arm 2nd.

Go to Index

11. Pas de Basque Glissé For expression and dance quality, arms should compliment the movements. Use a slow to medium 3/4 meter: Counts are musical counts.

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1-9

3 pas de Basque glissé (R, L, R), arms 4th ordinaire.

10-12

Step L, soutenu turn L, end L foot front.

1-12

Repeat to other side.

immediately brush back foot to 2nd to prepare for the next pas de bourrée.

12. Adage Mention that a good sense of balance helps in performing allegro, as well as adage movements and turns! 1-2

Developpé devant, arms 5th.

3-4

Fold to attitude devant arms 4th opposition.

5-6

Rise, lower.

7

Close & rise in 5th (sous sus).

8

Turn & lower to other corner.

&a1

Pas de bourrée under with L foot.

&a2

Pas de bourrée under with R foot.

&a3

Pas de bourrée under with L foot end demi plié 5th.

&4

Two petit changements.

&a5-8 Repeat, starting with R foot. 15. Echappé Sauté En Croix

13. Pirouette En Dehors, For Balance Begin facing DL. When 1/4 turns holding the position before closing are easy, try 1/2 turns, then whole turns, and finally, doubles.

1-2

Echappé R to 4th, arms 1st.

3-4

Echappé change to 2nd, arms 2nd.

5-6

Echappé L to 4th, arms 2nd arabesque.

7-8

Relevé 5th (sous sus), arms 5th.

1-8

Repeat to other side.

16. Jeté, Assemblé For height, the 3rd jeté is the highest one.

1

Demi plié, R foot front, R arm 3rd.

1-3

2

Relevé devant & 1/4 turn R to face DR, hold the pirouette position (don’t close).

Three jeté ordinaire (R, L, R) gradually increasing the height.

4

Petit assemblé derriere (closes straight down, no brush).

5-8

Repeat to other side.

3

Fondu on L, hold the position.

4

Lower R foot to 5th back, stretch knees, arms bras bas.

5-8

Repeat to L.

17. Cool Down & Reverènce

14. Pas de Bourrée Under (Dessous) For consistent turnout. Prepare: brush to 2nd fondu. Finish the first two pas de bourrées in demi plié 5th devant and

Go to Index

57

1-4

Four balancés de cote (R, L, R, L).

5-6

Step R soutenu turn arms 5th.

7-8

Fondu into a bow over extended R leg, sweeping arms down & back.

TheBalletSource.com

Classical Ballet 3—Class #12 For An Advanced Class Warm-Up

1-8

Repeat in 1st.

1. Warm-Up on the Floor Sitting on the floor, legs straight in front.

1-8

Repeat in 5th.

1-8

Repeat in 4th croisé.

1-4

Flex and extend feet 2x.

5-8

Lift (about 6” off floor) and lower each leg once.

1-8

Repeat.

1-8

Repeat.

1-8

Slowly lay back and relax.

1-8

Two full port de bras, holding shoulders still against the floor.

1-8

Pull knees up to chest, extend R leg up then lower to floor.

1-8

Repeat with L leg.

2. Battement Tendu & Demi Plié Begin in 1st, facing barre. 1-4

Slow battement tendu R.

5-8

Slow demi plié.

1-8

Repeat to L side.

1-16

Repeat both sides.

4. Battement Tendu 1-2

1 battement tendu devant, close 5th demi plié.

&3-4

2 battement tendu devant closing with straight legs Continue en croix.

5. Battement Glissé 1-4

2 battement glissés closing with demi plié.

5-8

4 battement glissés, closing with straight legs. Continue en croix.

6. Rond de Jambe a Terre Prepare to derriere. Counts are in 1st. Variation: Do both sides without port de bras, then both sides with it. 1-8

8 rond de jambe a terre en dehors, ending degagé devant.

9-16

8 en dedans, ending degagé derriere. Repeat all with port de bras, one position for each rond de jambe:

Barre

1

Bras bas.

3. Grand Pliés Begin in 2nd.

2

1st.

3

5th.

1-2

Demi plié.

4

2nd.

3-6

Grand plié.

5

5th.

7-8

Degagé, close 1st.

6

1st.

Go to Index

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7

Bras bas.

8

2nd, foot stops devant.

9-16

Repeat en dedans with arms

7. Battement Frappé

1-12

Degagé to 2nd with fondu, arm 2nd, bend towards barre, straighten leg on the recovery, release hand and bend away from barre, recover, close 5th back, bras bas.

1-6

Degagé to 4th derriere arm 2nd, fondu, bend forward, straighten leg on recovery, arm 5th.

1-16

One frappé each way, 4 times.

1-6

Bend back, recover, close 5th, arm 2nd.

1-16

Repeat with doubles on demi pointe.

1-6

Bring both arms to 2nd arabesque.

Balance in attitude derriere, demi pointe.

1-6

Lift leg 90° & hold, rise, or penché.

8. Fondu in Reverse

11. Grand Battement

1-4

Lift devant to en l’air 45°, en fondu.

1-4

4 grand battement devant, arm 5th.

5-8

Fold leg to demi retiré devant and straighten supporting leg.

5-8

4 grand battement 2nd, arm 5th.

9-12

4 grand battement derriere, arm 5th.

1316

4 grand battement en rond, arm 2nd when closing front, arm 2nd arabesque when closing back.

Continue en croix. Emphasize correct placement on the fondu. 9. For Improving Ballotté Prepare: rise insous sus, arm 2nd. 1-2

Lift front foot to retiré.

3-4

Open leg to 45° devant with fondu.

5-6

Lower to degagé.

7-8

Draw leg in and rise to sous sus.

1-8

Repeat derriere.

10. Port de Corps (For advanced students, this can also be used as an ending for rond de jambe a terre in class #9). Music: 6/4, not too fast. 1-6

1-6

Degagé to 4th devant with fondu, port de bras bending forward, straighten supporting leg on the recovery, arm 5th. Bend back, recover with arm 2nd, close 5th bras bas.

12. Batterie Practice Begin in 5th, facing the barre. 1

Echappé ouvert to 2nd.

2

Echappé fermé to 5th, beating front back.

3-4

Repeat with other leg.

5

Entrechant cinq.

6

Coupé under, assemble battu under.

7

Changement battu.

8

Entrechant quatre.

1-8

Repeat to other side. Repeat the exercise later, in the center.

Center 11. Pirouette En Dehors 1-2

Relevé devant, demi plié, arms 3rd.

15. Reverènce Travel downstage, starting with R foot.

3-4

Pirouette en dehors, close devant.

5-8

Repeat same side, with double.

1-4

Relevé passé derriere to 4th, double pirouette en dehors, close 5th devant.

1-4

Walk forward, arms lifting to 1st, & opening to demi bras

5-8

Degagé 2nd, plié 4th derriere, triple pirouette, close back.

5

Petit developpé passé en avant, arms open to 2nd.

6-7

Fondu & bow over front leg, arms stretched over leg.

8

Straighten, arms to demi bras.

1-8

Repeat starting L.

1-16

Repeat on other side.

12. Glissade, Jeté On the diagonal. 1

Glissade derriere, arms 2nd.

2

Jeté ordinaire derriere de côté (travelling sideways) arms 4th.

3

Pas de bourrée under to demi plié in 5th, arms 2nd.

4

Assemblé derriere, arms arabesque de côté.

13. Ballotté Sauté Practice Facing DR, from degagé derriere L, effacé, arms 2nd. 1

Ballotté, R leg opens forward, L arm to 4th, epaulement to audience.

2

Ballotté, L leg opens back, arms stay.

3-6

Repeat twice.

7-8

Pas de bourrée under, to degagé derriere R, ready to reverse. Both feet are demi retiré position at the height of the sauté.

Go to Index

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Classical Ballet 3—Class #13

With Pointe & Boys Work Warm-Up 1. Demi Plié & Rise Facing barre in 5th.

5. Rond de Jambe a Terre Usual preparation to 2nd. 1-8

8 en dehors ending 2nd.

1-4

Demi plié, straighten, rise, lower.

1-8

Side port de bras, both ways.

5-12

Repeat twice.

1-8

8 en dedans, closing 5th front.

13-16

Slow tendu to change feet.

1-8

Circular port de bras, both ways.

1-16

Repeat in other 5th.

2. Battement Tendu

6. Battement Fondu & Frappé Music—moderate 3/4. 1-2

Releasing front foot directly up from 5th, battement fondu devant 45°.

Battement tendu to 2nd, arm 2nd.

3-4

Rise, bring foot to cou de pied.

5-6

Battement tendu den·iere, arm 1st.

5-8

3 battement frappé devant, lower & close.

7-8

Battement tendu to 2nd, arm 2nd.

1-2

Battement tendu devant, arm 5th.

3-4

3. Battement Glissé Facing the barre in 1st. &1-8

8 glissé R to 2nd: 7 closing 1st, last one closing to 5th front.

&1-8

8 petit retiré changé R in 5th.

1-16

Repeat all with L.

Continue en croix. 7. Adage Music—slow 3/4. 1-2-3

From 5th back, developpé passé en avant.

4-5-6

Demi grand rond de jambe to 2nd.

1-2-3

Developpé passé en arriere.

4-5-6

Demi grand rond de jambe to 2nd.

Barre

1-2-3

Pivot to face barre in arabesque.

4. Grand Pliés Perform in 2, 1, 4, 5.

4-5-6

Demi grand rond de jambe to 2nd.

1-2·3

Pivot to face other side, (inside leg will be in arabesque).

1-4

Demi plié, rise & lower, arm 1st.

5-12

2 grand pliés, reverse port de bras.

4-5

Balance, 2nd or 3rd arabesque

1316

Port de bras 1st, 2nd, while changing to next position.

6

Close, ready to do other leg.

Go to Index

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8. Rond de Jambe en l’air 1-2

Developpé to 2nd, 45°.

3-4

1 rond de jambe en dehors.

12. Battement Fondu in the Center A terre, or 45°, arms 2nd. Prepare R foot and arms to 2nd.

5-6-7 3 quick rond de jambe en dehors. 8

Close derriere.

1-8

Repeat en dedans.

9. Grand Battements 4 each way from 5th 10. Petit Battements Facing barre, prepare foot to 2nd, then cou de pied. 1-4

4 petit battements.

5-7

Petit battement serré.

8

Close 5th front in demi plié.

1&2

Pas de bourrée under with R.

3&4

Pas de bourree over with L

5&6

Pas de bourrée under en tournant with R, end 5th demi plié.

7-8

Prepare L leg to sur le cou de pied.

1-16

Repeat all with L.

5-6

Rise, lower.

7-8

Degagé & close 1st.

1-8

Repeat in 1st, changing to 5th.

1-8

Repeat in 5th, changing to the other 5th.

1-8

Repeat in the other 5th.

Go to Index

2

Petit developpé devant with R.

3-4

Repeat to 2nd.

5-6

Repeat derriere.

7

Close 5th back.

8

Degagé L to 2nd.

9-16

Repeat with L.

1-4

Developpé devant, croisé, arms 4th opposition.

5-8

Demi grand rond to 2nd, arms 4th ordinaire.

1-4

Developpé passé to 1st arabesque, arms through 1st to arabesque.

5-7

Change arms to 2nd arabesque.

8

Close, with 1/4 turn to other croisé.

1-16

Repeat with other leg.

14. Girls put on pointe shoes 14. Boys, Sauté & Demi Pointe

11. Grand Plié For Balance Grand plié in 2nd.

Fondu, R foot to demi retiré devant.

13. Adage

Center

1-4

1

1

Sauté developpé 2nd.

&2

Coupé under, assemble under.

3-6

4 changement.

7-8

2 relevé passé derriere.

15. Boys, Assemblés

62

1

Assemblé over R, arms 2nd.

2

Assemblé en avant R, R arm 3rd.

3

Assemblé en arriere L, arms 1st arabesque.

4

Assemblé derriere L, arms 2nd.

5-8

Repeat with other leg.

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15. Boys bow and are dismissed.

Pointe Center

Pointe Barre

19. Sous Sus Practice

16. Slow Rises To strengthen feet for pointe work. 1-4

Rise & lower in 1st through the metatarsal joint, (demi pointe)

5-12

Repeat twice

1316

Degagé & lower in 2nd.

1-16

Repeat all in 2nd, closing to 1st.

17. Echappé Relevé In 4 Counts

1-3

3 relevés to sous sus.

4

1 relevé to sous sus changing feet.

5-8

Repeat.

20. Echappé Relevé in the Center 1-8

8 echappé relevés to 2nd.

1-8

8 echappé relevé en croix (to 4th, 2nd, 4th, 2nd, etc.).

21. Allegro

1

Echappé relevé to 2nd, don’t close.

1

Sissonne ordinaire devant R, arms 1st.

2

Demi plié in 2nd.

2

Chassé 2nd to R fondu, arms 2nd.

3

Relevé in 2nd.

3

4

Close to 5th demi plié, changing feet.

Pas de bourrée under with L, to demi plié 5th, R arm in 3rd.

5-8

Repeat.

4

Pas de chat R.

5

Repeat to other side.

18. Relevés One to One Foot, to 2nd Facing barre, degagé R to 2nd.

22. Reverènce

&

Fondu, R foot to demi retiré devant.

1

Degagé R diagonally forward, R arm diagonally up.

1

Relevé, extending leg to 2nd 45°.

2

&

Fondu, foot to demi retiré derriere.

Tuck pointed foot behind other foot & bow, arms demi 2nd.

2

Relevé, extending leg to 2nd 45°.

3-4

Close 5th & repeat.

&3-4

Repeat.

&

Coupé under to start other leg.

5-8

Repeat with L leg.1

Go to Index

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Classical Ballet 3—Class #14 With Pointe & Boys Work Warm-Up

4. Battement Tendu & Port de Bras The port de bras is done smoothly, continuously during the 4 tendus.

1. Demi Plié Sideways to the Barre, in 1, 2, 5, 4.

1-2

Battement tendu devant, arm 1st.

3-4

Battement tendu devant, arm demi bras (open 1st).

1-4

2 demi plié.

5-6

Battement tendu devant, arm 2nd.

5-6

Relevé, arm 5th, hold.

7-8

Battement tendu devant, arm demi 2nd.

&

Lower to demi plié.

1-24

Continue en croix.

7-8

Tendu to next position, straighten legs on 7, lower on 8.

2. Battement Tendu For Feet 1

Degagé devant.

2

Flex ankle, pulling foot up.

3

Point foot.

4

Close 5th.

5-16

Continue en croix.

5. Battement Glissé From 1st, prepare to degagé derriere, arm 2nd. 1

Brush through 1st to glissé devant position (3” off floor).

2

Brush to glissé derriere.

3

Brush to glissé devant with fondu.

4

Hold.

5-8

Repeat in reverse, straightening supporting leg on first brush.

1-8

Repeat all.

Barre 3. Grand Plié Start in 2nd, sideways to barre. 1-8

2 grand plié in 2nd.

1-6

Port de bras bending forward & back.

7-8

Degagé and close 1st.

1-8

Repeat in 1st, doing a rise and balance instead of port de bras.

1-8

Repeat in 5th, with port de bras bending forward & back.

1-8

Repeat in 4th with rise & balance.

Go to Index

6. Rond de Jambe a Terre Prepare to 2nd; think about turnout each time the leg reaches 2nd.

64

1-8

2 ronds en dehors, 4 cts. each.

1-4

2 ronds en dehors, 2 cts. each (counts are in 1st & 2nd).

5-8

4 ronds en dehors, 1 ct. each (count is in 2nd).

1-16

Repeat all en dedans.

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7. Battement Frappé Using a flexed foot at the ankle, in strict alignment with knee, helps encourage and strengthen a correct landing from jumps.

8

Changing hands on the barre, demi detourné to other side, lower heels, arm to bras bas.

1-16

Repeat with other leg.

1-32

Repeat derriere, & 2nd, both sides (Suggest: face the barre for derriere—helps them to have a more even use of the muscles in the back.)

1-4

4 frappé devant, slight hold on the 4th one.

5

Rise closing to sous-sus.

6

Coupé over (fondu on front foot).

7

Sous sus (weight on both feet).

1-6

3 grand battement devant, arm 5th.

8

Coupé under (fondu on back foot).

7-8

Turn to the other side.

&

Straighten supporting leg.

9-16

Repeat on other side.

1-24

Continue en croix.

1-16

Repeat in 2nd, arm 2nd, both sides.

11. Grand Battement

Facing the barre, R foot front:

9. Petit Battement Prepare foot to ankle, cou de pied devant.

*1-6

3 retiré passé with R (ends in back).

7-8

Rise & lower in 5th.

&1

Beat back, front (double beat).

1-6

3 grand battements derriere R.

&2

Hold.

7-8

Battement tendu over.

1-16

Repeat from* with the other leg.

&3-4 Repeat. &a5

Beat back front back (triple beat)

12. Girls Put on Pointe Shoes

6

Hold.

&a7

Beat front back front.

12. Boys, Grand Battements with Tombé Prepare degagé derriere, arm 2nd.

8

Move foot to cou de pied derriere.

1

Brush through 1st to grand battement devant.

&1-8

Repeat in reverse.

2

Tombé devant to a lunge.

3

Push off, lifting to grand battement devant.

4

Lower and brush through 1st to degagé derriere.

5-8

Repeat, ending with quick turn to other side.

1-8

Repeat on the other side, ending with quick turn to face barre.

1-16

Repeat to 2nd, with both legs

10. Developpé 1-2

Developpé devant, fondu, arm 5th.

3-4

Straighten, arm 2nd.

5

Rise to demi pointe, arm through bras bas, 1st, to 5th.

6

Balance, both arms 5th.

7

Lower leg to sous sus, arms 2nd & on barre.

Go to Index

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13. Pointe Warmup Facing the barre. 1-2

Demi plié.

3-8

3 rises to full pointe.

13. Boys do same, but to demi pointe.

4&a

Grand jeté en tournant, hold, petit assemblé derriere.

1-4

Repeat on other side.

16. Pirouette Girls—2/4 meter. 1-4

4 changements, on whole foot.

5

Relevé in 5th, on pointe.

8 echappé relevés en croix (4th, 2nd, 4th, 2nd, and repeat)

6

Demi plié.

7

Pirouette en dehors.

14. Boys Petit Allegro Same music as girls #14, in the center.

8

Close 5th back, demi plié.

1-8

Repeat on other side.

14. Relevés 6/8 meter. Facing the barre. 1-16

1-4

4 changements, arms 1st, 5th, 2nd, stay in 2nd.

5-8

2 echappé sauté to 2nd, arms not changing, then changing; arms bras bas on count 8.

1-8

Repeat, other foot in front.

16. Pirouette—Boys

15. Pointe Center Mazurka rhythm (slow 3/4). Prepare: relevé 5th, fondu on front foot, other foot is demi retiré derriere, arms 2nd. 1&a

Pas de bourrée piqué under to fondu.

2&a

Pas de bourrée piqué under to fondu.

3&a

Pas de bourrée piqué under, end 5th demi plié, (on both feet).

4&a 1-4

1-4

4 changements.

5

Relevé in 5th, lifting R foot to 2nd.

6

Demi plié in 2nd, arms 3rd.

7

Pirouette en dehors (any number).

8

Close 5th back, demi plié, demi bras.

1-8

Repeat on other side.

17. Jeté and Assemblé (not pointe) 1-2

2 jeté derriere, arms 3rd ordinaire.

3

Coupé under, arms 2nd.

Relevé 5th, coupé over (fondu on front foot), prepare on last count.

4

Assemblé under, runs 2nd, bras bas.

5-8

Repeat to other side.

Repeat to other side.

9-16

Perform in reverse: 2 jetés devant, coupé over, assemblé over.

15. Boys Mazurka 1&a

3 changements.

2&a

Sissonne ouvert en avant into 1st arabesque.

3&a

Turning towards back leg, 3 runs.

Go to Index

18. Diagonal Turns, Partnered From UL to DR, not too fast. Girl: 1-4

66

4 chaîné turns R.

TheBalletSource.com

&

Fondu on L, R extended forward, arms 1st, face DR.

5

Posé en avant, R, in 1st arabesque.

6

Hold.

&

Step forward on L.

7

Single or double piqué turn forward on R.

8

Stop in position, opening arms 2nd. Boy, staying next to girl, on her right:

1-4

4 chaîné turns.

5

Stop, ready to support girl at waist.

6-8

Move with girl, ready to catch her at the waist in finishing pose

19. Reverènce 3/4 medium slow. 1-2

Walk forward six steps, arms 1st (boy and girl hold inside hands).

3

Step R, open free arm to 2nd, curtsey or bow, arms down.

4

Step L, open free arm to 2nd, curtsey or bow.

Go to Index

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Classical Ballet 3—Class #15 With Pointe & Boys Work

1-16

Repeat in 5th, circular bending R.

Warm-Up

1-8

Repeat first half in 4th.

1. Demi Plié Facing barre in 1st.

9-12

Slow rise, lower.

1316

Lift inside leg to 2nd arabesque, balance (whole foot or demi pointe).

1-2

Demi plié.

3-4

Rise demi pointe, lower in 1st.

5-6

Demi plié.

1

Degagé 4th devant.

7-8

Degagé R to 2nd, lower in 2nd.

2

Flex ankle, pulling foot up in alignment with knee.

1-8

Repeat in 2nd, ending 5th.

3

Point foot.

1-8

Repeat in 5th, ending other 5th.

4

Close 5th.

1-8

Repeat in other 5th, ending 1st.

5-8

2 battement tendu devant.

1-16

Repeat to 2nd, and derriere.

1-4

Battement tendu with flexed foot to 2nd, close front in demi plié.

5-8

Demi detourné to other side.

1-32

Repeat on other side.

4. Battement Tendu & Flexed Foot

2. Battement Tendu For Feet Facing barre in 5th. 1-4

Battement tendu devant showing use of metatarsal joint (demi pointe) going out, and coming in.

5-8

2 battement tendu to 2nd, showing use of metatarsal joint.

1-8

Repeat derriere & 2nd, ending back.

1-16

Repeat with other leg.

5. Battement Glissé In 1st position, arm 2nd.

Barre 3. Grand Plié 1-8

2 grand plié in 1st, arms bras bas, 2nd, 5th, 1st, bras bas on each.

9-15

Port de bras bending forward & back.

16

Degagé to 2nd & lower in 2nd.

1-16

Repeat in 2nd, bending sideways.

Go to Index

&1-8

8 battement glissé 2nd closing 1st on the beat.

1-7

7 battement glissé brushing front, back, lifting on the beat.

8

Close 1st

&1-16

Repeat.

6. Rond de Jambe a Terre Prepare to 2nd. 1-4

68

1 rond de jambe a terre en dehors (counts are 4th, 1st, 4th, 2nd).

TheBalletSource.com

5-8

1 rond de jambe a terre en dedans.

1-4

1-4

2 rond de jambe a terre en dehors (counts are in 1st & 2nd).

Grand rond de jambe en l’air to arabesque, arm 2nd.

5

Fold leg to attitude, arm 1st, 5th

5-8

2 rond de jambe a terre en dedans.

&6

Fondu, relevé.

1-4

4 rond de jambe a terre en dehors.

7

Balance, arms 4th.

5-6

2 rond de jambe a terre en dedans.

8

Extend leg to degagé derriere & close, arms down.

7-8

Lift leg in 2nd to 45°, arms 1st, balance.

7. Petit Developpé Prepare foot to petit retiré position on the ankle, fully pointed, not wrapped.

10. Grand Battement 3/4 Mazurka rhythm. Counts are musical counts, 3 to a measure. 1

Degagé devant.

1-2

Petit developpé devant to glissé height.

2

Lift to grand battement devant.

3-4

Lower to degagé devant, close 5th.

3

Close 5th.

5-16

Continue en croix.

4-6

Repeat.

1-16

Repeat with fondu on counts 2 & 3.

1-6

Repeat to 2nd.

8. Battement Frappé With Doubles Prepare to sur le cou de pied.

1-6

Repeat to derriere.

1-6

Repeat to 2nd.

1-4

4 battement frappé devant.

11. Girls Put on Pointe Shoes

5-8

4 double battement frappé to 2nd.

1-4

4 battement frappé derriere.

11. Boys Stretching Exercise Sideways to the barre.

5-8

4 double battement frappé to 2nd.

1-8

4 grand battements devant.

1-12

Repeat devant, 2nd, derriere on demi pointe.

1

Degagé devant.

13-16

Rise to pirouette position, arms 1st, balance.

2-4

Slide foot to a lunge forward.

5-8

Port de bras, bending forward & back, L hand stays on barre.

9. Developpé & Grand Rond de Jambe 1-2

Developpé devant, en fondu.

1-16

Face barre & repeat to 2nd.

3-4

Demi grand rond de jambe en l’air to 2nd with rise to demi pointe.

1-8

To the back, kick towards head 4 times.

5-6

Demi grand rond de jambe en l’air to arabesque, en fondu.

9-12

Grab ankle and pull foot up.

13-16

Step away from barre, bend forward to rest back.

7-8

Straighten & developpé passé devant.

Go to Index

Repeat on other side.

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12. Pointe Barre 1-4

Demi plié in 1st.

5-8

Slow rise through demi pointe.

1-4

Slow lowering through demi pointe.

5-8

Slow degagé to 2nd with good stretch of foot, lower in 2nd.

1-16

Repeat in 2nd, closing to 5th.

1-16

Repeat in 5th, closing to other 5th.

12. Boys do the same, demi pointe. Prepare arms to 2nd, work in the center, without the barre.

Pointe Center 13. Relevés & Port de Bras 1-2

Relevé in 5th, arms 1st.

3-4

Repeat, arms 5th.

5-6

Relevé Echappé 2nd, arms 2nd, bras bas.

7

Chassé en arriere, arms 1st to demi bras.

8

Close in demi plié, bras bas.

1-8

Repeat on other side

a more precise control over the balance while turning. From UL to DR. Prepare fondu L, R degagé 2nd arms 2nd. 1

Posé de côté to 1st, arms 1st.

2

Fondu on L, R degagé 2nd arms 2nd.

3-4

Repeat.

5-12

Posé de côté R & do 4 chaîné turns.

13-16

Demi plié 5th, relevé facing line of direction in 2nd arabesque Walk to UR to repeat on other side.

14. Boys Diagonal Turns Boys do same, on demi pointe, replacing the relevé to 2nd arabesque with a step forward, cabriole en avant, and run off. 15. Boys, Grand Pirouette

13. Boys Petit Allegro

1

Sauté to 2nd.

2

Sauté to 5th.

3

Sauté to 2nd.

4

Relevé 2nd at 90° (or lower).

5-6

Grand pirouette (hopping) en dehors in 2nd, turning 2 or 3 times.

7

Hop into demi plié 5th, arms 3rd.

&1

Entrechant trois devant, L.

8

Tour en l’air, arms 1st, land in 4th, arms demi bras.

&2

Coupé over L, assemblé over R.

1-8

Repeat to other side.

3&4

3 petit changements.

Boys bow & are excused.

&5

Entrechant trois devant, R.

&6

Coupé over R, assemblé over L.

15. Girls Pirouette Face DL, effacé.

7&8

3 petit changements.

14. Pointe, Diagonal Turns The first four counts are to encourage

Go to Index

70

1-2

Developpé ecarté devant.

3

Tombé, arms to a free 2nd.

TheBalletSource.com

&a4

Pas de bourrée over L, face DR.

5-6

Relevé passé derriere to 4th, fondu on front leg, L arm 3rd.

7-8

Pirouette en dedans to L, close back facing DR.

1-8

Repeat on other side.

16. Bourrée Couru & Reverènce Moderaately slow 3/4 with a waltz feeling, face DR croisé. 1-2

Bourrée couru forward, lifting R arm to a soft 1st arabesque.

3-4

Bourrée back, arms to bras bas.

5

Balancé de côté R, 1/2 turn to R.

6

Balancé de côté L to face DL.

7

Petit developpé R devant en fondu, arms 1st.

8

Extend L arm over R leg, R arm freely to the back. Can repeat to other side.

Go to Index

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Classical Ballet 3—Class #16 With Pointe & Boys Work

4. Battement Tendu 1-8

Warm-Up 1. Demi Plié and Relevé Begin in 1st, facing the barre. 1-4

2 demi pliés.

5-6

Rise, lower.

&7

Relevé, short balance, arms 2nd.

&8

Demi plié & quick degagé to 2nd.

Repeat en croix. 5. Battement Glissé For improving the path through first position. Helps Battement En Cloche & Rond de Jambe a Terre. Prepare to the degagé derriere position.

Repeat in 2nd, 5th, 4th; then other side. 2. Stretch Calves In parallel position, facing the barre. 1

Slide R foot back, “demi pointe”.

2

Lower R heel, bending L knee, both feet perpendicular to the barre, keep R leg straight.

3-6

Slowly bring hips forward, gently stretching the muscles on the back of the lower leg.

7

Straighten L knee, R foot to the “demi pointe” position.

8

Close R foot next to L foot.

1-8

Repeat with L leg.

1

Brush through 1st to glissé devant.

2

Brush to glissé derriere.

3

Brush to glissé devant with fondu. (Stretch the working leg on the fondu, keeping hips in place.)

4

Hold

5-8

Reverse Repeat all.

6. Rond de Jambe a Terre Prepare to 2nd.

Repeat all.

1-8

2 rond de jambe a terre en dehors, taking 4 cts each.

1-4

2 rond de jambe a terre en dehors, taking 2 cts each.

5-8

4 rond de jambe a terre en dehors, taking 1 count each, finishing degagé 2nd.

1-16

Repeat en dedans.

Barre 3. Pliés Sideways to barre, in 2nd, 1st, on the first side, and 5th, 5th on the second side. 1-8

2 grand pliés, usual port de bras.

1-8

Port de bras bending forward & back.

Go to Index

4 battement tendu devant, with port de bras: 1st, demi bras, 2nd, bras bas, making port de bras smooth, tendus as usual.

7. Battement Frappé Prepare foot to the ankle, in flexed position, which is in correct alignment with knee, not wrapped. 1-4

72

4 frappé devant.

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&

Quick rise to sous sus.

1-8

4 to 2nd, arm 2nd, turn quickly to other side.

5

Coupé over, (fondu on front leg).

1-8

Do other leg 2nd, quickly face barre, R foot back.

&

Sous sus.

*1-12

6 derriere, closing last one demi plié.

6

Coupé under.

13-14

Echappé relevé changing feet.

7

Straighten leg & degagé to 2nd.

15-16

Relevé 5th.

8

Place foot cou de pied devant, flexed.

1-16

Repeat from* with L leg.

Continue en croix 8. Developpé

11. Girls Put on Pointe Shoes 11. Boys—Stretching Exercise

1-4

Developpé devant, fondu, arm 5th.

1

R tendu devant.

5-6

Slowly straighten leg.

2

Slide to a lunge on R leg.

7-8

Slow rise.

3-4

Port de bras, bending forward over R leg.

1-2

Let go of barre, balance, arms 5th.

5-6

Arm in 5th, bend back & recover.

3-4

Bring leg to sous sus, arms 2nd & barre.

7

Straighten.

5-6

Demi detourné to face other side.

8

Close R foot back, facing barre.

7-8

Lower heels, arm to bras bas.

1-8

Repeat with R leg, to the side.

1-16

Repeat with other leg, devant.

1-32

Repeat both sides to 2nd, face barre after second leg.

1-32

Repeat derriere, doing a full detourné on counts 5-6.

Repeat all with L leg. 12. Girls—Pointe Warmup Facing the barre in 1st.

9. Rond de Jambe En I’Air &1-4

4 retiré changé, lift on &, close 5th on ct. 1, etc.

5-8

1 rond dejambe en l’air en dehors, close back (lift 2nd, retiré, extend to 2nd, close back).

1-8

Repeat all en dedans.

10. Grand Battements 1-8

4 devant, with arm 5th, & quickly turn to other side.

1-8

Do other leg devant, turn quickly back to 1st side.

Go to Index

1-4

1 slow demi plié.

5-12

2 slow rises through demi pointe to full pointe.

13-16

Degagé & lower in 2nd.

1-16

Repeat in 2nd. Can repeat in 5th and 5th, (no displacement of foot on the rise.)

12. Boys Same music as girls, in the center. 1-4

73

Grand plié in 2nd, arms lifting to 2nd through demi 2nd, and returning.

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15. Allegro With Pointe

5-6

Rise, arms to 5th.

7-8

Lower, arms 2nd.

1-4

4 normal changements, not on pointe.

1-8

Repeat, quick tendu closing 1st on last count.

5-7

Echappé to 2nd & hold 2 cts.

1-16

Repeat all in 1st.

8

Close, changing feet.

Can repeat in 5th and 5th.

1-8

Repeat, with other foot in front.

13. Girls—Pointe Relevés Facing barre.

15. Boys Petit Allegro Same as girls; echappé is demi pointe.

1-2

Echappé relevé 4th.

16. Girls remove pointe shoes

3-4

Echappé relevé 2nd, changing feet.

16. Boys Center Grand Battements

5-6

Echappé other 4th.

7-8

Sous sus.

1-8

Repeat with other foot starting in front.

13. Boys—Demi Pointe Exercise Same as girls, to demi pointe, in center with arms 2nd. 14. Girls—Pointe Center 1

Relevé in 5th, arms 1st.

2

Fondu on front leg, arms 3rd.

3-6

2 pas de bourrée piqué, arms 3rd to other third.

7-8

Bourrée turning towards front leg, arms 3rd, changing feet & arms to end with other leg in front.

1-8

Repeat on other side.

1-4

2 grand battements croisé devant, arms 4th opposition.

5-6

Grand battement into lunge 4th front, arms 3rd ordinaire.

7

Double pirouette en dedans to fondu, changing raised foot to demi retiré derriere.

&a8

Pas de bourrée under to other croisé.

1-8

Repeat on other side.

17. Port de bras Face croise, R front.

14. Boys—Tour en l’air

1

Chassé en avant, arms 1st.

2

Straighten tendu derriere, L arm 4th.

3

Demi plié in 4th, weight on both feet, arms 1st.

4

Transfer weight to tendu croisé devant, arms arabesque, L forward with epaulement.

1-4

4 changements.

5

Arms 2nd.

5

Rise in 5th, arms 3rd.

6

Arms arabesque, R forward, with epaulement.

6

Demi plié.

7

Close to 5th, arms to bras bas.

7-8

Tour en l’air.

8

Tendu over with L to face other croisé.

1-8

Repeat to other side.

1-8

Repeat on other side.

Go to Index

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18. Adage Croise, R foot front in fifth. 1-4

Developpé croisé derriere with fondu, arms demi bras.

5-8

Straighten, arms 2nd, close on 8.

1-8

Repeat, to ecarté.

1-8

Repeat to epaulé, but don’t close.

1-4

Pivot to other front corner.

5-7

Rise, hold.

8

Close.

19. Jeté, Assemblé 1-2

2 Jeté ordinaire derriere, arms 3rd.

3-4

Coupé under, assemblé under, arms open 2nd, close bras bas.

5-8

Repeat to the other side. Repeat all in reverse:

1-2

2 Jeté ordinaire devant, arms 3rd.

3-4

Coupé over, assemblé over, arms: open to 2nd, close to bras bas.

5-8

Repeat all on the other side.

20. Reverènce 1-4

4 walks forward, arms to 1st.

5-6

Step R to 2nd & bring L foot degagé devant, arms 5th & open 5th.

7-8

Bow over L leg, arms 2nd.

9-12

Repeat cts 5-8 on L side.

13-14

Step R & R arm 1st, demi bras.

15-16

Step L & L arm 1st, demi bras.

Go to Index

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III. Enchainements Warm-Up and Barre Enchainements

77

Center, Port de Bras, Pirouette Enchainements

80

Adage Enchainements

82

Enchainements at the Barre For Improving Allegro

84

Allegro Enchainements

86

Pointe Enchainements

89

Go to Index

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Warm-Up and Barre Enchainements 1. For Feet, From 3rd Position Facing the barre.

1-4

1 slow battement tendu derriere arms 1st & bras bas.

5-8

Grand plié in 5th, arm demi 2nd, bras bas.

1-2

Rise, arm 1st.

3-4

Lift leg to 45° derriere, arm to 5th.

Return foot to the ankle, in back, relaxed as in count 1.

5-6

Other arm to 5th.

7

Lower heels, arms 2nd & on barre.

4

Lower to 3rd position in back.

8

Close leg, arm bras bas.

5-8

Repeat with the other foot.

1-8

Repeat both sides in reverse.

1

Lift foot to ankle, relaxed.

2

Brush foot out as in a frappé, to a fully pointed position off the floor.

3

2. For Improving Posture Face barre, feet parallel.

4. Plié With Port de Bras Intro: Degagé, lower in 2nd, arm 1st, 2nd. 1-8

2 grand pliés in 2nd, close 1st.

1-2

Squat on heels.

1-8

2 grand pliés in 1st.

3-4

Lower head forward and contract abdominals.

1-8

Port de bras bending forward & back.

5-8

Slowly up to a standing position.

1-8

Repeat.

Repeat on other side in 5th and 5th. 5. A Different Battement Tendu

3. Pliés For Stability In Adage 1-4

From 5th, 1 slow battement tendu devant arms 1st & bras bas.

5-8

Grand plié 5th, demi 2nd, bras bas.

1-2

Rise, arm 1st.

3-4

Lift leg to 45° devant, arm to 5th.

5-6

Other arm to 5th.

7

Lower heels, arms 2nd & on barre.

8

Close leg, arm bras bas.

Battement tendu devant.

3-6

2 battement tendus 2nd, closing front, back.

7-8

Battement tendu derriere.

1-8

Repeat in reverse.

1-16

Repeat all.

6. Battement Tendu For turnout front and back.

Repeat to the back:

Go to Index

1-2

77

1-6

3 battement tendu devant.

7-8

Battement tendu 2nd.

9-14

3 battement tendu derriere.

15-16

Battement tendu 2nd.

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7. A Different Battement Glissé

11. Rond de Jambe a Terre

&1-2

2 glissé to 2nd, closing back, front.

1-8

8 en dehors.

&3-

Glissé devant.

1-8

8 en dedans.

&4

Glissé 2nd, closing back.

1-16

Repeat, closing last one 5th front.

1-8

Reverse.

1-8

Port de bras, bending forward, back.

1-16

Repeat all.

1-6

Lift leg 45° devant, and grand rond to 3rd arabesque.

7-8

Rise, balance.

8. Improving Battement Glissé Hips square, posture pulled up, knees firm. When going derriere, think of moving the thigh back. The challenge is to get those knees out each time on the closings. 1-8

12. Rond de Jambe a Terre from 1st. 1

Degagé devant.

2-4

3 rond de jambe a terre en dehors ending degagé devant.

5

Brush through 1st, degagé derriere.

6-8

3 ronds en dedans, end degagé back.

1-8

Repeat all.

2 each way closing in demi plié.

9. Battement Glissé & Petit Retiré &1

Battement glissé devant.

&2

Petit retiré changé.

&3

Battement glissé derriere.

&4

Petit retiré changé.

&5-8

4 battement glissé 2nd, (change all of them).

1-8

Repeat all (starting devant).

13. Battement Frappé Prepare as usual.

10. Battement Glissé & Piqué &1-4

4 battement glissé devant.

&5-8

3 piqué en rond en dehors (front, side, back) close back.

&1-4

4 battement glissé derriere.

&5-8

3 piqué en rond en dedans (back, side, front) close front.

Go to Index

1-4

4 frappé devant, arm to 1st, 2nd.

5-8

4 frappé 2nd, arm slowly to 5th.

1-4

Four frappé derriere R, arm lowering to arabesque.

5-8

4 frappé en croix, (1 each way) arm lowering to bras bas.

14. Petit Battement

78

1-4

4 singles, (back, front, back, front).

5-8

Petit developpé fondu 2nd a terre.

&1-8

Repeat with doubles, (back front, back front, etc.).

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&a1-8 e&a1-8

Repeat with triples (back front back, front back front, etc.)

2

Close derriere.

&a3

Lift leg to 2nd, single rond de jambe en l’air en dedans.

4

Close devant.

&a5,6,7

Lift 2nd, 3 doubles en dehors.

Try 4’s!

15. Battement Fondu From 5th Prepare arm to 2nd, feet in 5th. 1-2

Fondu, lifting foot demi retiré devant.

8

Close derriere.

3-4

Extend 45° (straighten both legs).

1-8

Repeat in reverse everything

5-6

Sweep arm through 1st to 5th.

1-16

Repeat everything.

7-8

Close leg to 5th, open arm to 2nd. Repeat en croix

16. Battement Fondu 1-8

1 set a terre.

1-8

1 set 45°.

1-8

1 set 90°.

1-8

1 set with rises.

17. Rond de Jambe En l’air The retirés establish the turnout of the thigh. Prepare arm to 2nd, feet in 5th. &1-4

4 battement retiré changé, closing on the beat.

5

Lift leg to 2nd at 45°.

6-7

Rond de jambe en l’air en dehors.

8

Close 5th back.

1-8

Reverse.

1-16

Repeat.

19. Developpé 1-4

Developpé devant with fondu.

5-8

Demi rond de jambe to 2nd with rise.

1-4

Demi rond de jambe to arabesque with fondu.

5-8

Straighten & developpé passé devant.

1-8

Grand rond de jambe to arabesque.

1-8

Fold to attitude, relevé, balance.

20. Grand Battements Feel correct spacing between ribs and hips, then keep it. Do en croix. 1-4

1 each way at glissé height

5-8

1 each way at 45°

1-4

1 each way at 90°

5-8

1 each way above 90° (They can do this mentally ifnot strong enough physically, while lifting leg to highest correct position for their ability.)

18. Rond de Jambe en l’air &a1

Lift leg to 2nd, single rond de jambe en l’air en dehors.

Go to Index

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Center, Port de Bras, Pirouette Enchainements 1. Battement Tendu Effacé In 5th, effacé to DR. 1-2

Tendu devant, arms 4th opposition.

3-4

Tendu 2nd, (ecarté derriere) arms 2nd, head ecarté.

5-6

Tendu derriere (croisé) with arms 2nd arabesque, close demi plié.

7-8

Detourné (3/4 turn R), arms 5th, to face other corner, arms 4th opposition.

1-8

Repeat on other side.

&3-4 2 to 2nd R, closing back, front. &5-6 2 derriere L. &7-8

4. Stage Alignment Practice Start croisé, arms in attitude, facing DL.

2. Demi Pointe Center Do this one croisé to croisé. 1-2

Posé to 5th, fondu on front foot.

3-4

Pas de bourrée piqué under to fondu.

5-6

Coupé fouetté under.

7-8

Pas de bourrée under to 5th.

9-10

Relevé devant 45° to fondu retiré devant.

11-12

2 to 2nd L, closing back, front.

1-4

2 tendus devant croisé.

5-8

2 tendus devant en face.

1-4

2 tendus devant effacé to DR.

5-8

2 tendus ecarté derriere, close, bras bas.

1-16

Do other leg.

1-32

Same exercise with arabesque arms, tendus derriere, look over elbow on the effacé one. This finishes with ecarté devant, arms 2nd.

5. Port de Bras With Swan Wings 1-4

1 full reverse port de bras, showing the open 5th as going through it.

Relevé 1 to 1 in 2nd, to retiré derriere.

&

Arms demi 2nd.

13-14

Relevé to 2nd arabesque fondu.

5-8

Regular full port de bras.

15-16

Pas de bourrée derriere to 5th.

1

1-16

Repeat to other side.

Chassé to degagé derriere, arms 1st, head inclined back.

2

Sweep arms to “wings”, head to audience.

3-4

Sweep arms to 1st, then to wings

5-6

Through bras bas to 5th.

7-8

Rotation (pivot towards extended foot) to other croisé, close.

3. Center Grand Battements Close on the beat. &1-2

2 devant R.

&3-4 2 to 2nd R, close front, back. &5-6 2 devant L. &7-8

2 to 2nd, closing back, front.

&1-2

2 derriere R.

Go to Index

6. Port de Bras Start croisé, R front, bras bas. 1

80

Chassé forward, arms 1st.

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2

Straighten to degagé derriere, L arm 5th, R 2nd, looking up.

3

Demi plié in 4th, arms 2nd.

4

Transfer weight to croisé devant, arms arabesque, front arm forward.

5

Demi plié in 4th, arms to 1st.

6

Transfer weight to croisé derriere, arms in attitude ordinaire (as ct 1).

7-8

Close to 5th, bras bas.

1-8

Repeat. On the 2nd time through, close on 7, & tendu under to face other corner on count &8

1-16

Repeat on other side.

7. Pirouette 1-4

Relevé devant, pirouette en dehors.

5-8

Relevé devant, pirouette en dehors.

1-4

Relevé passé to 4th back, pirouette en dehors.

5-8

Tendu, close 5th, changing feet.

1-16

Repeat to other side.

1-32

Repeat all en dedans.

8. Pirouette 1-2

Degagé 2nd, Demi rond 4th back, plié.

3

Pirouette en dehors.

4

End 4th derriere.

5-6

Port de bras to 3rd ordinaire.

7

Pirouette en dedans.

8

End 5th.

1-8

Repeat to other side.

Go to Index

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Adage Enchainements 1. Developpé & Pirouette 1-4

Grand plié 2nd.

5-8

Transfer weight & developpé 2nd.

1-4

Fouetté (pivot away from leg) to arabesque.

5

Lower to degagé.

6

Lower heel, demi plié 4th, arms 3rd.

7

Double pirouette en dehors, arms 5th.

8

Close 5th.

Chassé en avant with R, & close.

5-8

Developpé devant with R & close.

1-4

Developpé derriere with L & close.

5-8

R leg developpé 2nd, close back.

1-4

Developpé devant L, fondu.

5-8

Relevé & pivot (fouetté) to 1st arabesque, facng SR.

5-6

Fondu & lengthen the arabesque

7-8

Close back, battement tendu over to face DR.

4-6

Demi grand rond de jambe to 2nd.

1-3

Developpé passé derriere.

4-6

Demi grand rond de jambe to 2nd.

Go to Index

Demi grand rond de jambe to 2nd.

1-3

Pivot to face UL, leaving leg in 1st arabesque.

4-6

Pas de bourrée over en tournant to face DL, L foot front.

1

Degagé devant, arms 1st.

2

Lift to attitude devant, arms 5th.

3

Retiré, arms open 5th.

4

Developpé 2nd, arms 2nd.

5

Demi rond to 1st arabesque & hold.

6

Arms to 2nd arabesque.

7

Arms to 3rd arabesque.

8

Close.

1-8

Repeat in reverse.

5. A Long Adage Face DL, 5th croisé.

3. Demi Grand Rond de Jambes Moderately slow 3/4 music. Face DR, effacé. Developpé devant, R.

4-6

4. Arabesques

Repeat on other side.

1-3

Pivot to face DL, leaving leg in 1st arabesque.

Repeat on other side.

2. Developpés Start croisé to DL 1-4

1-3

82

1-4

Petit retiré with L, chassé passé L forward to DR, straighten L knee with R degagé derriere, L arm 3rd.

5-6

Raise R leg en l’air.

7-8

R arm to attitude.

1-2

R leg in attitude back, pivot R to

3

Retiré facing upstage, arms 2nd.

4

Developpé devant, L arm 3rd.

5-6

Open L arm 2nd.

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7-8

Grand battement en cloche back, front, hold.

1-2

Demi grand rond with R to 2nd.

3-4

Pivot to ecarté.

5-6

Hold.

7-8

Transfer weight to ecarté derriere, arms 2nd.

1-4

Side port de bras with L arm.

5-6

Place L in 4th back, fondu, L arm 3rd.

7-8

Double pirouette en dehors L, end 4th croisé to DL, plié on front leg, arms 2nd.

1-5

Port de corps forward, recover on count 5.

6-8

Port de corps back, recover on counr 8.

1-2

Straighten R leg, lifting L leg en l’air.

3

Retiré, arms 2nd.

4

Pivot to en face.

5-6

Developpé devant.

7-8

Retiré, arms stay 2nd.

1-4

Developpé & pivot to epaulé, facing DR, arms to 2nd arabesque.

5

Relevé.

6

Close 5th back, arms bras bas.

7-8

Battement tendu over with L leg. Repeat to other side.

6. Adage 1-4

Grand plié 5th.

5-8

Developpé devant.

9-12

Grand rond de jambe to 1st (or 2nd) arabesque.

13-15

Rise & balance.

16

Close.

1-16

Repeat with othet leg.

1-32

Repeat all in reverse.

Go to Index

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Enchainements at the Barre For Improving Allegro These exercises need to be done facing the barre, so that the muscles in the legs and on the two sides of the back can be used evenly. Once learned, these exercises can be done in the center, arms 2nd. 1. Frappé for Battement Jeté The two different rhythms should help students understand how to place the jeté battements in the music.Also practice both sides, adding the jeté, changing feet with each jump. 1-4

4 double frappés to 2nd, accent out, finish out in 2nd.

&5-8

4 double frappés, closing with fondu, accent in on the fondu.

1-8

Repeat with the other leg.

1-16

Repeat both sides.

2. Improving Glissades Use a slow 3/4 music; if using a 2/4 or 4/4, there will be a hold on the 4th count. This exercise should help the use of the feet, and the stretch of both legs. Increase speed as coordination improves. 1

From demi plié 5th, degagé R to 2nd, straightening both legs.

2

Pushing off with supporting foot (L), transfer weight to R, legs straight.

Go to Index

3

Close L foot 5th, with demi plié.

4

Hold. Do 4x, then 4x the other direction.

3. Improving Landings On Two Feet As you do this exercise, check alignment and knee action. Face the barre in 1st position. 1-2

Demi plié, staying down.

&3

Sauté and return to the exact same demi plié.

4

Straighten knees.

5-16

Repeat, doing it 4x in all. Also practice in 2nd, in 5th with changements, and on one leg.

4. Improving Echappé Sauté For turning out on landings. 1

From 1st, sauté to 2nd.

2

Hold the plié, check placement.

3

Sauté to 1st.

4

Hold the plié, check placement.

5-16

Continue through the music.

5. To Improve Sautés Establish placement during the first four counts, maintain it on the sautés.

84

1-2

Demi plié, straighten.

3-4

Rise, lower & quick plié.

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5-7

3 sautés.

8

Straighten legs.

8. Grand Jeté at the Barre Face sideways to the barre for this one!

Do 4x in 1st, 4x in 2nd, 4x in R 5th, 4x in L 5th. 6. Improving 5th Position in the Air &1&2

Soubresaut, changement hold legs in 5th going up, change just before landing.

&3&4 Repeat with other leg in front. Continue through the music.

&

Back foot (inside foot) coupé under with fondu.

1

Rise, lift leg as for grand jeté en avant.

2

Push off supporting leg onto a tombé en avant, in arabesque.

3

Hold landing.

4

Close 5th back. Do 4x, then turn and do other leg.

7. Improving Beats 9. Beats at the Barre Establish the turnout in 2nd, maintain it For a warmup for allegro, or for when doing the beats: think of bringing improving beats. Face the barre. the backs of the legs together. 1-4 2 echappé sauté battu. Do 4x. 5-7 3 entrechant quatre. & 1-3 3 sautés in 2nd. 8 1 changement. &4 1 sauté with a beat. &5-8

Repeat, doing the beat with the other foot in front.

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Allegro Enchainements 1. Warm up for Allegro 1-16

16 sautés in 1st.

1-2

Sauté 2nd, petit sissonne onto R.

3-4

Sauté 2nd, petit sissonne onto L.

5-14

Continue.

1516

Pas de bourrée under to finish.

2. Glissade/Pas de Bourrée/Brisé 1-3

3 glissades derriere with R.

4

Pas de bourrée over (dessus) with R.

5-8

Repeat, with R.

1-4

Repeat, with R.

5-7

3 glissade derriere R

8

Assemblé over R.

8 jetés with arms 3rd.

1-4

4 with arms demi bras.

5-7

3 with arms: bras bas, 1st, 5th.

8

1 assemblé over, arms 2nd.

1-16

Repeat to other side.

&2

Assemblé under.

Go to Index

4

Assemblé under.

5-8

Repeat to other side.

1

Changement battu.

2

Assemblé battu over.

3

Entrechant quatre.

4-5

2 changements.

6

Entrechant six.

&1

Sissonne ordinaire devant, chassé 2nd.

&2

Coupé under, assemblé under.

&3-4 Repeat on other side. Repeat, using derriere and over. 6. A Fun Enchainement

4. Assemblés Assemblé en avant.

Assemblé over.

5. Sissonne, Chassé Coupé

Repeat with devants & assemblé under.

&1

&

5. Battu Practice Mazurka rhythm—strong 3/4.

Alternate exercise—Change the glissades to brisés fermés.

1-8

Assemblé en arriere.

The last two are very quick, therefore lower than the others.

Repeat to other side.

3. Jeté Ordinaire Derriere For height and coordination.

&3

86

DL

DR

UL

UR

1-2

2 diagonal walks from UL towards DR.

3-4

5 or 7 runs, same direction.

5

Posé on R, 1st arabesque effacé.

6

Rise

TheBalletSource.com

9. Pas de Basque & Ballonné Mazurka rhythm, 3/4. Counts are musical beats.

7-8

Turn towards back leg, towards UR, 3 runs, grand jeté en tournant onto R.

1-2

1 waltz turn L traveling towards UL.

3-4

2 runs, grand jeté en avant on L, towards DL.

1-3

Pas de basque glissé.

5

Posé on R in attitude ordinaire derriere (croisé).

4-9

2 ballonné composé en avant.

6

Rise and extend to 2nd arabesque.

Pas de basque sauté.

7-8

2 or more runs and soutenu turn R, traveling towards UL, ready to repeat to the other side.

1012 1-6

2 Ballonné composé en avant.

7-9

Grand pas de basque sauté to 5th.

1012

Sissonne doublé en avant (sissonne ouverte en avant, coupé under assemblé en avant)

Dancers can start every four counts, and perform this like a round. 7. Sissonne with Saut de Basque Mazurka rhythm. Face DR, effacé, on the diagonal. 1

Sissonne ouverte en avant R to attitude derriere effacé.

10. Allegro With Pirouette Perform by rows, doing it in reverse on 2nd turn, etc. 1

Glissade devant.

2

Temps levé.

2

Assemblé under.

3

Petit assemblé derriere.

3

Glissade devant.

4

Sissonne en arriere L to attitude effacé devant.

4

Assemblé under.

5

Temps levé.

5

Pas de bourrée over with front foot.

6

Petit assemblé devant.

6

Relevé passé derriere to 4th.

7-9

Repeat counts 1-3.

7-8

Pirouette en dehors, ending in 3rd arabesque fondu.

10-12

Two saut de basque devant.

8. Jeté & Coupé

Run off as next group starts. 11. Entrechant Trois, Contretemps

1

Jeté ordinaire derriere R.

1

Sissonne ordinaire devant.

&2

Coupé under and sauté with petit developpé to 2nd.

2

Petit assemblé devant.

&3

Coupé over, petit assemblé derriere.

3

Entrechant trois derriere.

4

Jeté ordinaire derriere R.

4

Pas de bourrée under.

5

Demi contretemps.

6

Demi contretemps.

7-8

Full contretemps.

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12. Cabriole, Grand Jeté en Tournant

3

Echappé sauté ouverte 2nd.

&

Sissonne ordinaire derriere.

4

Pas de bourrée under with R, bras bas.

a1

Coupé under, cabriole forward.

5-8

&2

Temps levé with grand rond en dehors.

4 changements, using various arm positions—be creative!

&a3

3 runs twds UL.

&4

Grand jeté en tournant.

&

Raise L foot derriere, demi retiré.

&a5

Pas de bourrée under to 4th fondu on front leg.

1

Ballotté en avant on L.

&6

Cabriole back.

&2

Ballotté en arriere on R.

&7

Chassé en avant to degagé derriere.

3

Coupé under.

8

Hold.

&

Ballonné R to petit attitude derriere.

Repeat to other side.

4

Pas de chat.

13. Ballonné, Entrechant Quatre

16. Ballotté, Pas de Chat

17. Contretemps, Pas de Chat

1

Ballonné devant L, facing DR.

1-2

Full contretemps.

2

Ballonné under L.

3-4

2 pas de chats.

3

Assemblé derriere L.

5-6

2 balancés de côté.

4

Entrechant quatre to face DL.

7-8

Run with port de bras in circle to R.

5-8

Repeat with other leg.

18. Diagonal Enchainement #1

14. Glissade, Assemblé

1

Pas de bourrée en avant.

1

Glissade under, arms 3rd.

2

Glissade en avant.

2

Glissade over, arms 3rd.

3-4

3

Assemblé under, arms 4th.

Step forward, soutenu turn in line of direction, release back foot ready to repeat on same side.

4

Assemblé over, arms 2nd.

19. Diagonal Enchainement #2

Also learn with devant, derriere. 15. Echappé, Changement

1

Glissade derriere facing DL.

2

Assemblé over.

1

Echappé sauté ouverte to 2nd (don’t close) arms 2nd.

3

Sissonne en avant ouverte turning in air to face DR, arms 5th, arabesque.

2

Pas de bourrée under with L, bras bas.

4

Pas de bourrée under, to face DL.

Go to Index

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Pointe Enchainements 3. For Balance on Pointe Barre or center, as needed. From a fondu, with leg stretched forward.

1. For Pointe Strength Facing the barre, do slow rises through the demi pointe to the full pointe, and lower the same way. Allow the dancers to put some pressure on the barre until they are strong enough to do it correctly without strain. 2. Strengthening the Poses Sideways to the barre, using both hands as shown, moving them along the barre as needed, and putting pressure on the barre as needed to allow correct performance.

1

Posé en avant, lifting foot to demi retiré derriere, arms 1st.

2

Hold, no wobbling! Pulling up the abdominal muscles, and bringing upper body slightly forward and up will help.

3

Holding position perfectly still, lower heel through the demi pointe, then to demi plié (both feet down), no wobbling.

4

Bring same or other leg forward, in fondu, ready to do it again.

Can be done with alternating feet, or repeating about 4x on one leg, then using the other one. Keep arms simple so they don’t detract from the purpose of the exercise. 4. Pointe Center &1

Echappé relevé 2nd.

&2

Sous sus.

&3

Echappé relevé 2nd.

&a4

Pas de bourrée piqué under.

&5

Chassé passé en avant, relevé to arabesque.

1

Posé in arabesque with outside leg.

&6

2

Roll down smoothly through demi pointe to a terre or a fondu.

Chassé passé en avant, assemblé soutenu en tournant (soutenu turn), arms 5th.

7-8

Bourrée forward, step forward to degagé derriere, lowering arms 1st, demi bras for finish.

3

Chassé passé en avant with inside leg.

4

Tiny pas de bourrée under to demi plié, to bring outside foot in front, ready to repeat.

Go to Index

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5. Pointe With Emboités &1-4

1 set echappé relevé en croix.

5-8

1 bourrée turn to R.

1-7

7 emboités (walks in 5th) over.

8

Lower to 5th plié.

6. Pointe Adage Facing croisé. 1-2

Chassé en arriere to degagé devant, opening arms demi bras.

3-4

Port de bras with fondu, bending over front leg, recover.

5-8

Posé en avant to 5th, bourrée forward, arms to 4th, lower into demi plié.

1-2

Turn en face with chassé to 2nd, (trailing foot is degagé 2nd).

3-4

Port de bras bending to 2nd recover & quick fondu bringing extended leg petit retiré derriere.

5

Pas de bourrée piqué under to 5th demi plié.

6-7

Relevé 5th with arms in romantic 5th, bourrée turning R.

8

Lower into demi plié.

7. Pointe Allegro 1

Echappé relevé to 2nd.

2

Pas de bourrée piqué under. From here, not on pointe

3

Glissade derriere.

4

Assemblé over.

5-8

4 changements, royales, entrechants, or a mixture.

Go to Index

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IV. Appendix Positions of the Arms

92

Positions of the Feet

93

Directions of the Body on Stage

94

Stage Directions

95

Numbering the Directions of the Room

96

Go to Index

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Positions of the Arms As Named by the Royal Academy of Dance

Hands on Waist

Demi Seconde Position

Bras Bas

First Position

Third Position

Open Fifth Position when coming up from Second, or, Diagonally up

Open Fifth Position when coming from Fifth

Second Position

Fourth Position or Fourth Crossed Position

First Arabesque

Demi Bras or Open First

Fifth Position

Third Arabesque

Fourth Position or Attitude

Positions of the Feet

Parallel

First

Second

Third

Fourth Crossed

Fifth

Positions of the Feet, Showing Turnout at about 90⁰

Parallel

First

Second

Third

Fourth Open

Fifth

Directions of the Body on Stage

En Face

Effacé Devant

Croisé Devant

Stage Directions The areas of the stage are named from the performer’s point of view when facing the audience. C = Center stage R = Stage Right, to the performers’ right L = Stage Left, to the performers’ left U = Upstage, the back of the stage, the side furthest from the audience D = Downstage, the front of the stage, the part nearest the audience UR = Upstage right, the back right corner UL = Upstage left, the back left corner DR = Downstage right, the front right corner DL = Downstage left, the front left corner

UR

UC

UL

Students

R

DR

C

DC Audience or Teacher

L

DL

Numbering the Directions of the Room 5

1 front

4 8

3

6

2

2

6

7

3

The Royal Academy of Dance has adopted a numbering system. The walls are numbered first, clockwise, starting with the audience as #1. Corners are next, starting with Downstage Left as #5.

From the Barre to the Center Dancers should come to the center of the room from the barre in an orderly way, making rows that fit comfortably in the room.

5 front

7

1

8

8

7

4

6

The Cecchetti Sytem of numbering starts with the downstage right corner as #1, downstage left is 2. The audience is #5, and the other walls 6, 7, and 8.

A A A A

teacher

B B B B

1 front

2 3

5

4

The Vaganova or Russian method starts with #1 at Downstage Center, and numbers the eight points clockwise in consecutive order, ending with DL as #8.

teacher A

A

A

A

B

B

B

B

Dancing on the Diagonals 4

(DL)

1 (UL)

teacher

(DR)

2

(UR) 3

1. Begin at the UL comer, traveling to the DR corner. 2. Turn right, walk to the UR. 3. From there dance to the DL, 4. Turn left and return to the UL.

Rows Trading Places When a front row moves to the back the row should divide in the middle, and dancers move to the side of the room before turning and moving to the back to reassemble the row.

Another way: Students in the first row turn L to face the back, then pass through the other rows as they move forward.

teacher A B

A B

A B

teacher A B

B A

B A

teacher A B C

A B C

A B C

B A

B A

teacher A B C

B C A

B C A

B C A

B C A

Making a Circle From Rows Circle work is usually done counter­-clockwise. To make a circle from rows: The front row faces left; the back row faces right. Middle rows, if any, go to the nearest side of the room to fill in the circle.

teacher

teacher A C B

A C B

A C B

A C B

B C A

B C A

B C A

B C A

C C

teacher B B B B A

A

A

A

C C

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