Classical Ballet 3

Classwork & Teaching Suggestions for the Ballet Teacher of Intermediate to Advanced Students

Ruth H. Brinkerho, 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 3

I. Improving Technique and Artistry 4 Using This Manual 5 Suggestions For Improving Technique and Artistry 10 Correct Muscle Use 17 Warming Up For Ballet 22 II. Classes 23 Sample Ballet Classes 24 To Improve Their Sense of Balance 55 For An Advanced Class 58 Classes With Pointe & Boys Work 61 III. Enchainements 76 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 IV. Appendix 91 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 Thank you 98 I. Improving Technique and Artistry

Using This Manual 5

Suggestions For Improving Technique and Artistry 10

Correct Muscle Use 17

Warming Up For Ballet 22

Go to Index 4 TheBalletSource.com Using This Manual Introduction Ballet terminology does differ from system to system, and from teacher These exercises, enchainements and to teacher. Hopefully the terminology technical suggestions are some that used here will be understood by the were given to me as a student, many reader. Some explanations for terms years ago. used in this manual are on this page, Neither the author nor The Ballet and on the following. If you have a Source makes any guarantees or claims particular question, please contact The of any kind regarding the choreography Ballet Source. and technical suggestions contained in The abbreviations on this chart of stage this manual. directions will be used to indicate It is hoped that this collection of where the dancer is to face: choreographed classes, and extra Stage Directions enchainements will be a welcome addition to your ballet teaching The areas of the stage are named from repertoire. the performer’s point of view when facing the audience. It is expected that teachers will make changes and additions AUDIENCE as suits their needs and the needs of their Downstage Center students, and that they Downstage Downstage will use good judgment Left DL DC DR Right in selecting and using the material contained in this book. DANCER Have fun with it! Stage Stage Left L C R Right Introduce your students Center Stage to some different challenges, and some helpful remedial work. Upstage Upstage Lengthen or shorten Left UL UC UR Right the exercises, or the Upstage Center classes, as needed in your school. Expand the difficulty, or simplify it; again, as is needed in your teaching situation.

Go to Index 5 TheBalletSource.com 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 À Terre Demi Pointe À Terre the knees straight. If lowering is also wanted, the word “lower” will be used. 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. Tendu Position Glissé Position (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.

Go to Index 6 TheBalletSource.com Using the choreography in this manual: 1. If unsure of what is meant in a part of an exercise, just fill it in with what seems logical to you. Battement Tendu showing the use of the metatarsal joint, or going through the demi pointe. 2. Feel free to change any part of an exercise that does not fit your teaching style, or THREE KINDS OF BATTEMENT FRAPPÉS 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 Battement Frappé With Wrapped Foot 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 Piqué (or Pointed)

Go to Index 7 TheBalletSource.com Retiré Positions

Petit Retiré Petit Retiré Devant Petit Retiré Derriere

Demi Retiré Demi Retiré Devant Demi Retiré Derriere

Go to Index 8 TheBalletSource.com Positions of the Arms as Used in This Manual

Bra Bas First Position Demi Bras Demi Seconde Position or Open First

Second Position Third Position Fourth Position or Attitude

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

First Arabesque Third Arabesque

Go to Index 9 TheBalletSource.com Suggestions For Improving Technique and Artistry General Rule: If posture is correct, the needed. Now the pliés can be done legs and anns will have a reasonable in all positions without moving the chance to work at their best. Posture supporting leg. Simply adjust the incorrect? Legs and arms will have a placement of the left hand on the hard time. barre. Placing Feet for Even Turnout at the For Grand Pliés Barre There should not be any shoulder Turn thighs out, the feet follow. Place movement during grand pliés, as supporting leg first, then the working this causes the back muscles to work leg. unevenly, creating incorrect posture. Need rosin to turn out at the barre? Use the back to stabilize the balance. Dancer is turning out beyond ability— Lower, middle, and upper back areas— using the floor friction instead of their all must be held, supported, not muscles—can lead to lower leg and allowed to drop. Stretch front of hip foot injuries. Don’t use rosin to try joint so it feels flat; this helps keep the to increase turnout—it causes wrong tail down. muscle use. Will not help center work. Hips must stay slightly above the knees For Placing Hands on the Barre in all grand plié positions. Going down further causes a loss of control, and Facing the barre: with arms relaxed puts undesirable stress on the knee at sides, lift where they are, and place joints. hands on the barre, elbows next to waist. Elbows are relaxed, not sticking For Battement Tendu Closing to out. Demi Plié Sideways to barre: Stand in 2nd The legs work together, at the same position. Lift arms to 1st, then open time, (as in battement fondu.) As the to 2nd. Place left hand on the barre. leg moves out both legs straighten at Elbow should be just in front of body. the same time. When closing, both Hand on the barre will be a few inches legs arrive at the demi plié at the same further in front. Keep the barre arm time. Timing is smooth. Don’t hold the relaxed, and fairly straight. plié, and don’t separate it from the rest of the movement. Close right foot to 1st or 5th, moving left hand forward on the barre as

Go to Index 10 TheBalletSource.com Details For Using the Feet in Alignment of the Feet in Battement Tendu Battement Tendu Feel a lengthening of the leg as it moves away. Hold hips level, and still. From 1st Position to 4th Position Move the foot about two inches out of The correct 5th with the heel still on the floor. alignment when Move the foot outward to the “demi moving the foot pointe” position. Finish the movement out from 1st with a full extension of the foot. position, is to

R Return the same way. use the open 4th L position, both Do this every time the foot moves out front and back. of or into a closed position. A more effective For Battement Glissé (also known as use of the turnout Battement Degagé) muscles is possible in open 4th than Don’t take the foot too high—this is a in a crossed 4th. preparation for petit allegro steps. This makes it possible for the rond de Brush to about 2” off the floor. Keep jambe a terre to actually increase the the supporting leg turned out, and its ability to turn out, as it was originally kneecap pulled up. Use the feet, use the intended to do. floor. All positions en l’air to devant or When brushing to the back, think of derriere are in an open 4th, with the moving the thigh back rather than leg directly front or back of its own hip the foot or lower leg. Derriere might joint. have a very slight incline of the pelvis for some dancers. The shoulders From 5th compensate by moving slightly Position to 4th OF BALANCE CENTER forward, but not facing down. Position Tendus from 5th: use the crossed R 4th position. The toes are L 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 11 TheBalletSource.com directly in front of its own hip joint. The path through first is the slower This puts it in the open 4th. part, the stabilizer of the movement The dancer should feel as ifthe leg is Legs off the floor should always be in still “underneath them” in first, while the open 4th. It allows the turnout it circles. Keep hips in place. Use the muscles to work more strongly, and feet. gives a more open feel to the classic line. To develop control in the air for allegro, practice the circular part of Battement Tendu to 2nd Position rond dejambe a terre just barely off the For battement tendu to 2nd position: floor, using consistent turnout, and a The toes of the two feet are ina strong, secure brush through 1st. straight line, which will be somewhat For Assemblé Soutenu in front of the dancer, and exactly perpendicular to the direction the Assemble soutenu is a rond de jambe dancer is facing. from and to 5th position. This is how it differs from rond de jambe a Do not line up the extended toes with terre, which is based in 1st position. the supporting heel! Shoulders and hips must stay level and This does not allow the muscles to square on the fondu—don’t drop the work correctly in second position, working hip. either a terre, or when the leg is off the Because this circular movement comes floor. from 5th, the crossed 4ths are used for The ability to turn out determines soutenus instead of the open 4ths as for where this line for the toes in second rond de jambe a terre. position will be for each student. Toes are in the same line for 2nd position. Working heel is in line with supporting heel in 4th. For Battement Fondu R L 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 When extending derriere, think of The shape is a letter D, using the open moving the knee back and letting the 4th position, and making a straight line foot follow. Battement fondu prepares through 1st position. for ballonnés.

Go to Index 12 TheBalletSource.com For Frappé & Petit Battement A la Seconde: keep hips level; feel that the heel is slightly forward of the knee Don’t tense or constrict the ankle or (this is a feeling, not a place). knee joints—they must move freely in the correct pathways. Note: don’t show the sole of the foot to the front, in 2nd. That is overturning, To keep the thigh from turning in and is not correct technique (not during the exercise, imagine a broom correct use of muscles), according to handle holding the thigh out; it can’t most ballet authorities. turn in. 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 Understanding Extensions to the Back Working leg draws a line up the supporting leg—stays in contact all the The reason students so often bend the way up, and all the way down. knee when extending a leg to the back: Keep hips absolutely level. Keep heel 1. The muscles needed to lift the leg “in” when closing back—this helps to the back are the same ones that maintain the turnout. Pull the body up bend the knee! on the closings—don’t sink down. 2. The muscles that straighten the For Developpé knee are the same ones that lift the leg to the front. Devant: don’t sit back, keep torso It takes concentration, and effort to upright and tall.

Go to Index 13 TheBalletSource.com teach those muscles to cooperate, and For Pirouettes en Dehors lift a straight leg to the back. Thinking about stretching the backs of the knees Think of the relevé devant as a “lifted seems to help. 3rd”. Do a simple relevé devant, then do the turn with the same placement— For Pivots (Promenades) this helps them find their balance. Turn by moving the heel and the inner Arms are in 1st. Move body forward thigh; the body is balanced above the into arms for the turn. Feel the body supporting hip, with weight on the ball over the front (lifted) foot for the turn. of the foot. Don’t sit the plié at the end—press For Arabesque down into it and recover. Arms ending demi bras gives a nice finish. The leg is in the “open fourth” at the back—feel it with the back muscles. For Pirouettes en Dedans The leg is directly behind its own hip joint, and its own shoulder. Find and Chasse en avant into the fondu. Move hold the correct position lying on the through the glissé position on the floor. Then try it standing up. relevé. Lift under the seat muscles. If weight is securely over the supporting For Pirouettes leg, the turn will be OK. Moving only one arm on the port de bras is easier to Students learning or improving coordinate at first. pirouettes must learn the exact placing of each part of the movement. For Diagonal Turns If more advanced students are having Don’t overdo the traveling—rather try difficulty, go back to the beginning and to keep the legs underneath the dancer. retrain the muscles. When worried about covering distance, they often lose placement and control At first use the strong rise. That of the turns. is, do a relevé straight up, with no displacement of the foot on the floor. Chaînés: On the first half turn, think of bringing the back hip around, and This method makes it easier to find the back arm to 1st. On the 2nd half, correct placement and balance. spot, open arms to demi bras, bring the (Research also shows that fewer second hip and shoulder around. injuries occur with this method.) Tips For Allegro Boys should always use the strong rise for turns. Girls can use the relevé with Some tips from a professional male a slight displacement of the supporting dancer: foot, if they can control it.

Go to Index 14 TheBalletSource.com • Use metatarsals in jumps. same height in all three directions. • Turnout from hips. • Maintain foot to leg alignment. • Glissades—don’t forget to stretch the • Make full use of all parts·of the second leg. feet. • Brisés—think of the underneath foot • Use the smallest amount of force catching up to the front foot (brisé needed to produce the movement. derriere). • Relax ankles to get a deeper plié. • Use demi plié as a movement, not • Entrechant Six de Volé—think of it a position. as an assemblé and an entrechant quatre. Technical Pointers • Pas de Chat—show the two retirés in • For the upper back: lay on stomach, the air. and keep feet on the floor. Bring arms from 2nd to 5th, then lift upper • Coupé Sauté is always jumped body off floor. Have someone hold straight up. the feet down. • Jeté Battu beats under you, not out • The supporting leg stabilizes and somewhere. controls movements. Lift off the • Assemblés—height of the brush supporting leg, stretch abdominals determines the height of the jump. upward. Use adductors on closings. Legs come together in the air before • Maintain the natural spinal curves; landing, even in petit assemblés. these should be balanced for that • Analyze and perfect all steps early person. on. Limited but correct knowledge is • For 2nd position extensions: find the a good beginning, even for teaching. exactly right place during the grand • For keeping weight forward in rond de jambe. Don’t pitch shoulders changements, hold a stick behind the back, especially when the leg is in back with elbows. 2nd en l’air. • To keep head from jerking back on • Resilient pliés are necessary for good jumps, hold hands behind head. allegro. Learn to relax the calves and use the shin muscles (anterior • Having the eye line raised slightly tibialis) when going down into a helps jumps to look higher. demi plié, and when landing from a jump. (This keeps the heels on the For Perfection floor.) Do things in simple form to perfect • Grand battements should be the them. Do movements in small pieces, then put the pieces together.

Go to Index 15 TheBalletSource.com Do the step simply, by itself, not in begins with conscious, deliberate, enchainements, for a few classes. movement planning. If needed, analyze the parts of the movement, and do these parts in For All Ballet Work . . . isolation a few times, to make the Think the result you want; dancer aware of the parts. Then put it Concentrate, or it won’t happen. together. A Word To Students About Practice Give the muscles time to learn the new way of doing the movement. The more Practice is for the muscles to become change you want, the more time it able to do a movement better—it is not will take for the movement to become for the brain, and it is not intended to automatically better. entertain the dancer! For Artistry Practice simple things to make them perfect. This helps the more advanced Complete ballet placement must be steps to improve. learned first. The easier • Have a spiritual center; radiate movements are outward. the foundation • Explode upwards, lower gently. upon which the more advanced • Rest the eyes somewhere for movements are adage—look at something! created. If the advanced work • There is artistic quality in the use is to be strong, of head and eyes—use them! it must have a For Coordination strong foundation. Coordination arises from “movement If you love to planning”. That is, the dancer plans the dance, teach movement in his or her mind, then yourself to love teaches it to his or her muscles. every part of it, even the The teacher is a professional guide, practicing! 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

Go to Index 16 TheBalletSource.com Correct Muscle Use 1. Foot To Leg Alignment When the legs are turned out for ballet, it is important to keep the arches Feet need to be in alignment with lifted, and to not turn the feet further knees at alltimes. The feet, lower leg, than the thighs can turn. Correct use and upper leg should line up in the of the muscles that control the foot, same plane. This relationship should ankle, and knee joints helps to prevent not be lost, whether in dancing or in problems later. other activities. Turnout is accomplished mostly by the • A dancer’s first job is to correct use of two muscle groups: the alignment of each foot at the ankle, and to keep it correct, all a. Inner thigh muscles, especially the time! the sartorious muscle; and • Feet must learn to relax in order to b. The outward rotator muscle maintain this correct alignment! group, located at the rear of the hip joint, inside, next to the joint The 1984 International Olympic itself. Congress on Sports and Dance stated as one of their conclusions that the 3. Using the Inner Thigh Muscles most common cause of dance injury to lower legs, ankles, and feet was the Have students sit on the floor with legs failure of dancers to keep their feet extended forward and together. They and legs aligned as nature intended. place their hands next to and in back Even a slight misalignment causes a of hips, arms straight, to help backs weakening of the joints involved, and stay straight. Knees are extended, feet an imbalance in the muscle groups of pointed. the lower leg and foot. a. Rotate the legs from parallel to Correct alignment of feet with knees is turned out, and back again, about perhaps the most important concept of four times. ballet placement for students to learn. b. With legs turned out, lift one leg off the floor about six inches and 2. Turning Out for Ballet Turnout lower it. Do not hold the position, just go up, then down. Repeat This is one of the qualities of style that with the other leg. Give each leg distinguishes ballet from other dance four turns. forms. It needs to be developed slowly c. Tell them to think about lifting by gradually strengthening the muscles from where the sartorius muscle that produce it.

Go to Index 17 TheBalletSource.com starts, just inside the knee. This floor. Keep the front hip (pelvic) bones gives them a place to focus their in contact with the floor. effort. They cannot lift very high in this way. 4. Improving Arabesques Height is not the object. The purpose of this exercise is to isolate, teach and Those muscles that rotate the legs strengthen the muscles which rotate outward are the same ones that lift the the legs outward, and which are also leg conectly to the back in arabesques very important in lifting the leg in and attitudes. Learning to use these arabesque. 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 There are two areas of the brain use correct muscles for arabesques: involved in using muscles to create Have students lay on the floor, face physical movement: down, chins resting easily on their hands, legs extended back and together. • Pre-Motor—this is where the action Keep knees stretched and feet pointed. is carefully, with concentration, thought out as it is performed. This a. Rotate the legs from parallel to is where the movement is controlled turned out, and back again, about while initial learning takes place. four times. This is where the dancer consciously plans the movement. Have them visualize the outward rotators next to the hip joint, at the • Motor—this is where the skill back and slightly to the side of thejoint. goes once the person can perform If they tighten the correct muscles the it quickly and smoothly. This is legs will turn out. where the skill comes forward automatically, without thought, after b. With the legs turned out (keeping the muscle response is learned. It the knee extended and the foot happens automatically. It is what we pointed) lift one leg about four to call a “habit.” It usually takes about six inches off the floor, then lower it twelve weeks for the skill to get here again. Repeat with the other leg. from the Pre-Motor area. The leg must lift directly behind its When we see a wrong movement own hip joint, not behind the center of pattern, a wrong technique, the wrong the body as students sometimes do. muscle use is being repeatedly done Give each leg four turns. Itis very by the student. It is coming from important that only the leg lifts off the the motor area. It is an established response, a habit.

Go to Index 18 TheBalletSource.com It usually takes from six to twelve oversized and hard; not pretty, and weeks to change this established not flexible. Among other things, it response. Knowing what is correct is makes stretching harder. Most dancers only the beginning. Actually correcting won’t want overdeveloped, non flexible it takes careful re-teaching of the muscles! muscles, and conscious re-planning by the student. 7. Muscles That Do The Jumping No amount of concentration will Experts say that “short tendons” are instantly and permanently correct the quite rare. The “heel popping” problem error. If this is expected, the student in ballet is usually caused by an may wind up thinking they cannot do incorrect use of the lower leg muscles. it the right way. Correct use of the lower leg muscles They may give up on ever trying to fix is what enables a dancer tojump it. The teacher thinks they do not try. smoothly, gracefully, and without Both are wrong. No one is to blame. strain. In many dancers the “plié muscle” on the front of the shin is very 6. Encouraging Correct Muscle Use weak. The calf muscles take over the shock absorbing process of the demi For best results strengthen the plié, and the heels to pop off the floor! “natural” or parallel use of muscles first, then strengthen in the turned out The calf muscles are not the muscles to a right angle position, and then in that bend the knees, or perform the the dancer’s best turned out position. demi plié. Their job is to extend the ankle joint and point the feet. It is The parallel and right angle the muscle on the front of the shin strengthening lay the foundation for (anterior tibialis) that flexes the ankle, the fully turned out strengthening. performs the demi plié, & absorbs Do some of each during the warmup the shock of landing from a jump. section of the class, or at the end of Exercises which flex the ankle will the barre. That will provide a secure help to strengthen the plié muscles, foundation for strengthening in that and lessen the tendency of the heels to person’s fully turned out position. pop when landing from a jump. To motivatestudents to work on Encouraging muscles to do the jobs correcting their muscle use, tell they were designed to do will give them: When a muscle takes over the greater strength and grace to the job of another muscle, it becomes performance of all ballet movements.

Go to Index 19 TheBalletSource.com 8. Helping the Student Correct c. Another exercise to help, facing the Errors in Muscle Use barre in 1st position, and in 2nd position: How do we help a student change a bad muscle habit? It will take time. 1-2 Slowly bend knees to a well turned out demi plié. You may need to ignore the error &3-4 Sauté and land in the exact same demi plié, check during center performance for a while. placement. Whenever possible attack the cause, not the result. 5-6 Slowly straighten knees, keeping knees well turned out. a. Have the student do only demi pliés, no grand pliés, until the 7-8 Battement tendu, lower in 2nd. incorrect habit is fixed. Have 1-8 Repeat in 2nd, closing to 1st. them do the demi pliés without 1-16 Repeat all. shoes for the first few exercises at the barre. Then you can see and d. Have students stretch the calf fix how the feet are behaving. muscles before and after the barre, b. Feet need to be relaxed at the after the adage, and after class. 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. 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 e. Teach your students that the shin out to 1st. muscles must work while going 5-8 Repeat in 1st. down in a plié. The calf muscles 9-16 Repeat all in parallel 2nd and in turned out 2nd. must learn to relax and let the shin

Go to Index 20 TheBalletSource.com muscles do the plié and fondu actions. A Word About Injuries This will make their jumps higher, smoother, and safer. Students and parents need to understand that you are a specialist in ballet, and do Finally, when things don’t improve, or not have medical expertise. If they have continue to not look as they should for questions about an injury from dance or ballet, you might want to suggest to the sports, or any unexplained pain in class, parent that they consult their doctor they should ask a physiotherapist, sports on whether or not there is a medical medicine doctor, family doctor, etc. problem of some kind. If a student complains of pain in ballet 9. Preventing Injuries class, very often the student has been slightly injured in some other activity. 1. Proper skeletal alignment for each individual is very important. Be as exact In ordinary day to day activities, and in as is reasonable and possible. sports or aerobics, a person can make compensations in how they move in 2. Warming up and barre work needs to order to accomodate, or “favor” a slight be at the dancer’s practice level. Using injury. higher levels can cause injuries. Even moderately severe injuries can go 3. Recognize each dancer’s fatigue level. unnoticed in this way long enough to Tired muscles cannot maintain correct make the original cause almost impossible alignment, and cannot cushion the to figuxe out. dancer very well in allegro. In ballet, we must use our movement 4. Use each dancer’s individual ability for range precisely, with no adjustments turning out—no forcing. or favoring of minor hurts. Any injury, 5. No sway backs. Feel a lengthening of however slight, will show up in ballet the body, a “pulling up”, to encourage class even if it went unnoticed elsewhere. greater flexibility and range of It is easy for ballet teachers to see movement. why any small injury or bruising 6. Use no stress producing postures or done elsewhere shows up in the ballet exercises; no forced or held flexibility class rather than where it actually positions. Be patient. Remember that happened! Others, however, may find this pain indicates some injury at the explanation a bit difficult to accept. cellular level. Injured structures heal In ballet, a good rule to give students is: with a resistance to flexibility, not an “if it hurts, don’t do it.” This can help increase of it as some seem to think. prevent injuries from happening in class, 7. Proper nutrition, and sufficient rest and can prevent minor injuries incurred are an important part of the dancer’s elsewhere from being made worse. preparation for the profession. Without Students complaining of pain while doing these things, the dancer cannot do their ballet work, especially at the barre, should best in class or performance. sit out the class, and take notes on what is done in class.

Go to Index 21 TheBalletSource.com Warming Up For Ballet Why Warmup? joints that is now available, it becomes obvious that appropriate warming up is There is a pattern of traditional ballet needed for all physical activities. exercises done at the barre. Most teachers these days are also giving some “pre barre The Purpose of Warming Up warmup exercises” to their students, as a result of recent studies in the area of 1. Warming up should increase sports and dance. circulation and heart rate gradually. Most students do not enter the ballet 2. A gentle use of the muscles, classroom sufficiently warmed up to contracting and extending, warms do the traditional ballet barre. They them up without stress. need some gentle, appropriate warmup 3. Warming up should wake up the movements first. ballet muscle groups, so they will Grand pliés are the only exercise that work correctly right from the physical therapists and orthopedics have beginning of class. specifically said needs to not be done 4. Warming up with concentration until the dancer is well warmed up. should start the body and mind Some ballet schools have attempted to working as a single unit, a team. solve the problem by putting a different barre exercise first, and saving the grand 5. Things to avoid when warming up: pliés until later. a. Force. b. Stress on joints and muscles. However, it is not just the pliés, but the c. Working to the limit. entire technique of ballet for which the student needs to be warmed up in 6. Use only the muscle effort needed order to safely perform at their best. to perform the movement—not Rearranging the barre exercises will not more. solve the problem. 7. Warming up can help prevent The content of the pre barre warmup injuries. varies. Most include flexing and Explain the purpose of warming up to extending the ankle joint, demi pliés your students, so the gentleness of the with the feet parallel, and some relaxing, exercises will make sense to them. non stressful bending of the torso. Some are having their students do some barre To Improve the Use of the Feet: and other movements while lying on the floor. 1. Make the dancer more aware of exactly what their feet are doing. Some are using other forms of movement such as Yoga or Pilates for the warmups. 2. Strengthen the muscles of the foot for the actions needed in ballet. With the knowledge of muscles and

Go to Index 22 TheBalletSource.com 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 23 TheBalletSource.com Sample Ballet Classes Classical Ballet 3—Class #1 Warm-Up 1-8 Port de bras bending sideways to the barre, then away, then quick tendu closing 1st. 1. Battement Tendu & Flexed Foot Facing the barre. 1-8 2 grand plié in 1st. 1-8 Port de bras bending forward & back. 1 Open to battement tendu devant position. 1-8 2 grand plié in 4th open (opposite 1st position— 2 Flex foot (flex ankle joint, pull foot up). heels remain on the floor in this position—this gives 3 Point foot. a challenge to keep correct placement). 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 Port de bras bending in a circular path—forward, to the barre, to the back, away from barre, then 7 Point foot. straighten. 8 Close 5th in demi plié.

Repeat en croix. 4. Battement Frappé Usual preparation. 2. Battement Tendu & Body Bending Facing the barre in 3rd for better 1-4 4 battement frappé devant. turnout. Use a moderately slow 4/4. 5 Rise in sous-sus. 1-6 2 battement tendu devant, 2 to 2nd, 2 derriere. 6 Lower onto front foot, back foot lifted 7-8 Demi plié, straighten, rise & lower. petit retiré derriere (coupé over). 1-8 Repeat with other foot. 7 Rise in sous-sus. Step back from barre 8 Lower onto back foot (coupé under) 1-8 With arms free to follow the action, bend body from Continue en croix. waist in circular motion, forward, right, back, left, straighten. 5. Full Assemblé Soutenu Feel the turnout on this one. Be 1-8 Repeat body bending in other direction (forward, L, sure the fondu is correctly aligned, back, R, straighten). supporting knee to foot.

Barre 1-3 Assemble soutenu en dehors (a rond de jambe from 3. Grand Pliés 5th en fondu, to 4th back, port de bras through 1st, to 2nd. 1-8 2 grand plié in 2nd. 4 Close 5th back, arm bras bas, and straighten knees.

Go to Index 24 TheBalletSource.com 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

&1-7 7 petit battement (back, front). 9. Tendu & Pirouette

8 Rise to demi pointe, arm 1st. 1-2 Battement tendu R devant, closing 5th demi plié. &9- 7 petit battement on demi pointe. 3-4 Battement tendu L derriere, close 5th demi plié. 15 5 Degagé R 2nd and stay. 16+ Balance with arms 1st. 6 Demi rond de jambe a terre to 4th derriere. 7. Developpé 7 Lower to demi plié 4th, arms 3rd. 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). Repeat all with double pirouettes.

5 Recover to 2nd arabesque. 10. Developpé With Stage Alignment 6 Coupé under, arm 1st. Begin 5th en face, R foot front.

7 Petit developpé devant a terre, fondu, arm 2nd, 1-4 Developpé devant. looking outward. 5-8 Developpé 2nd, close 5th back to face croisé. 8 Close front, detourné away from barre to other side. 9-12 Developpé to 2nd arabesque. 1-16 Repeat on other side. 13- Rise in 5th, arms to 5th. 15 8. Grand Battement with Developpé 16 Lower heels to face en face, L front. Strong 3/4 meter—mazurka. 1-16 Repeat to other side. 1 Grand battement devant & stay. 11. Petit Allegro &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. Do 4x or 8x to alternate sides. &1-3 1 grand battement devant in 3 cts (lift, lower to 12. Ballotté & Ballonné tendu, close) Use a medium, flowing waltz. Start

Go to Index 25 TheBalletSource.com by raising L foot derriere, demi retiré & 5-8 Repeat to other side. fondu on R. 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 Fondu and slight penché as arms open and reach &3 Coupé under, Ballonné R to 2nd to demi retiré back, like swan wings, look back to L. derriere. 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 26 TheBalletSource.com Classical Ballet 3—Class #2 Warm-Up 1 Demi plié down and stay. 1. Floor Exercise 2 Bend toes up off floor. Sitting on floor, legs straight in front, 3 Relax toes onto floor. parallel, feet pointed, hands on floor next to hips for stability. Helps teach 4 Keeping toes relaxed, straighten knees and turn out alignment of feet & legs. to 1st. 5-8 Repeat in 1st. 1 Flex feet. 9-16 Repeat all in parallel 2nd and in turned out 2nd. 2 Point feet. 3-4 Repeat. Barre 5-6 Turn legs out. 3. Pliés Prepare arm to 2nd. 7 Flex feet, keeping them aligned with knees. 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, 5-8 Port de bras bending forward, recover. grab ankles. 9-12 Grand plié in 1st. 3-4 Round the back & stretch head towards feet. 13- Tendu & lower in 2nd position, arm lifting to high 5-6 Lift head in line with spine, and straighten back, 16 diagonal, then returning to 2nd. pulling forward on a diagonal line. Repeat in 2nd, bending away from barre. 7 Bring head and back upright. Repeat in 5th, bending back & looking away from 8 Open legs to wide 2nd, sit tall, arms 2nd. barre. 1-2 Stretch over R leg, then sit tall. Repeat in open 4th, bending towards barre. (Grand 3-4 Stretch over L leg, then sit tall. plié in open 4th—keep heels on floor as in 2nd position.) 5-6 Stretch forward, then sit tall, arms 5th, 2nd. 7-8 Bring legs in and hug knees, head relaxed over 4. Battement Tendu Relevé With knees. Battement Glissé Prepare arm to 2nd. Repeat all.

2. Demi Pliés 1-4 2 battement tendu devant. To strengthen the use of demi plié in &5 Degage 2nd, lower heel. allegro. Facing the barre, feet parallel. &6 Lift heel, close front.

Go to Index 27 TheBalletSource.com &7-8 Degagé 2nd, lower heel, lift heel, close back. 6. Battement Frappé With Rond de Jambe en l’air. No 9-16 Reverse. preparation, start in 5th, bras bas. 1-16 Repeat all with battement glissés. 1-2 Degagé 2nd, place relaxed foot on ankle, in 5. Rond de Jambe a Terre to 5 Points alignment with knee. Prepare arm to 2nd, leave feet in 1st. 3-4 2 frappé to 2nd, arm 1st, 2nd, closing back, front. Stretch the leg and keep turnout consistent to all 5 points. & Close 5th demi plié, arm 2nd. 5 Brush to 45° a la 2nd, (supporting leg straightens), 1 Degagé devant to open 4th. arm 2nd. 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 Repeat in reverse, preparing to cou de pied derriere, 5 Degagé to 2nd. etc. 6 1/4 rond to back diagonal. 1-16 Repeat all. 7 1/4 rond to open 4th derriere. 7. Battement Fondu 8 Close 1st. 1-2 Fondu, lifting foot demi retiré devant, arm 1st. 1-8 Repeat en dedans. 3-4 Developpé devant to 45° or 90°, arm to 5th. 1-16 Repeat all 5-6 Both arms to 5th. 7 Rise. 8 Close with demi plié, bras bas. Repeat en croix

8. Developpé With Balance

1-2 Developpé devant, arm 5th. 3-4 Fondu, straighten. Note: Diagonal points are halfway between open 4th and 2nd. 5-6 Both arms to 5th and balance. 7 Rise. 8 Close with demi plié, bras bas. 9-16 Repeat

Go to Index 28 TheBalletSource.com 1-16 Repeat all to 2nd, arms 2nd, close facing barre on Center last count. 11. Battement Tendu With Pas de 1-16 Repeat derriere. Bourrée

1-8 Lunge R to 2nd, port de bras bending to R and 1-2 2 battement tendus over (R, L). recover, closing 5th back. 3-4 3 battement glissé over (R, L, R) ending in fondu 9-16 Repeat the lunge & port de bras to L. (brush L to 2nd). 9. Grand Battement 5-6 Pas de bourrée under with L foot, ending in fondu This is for control of turnout and for with R extended to 2nd. getting height even in all directions. 7-8 Soutenu turn to L (bring R foot over).

1-4 1 grand battement in 4 cts at 45° (point, lift, point, 12. Port de Bras With Flower close). Face croisé, L front, (DR); R cou de pied 5-8 2 grand battements in 2 cts at 90° (no higher). derriere, fully pointed, arms bras bas.

1-8 Repeat to 2nd. 1-2 Arms reverse port de bras to open 5th, looking up 1-8 Repeat derriere. to L. *1-2 Grand battement 2nd, & lunge away from barre, 3-4 Close 5th, lower to bras bas. arm open 5th. 1-2 Chassé en avant L to attitude ordinaire, a terre. 3 Return to the grand battement. 3 Fondu on L, lower to R knee, R hand down to pick 4 Close 5th derriere. up flower, L demi 2nd. 5-8 Repeat from* closing devant. 4 Transfer onto L leg, R degagé devant, R hand through 1st. 10. The Ballet Backbend Facing the barre. 5 Circle behind back, onto waist, holding flower L arm circles through bras bas, up to 4th, then 2nd, & 1-4 Stabilize posture and centering of weight, turn head demi 2nd. to side, then bend back, rolling down from head &6-7 Fondu onto R, bourrée turn R to en face bringing through spine to waist. flower to 1st in both hands, smell it. 5-8 Recover, rolling up from waist, head coming up last. 8 Extend R hand with flower to audience, curtsy with 1-4 Pull away from barre, slightly rounding lower back. L in back, L arm demi 2nd. 5-8 Recover, standing straight. 13. Adage 7-8 Rise, lower. Croisé, R foot front in fifth. Repeat all. 1-4 Developpé croisé derriere with fondu, arms demi bras. Take care to to maintain a centering of the weight throughout, and equal use 5-8 Straighten, arms 2nd, close on 8. of muscles on both sides of the back.

Go to Index 29 TheBalletSource.com 1-8 Repeat, to ecarté, closing back. 16. Temps Levé, Chassé Coupé Around a circle, start with R foot 1-8 Repeat to epaulé, but don’t close. pointed forward, arms 3rd or 4th 1-4 Pivot to other croisé (1/4 turn) opposition.

&5 Lower into lunge in 4th, arms 3rd, pirouette en 1& Step R, hop with L in attitude derriere (or devant). dehors. 2& Gallop (chassé coupé) forward on L. 6 Lower into the lunge 3-4 Repeat counts 1-2, starting L. 7 Straighten to 3rd arabesque. 5-8 Repeat counts 1-4. 8 Close to 5th, arms directly down. 9& Step R, temps levé 3rd arabesque. 14. Petit Allegro 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. Continue through the music.

5-7 3 petit jeté derriere, arms demi 2nd. 17. Reverènce 8 Pas de bourrée derriere to 5th, arms bras bas. Intro: Lift R to cou de pied derriere, arms demi 2nd. 1-16 Repeat to the other side. 1-4 4 balancés de côté, (R, L, R, L) arms 3rd opposition. 15. Allegro 5 Step R & bring L to degagé devant, arms demi 2nd. From 5th, R derriere. 6 Fondu & bow, arms 1st on the bow. 1 Glissade derriere. 7-8 Straighten slowly, arms opening to demi bras (open 2 Assemblé over (dessus). 1st), and bringing L foot to cou de pied derriere. 3 Glissade en avant. 1-8 Repeat to the other side. 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 TheBalletSource.com Classical Ballet 3—Class #3 Warm-Up 1-8 2 grand plié in 1st. 1. Port de Bras on the Floor 1-8 Port de bras forward & back. Lying on back on floor, arms down at 1-8 2 grand plié in 5th. sides. Feel the position of the upper 1-8 Port de bras, circular: forward, to barre, back, away back and shoulders on the floor. Keep from barre, recover. position of shoulders as much the same as possible throughout exercise. 1-8 2 grand plié 4th. 1-8 Lunge forward, port de bras forward back, 1-4 Arms lift to 1st. straighten to end 2nd arabesque at 45°. 5-8 Arms continue to 5th. 4. Battement Tendu With Epaulement 9-12 Arms continue to 2nd (note that arms will be off the Arm remains bras bas, shoulders & floor several inches). head tum slightly for epaulement: 13-16 Arms return to sides & relax. devant, towards front leg; a la second, shoulders square; derriere, 1-16 Repeat all. shoulders towards barre, throughout 2. Stretch Calves exercise. In parallel position, facing the barre. 1-4 Battement tendu devant, slowly, through the foot 1 Slide R foot back, “demi pointe” (showing demi pointe on the way). 2 Lower R heel, bending L knee—be sure foot and leg 5-16 Continue en croix. are perpendicular to the barre. 1-2 Battement tendu devant. 3-6 Slowly bring hips forward, gently stretching the 5-8 Continue en croix. muscles on the back of the lower leg. &1-2 2 battement glissé. 7 Straighten L knee, R foot to the demi pointe position. &3-8 Continue en croix. 8 Close R foot next to L foot. 5. Battement Frappé Repeat with L leg. Repeat all. 1-3 3 devant with R, arm 2nd. Barre &4 Rise 5th, demi detourné, lower on other side, L cou de pied devant. 3. Plié 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 31 TheBalletSource.com &4 Turn as above. 7. Rond de Jambe a Terre Prepare to 2nd. 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 1 rond with plié through 1st, slow, with simple port de bras, end 2nd, legs straight, arm 2nd. &4 Turn as above. 5-8 Repeat. 5-8 3 derriere L, arm in arabesque. 9-16 Repeat all en dedans. 8 Turn as above. 1-16 Repeat all. 1-3 1 each devant, 2nd, derriere, bras bas. 8. Grand Battement & Developpé &4 Turn away from barre this time. 1-4 1 grand battement devant in 4 cts. arm to 5th 5-7 1 each devant, 2nd, derriere, bras bas &5-6 1 grand battement developpé devant, arm to open &8 Turn away from barre to finish. 5th. 6. Battement Fondu 7-8 1 grand battement straight, arm opens to 2nd. Prepare to 2nd. 1-24 Continue en Croix.

1-2 Fondu, developpé devant a terre, arm bras bas to Center 1st. 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 1-4 Grand plié 2nd. to 2nd. &5-8 4 relevés: to 2nd arms 5th, to 2nd arms 2nd, to 5th 1-24 Continue en croix. 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.

Go to Index 32 TheBalletSource.com 10. Pirouettes 13. Changements Facing DL, croisé. 1-3 3 petit changements. 1 Relevé passé derriere arms 5th, turning to face DR. 4 Entrechant quatre. 2 Lower R to 4th derriere, demi plié, arms 3rd. 5-8 Repeat, other foot in front. 3-4 Pirouette en dehors, close 5th back. 9-16 Repeat all. 5-8 Repeat on other side. 14. Cool Down & Reverènce 1-8 Repeat with doubles. 3/4 tempo. 1-8 Repeat with triples (or attempt). 1-2 2 balancé de côté (R, L) 11. Petit Allegro 3-4 2 chaîné turns R. Prepare to degagé derriere. 5-6 Balancé en avant, en arriere. & Coupé dessous (under). 7 3 steps forward (R, L, R). 1 Chassé forward. 8 Kneel on L, bow, arms sweeping back. & Sauté 1st arabesque. 1-8 Repeat starting L. 2 Chassé passé en avant, ending with legs straight, degagé derriere position. 3-4 Repeat with other leg. 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 33 TheBalletSource.com Classical Ballet 3–Class #4 Warm-Up Barre 1. Demi Plié, With Pushup 2. Grand Plié Facing the barre, feet together, parallel. Facing the barre.

1-2 Rise to demi pointe with straight knees, lower 1-8 2 grand plié in 2nd. heels. 1-4 Semi plié (bend R knee) bring L arm 5th, bend body 3-4 Demi plié. sideways R. 5-8 Repeat. 5-8 Recover to 2nd, straightening knee. 1-4 Battement tendu R to 2nd, flex foot, point foot, 1-16 Repeat to other side. close. 1-32 Repeat all in 1st (legs stay straight on side bends 5-8 Repeat with L foot. in 1st).

1-2 Holding onto the barre, step back about a foot from 3. Battement Tendu it, bend from the hip joint, pull away, looking down at feet, stretching shoulder joints. 1-8 4 tendus devant, closing to demi plié on count 8. 3-4 Straighten body (it will be inclined slightly towards 1-8 Repeat a la 2nd. barre). 1-8 Repeat derriere. 5-8 Do a “pushup”: bending arms & bringing chest to the the barre, then pushing out away from it. 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 34 TheBalletSource.com 4. Battement Glissé 8. Developpé for Turnout Do this one for speed. With back to barre, arms stretched to 2nd, hands holding barre. &1-8 8 devant. 1-4 Developpé devant, concentrating on turning out &1-8 8 derriere with inside foot. from the hip joint. &1-8 8 to 2nd with outside foot, closing last one to 1st. 5-7 Carry leg to 2nd keeping hips in place fee1ing the &1-8 7 brushing through 1st, starting devant, closing 5th turn out (don’t overturn—this would involve wrong on count 8. muscle use). 5. Rond de Jambe a Terre 8 Close 5th back. For turnout of lifted leg. 1-8 Repeat with other leg.

Intro: Prepare to 2nd 1-16 Repeat all. 1-8 6 ronds en dehors, end tendu back. 9. Grand Battement 1-2 Brush through 1st to attitude devant en l’air. For turning out the lifted leg. 3-4 Demi rond to side attitude, feeling the turnout. 1-8 2 Grand battements devant, taking 4 cts each (point, 5-6 Open leg to a developpé 2nd. lift, point, close). 7-8 Lower to tendu 2nd, feeling the turnout 1-8 Repeat a la 2nd. 1-16 Repeat en dedans. 1-8 Repeat derriere. 1-8 Repeat a la 2nd. 6. Battement Frappé 10. Ballet Backbend 1-4 4 frappé devant. In 1st, facing barre, slow 3/4 meter. 5-6 Close 5th, rise sous-sus, coupé over. 1-3 Turn head to R, (to take pressure off neck muscles) 7-8 Sous-sus, coupé under. bend upper back—as if laying head and shoulders Repeat en croix. on a shelf. 4-6 Straighten, bring head front. 7. Battement Fondu Slow counts. Prepare foot to 2nd. 1-6 Repeat, turning head L.

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 35 TheBalletSource.com Center 13. Allegro With Pirouette

11. Adage 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. 14. Grand Allegro 1-2 Retiré. On the diagonal, from UL to DR, one or two dancers by turns. 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.

12. Petit Allegro 5-6 Repeat starting R. 1 Glissade derriere R. 7-8 Chassé passé L en avant & relevé on L to 2nd arabesque. 2 Jeté derriere onto R. Run to UR, ready to repeat on other side. 3 Pas de bourrée under, to demi plié 5th. 4 Changement battu. 15. Cool Down & Reverènce

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 l Glissade devant R. pointed. 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 36 TheBalletSource.com Classical Ballet 3—Class #5 Warm-Up 1-8 Port de bras bending forward & back. 1. Degagé, Lunge, Side Stretch 2nd side. Facing the barre, in 1st. 1-8 In 1st, 2 demi plié, 1 grand plié.

1-4 Degagé R to 2nd, lunge onto a R fondu, L port de 1-6 Demi plié, grand plié. bras bending over R leg. 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.

2. Demi Plié & Rise 4. Battement Tendu & Glissé Facing barre in 1st. 1-8 1 battement tendu, en croix. 1-4 Demi plié, straighten, rise, lower. 1-8 2 battement glissé each way. 5-8 Repeat. 1-16 Repeat all with port de bras: foot devant arm 1st, 1-8 Repeat in 2nd foot to 2nd arm 5th, foot derriere, arm arabesque, Face sideways to barre. foot to 2nd, arm 2nd. *1 Demi plié 5th. 5. Rond de Jambe a Terre Prepare to 2nd. 2 Relevé. 3 Demi Detourné to other side. 1-8 8 ronds en dehors, ending effacé (Facing out from barre, arms 5th, 2nd). 4 Lower heels. 1-6 Fondu arms 2nd, port de bras forward over leg, 5-8 Repeat on other side. recover, arms 2nd & barre. 1-8 Repeat from *. 7-8 Pivot to en face, demi rond to 2nd. Barre 1-8 8 rond de jambe en dedans, end facing croisé (towards barre) arm 2nd arabesque. 3. Grand Plié Sideways to barre, in 2nd. 1-4 Port de bras bending back with arm 5th, recover. 5-6 Lift leg, both arms 3rd arabesque. 1-8 2 demi plié, 1 grand plié. 7-8 Hold. 1-6 Demi plié, grand plié. 7-8 Rise & lower, change with tendu. 1-8 Repeat 1st 8 cts in 5th.

Go to Index 37 TheBalletSource.com 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). Center 1-8 Repeat 2nd, and derriere (with coupés under, over). 10. Pas de Basque With Port de Bras 1-8 Repeat derriere & 2nd. 3/4 Mazurka rhythm. Travels 1-8 Repeat 2nd & devant. downstage. Start croisé facing DL, R foot front, R arm 4th. 7. Rond de Jambe en l’air 1-3 Pas de basque R to face DR ending croisé, L arm up 1-4 2 battement retiré changé. in 4th. 5-8 1 rond en l’air en dehors in 4 cts: lift to 2nd at 45°, 4-9 Repeat twice, alternate legs and corners. retiré, extend, close. 10- Circle arms (towards audience) & chassé forward to 1-8 Repeat en dedans. 12 degagé derriere, close 5th. 1-16 Repeat all. 1-12 Repeat to other side.

8. Developpé 1-24 Repeat all. 11. Adage & Pirouette 1-4 Developpé devant with fondu. (Using the 3 Derriere Directions of the 5-6 Straighten. body on stage) Croise, R foot front in 7-8 Close 5th. fifth, facing DL. 1-8 Repeat to 2nd. 1-2 Developpé croisé derriere L with fondu, arms demi 1-4 Face barre, developpé derriere with fondu. bras. 5-8 Straighten and demi rond de jambe to 2nd. 3-4 Straighten, L arm 4th, close on 8. 9-12 Demi rond de jambe to 4th derriere with fondu 5-8 Repeat, to ecarté derriere with L, arms 4th & lower. (same leg). 1-2 Developpé epaulé R, arms 2nd arabesque. 13- Straighten, close 5th. 3 Straighten, don’t close. 16 4 Pivot to en face (1/8 turn R). 9. Grand Battement 5-7 Lower into fondu 4th, L arm 3rd, double pirouette L en dedans. &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 38 TheBalletSource.com 12. Petit Allegro 7-8 Posé into 1st arabesque on R, facing DR. 1 Sissonne ordinaire devant R, arms 3rd opposing, 9-16 Repeat to other side. epaulment to L foot. 15. Reverènce 2 Petit assemble devant, bras bas. 3 Sissonne ordinaire deniere. 1-4 4 walks forward, arms 1st to 2nd. 4 Petit assemblé derriere. 5-6 Step R, tuck L in back, curtsey bending forward, 5-8 3 changements, entrechant quatre. arms reverse port de bras to reach back. 1-8 Repeat to other side. 7-8 Straighten & open arms 1st to 4th L up, then to 2nd, 1-16 Repeat all in reverse. palms up. 9-16 Other side. 13. Sissonne Effacé Face DR, R foot in front.

1-2 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.

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 39 TheBalletSource.com Classical Ballet 3—Class #6 Warm-Up Barre 1. Battement Tendu For Turnout 3. Pliés Face barre in 5th. 1-2 Rise to demi pointe, lower in 1st. 1 Degagé devant 3-4 Demi plié in 1st. 2 Turn leg in. 5-8 Grand plié in 1st. 3 Turn leg out. 1-4 Grand plié in 1st. 4 Close 5th. 5 Relevé. 5-8 Repeat to 2nd. 6 Arms 1st. 1-4 Repeat derriere. 7 Lower heels. 5-8 Repeat to 2nd, closing back. 8 Degagé & lower in 4th. 1-16 Repeat with other leg. 1-16 Repeat 4th, arms 4th on balance. 2. Rond de Jambe a Terre Quickly turn to the other side Facing the barre in 1st. 1-16 Repeat 2nd, arms 2nd on balance 1-4 1 rond de jambe en dehors, R leg. 1-16 Repeat in 5th, arms arabesque on the balance. 5-8 1 rond de jambe en dedans, R leg. 4. Battement Tendu & Glissé 1-4 1 rond de jambe en dedans, L leg. &1 Battement tendu, close in demi plié. 5-8 1 rond de jambe en dehors, L leg. & Battement glissé, close straight. 1-4 Lunge to 2nd on R, port de bras bending over R, & recover. 2 Battement glissé, closing demi plié. 5-8 Repeat lunge & port de bras to L. 3-8 Continue en croix.

1-2 Demi plié in 1st. 5. Rond de Jambe a Terre 3 Lift L foot cou de pied derriere & fondu on R. Prepare to 2nd.

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 40 TheBalletSource.com 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 1-4 Developpé devant R, close. Facing DL, R front 5th. 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 Glissade under R, R arm 4th (opposite closing foot, 3-4 Rise to demi pointe. looking L). 5 Tombé to 4th back on R, leaving L, tendu devant, &4 2 battement glissé over R with 1/8 turn to en face, fondu. under R, with 1/8 turn R, to face DR ending in demi plié, croisé, arms still in 4th. 6-7 Port de bras forward over L leg, straighten knee, lift arms 5th. 11. Pirouette & Demi plié in 4th, arms 2nd. 1 Degagé 2nd with R. 8 Relevé in arabesque on L (hands catch barre). 2 Rond to 4th back, fondu on L leg. 8. Grand Battement & En Cloche 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 Repeat on other side. 2nd, close 5th back. &1-8 Repeat in reverse.

Go to Index 41 TheBalletSource.com 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, hold 2nd on way up, close 5th. 1-2 Full port de bras through 5th to demi 2nd. 3-4 2 balancé de côté (R, L) &1 Echappé sauté ouverte to 2nd, arms 1st. 5 Posé effacé DR 1st arabesque 45°. &2 Echappé sauté fermé to 5th, arms demi bras. & Fondu, L foot demi retiré derriere, arms 3rd. &a3 Pas de bourrée under L, to demi plie 5th, arms 2nd. 6 Bourrée couru full turn R, arms 4th. 4 Changement, arms bras bas. 8 Step back on R & bow, sweeping arms down, out to 5-8 Repeat to other side. demi 2nd. 13. Diagonal Coupé Chassé 1-8 Repeat to other side. 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

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 42 TheBalletSource.com 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. 1-4 Arm 1st, 2nd. 13-16 Battement tendu to 2nd, close 5th. 5-8 Lower to demi 2nd, then to bras bas. 1-8 Degagé devant, turn leg in, turn leg out, close 5th 1-8 Repeat arms with battement tendus, 1 each way. (2x). 2. Demi Plié and Rise 9-12 Grand plié in 5th Facing barre, in 1st position. 13-16 Degagé & lower to open 4th. 1-2 Demi plié, straighten. 1-4 Degagé devant, brush through 1st to derriere, to devant, lower heel in open 4th. 3-4 Rise to demi pointe, lower to 1st. 9-12 Grand plié in open 4th (heels remain on floor like 5-6 Demi plié, straighten legs. 2nd pos.) 7-8 Tendu R to 2nd, lower heel in 2nd. 13-16 Degagé, close 1st or 5th. 1-2 Demi plié, straighten legs 4. Rond de Jambe a Terre 3-4 Rise to demi pointe, lower in 2nd. For making positions of the working 5-6 Demi plié, straighten legs. leg more exact. Using the open fourth in rond de jambe a terre allows the 7-8 Degage R in 2nd, close to 5th. turnout muscles to work at their best. 1-16 Repeat in 5th and other 5th. 1&2 Degagé 2nd, demi rond de jambe a terre en dehors Barre to open 4th derriere, close 1st. 3. Grand Pliés With Foot Exercises 3&4 Degagé 2nd, demi rond de jambe a terre en dedans Begin in 2nd, prepare arm to 2nd. to open 4th devant, close 1st. 5&6 Degagé 2nd, full rond de jambe a terre en dehors, 1-8 Degagé R in 2nd, flex foot, point foot, lower in 2nd close 1st. (2x). 7&8 Degagé 2nd, full rond de jambe a terre en dedans, 9-12 Grand plié in 2nd. close 1st. 13-16 Degage R in 2nd, close 1st. 1-8 Repeat all with rond de jambes at glissé height 1 Lift R heel to demi pointe. (about 3” off the floor). 2 Lift to full pointe (no weight). 1-16 Repeat entire exercise. 3 Lower ball of foot to floor

Go to Index 43 TheBalletSource.com 5. Battement Frappé Center

1-2 Fondu, placing front foot sur le cou de pied. 10. Grand Plié & Battement Tendu

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 Battement tendu croisé devant, arms 4th opposition 5-8 Close to sous-sus, demi detourné to other side, (L up). lower in 5th. &2 Battement tendu croisé derriere. Repeat on other side. &3-4 2 battement tendus ecarté. 6. Developpé 5-6 Demi assemblé soutenu to 2nd, arms 1st, 2nd. 7-8 2 rond de jambe a terre en dehors en face, close 1-2 Developpé devant and stay. 5th back to croisé, facing DR. 3-4 Racourcci to retiré. 1-16 Repeat to other side. 5-6 Developpé passé derriere. 11. Pirouette 7-8 Racourcci to retiré. Prepare arms to 2nd. 1-2 Pivot to face barre. 1-4 2 relevé passé derriere, arms 2nd. 3-4 Developpé derriere. 5-6 Relevé passé to 4th back, arms lift to 5th, open & 5-6 Pivot to other side, arm in arabesque. sweep to 3rd. 7-8 Rise, balance in 3rd arabesque. 7-8 Pirouette en dehors. 7. Retiré & Grand Battement 9-16 Repeat on other side. Prepare arm to 5th. 1-16 Repeat with doubles, arms 5th during the turn.

&1-2 2 battement retiré changé (can also be called 12. Piqué Turns passé, because it passes through the retiré On the diagonal. Be careful to step, position) piqué, etc. in the right places in the &3-4 2 grand devant. music. &5-6 2 retiré changé, arm to open 5th, 2nd. 1-2 2 piqué turns en dedans. &7-8 2 grand battements to 2nd. & Take an extra step still in fondu. &9-10 2 retiré change, arm to 1st & arabesque 3-4 2 piqué turns en dehors. &11-12 2 grand battement derriere. & Take an extra step still in fondu. &13-16 4 grand battement to 2nd, arm 2nd. 5-8 Repeat all. Continue on the diagonal. Don’t break the rhythm.

Go to Index 44 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 45 TheBalletSource.com Classical Ballet 3­—Class #8 Warm-Up 5-8 Demi plié, straight, degagé to 2nd, lower in 2nd. 1. Head 9-12 Demi plié, rise & lower. For positions, and for moving 13-16 Demi plié, degagé close 5th. independently of the body. Head 1-16 Repeat from * in R 5th and L 5th. movements should not involve the shoulders or back. Barre 1 Head drops forward, gently, to lowered position. 3. Grand Plié 2 Head straight, stretching neck gently upward. Arm begins bras bas: 2nd, 1st, 5th, 4th. 3 Head relaxes back, gently, to raised position. 1-4 Grand plié, with port de bras: 1st, 5th, 2nd, bras 4 Head straight, gently lengthen neck. bas. 5 Incline head to R, keeping neck gently lengthened. 5-8 Grand plié with reverse port de bras: 2nd, 5th, 1st, bras bas. 6 Bring head straight. 1-7 Circular port de bras, bending forward, to barre, 7 Incline head to L. back, away, straight. 8 Bring head straight. 8 Degagé to next position. 9-10 Head 1/4 turn R, head front. 4. Battement Tendu & Glissé 11-12 Head 1/4 turn L, head front. 13 Head 1/2 turn R, look over shoulder. 1-2 Battement tendu devant. 14 Bring head front. &3-4 2 battement glissé devant. 15 Head 1/2 turn L, look over shoulder. Continue en croix. 16 Bring head front. 5. Rond de Jambe a Terre Begin in 5th. 2. Battement Tendu, Demi Plié Facing the barre, be aware of posture 1 Degagé devant R, arm 1st. and weight placement. 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 4 rond de jambe a terre en dehors, ending in *1-4 Demi plié, straighten, rise, lower. degage 2nd, feel the turnout, close 5th back. 9-16 Repeat en dedans.

Go to Index 46 TheBalletSource.com 6. Petit Battements 9. Grand Battements Prepare to sur le cou de pied devant. 1-4 3 devant, 1 to 2nd. &1 1 petit battement (back, front). 5-8 3 derriere, 1 to 2nd. &2 Hold. 1-4 4 to 2nd, ending front. &3-4 2 petit battement. 5-8 4 en croix (1 each way). &a5 Triple beat (back, front, back). 10. Preparation for Fouetté Rond de &a6 Triple beat (front, back, front). Jambe en Tournant (Fouetté Turns) &7 Petit developpé 2nd, with fondu. 1 Fondu, & lift leg straight to 4th devant 45°, arm 1st. &8 Straighten & bring foot cou de pied. 2 Relevé, leg to 2nd, arm 2nd, hold to check 1-6 Repeat first six counts in reverse. placement & balance. 7-8 Rise & balance in pirouette position. 3 Whip leg to retiré devant, arm 1st. Can be repeated on demi pointe. 4 Hold, check balance. 7. Quick Rond de Jambe en l’air 5-8 Repeat.

&a 1 Rond de jambe en dehors enl’air (lift 45°, retiré, 11. Battu Practice at the Barre extend 45°). Facing the barre.

2 Close 5th back. l-4 2 echappé sauté battu. &a3- Rond de jambe en l’air en dedans, close 5th front. 5-7 3 entrechant quatre. 4 8 Changement. &a5- 3 double ronds en dehors. 7 Repeat with other foot starting front. 8 Close 5th back. Center 1-8 Repeat all in reverse. 12. Port de Bras 8.Racourcci Facing croise DL.

1-4 Lift leg to 90° devant, arm 1st. 1-4 Chassé en avant on R, straighten to degagé derriere, arms 5th. 5-6 Fold to retiré (racourcci), arm 2nd. 5-6 Epaulement practice: turn upper body & incline R. 7-8 Close to 5th, bras bas. 7-8 Turn upper body & incline L. Continue en croix 1-2 Epaulement to R, lift L leg to attitude derriere.

Go to Index 47 TheBalletSource.com 3-4 Extend to 2nd arabesque. 15. Chassé Coupé On the Diagonal Chassé coupés, arms 3rd, working to 5-6 Arms to 1st arabesque, fondu. show soubresaut in the air. 7-8 Pas de bourrée under (any style) to face croise DR. 1 Chasse en avant. 1-16 Repeat to other side. & Coupé sauté under 13. Cabriole & Pirouette Continue on the diagonal. Effacé, 5th, facing DR. This exercise is good for boys work, also. 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 6 Curtsey or bow. through 1st, R, L, R) 7-8 Step L to 2nd, curtsey. &5 Cabriole derriere, L on top. 1-8 Repeat, using a bow instead of the 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) 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 48 TheBalletSource.com Classical Ballet 3—Class #9 Warm-Up 4. Battement Tendu en Croix Optional arms: 1st with tendu devant, 1. For Turnout 2nd with tendu 2nd, arabesque with Begin in 1st, facing barre. 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. 5. Battement Glissé For rhythm. 2. Demi Plié & Rise Begin in 2nd, facing barre. 2 at regular speed: 1-4 Rise, lower. &1 Out in. 5-8 Demi plié. &2 Out in. 1-4 Demi plié. 2 slow with holds: 5-8 Tendu R to 2nd, close 1st. 3-4 Out, in. Repeat in 1st, 5th, 4th. 5-6 Out, in. Repeat all with L foot. Three very fast glissés: 7&8 Out in, out in, out in. Barre Continue en croix. 3. Grand Plié Sideways to the barre. Use the same 6. Battement Frappé setting as the demi pliés above, at a Arm prepares with the foot counts 1, 2. slower tempo. Begin in 2nd. 1-2 Prepare: degagé 2nd, place foot sur le cou de pied, flexed in line with knee (not wrapped—see drawing 1-4 Rise, lower. on page 7) 5-8 Grand plié. 3-6 4 frappé forward, hold last one out. 1-4 Grand plié. 7 Fondu, keeping placement of hips. 5-8 Tendu R 2nd, close 1st, wait. 8 Straighten & close 5th. Repeat in 1st, 5th, 4th Continue en croix. Repeat all on other side.

Go to Index 49 TheBalletSource.com 7. Rond de Jambe a Terre & En l’air &1-4 4 derriere, arm 2nd arabesque. Music: 6/4. (Assemblé soutenu = fondu when extending the leg, straighten &5-8 4 to 2nd, arm 2nd. when closing). 11. Back Exercise 1-3 Demi assemblé soutenu en dehors with fondu: Feet together & parallel, face barre. fondu to 4th front, to 2nd, straighten as closing 5th 1-2 Pull hips back, arms are straight. back. 3-4 Bend knees, heels off floor. 4-6 Repeat en dedans, close 5th front. 5-6 Bring hips forward, rise, with back arched, 1-3 Grand assemblé soutenu en dehors, close 5th back. straighten legs to demi pointe. 4-6 Repeat en dedans, close 5th front. 7 Straighten posture. 1-12 Repeat all with straight legs. 8 Lower heels. 1-12 Repeat all at 45°, no fondu. Center 8. Retiré A preparation for clean pirouettes. 12. Port de Bras Emphasize the path of the foot to and Begin croisé. from the retiré position. 1-3 Chassé en avant to degagé derriere, arms 2nd 1-4 Raise front foot slowly to retiré. arabesque. 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 & 9. Developpé grands). 1-2 Developpé devant. 9-12 2 battement tendu devant. 3-4 Lower and close, arm stays 2nd. 13-16 2 grand battement devant, arms to bras bas on 5-6 Rise in 5th, (or relevé) and hold. 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. 10. Grand Battement 8 Stay 2nd for the tendus & grands. &1-4 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.

Go to Index 50 TheBalletSource.com 13. Allegro Mazurka 16. Changements for Height Mazurka is a slow, strong 3/4. Can also be done to a medium slow 2/4, by 1-16 16 petit changements. holding the 4th beat. 1-16 16 grand changements (music needs to be slower)

1 Sissonne ordinaire derriere on R leg. R arm 3rd, 17. Reverènce incline head R. Student’s choice, or, 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 Fondu & bow over L leg, arms reverse port de bras to 2nd & straighten. 4-6 Repeat with other foot. 5-8 Repeat on other side. 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 51 TheBalletSource.com Classical Ballet 3—Class #10 Warm-Up 1-4 Grand plié in 4th open (heels stay on floor in 4th open, like 2nd). 1. Demi Plié & Rise Start in parallel position facing the 5-8 Side stretch to barre. 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 1-6 3 tendus. Facing the barre. 7-8 Demi plié. 1-4 Battement tendu 2nd, flex foot, point, close. En croix, twice. 5-8 Repeat. 5. Rond de Jambe a Terre 1-8 Repeat with other leg. Prepare to 2nd.

Barre 1-2 2 rond de jambe a terre en dehors. 3. Grand Pliés 3-4 1 grand rond de jambe a terre (start with fondu, Face barre for 2nd, with side stretch. straightening in degagé derriere). 5 Brush through 1st to attitude devant, 90°. 1-4 Grand plié 2nd. 6 Demi rond de jambe to attitude in 2nd (foot points 5-8 Port de bras with side stretch R. directly at floor in attitude 2nd). 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 52 TheBalletSource.com 6. Battement Glissé & Petit Retiré Center Accent is on the closings to 5th. This one is for speed. 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 3 balancés de côté LRL, then return to the 2nd arabesque fondu. &5-8 4 petit retiré changé. 5-6 Run to back corner (L, R, L) and tour jeté turning L. 7. Rond de Jambe en l’air 7-8 Step back to L, soutenu turn, plié & step back, arms demi bras. 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 53 TheBalletSource.com 11. Glissé & Pirouette En Dedans 14. A Zig Zag Enchainement Start with R foot, change all of the From upstage facing DL, traveling DR, glissés to 2nd. this one zig zags down to center front.

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. Continue through the music.

1-4 4 battement glissé 2nd. 15. Allegro 5 1 battement glissé piqué 2nd. & Sissonne ordinaire devant R, arms 1st. 6 Close front in 4th, fondu. 1 Chassé to 2nd, weight on R, arms 2nd. 7 Pirouette en dedans (to R), bringing back foot in front. 2 Pas de bourrée under, arms bras bas. 8 Close 5th front. 3 Assemblé over arms demi 2nd. 1-16 Repeat to other side with doubles. 4 Entrechant quatre. 5-8 Repeat on other side. 12. Allegro Warmup 16. Cool Down & Reverènce 1-8 8 sauté 1st, arms lifting to 5th. Music—3/4 meter. Perform diagonally, 1-8 8 sauté 2nd, arms lowering to 2nd. two by two. 1-16 16 changement, arms lifting to open 5th, lowering to 1-4 From UL, 2 slow chaîné turns. bras bas. 5-6 Facing DR, 2 balancés, side to side. 13. Sissonne en Avant 7 Posé in 1st arabesque effacé. On the diagonal, emphasize travelling on the sissonne. Repeat on alternate legs, 8 Run to DR corner & reverènce. down the diagonal. 1-8 As next pair of dancers performs, run upstage to UR, ready to repeat on the other diagonal. &1 Sissonne ouvert en avant, arms through 5th to 1st arabesque. After second diagonal, run off stage. &a2 Pas de bourrée under, arms 2nd, bras bas.

Go to Index 54 TheBalletSource.com Classical Ballet 3—Class #11 To Improve Their Sense of Balance Warm-Up 3. Battement Tendu

1. Side Stretch & Demi Plié 1-4 Degagé 2nd, flex foot, point, close. Face barre in 2nd position. 5-8 Two regular battement tendu. 1-4 Port de bras, bending R knee and bending body 1-8 Repeat devant. sideways to R, L arm in 5th. 1-8 Repeat derriere with inside foot 5-8 Recover, coming up slowly from the fondu, L arm 1-4 Degage to 2nd, lift to glissé height, (2-3”) both arms returns to barre. to 1st. 1-8 Repeat to the other side. 5-6 Rise slowly 1/4 or 1/2 pointe, as can balance. 1-4* Two demi plié in 2nd. 7-8 Hold, lower & close. 5-6 Rise & lower in 2nd. 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 4. Battement Glissé bras. From 3rd, (turnout muscles can work stronger in 3rd than in 5th). 5-8 Grand plié 1st, reverse port de bras. 1-4 Rise, lower, twice, feel as if growing taller as the &1 Glissé devant. heels lower. &2 Glissé 2nd, closing back. 5-8 Slow transfer to 2nd position, feel the balance and &3 Glissé derriere. centering over one foot, then over two feet. &4 Petit retiré, closing front. 1-16 Repeat in 2nd, moving to 5th. &5-8 Repeat, closing retiré to demi plié. 1-16 Repeat in 5th, moving to open 4th. 1-2 Snatch foot to pirouette position devant, don’t 1-16 Repeat in open 4th, closing 1st. relevé, just quickly straighten knee as if to relevé, feel your balance.

Go to Index 55 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 1-16 Repeat in reverse. same, 5 counts. 8. Grand Battement & Developpé 6 Close 3rd back in demi plié. 3/4 polonaise rhythm. Counts = 7-8 Turn, ready to repeat on second side. measures.

5. Rond de Jambe a Terre 1-4 2 grand battement devant. Prepare to 2nd. 5-8 1 developpé devant & close. 1-4 4 rond de jambe a terre en dehors, ending degagé Continue en croix. devant. 9. “Free Finish” to Barre 5 Lift leg 45°, sensing the balance. Let each dancer finish warming up as 6 Fold leg to attitude, still balanced. feels best for their muscles. 7 Fold leg to retiré (side of knee). Center 8 Extend to degagé derriere. 10. Port de Bras With Balance 1-8 Repeat all en dedans. To challenge their sense of balance: Rise in 5th, arms to 2nd. Stay, doing 6. Battement Frappé port de bras forward and back. They With flexed foot at the ankle, arm 2nd. won’t be able to bend very far the first time they try this! 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 Retiré passé derriere and close to demi plié, bras bas. 7-8 Demi detourné to other side. 1-8 Repeat with other foot in front. 7. Fondu & Demi Grand Rond en l’air 11. Pas de Basque Glissé 1-4 Fondu, extend devant 45°, arm 5th. For expression and dance quality, arms 5-8 Fondu, extend 2nd 45°, arm 2nd. should compliment the movements. Use a slow to medium 3/4 meter: Counts are musical counts.

Go to Index 56 TheBalletSource.com 1-9 3 pas de Basque glissé (R, L, R), arms 4th ordinaire. immediately brush back foot to 2nd to prepare for the next pas de bourrée. 10-12 Step L, soutenu turn L, end L foot front. 1-12 Repeat to other side. &a1 Pas de bourrée under with L foot. &a2 Pas de bourrée under with R foot. 12. Adage Mention that a good sense of balance &a3 Pas de bourrée under with L foot end demi plié 5th. helps in performing allegro, as well as &4 Two petit changements. adage movements and turns! &a5-8 Repeat, starting with R foot. 1-2 Developpé devant, arms 5th. 15. Echappé Sauté En Croix 3-4 Fold to attitude devant arms 4th opposition. 1-2 Echappé R to 4th, arms 1st. 5-6 Rise, lower. 3-4 Echappé change to 2nd, arms 2nd. 7 Close & rise in 5th (sous sus). 5-6 Echappé L to 4th, arms 2nd arabesque. 8 Turn & lower to other corner. 7-8 Relevé 5th (sous sus), arms 5th. 13. Pirouette En Dehors, For Balance 1-8 Repeat to other side. Begin facing DL. When 1/4 turns holding the position before closing are 16. Jeté, Assemblé easy, try 1/2 turns, then whole turns, For height, the 3rd jeté is the highest and finally, doubles. one.

1 Demi plié, R foot front, R arm 3rd. 1-3 Three jeté ordinaire (R, L, R) gradually increasing 2 Relevé devant & 1/4 turn R to face DR, hold the the height. pirouette position (don’t close). 4 Petit assemblé derriere (closes straight down, no 3 Fondu on L, hold the position. brush). 4 Lower R foot to 5th back, stretch knees, arms bras 5-8 Repeat to other side. bas. 17. Cool Down & Reverènce 5-8 Repeat to L. 1-4 Four balancés de cote (R, L, R, L). 14. Pas de Bourrée Under (Dessous) For consistent turnout. Prepare: brush 5-6 Step R soutenu turn arms 5th. to 2nd fondu. Finish the first two pas 7-8 Fondu into a bow over extended R leg, sweeping de bourrées in demi plié 5th devant and arms down & back.

Go to Index 57 TheBalletSource.com Classical Ballet 3—Class #12 For An Advanced Class Warm-Up 1-8 Repeat in 1st. 1. Warm-Up on the Floor 1-8 Repeat in 5th. Sitting on the floor, legs straight in 1-8 Repeat in 4th croisé. front. 4. Battement Tendu 1-4 Flex and extend feet 2x. 1-2 1 battement tendu devant, close 5th demi plié. 5-8 Lift (about 6” off floor) and lower each leg once. &3-4 2 battement tendu devant closing with straight legs 1-8 Repeat. Continue en croix. 1-8 Repeat. 5. Battement Glissé 1-8 Slowly lay back and relax. 1-8 Two full port de bras, holding shoulders still against 1-4 2 battement glissés closing with demi plié. the floor. 5-8 4 battement glissés, closing with straight legs. 1-8 Pull knees up to chest, extend R leg up then lower Continue en croix. to floor. 1-8 Repeat with L leg. 6. Rond de Jambe a Terre Prepare to derriere. Counts are in 1st. 2. Battement Tendu & Demi Plié Variation: Do both sides without port Begin in 1st, facing barre. de bras, then both sides with it.

1-4 Slow battement tendu R. 1-8 8 rond de jambe a terre en dehors, ending degagé devant. 5-8 Slow demi plié. 9-16 8 en dedans, ending degagé derriere. 1-8 Repeat to L side. Repeat all with port de bras, one position for each 1-16 Repeat both sides. rond de jambe: Barre 1 Bras bas. 3. Grand Pliés 2 1st. Begin in 2nd. 3 5th.

1-2 Demi plié. 4 2nd. 3-6 Grand plié. 5 5th. 7-8 Degagé, close 1st. 6 1st.

Go to Index 58 TheBalletSource.com 7 Bras bas. 1-12 Degagé to 2nd with fondu, arm 2nd, bend towards barre, straighten leg on the recovery, release hand 8 2nd, foot stops devant. and bend away from barre, recover, close 5th back, 9-16 Repeat en dedans with arms bras bas. 7. Battement Frappé 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 5-8 4 grand battement 2nd, arm 5th. supporting leg. 9-12 4 grand battement derriere, arm 5th. Continue en croix. Emphasize correct placement on the fondu. 13- 4 grand battement en rond, arm 2nd when closing 16 front, arm 2nd arabesque when closing back. 9. For Improving Ballotté Prepare: rise insous sus, arm 2nd. 12. Batterie Practice Begin in 5th, facing the barre. 1-2 Lift front foot to retiré. 1 Echappé ouvert to 2nd. 3-4 Open leg to 45° devant with fondu. 2 Echappé fermé to 5th, beating front back. 5-6 Lower to degagé. 3-4 Repeat with other leg. 7-8 Draw leg in and rise to sous sus. 5 Entrechant cinq. 1-8 Repeat derriere. 6 Coupé under, assemble battu under. 10. Port de Corps 7 Changement battu. (For advanced students, this can also be used as an ending for rond de jambe a 8 Entrechant quatre. terre in class #9). Music: 6/4, not too 1-8 Repeat to other side. fast. Repeat the exercise later, in the center. 1-6 Degagé to 4th devant with fondu, port de bras bending forward, straighten supporting leg on the Center recovery, arm 5th. 11. Pirouette En Dehors 1-6 Bend back, recover with arm 2nd, close 5th bras bas. 1-2 Relevé devant, demi plié, arms 3rd. 3-4 Pirouette en dehors, close devant. 15. Reverènce Travel downstage, starting with R foot. 5-8 Repeat same side, with double. 1-4 Relevé passé derriere to 4th, double pirouette en 1-4 Walk forward, arms lifting to 1st, & opening to demi dehors, close 5th devant. bras 5-8 Degagé 2nd, plié 4th derriere, triple pirouette, 5 Petit developpé passé en avant, arms open to 2nd. close back. 6-7 Fondu & bow over front leg, arms stretched over 1-16 Repeat on other side. leg. 8 Straighten, arms to demi bras. 12. Glissade, Jeté On the diagonal. 1-8 Repeat starting L.

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 60 TheBalletSource.com Classical Ballet 3—Class #13 With Pointe & Boys Work Warm-Up 5. Rond de Jambe a Terre Usual preparation to 2nd. 1. Demi Plié & Rise Facing barre in 5th. 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. 6. Battement Fondu & Frappé Music—moderate 3/4. 2. Battement Tendu 1-2 Releasing front foot directly up from 5th, battement 1-2 Battement tendu devant, arm 5th. fondu devant 45°. 3-4 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. Continue en croix.

3. Battement Glissé 7. Adage Facing the barre in 1st. Music—slow 3/4.

&1-8 8 glissé R to 2nd: 7 closing 1st, last one closing to 1-2-3 From 5th back, developpé passé en avant. 5th front. 4-5-6 Demi grand rond de jambe to 2nd. &1-8 8 petit retiré changé R in 5th. 1-2-3 Developpé passé en arriere. 1-16 Repeat all with L. 4-5-6 Demi grand rond de jambe to 2nd. Barre 1-2-3 Pivot to face barre in arabesque.

4. Grand Pliés 4-5-6 Demi grand rond de jambe to 2nd. Perform in 2, 1, 4, 5. 1-2·3 Pivot to face other side, (inside leg will be in 1-4 Demi plié, rise & lower, arm 1st. arabesque). 5-12 2 grand pliés, reverse port de bras. 4-5 Balance, 2nd or 3rd arabesque 13- Port de bras 1st, 2nd, while changing to next 6 Close, ready to do other leg. 16 position.

Go to Index 61 TheBalletSource.com 8. Rond de Jambe en l’air 12. Battement Fondu in the Center A terre, or 45°, arms 2nd. Prepare R 1-2 Developpé to 2nd, 45°. foot and arms to 2nd. 3-4 1 rond de jambe en dehors. 1 Fondu, R foot to demi retiré devant. 5-6-7 3 quick rond de jambe en dehors. 2 Petit developpé devant with R. 8 Close derriere. 3-4 Repeat to 2nd. 1-8 Repeat en dedans. 5-6 Repeat derriere. 9. Grand Battements 7 Close 5th back. 4 each way from 5th 8 Degagé L to 2nd.

10. Petit Battements 9-16 Repeat with L. Facing barre, prepare foot to 2nd, then 13. Adage cou de pied. 1-4 Developpé devant, croisé, arms 4th opposition. 1-4 4 petit battements. 5-8 Demi grand rond to 2nd, arms 4th ordinaire. 5-7 Petit battement serré. 1-4 Developpé passé to 1st arabesque, arms through 1st 8 Close 5th front in demi plié. to arabesque. 1&2 Pas de bourrée under with R. 5-7 Change arms to 2nd arabesque. 3&4 Pas de bourree over with L 8 Close, with 1/4 turn to other croisé. 5&6 Pas de bourrée under en tournant with R, end 5th 1-16 Repeat with other leg. demi plié. 7-8 Prepare L leg to sur le cou de pied. 14. Girls put on pointe shoes 14. Boys, Sauté & Demi Pointe 1-16 Repeat all with L. 1 Sauté developpé 2nd. Center &2 Coupé under, assemble under. 11. Grand Plié For Balance 3-6 4 changement. 1-4 Grand plié in 2nd. 7-8 2 relevé passé derriere. 5-6 Rise, lower. 15. Boys, Assemblés 7-8 Degagé & close 1st. 1 Assemblé over R, arms 2nd. 1-8 Repeat in 1st, changing to 5th. 2 Assemblé en avant R, R arm 3rd. 1-8 Repeat in 5th, changing to the other 5th. 3 Assemblé en arriere L, arms 1st arabesque. 1-8 Repeat in the other 5th. 4 Assemblé derriere L, arms 2nd. 5-8 Repeat with other leg.

Go to Index 62 TheBalletSource.com 15. Boys bow and are dismissed. Pointe Center Pointe Barre 19. Sous Sus Practice

16. Slow Rises 1-3 3 relevés to sous sus. To strengthen feet for pointe work. 4 1 relevé to sous sus changing feet. 1-4 Rise & lower in 1st through the metatarsal joint, 5-8 Repeat. (demi pointe) 20. Echappé Relevé in the Center 5-12 Repeat twice 13- Degagé & lower in 2nd. 1-8 8 echappé relevés to 2nd. 16 1-8 8 echappé relevé en croix (to 4th, 2nd, 4th, 2nd, 1-16 Repeat all in 2nd, closing to 1st. etc.).

17. Echappé Relevé In 4 Counts 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 Pas de bourrée under with L, to demi plié 5th, R arm in 3rd. 4 Close to 5th demi plié, changing feet. 4 Pas de chat R. 5-8 Repeat. 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 Tuck pointed foot behind other foot & bow, arms demi 2nd. & Fondu, foot to demi retiré derriere. 3-4 Close 5th & repeat. 2 Relevé, extending leg to 2nd 45°. &3-4 Repeat. & Coupé under to start other leg. 5-8 Repeat with L leg.1

Go to Index 63 TheBalletSource.com Classical Ballet 3—Class #14 With Pointe & Boys Work 4. Battement Tendu & Port de Bras The port de bras is done smoothly, Warm-Up continuously during the 4 tendus.

1. Demi Plié 1-2 Battement tendu devant, arm 1st. Sideways to the Barre, in 1, 2, 5, 4. 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 5. Battement Glissé on 8. From 1st, prepare to degagé derriere, 2. Battement Tendu For Feet arm 2nd.

1 Degagé devant. 1 Brush through 1st to glissé devant position (3” off floor). 2 Flex ankle, pulling foot up. 2 Brush to glissé derriere. 3 Point foot. 3 Brush to glissé devant with fondu. 4 Close 5th. 4 Hold. 5-16 Continue en croix. 5-8 Repeat in reverse, straightening supporting leg on Barre first brush. 1-8 Repeat all. 3. Grand Plié Start in 2nd, sideways to barre. 6. Rond de Jambe a Terre Prepare to 2nd; think about turnout 1-8 2 grand plié in 2nd. each time the leg reaches 2nd. 1-6 Port de bras bending forward & back. 1-8 2 ronds en dehors, 4 cts. each. 7-8 Degagé and close 1st. 1-4 2 ronds en dehors, 2 cts. each (counts are in 1st & 1-8 Repeat in 1st, doing a rise and balance instead of 2nd). port de bras. 5-8 4 ronds en dehors, 1 ct. each (count is in 2nd). 1-8 Repeat in 5th, with port de bras bending forward & back. 1-16 Repeat all en dedans. 1-8 Repeat in 4th with rise & balance.

Go to Index 64 TheBalletSource.com 7. Battement Frappé 8 Changing hands on the barre, demi detourné to Using a flexed foot at the ankle, in other side, lower heels, arm to bras bas. strict alignment with knee, helps encourage and strengthen a correct 1-16 Repeat with other leg. landing from jumps. 1-32 Repeat derriere, & 2nd, both sides (Suggest: face the barre for derriere—helps them to have a more 1-4 4 frappé devant, slight hold on the 4th one. even use of the muscles in the back.) 5 Rise closing to sous-sus. 11. Grand Battement 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. Facing the barre, R foot front: 9. Petit Battement Prepare foot to ankle, cou de pied *1-6 3 retiré passé with R (ends in back). devant. 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. &3-4 Repeat. 1-16 Repeat from* with the other leg. &a5 Beat back front back (triple beat) 12. Girls Put on Pointe Shoes 6 Hold. 12. Boys, Grand Battements with Tombé &a7 Beat front back front. 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. 10. Developpé 3 Push off, lifting to grand battement devant. 4 Lower and brush through 1st to degagé derriere. 1-2 Developpé devant, fondu, arm 5th. 5-8 Repeat, ending with quick turn to other side. 3-4 Straighten, arm 2nd. 1-8 Repeat on the other side, ending with quick turn to 5 Rise to demi pointe, arm through bras bas, 1st, to face barre. 5th. 1-16 Repeat to 2nd, with both legs 6 Balance, both arms 5th. 7 Lower leg to sous sus, arms 2nd & on barre.

Go to Index 65 TheBalletSource.com 13. Pointe Warmup 4&a Grand jeté en tournant, hold, petit assemblé Facing the barre. derriere. 1-2 Demi plié. 1-4 Repeat on other side.

3-8 3 rises to full pointe. 16. Pirouette Girls—2/4 meter. 13. Boys do same, but to demi pointe. 14. Relevés 1-4 4 changements, on whole foot. 6/8 meter. Facing the barre. 5 Relevé in 5th, on pointe.

1-16 8 echappé relevés en croix (4th, 2nd, 4th, 2nd, and 6 Demi plié. repeat) 7 Pirouette en dehors. 14. Boys Petit Allegro 8 Close 5th back, demi plié. Same music as girls #14, in the center. 1-8 Repeat on other side.

1-4 4 changements, arms 1st, 5th, 2nd, stay in 2nd. 16. Pirouette—Boys 5-8 2 echappé sauté to 2nd, arms not changing, then 1-4 4 changements. changing; arms bras bas on count 8. 5 Relevé in 5th, lifting R foot to 2nd. 1-8 Repeat, other foot in front. 6 Demi plié in 2nd, arms 3rd. 15. Pointe Center Mazurka rhythm (slow 3/4). Prepare: 7 Pirouette en dehors (any number). relevé 5th, fondu on front foot, other 8 Close 5th back, demi plié, demi bras. foot is demi retiré derriere, arms 2nd. 1-8 Repeat on other side.

1&a Pas de bourrée piqué under to fondu. 17. Jeté and Assemblé (not pointe) 2&a Pas de bourrée piqué under to fondu. 1-2 2 jeté derriere, arms 3rd ordinaire. 3&a Pas de bourrée piqué under, end 5th demi plié, (on both feet). 3 Coupé under, arms 2nd. 4&a Relevé 5th, coupé over (fondu on front foot), 4 Assemblé under, runs 2nd, bras bas. prepare on last count. 5-8 Repeat to other side. 1-4 Repeat to other side. 9-16 Perform in reverse: 2 jetés devant, coupé over, assemblé over. 15. Boys Mazurka 18. Diagonal Turns, Partnered 1&a 3 changements. From UL to DR, not too fast. 2&a Sissonne ouvert en avant into 1st arabesque. Girl: 3&a Turning towards back leg, 3 runs. 1-4 4 chaîné turns R.

Go to Index 66 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 67 TheBalletSource.com 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. 9-12 Slow rise, lower. 1. Demi Plié Facing barre in 1st. 13- Lift inside leg to 2nd arabesque, balance (whole 16 foot or demi pointe). 1-2 Demi plié. 4. Battement Tendu & Flexed Foot 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. 2. Battement Tendu For Feet Facing barre in 5th. 1-4 Battement tendu with flexed foot to 2nd, close front in demi plié. 1-4 Battement tendu devant showing use of metatarsal 5-8 Demi detourné to other side. joint (demi pointe) going out, and coming in. 1-32 Repeat on other side. 5-8 2 battement tendu to 2nd, showing use of metatarsal joint. 5. Battement Glissé 1-8 Repeat derriere & 2nd, ending back. In 1st position, arm 2nd.

1-16 Repeat with other leg. &1-8 8 battement glissé 2nd closing 1st on the beat. Barre 1-7 7 battement glissé brushing front, back, lifting on the beat. 3. Grand Plié 8 Close 1st 1-8 2 grand plié in 1st, arms bras bas, 2nd, 5th, 1st, &1-16 Repeat. bras bas on each. 6. Rond de Jambe a Terre 9-15 Port de bras bending forward & back. Prepare to 2nd. 16 Degagé to 2nd & lower in 2nd. 1-4 1 rond de jambe a terre en dehors (counts are 4th, 1-16 Repeat in 2nd, bending sideways. 1st, 4th, 2nd).

Go to Index 68 TheBalletSource.com 5-8 1 rond de jambe a terre en dedans. 1-4 Grand rond de jambe en l’air to arabesque, arm 2nd. 1-4 2 rond de jambe a terre en dehors (counts are in 1st & 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. 10. Grand Battement 3/4 Mazurka rhythm. Counts are 7. Petit Developpé musical counts, 3 to a measure. Prepare foot to petit retiré position on the ankle, fully pointed, not wrapped. 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 1-6 Repeat to derriere. Prepare to sur le cou de pied. 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. 11. Boys Stretching Exercise 1-4 4 battement frappé derriere. 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. 9. Developpé & Grand Rond de Jambe 5-8 Port de bras, bending forward & back, L hand stays on barre. 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 1-8 To the back, kick towards head 4 times. to demi pointe. 9-12 Grab ankle and pull foot up. 5-6 Demi grand rond de jambe en l’air to arabesque, en fondu. 13-16 Step away from barre, bend forward to rest back. 7-8 Straighten & developpé passé devant. Repeat on other side.

Go to Index 69 TheBalletSource.com 12. Pointe Barre a more precise control over the balance while turning. From UL to DR. Prepare 1-4 Demi plié in 1st. fondu L, R degagé 2nd arms 2nd. 5-8 Slow rise through demi pointe. 1 Posé de côté to 1st, arms 1st. 1-4 Slow lowering through demi pointe. 2 Fondu on L, R degagé 2nd arms 2nd. 5-8 Slow degagé to 2nd with good stretch of foot, lower 3-4 Repeat. in 2nd. 5-12 Posé de côté R & do 4 chaîné turns. 1-16 Repeat in 2nd, closing to 5th. 13-16 Demi plié 5th, relevé facing line of direction in 2nd 1-16 Repeat in 5th, closing to other 5th. arabesque Walk to UR to repeat on other side. 12. Boys do the same, demi pointe. 14. Boys Diagonal Turns Prepare arms to 2nd, work in the Boys do same, on demi pointe, center, without the barre. replacing the relevé to 2nd arabesque Pointe Center with a step forward, cabriole en avant, and run off. 13. Relevés & Port de Bras 15. Boys, Grand Pirouette 1-2 Relevé in 5th, arms 1st. 1 Sauté to 2nd. 3-4 Repeat, arms 5th. 2 Sauté to 5th. 5-6 Relevé Echappé 2nd, arms 2nd, bras bas. 3 Sauté to 2nd. 7 Chassé en arriere, arms 1st to demi bras. 4 Relevé 2nd at 90° (or lower). 8 Close in demi plié, bras bas. 5-6 Grand pirouette (hopping) en dehors in 2nd, turning 1-8 Repeat on other side 2 or 3 times. 13. Boys Petit Allegro 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. 15. Girls Pirouette &6 Coupé over R, assemblé over L. Face DL, effacé. 7&8 3 petit changements. 1-2 Developpé ecarté devant. 14. Pointe, Diagonal Turns 3 Tombé, arms to a free 2nd. The first four counts are to encourage

Go to Index 70 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 71 TheBalletSource.com Classical Ballet 3—Class #16 With Pointe & Boys Work 4. Battement Tendu Warm-Up 1-8 4 battement tendu devant, with port de bras: 1st, demi bras, 2nd, bras bas, making port de bras 1. Demi Plié and Relevé smooth, tendus as usual. Begin in 1st, facing the barre. Repeat en croix. 1-4 2 demi pliés. 5. Battement Glissé 5-6 Rise, lower. For improving the path through first &7 Relevé, short balance, arms 2nd. position. Helps Battement En Cloche & Rond de Jambe a Terre. Prepare to the &8 Demi plié & quick degagé to 2nd. degagé derriere position. Repeat in 2nd, 5th, 4th; then other side. 1 Brush through 1st to glissé devant. 2. Stretch Calves 2 Brush to glissé derriere. In parallel position, facing the barre. 3 Brush to glissé devant with fondu. (Stretch the 1 Slide R foot back, “demi pointe”. working leg on the fondu, keeping hips in place.) 2 Lower R heel, bending L knee, both feet 4 Hold perpendicular to the barre, keep R leg straight. 5-8 Reverse Repeat all. 3-6 Slowly bring hips forward, gently stretching the 6. Rond de Jambe a Terre muscles on the back of the lower leg. Prepare to 2nd. 7 Straighten L knee, R foot to the “demi pointe” position. 1-8 2 rond de jambe a terre en dehors, taking 4 cts 8 Close R foot next to L foot. each. 1-8 Repeat with L leg. 1-4 2 rond de jambe a terre en dehors, taking 2 cts each. Repeat all. 5-8 4 rond de jambe a terre en dehors, taking 1 count Barre each, finishing degagé 2nd. 1-16 Repeat en dedans. 3. Pliés Sideways to barre, in 2nd, 1st, on the 7. Battement Frappé first side, and 5th, 5th on the second Prepare foot to the ankle, in flexed side. position, which is in correct alignment with knee, not wrapped. 1-8 2 grand pliés, usual port de bras. 1-8 Port de bras bending forward & back. 1-4 4 frappé devant.

Go to Index 72 TheBalletSource.com & 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 11. Girls Put on Pointe Shoes 8. Developpé 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. Repeat all with L leg. 1-32 Repeat both sides to 2nd, face barre after second 12. Girls—Pointe Warmup leg. Facing the barre in 1st. 1-32 Repeat derriere, doing a full detourné on counts 5-6. 1-4 1 slow demi plié.

9. Rond de Jambe En I’Air 5-12 2 slow rises through demi pointe to full pointe. 13-16 Degagé & lower in 2nd. &1-4 4 retiré changé, lift on &, close 5th on ct. 1, etc. 1-16 Repeat in 2nd. 5-8 1 rond dejambe en l’air en dehors, close back (lift 2nd, retiré, extend to 2nd, close back). Can repeat in 5th and 5th, (no displacement of foot on the rise.) 1-8 Repeat all en dedans. 12. Boys 10. Grand Battements Same music as girls, in the center.

1-8 4 devant, with arm 5th, & quickly turn to other 1-4 Grand plié in 2nd, arms lifting to 2nd through demi side. 2nd, and returning. 1-8 Do other leg devant, turn quickly back to 1st side.

Go to Index 73 TheBalletSource.com 5-6 Rise, arms to 5th. 15. Allegro With Pointe 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 15. Boys Petit Allegro Facing barre. 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. 1-4 2 grand battements croisé devant, arms 4th 7-8 Sous sus. opposition. 1-8 Repeat with other foot starting in front. 5-6 Grand battement into lunge 4th front, arms 3rd ordinaire. 13. Boys—Demi Pointe Exercise Same as girls, to demi pointe, in center 7 Double pirouette en dedans to fondu, changing with arms 2nd. raised foot to demi retiré derriere. &a8 Pas de bourrée under to other croisé. 14. Girls—Pointe Center 1-8 Repeat on other side. 1 Relevé in 5th, arms 1st. 17. Port de bras 2 Fondu on front leg, arms 3rd. Face croise, R front. 3-6 2 pas de bourrée piqué, arms 3rd to other third. 1 Chassé en avant, arms 1st. 7-8 Bourrée turning towards front leg, arms 3rd, changing feet & arms to end with other leg in front. 2 Straighten tendu derriere, L arm 4th. 1-8 Repeat on other side. 3 Demi plié in 4th, weight on both feet, arms 1st. 4 Transfer weight to tendu croisé devant, arms 14. Boys—Tour en l’air 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 74 TheBalletSource.com 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 75 TheBalletSource.com 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 76 TheBalletSource.com Warm-Up and Barre Enchainements 1. For Feet, From 3rd Position 1-4 1 slow battement tendu derriere arms 1st & bras Facing the barre. bas. 5-8 Grand plié in 5th, arm demi 2nd, bras bas. 1 Lift foot to ankle, relaxed. 1-2 Rise, arm 1st. 2 Brush foot out as in a frappé, to a fully pointed position off the floor. 3-4 Lift leg to 45° derriere, arm to 5th. 3 Return foot to the ankle, in back, relaxed as in 5-6 Other arm to 5th. count 1. 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. 4. Plié With Port de Bras 1-8 Repeat both sides in reverse. Intro: Degagé, lower in 2nd, arm 1st, 2nd. 2. For Improving Posture Face barre, feet parallel. 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. Repeat on other side in 5th and 5th.

1-8 Repeat. 5. A Different Battement Tendu 3. Pliés For Stability In Adage 1-2 Battement tendu devant. 1-4 From 5th, 1 slow battement tendu devant arms 1st 3-6 2 battement tendus 2nd, closing front, back. & bras bas. 7-8 Battement tendu derriere. 5-8 Grand plié 5th, demi 2nd, bras bas. 1-8 Repeat in reverse. 1-2 Rise, arm 1st. 1-16 Repeat all. 3-4 Lift leg to 45° devant, arm to 5th. 6. Battement Tendu 5-6 Other arm to 5th. For turnout front and back. 7 Lower heels, arms 2nd & on barre. 1-6 3 battement tendu devant. 8 Close leg, arm bras bas. 7-8 Battement tendu 2nd. Repeat to the back: 9-14 3 battement tendu derriere. 15-16 Battement tendu 2nd.

Go to Index 77 TheBalletSource.com 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. 8. Improving Battement Glissé Hips square, posture pulled up, knees 7-8 Rise, balance. firm. When going derriere, think of 12. Rond de Jambe a Terre from 1st. moving the thigh back. The challenge is to get those knees out each time on 1 Degagé devant. the closings. 2-4 3 rond de jambe a terre en dehors ending degagé 1-8 2 each way closing in demi plié. devant. 5 Brush through 1st, degagé derriere. 9. Battement Glissé & Petit Retiré 6-8 3 ronds en dedans, end degagé back. &1 Battement glissé devant. 1-8 Repeat all. &2 Petit retiré changé. 13. Battement Frappé &3 Battement glissé derriere. Prepare as usual. &4 Petit retiré changé. 1-4 4 frappé devant, arm to 1st, 2nd. &5-8 4 battement glissé 2nd, (change all of them). 5-8 4 frappé 2nd, arm slowly to 5th. 1-8 Repeat all (starting devant). 1-4 Four frappé derriere R, arm lowering to arabesque. 10. Battement Glissé & Piqué 5-8 4 frappé en croix, (1 each way) arm lowering to bras &1-4 4 battement glissé devant. bas. &5-8 3 piqué en rond en dehors (front, side, back) close 14. Petit Battement back. 1-4 4 singles, (back, front, back, front). &1-4 4 battement glissé derriere. 5-8 Petit developpé fondu 2nd a terre. &5-8 3 piqué en rond en dedans (back, side, front) close front. &1-8 Repeat with doubles, (back front, back front, etc.).

Go to Index 78 TheBalletSource.com &a1-8 Repeat with triples (back front back, front back 2 Close derriere. front, etc.) &a3 Lift leg to 2nd, single rond de jambe en l’air en e&a1-8 Try 4’s! dedans.

15. Battement Fondu From 5th 4 Close devant. Prepare arm to 2nd, feet in 5th. &a5,6,7 Lift 2nd, 3 doubles en dehors.

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. 19. Developpé Repeat en croix 1-4 Developpé devant with fondu. 16. Battement Fondu 5-8 Demi rond de jambe to 2nd with rise. 1-4 Demi rond de jambe to arabesque with fondu. 1-8 1 set a terre. 5-8 Straighten & developpé passé devant. 1-8 1 set 45°. 1-8 Grand rond de jambe to arabesque. 1-8 1 set 90°. 1-8 Fold to attitude, relevé, balance. 1-8 1 set with rises. 20. Grand Battements 17. Rond de Jambe En l’air Feel correct spacing between ribs and The retirés establish the turnout of the hips, then keep it. Do en croix. thigh. Prepare arm to 2nd, feet in 5th. 1-4 1 each way at glissé height &1-4 4 battement retiré changé, closing on the beat. 5-8 1 each way at 45° 5 Lift leg to 2nd at 45°. 1-4 1 each way at 90° 6-7 Rond de jambe en l’air en dehors. 5-8 1 each way above 90° (They can do this mentally 8 Close 5th back. ifnot strong enough physically, while lifting leg to 1-8 Reverse. highest correct position for their ability.) 1-16 Repeat.

18. Rond de Jambe en l’air

&a1 Lift leg to 2nd, single rond de jambe en l’air en dehors.

Go to Index 79 TheBalletSource.com Center, Port de Bras, Pirouette Enchainements 1. Battement Tendu Effacé &3-4 2 to 2nd R, closing back, front. In 5th, effacé to DR. &5-6 2 derriere L. 1-2 Tendu devant, arms 4th opposition. &7-8 2 to 2nd L, closing back, front.

3-4 Tendu 2nd, (ecarté derriere) arms 2nd, head ecarté. 4. Stage Alignment Practice 5-6 Tendu derriere (croisé) with arms 2nd arabesque, Start croisé, arms in attitude, facing DL. close demi plié. 1-4 2 tendus devant croisé. 7-8 Detourné (3/4 turn R), arms 5th, to face other corner, arms 4th opposition. 5-8 2 tendus devant en face. 1-8 Repeat on other side. 1-4 2 tendus devant effacé to DR. 5-8 2 tendus ecarté derriere, close, bras bas. 2. Demi Pointe Center Do this one croisé to croisé. 1-16 Do other leg. 1-32 Same exercise with arabesque arms, tendus 1-2 Posé to 5th, fondu on front foot. derriere, look over elbow on the effacé one. This 3-4 Pas de bourrée piqué under to fondu. finishes with ecarté devant, arms 2nd.

5-6 Coupé fouetté under. 5. Port de Bras With Swan Wings 7-8 Pas de bourrée under to 5th. 1-4 1 full reverse port de bras, showing the open 5th as 9-10 Relevé devant 45° to fondu retiré devant. going through it. 11-12 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 Chassé to degagé derriere, arms 1st, head inclined 1-16 Repeat to other side. back. 2 Sweep arms to “wings”, head to audience. 3. Center Grand Battements Close on the beat. 3-4 Sweep arms to 1st, then to wings 5-6 Through bras bas to 5th. &1-2 2 devant R. 7-8 Rotation (pivot towards extended foot) to other &3-4 2 to 2nd R, close front, back. croisé, close. &5-6 2 devant L. 6. Port de Bras &7-8 2 to 2nd, closing back, front. Start croisé, R front, bras bas. &1-2 2 derriere R. 1 Chassé forward, arms 1st.

Go to Index 80 TheBalletSource.com 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 81 TheBalletSource.com Adage Enchainements 1. Developpé & Pirouette 1-3 Pivot to face DL, leaving leg in 1st arabesque. 4-6 Demi grand rond de jambe to 2nd. 1-4 Grand plié 2nd. 1-3 Pivot to face UL, leaving leg in 1st arabesque. 5-8 Transfer weight & developpé 2nd. 4-6 Pas de bourrée over en tournant to face DL, L foot 1-4 Fouetté (pivot away from leg) to arabesque. front. 5 Lower to degagé. Repeat on other side. 6 Lower heel, demi plié 4th, arms 3rd. 4. Arabesques 7 Double pirouette en dehors, arms 5th. 8 Close 5th. 1 Degagé devant, arms 1st.

2. Developpés 2 Lift to attitude devant, arms 5th. Start croisé to DL 3 Retiré, arms open 5th. 4 Developpé 2nd, arms 2nd. 1-4 Chassé en avant with R, & close. 5 Demi rond to 1st arabesque & hold. 5-8 Developpé devant with R & close. 6 Arms to 2nd arabesque. 1-4 Developpé derriere with L & close. 7 Arms to 3rd arabesque. 5-8 R leg developpé 2nd, close back. 8 Close. 1-4 Developpé devant L, fondu. 1-8 Repeat in reverse. 5-8 Relevé & pivot (fouetté) to 1st arabesque, facng SR. 5-6 Fondu & lengthen the arabesque 5. A Long Adage Face DL, 5th croisé. 7-8 Close back, battement tendu over to face DR. Repeat on other side. 1-4 Petit retiré with L, chassé passé L forward to DR, straighten L knee with R degagé derriere, L arm 3rd. 3. Demi Grand Rond de Jambes 5-6 Raise R leg en l’air. Moderately slow 3/4 music. Face DR, effacé. 7-8 R arm to attitude. 1-2 R leg in attitude back, pivot R to 1-3 Developpé devant, R. 3 Retiré facing upstage, arms 2nd. 4-6 Demi grand rond de jambe to 2nd. 4 Developpé devant, L arm 3rd. 1-3 Developpé passé derriere. 5-6 Open L arm 2nd. 4-6 Demi grand rond de jambe to 2nd.

Go to Index 82 TheBalletSource.com 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 83 TheBalletSource.com Enchainements at the Barre For Improving Allegro These exercises need to be done facing 3 Close L foot 5th, with demi plié. the barre, so that the muscles in the 4 Hold. legs and on the two sides of the back can be used evenly. Once learned, these Do 4x, then 4x the other direction. exercises can be done in the center, arms 2nd. 3. Improving Landings On Two Feet As you do this exercise, check 1. Frappé for Battement Jeté alignment and knee action. Face the The two different rhythms should barre in 1st position. help students understand how to place the jeté battements in the music.Also 1-2 Demi plié, staying down. practice both sides, adding the jeté, &3 Sauté and return to the exact same demi plié. changing feet with each jump. 4 Straighten knees. 1-4 4 double frappés to 2nd, accent out, finish out in 5-16 Repeat, doing it 4x in all. 2nd. Also practice in 2nd, in 5th with changements, and &5-8 4 double frappés, closing with fondu, accent in on on one leg. the fondu. 1-8 Repeat with the other leg. 4. Improving Echappé Sauté For turning out on landings. 1-16 Repeat both sides. 1 From 1st, sauté to 2nd. 2. Improving Glissades Use a slow 3/4 music; if using a 2/4 2 Hold the plié, check placement. or 4/4, there will be a hold on the 4th 3 Sauté to 1st. count. This exercise should help the 4 Hold the plié, check placement. use of the feet, and the stretch of both legs. Increase speed as coordination 5-16 Continue through the music. improves. 5. To Improve Sautés 1 From demi plié 5th, degagé R to 2nd, straightening Establish placement during the first both legs. four counts, maintain it on the sautés.

2 Pushing off with supporting foot (L), transfer weight 1-2 Demi plié, straighten. to R, legs straight. 3-4 Rise, lower & quick plié.

Go to Index 84 TheBalletSource.com 5-7 3 sautés. 8. Grand Jeté at the Barre Face sideways to the barre for this one! 8 Straighten legs. Do 4x in 1st, 4x in 2nd, 4x in R 5th, 4x in L 5th. & Back foot (inside foot) coupé under with fondu. 1 Rise, lift leg as for grand jeté en avant. 6. Improving 5th Position in the Air 2 Push off supporting leg onto a tombé en avant, in &1&2 Soubresaut, changement hold legs in 5th going up, arabesque. change just before landing. 3 Hold landing. &3&4 Repeat with other leg in front. 4 Close 5th back. Continue through the music. 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.

Go to Index 85 TheBalletSource.com Allegro Enchainements 1. Warm up for Allegro &3 Assemblé en arriere. & Assemblé over. 1-16 16 sautés in 1st. 4 Assemblé under. 1-2 Sauté 2nd, petit sissonne onto R. 5-8 Repeat to other side. 3-4 Sauté 2nd, petit sissonne onto L. 5-14 Continue. The last two are very quick, therefore lower than the others. 15- Pas de bourrée under to finish. 16 5. Battu Practice Mazurka rhythm—strong 3/4. 2. Glissade/Pas de Bourrée/Brisé 1 Changement battu. 1-3 3 glissades derriere with R. 2 Assemblé battu over. 4 Pas de bourrée over (dessus) with R. 3 Entrechant quatre. 5-8 Repeat, with R. 4-5 2 changements. 1-4 Repeat, with R. 6 Entrechant six. 5-7 3 glissade derriere R 8 Assemblé over R. 5. Sissonne, Chassé Coupé Repeat to other side. &1 Sissonne ordinaire devant, chassé 2nd.

Alternate exercise—Change the &2 Coupé under, assemblé under. glissades to brisés fermés. &3-4 Repeat on other side. 3. Jeté Ordinaire Derriere Repeat, using derriere and over. For height and coordination. 6. A Fun Enchainement 1-8 8 jetés with arms 3rd. DL DR 1-4 4 with arms demi bras. 5-7 3 with arms: bras bas, 1st, 5th. 8 1 assemblé over, arms 2nd. UL UR 1-16 Repeat to other side.

Repeat with devants & assemblé under. 1-2 2 diagonal walks from UL towards DR. 4. Assemblés 3-4 5 or 7 runs, same direction. 5 Posé on R, 1st arabesque effacé. &1 Assemblé en avant. 6 Rise &2 Assemblé under.

Go to Index 86 TheBalletSource.com 7-8 Turn towards back leg, towards UR, 3 runs, grand 9. Pas de Basque & Ballonné jeté en tournant onto R. Mazurka rhythm, 3/4. Counts are musical beats. 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. 10- Pas de basque sauté. 12 7-8 2 or more runs and soutenu turn R, traveling towards UL, ready to repeat to the other side. 1-6 2 Ballonné composé en avant. Dancers can start every four counts, and perform 7-9 Grand pas de basque sauté to 5th. this like a round. 10- Sissonne doublé en avant (sissonne ouverte en 12 avant, coupé under assemblé en avant) 7. Sissonne with Saut de Basque Mazurka rhythm. Face DR, effacé, on 10. Allegro With Pirouette the diagonal. Perform by rows, doing it in reverse on 2nd turn, etc. 1 Sissonne ouverte en avant R to attitude derriere effacé. 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. Run off as next group starts.

8. Jeté & Coupé 11. Entrechant Trois, Contretemps

1 Jeté ordinaire derriere R. 1 Sissonne ordinaire devant. &2 Coupé under and sauté with petit developpé to 2 Petit assemblé devant. 2nd. 3 Entrechant trois derriere. &3 Coupé over, petit assemblé derriere. 4 Pas de bourrée under. 4 Jeté ordinaire derriere R. 5 Demi contretemps. 6 Demi contretemps. 7-8 Full contretemps.

Go to Index 87 TheBalletSource.com 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 4 changements, using various arm positions—be creative! &2 Temps levé with grand rond en dehors. &a3 3 runs twds UL. 16. Ballotté, Pas de Chat

&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 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 Step forward, soutenu turn in line of direction, 3 Assemblé under, arms 4th. release back foot ready to repeat on same side. 4 Assemblé over, arms 2nd. 19. Diagonal Enchainement #2 Also learn with devant, derriere. 1 Glissade derriere facing DL. 15. Echappé, Changement 2 Assemblé over.

1 Echappé sauté ouverte to 2nd (don’t close) arms 3 Sissonne en avant ouverte turning in air to face DR, 2nd. arms 5th, arabesque. 2 Pas de bourrée under with L, bras bas. 4 Pas de bourrée under, to face DL.

Go to Index 88 TheBalletSource.com Pointe Enchainements 1. For Pointe Strength 3. For Balance on Pointe Facing the barre, do slow rises through Barre or center, as needed. From a the demi pointe to the full pointe, and fondu, with leg stretched forward. lower the same way. 1 Posé en avant, lifting foot to demi retiré derriere, Allow the dancers to put some pressure arms 1st. on the barre until they are strong enough to do it correctly without strain. 2 Hold, no wobbling! Pulling up the abdominal muscles, and bringing upper body slightly forward 2. Strengthening the Poses and up will help. Sideways to the barre, using both hands 3 Holding position perfectly still, lower heel through as shown, moving them along the barre the demi pointe, then to demi plié (both feet down), as needed, and putting pressure on no wobbling. the barre as needed to allow correct performance. 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 Chassé passé en avant, assemblé soutenu en 2 Roll down smoothly through demi pointe to a terre or tournant (soutenu turn), arms 5th. a fondu. 7-8 Bourrée forward, step forward to degagé derriere, 3 Chassé passé en avant with inside leg. lowering arms 1st, demi bras for finish. 4 Tiny pas de bourrée under to demi plié, to bring outside foot in front, ready to repeat.

Go to Index 89 TheBalletSource.com 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 90 TheBalletSource.com 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 91 TheBalletSource.com Positions of the Arms As Named by the Royal Academy of Dance

Hands on Waist Bras Bas First Position Second Position

Demi Seconde Position Third Position Fourth Position Fifth Position or Fourth Crossed Position

Open Fifth Position First Arabesque Third Arabesque when coming up from Second, or, Diagonally up

Open Fifth Position Demi Bras Fourth Position when coming from Fifth or Open First 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 C R L

DR DC DL

Audience or Teacher Numbering the Directions of the Room

5 1 6 2 5 1 8 1 2 front front front 4 2 6 8 7 3

8 3 7 3 7 4 6 5 4

The Royal Academy of Dance The Cecchetti Sytem of The Vaganova or Russian has adopted a numbering numbering starts with the method starts with #1 system. The walls are downstage right corner at Downstage Center, numbered first, clockwise, as #1, downstage left is 2. and numbers the eight starting with the audience The audience is #5, and points clockwise in as #1. Corners are next, the other walls 6, 7, and 8. consecutive order, starting with Downstage ending with DL as #8. Left as #5.

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

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

1 (UL) (UR) 3 Rows Trading Places teacher teacher When a front row moves to the back the A A A A B B B B row should divide in B B B B A A A A 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 teacher teacher in the first row turn L to face the back, then pass A A A A B B B B through the other rows B B B B C C C C as they move forward. C C C C A A A 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 teacher A A A A B B B B B B B B C C C C C C C C C C C C B B B B A A A A A A A A Thank you Thanks for using Classical Ballet 3! Feedback We need your help in inspiring the future best. Bring your ideas to us by filling out our online form or by emailing us at [email protected] Free Content As always, enjoy our free content at balletcurriculum.com/blog