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

Contribution to the competences
1. Creative ability
2. Artisanal ability
3. Investigative and reflective ability
4. Ability to develop and innovate
6. Communicative ability
7. Cooperative ability

Short summary of the content
The primary goal of the course is the cognitive and artistic understanding of music performed. In the lesson situation, the student will be confronted with, per exercise, musical accompaniment, 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 be the basis of the lesson material. One investigates what one hears in order to arrive at theoretical concepts and not the other way around. It is important that the student can then carry out his own research with the concepts he has formulated himself.

  • The tradition and origin of the musical accompanist within a classical accompaniment is briefly discussed.
  • The student develops musical knowledge in order to be able to manage a classical ballet lesson and musical accompanist properly.
  • The course is closely related to the structure in the NBA Syllabus and the given musical principles as described in the Syllabus.
  • It goes into more detail about different time signatures and counts and how this will affect the execution of certain movements. There is a closer look at which musical forms can be important for learning an exercise. Consider, for example, choosing a waltz, mazurka or polonaise.
  • Finally, we look at different 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 optimal cooperation with a musical accompanist.

Concrete learning goals
The student:

  • Understands 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.
  • has an understanding of the different musical forms and choices that 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 self-designed lesson.

Working 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

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

Method of assessment
Feedback and forward during the teaching practice 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 Motif

  • The base: recognizing the musical 'motif', the melodic and rhythmic core from which a composition is built.
  • Question and answer in the musical saying and thus the creation of phrasing.
  • The relationship between the structure of phrase and breath in the music and in the movement.
  • From the motive, the awareness of “pulse” from which the tempo is determined, is examined.
  • By motif, pulse and tempo to the concept of rhythm(s).

2. Rhythm

  • Concepts such as accents and counting and their relation to motive and pulse.
  • Simple rhythms: 2/4, 3/4, 4/4 etc. Compound rhythms: 6/8, 9/8, 12/8
  • Problem areas: when 2/4 and when 4/4. When 3/4 and when 6/8
  • Upbeat, syncopation
  • Dance rhythms: minuet, mazurka, polonaise, waltz, czardas etc
  • Relationship rhythm and tempo.

3. Reading a score in a simple way

4. The ballet class

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

5. Communication with the accompanist

  • Consultation before and after class
  • The importance of the introduction (4 or 2 bars) to establish tempo and rhythm.
  • Resolving 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.