Arts
In this episode, the team primarily discuss the biggest jump of all, which is grand allegro, but before that, David briefly rounds up the medium allegro and talks about how he as a teacher, bridges that gap between medium and grand allegro.The listeners learn from David that pretty much all the jumping steps can be done at the various heights, those being terre à terre, close to the ground with the feet barely leaving the floor, petit sauté, with slightly more jump and stability, petit allegro where the jumps begin to move from the spot and travel. After that is the medium allegro where the jumps become noticeably larger and more intense, with more height and more travel. And the biggest jump of all is the grand allegro, where dancers travel the most, gain the most height, and show off their impressive technique and flair!David emphasises the importance of the use of demi plié, and how that at this height of jump it is crucial for landing softly, and how the intensity of the take-off requires a slower tempo, more space in the music and generally bigger music than previously used, to create the sensation of being air born.David also teaches the listeners of the different categories of jumps, which are two feet to two feet, two feet to one foot, one foot to two feet and one foot to one foot. All the jumps can be categorised into one of these. David lists the endless steps that can be used in the medium allegro.In terms of music, the team discuss that in the jumping section of class, all the range of speed and dynamics are used from the smallest terre à terre, to the biggest grand allegro.In this episode, the listeners learn about the division of ballet steps at medium allegro for men and women. Men are generally more muscular and jump in a different way, and ballet repertoire lends itself to tailoring the steps for men and women. But ultimately as the dancers reach grand allegro exercise, they are trying to cover a lot of space, and everything to the extreme facility and maximum push.The team digress slightly into the ways terminology differs around the world depending on training and school of thought, and how steps are called different things depending on where you dance. Also, listen out for the very famous “lame duck” step and how according to David, the urban myth of someone doing it badly conjured up that image and the slang name was born.So, the music for grand allegro, the team agree that big waltzes are generally used, but that allegro meaning quick, is really the antithesis of the what you should be playing. Music for grand allegro, should be big, expansive within the tempo, use of octaves, and also maestoso as Chris quite rightly says.The pianists discuss the technicalities of playing for grand allegro. The importance of the volume of the music in encouraging the dancer to jump as high as possible, and where possible, the pianist is trying to emulate an orchestra by creating a big wall of sound. The size of the music is going to help the dancers sail through the air. The pianists talk about the plethora of waltzes that can be used for grand allegro from Strauss to Richard Rodgers, as long as the waltz is as rousing as possible. And the way the pianists accompany the grand allegro, being sensitive to the dancer’s take-off and landing is very important. There has to be a harmonious marriage between dance and music, throughout the class, but particularly in the climactic grand allegro.The episode finishes with a couple of funny anecdotes and lots of laughter. Get comfortable, because this is a long one!Support the show (https://www.balletpianopodcast.com/the-podcast)