Teacher/supervisor:         Rex Lobo
Period, duration:               5 lessons
Study load:                          Contact hours 7.5 / self-study 120

Contribution to the competences
1. Creative Power
2. Craftsmanship
3. Investigative and reflective ability
4. Ability to grow and innovate
6. Communicative Ability
7. Ability to Collaborate

Short summary of the content
The primary aim of the course is the cognitive and artistic understanding of performed music. In the lesson situation, the student will be confronted with musical accompaniment for each exercise, perhaps directed by the teacher (think of giving tempo and time signature), but the musical material will usually be chosen by the accompanist. The student must be able to quickly realize whether that musical choice will work and if necessary pass on instructions to the accompanist. During all lessons, but certainly in the beginning, cognitive listening to musical examples from the piano, ballet and orchestral repertoire will form the basis of the teaching material. One examines what one hears in order to arrive at theoretical concepts and not the other way around. It is important that the student is then able to conduct his own research with the concepts that he has formulated himself.

  • We briefly discuss the tradition and origin of the musical accompanist within a classical accompaniment.
  • The student develops musical knowledge to be able to properly direct a classical ballet class and musical accompanist.
  • The course is closely related to the structure in the NBA Syllabus and the given musical principles as described in the Syllabus.
  • It takes a closer look at different time signatures and counts and how this will affect the execution of certain moves. It goes into more detail on which musical forms can be important for learning an exercise. For example, consider choosing a waltz, mazurka or polonaise.
  • Finally, we look at various pieces of music from the ballet repertoire and certain classical composers. When in the structure of the Syllabus or during presentations, for example, can discussing repertoire with the musical accompanist add extra value to the teaching material? What are “best practices” for an optimal collaboration with a musical accompanist.

Concrete learning objectives
The student:

  • teaches the basic principles, musical terms and principles of musical accompaniment for classical ballet.
  • is able to link the musical knowledge from these lessons to the different years within the Syllabus.
  • is able to clearly direct a musical accompanist and class with students at all levels within the Syllabus and uses musical terms for this.
  • understands the different musical forms and choices a teacher can make at different times.
  • is able to show how different music choices can influence the performance of exercises and can make conscious choices within a lesson designed by himself

Method(s) used
In groups, in 1-on-1 lessons, and later during trial lessons with a musical accompanist. In conjunction with the NBA Syllabus and Methodology

Used study material (professional literature, cases, assignments, videos, etc.)
a.o. Music Lexicon by Th. Willemze (Spectrum)

Assessment method
Feedback and forward during the practice of teaching and linked to the Syllabus and Methodology.

The knowledge gained in this course is applied in practice as quickly as possible and is closely related in particular to the NBA Syllabus and Methodology.

Assessment criteria
1) 1,2,3,4
2) 7
3) 1,2,3,4,6
4) 1,2,3,4
6) 1,2,3
7) 1,2,3,4

Lesson structure
1. The Motive

  • The basis: recognizing the musical 'motive', the melodic and rhythmic core from which a composition is built.
  • Question and answer in the musical saying and thus the establishment of phrasing.
  • The relationship between the construction of phrase and breath in the music and in the movement.
  • Based on the motive, the notion of “pulse”, pulse, from which the tempo is determined, is investigated.
  • Through motive, pulse and tempo to the concept of rhythm(s).

2. Rhythm

  • Concepts such as accents and counting and their relationship to motif and pulse.
  • Single Rhythms: 2/4, 3/4, 4/4 etc. Composite Rhythms: 6/8, 9/8, 12/8
  • Problem areas: when 2/4 and when 4/4. When 3/4 and when 6/8
  • Prelude, syncopation
  • Dance rhythms: minuet, mazurka, polonaise, waltz, czardas etc
  • Rhythm and tempo relationship.

3. The easy way to read a score

4. The ballet class

  • The musical interpretation of each exercise in a ballet class related to the syllabus and the different levels of the year groups.
  • Choice of rhythm, double or triple, simple or compound
  • Tempo: the slower the heavier is not always necessary and the role of pulse in this.
  • Musical styles: what belongs to which level. The pros and cons of the baroque, classical, romantic and modern repertoire.

5. Communication with the supervisor

  • Consultation before and after class
  • The importance of the introduction (4 or 2 bars) to establish tempo and rhythm.
  • Solving a too heavy or too light accompaniment, the relationship between what the right hand plays, melody, and what the left hand plays, harmony. Different possibilities in the bass part.
  • Specific difficulties: jumps, extra measures for balance etc.
  • What to say and what not to say.