Concertmaster And Choreographer

"... Plie at ¾ us to play,

Please? .. A small preparation ... You can! .. A little me-ee-ee-delen ... And one, two, and three ... "The world of choreography ... All who have to it
The attitude, of course, smiled, having read these remarks.

How often did you attend classes
Classical choreography? And if you had, then what was seen was you
Understood? Undoubtedly, the beauty of the bending
Bodies, sharp feet, "airy" hands and complex, I'm not afraid of this word,
"Jewelry" movements - all this leads the audience into an exciting thrill,
Awe, admiration. However, all the most important and interesting remains outside
Your attention. Daily hard work, comparable in complexity to the
Heavy physical work, does not always bring joy and pleasure. So
Was always. And will be. It would be strange if the unearthly beauty that we
We can enjoy on performances, concerts, sitting in auditoriums, would be
Is extracted by those who create this beauty, easily, playfully, without much effort. Work
All must be choreographed: dancers, director, screenwriter, make-up artist, tailors, and,
Of course, choreographers in close
Relationship with accompanists.

The union of a choreographer and an accompanist is a magical
Communication, which I will try to tell you in this article. Why communication, I think, is clear to everyone:
The choreographer and concertmaster must grope for some invisible fragile thread,
Which will connect them with each other. This is not just a game necessary
Suitable music for the movements, it's something more. To find the right one for
Any movement of music, the concertmaster must look through a lot of notes and find the one that is the most unique and the best,
The most beautiful musical piece, coordinate it with the choreographer, and, having received
Consent, execute it for a certain movement. And so for every movement,
But there are a lot of them, which means that the musical horizon
The accompanist should be very broad, and his thinking should be so
Creative and developed, as if he was a director of rooms or even
Director of the whole play. Of course, no one requires an accompanist
Transforming the usual lesson into classical ballet into a ballet performance, and,
Of course, music for the movements must be diverse, moreover, in one
The lesson does not sound two excerpts from the same ballet. But just imagine
Imagine what a lesson could be created by combining all movements with a single story
And the idea, creating a "mini-play", accompanied by suitable music. But
Concertmasters and choreographers reading this article will smile skeptically and
Will say to themselves: "Well, where are these difficulties, the children would learn how to begin to do
The basic movements of the stick in time with the music. "But I am convinced that one should always aim
higher. Compromise should be a temporary phenomenon. You are right, dear colleagues,
Such a problem exists. Furthermore,
It prevents the choreographer from implementing at the lesson his "plan-maximum". A share
Concertmaster sometimes is that he can not help but sit,
Folding hands in this profession is impermissible. Therefore, often work
Concertmaster is a clear, even minting game with a deliberate
The allocation of a strong share, or each share, sometimes a pre-departure note. Sharpness and
At the same time expressiveness are the most important features of the game
Concertmaster of the ballet, although sometimes these two aspects can not be combined, or,
For example, his game can be just clear, but it can arise
Sensation of "clumsiness", inexpressiveness of the game, which can not be allowed. Expressiveness
With deliberate clarity - the acquired, acquired skill. It is difficult, having come
The first time in the class of choreography, to play even if well learned passages,
Quite clearly, because in music schools they do not give this
Aspect of a lot of attention: it's enough to play smoothly, but not minting each share. Exactly
So immediately it is worthwhile to understand and accept that the choreographer is forced, based on the level,
For example, a weak group, ask the accompanist a slow tempo. Not
Be upset, gentlemen musicians, playing at a slow pace is not necessarily
Sleep, or think about their personal problems or accomplishments. Your accomplishment
Should become even more expressive and interesting, with a multitude of diverse
Decorations, play this passage at a slow pace. How long, how many lessons in a row can not
To change the music for the movements in the lesson? Here each team will have a purely
Individual approach and response. Certainly, in the children's collective, it is especially acute
This question is worth considering, as children get used to the same music, they remember
Her and with pleasure automatically perform all movements, remembering that "in this
Tact - the hand went up, here, when the music sounds more calmly - I crouch »
And so on. Also in adult collectives, dancers get used to one music and
A little tushuyutsya, hearing new material, because it takes some time for
Habituation to it. Given this point, you need to change with caution
Musical material, but completely abandon the change of music during the year,
Of course not worth it. There is an unconditional factor of fatigue from the same music,
When classes can turn for a dancer into a kind of barrel organ and hard labor,
But a bad dancer, as you know ... I
Has chosen for itself, as it seems to me, the best approach to this issue. In my
Music compilation for a half of the year for each exercise is always a minimum of 2 musical excerpts,
Perfect for them suitable. Both passages are used by me alternately: one in
One day, the second - in another. Music does not cause bewilderment or fright,
Since all this has already been heard, at the same time there is a feeling
Constant diversity - standing by the stick is easier to carry out the movement. "Wherein
Relationship? "- you ask. Direct: the choreographer has repeatedly told me about
These subtleties. You need to play beautiful music, easily and expressively, because children
And it's so difficult to stand by the stick, performing the most complicated exercises. Classical
The choreography is woven from incredibly complex movements, the performance of which requires
Great willpower, diligence, diligence, patience and great love for
This case. The task of the choreographer and accompanist is to help the dancer find these
Quality or strengthen them even more.
As for improvisation on the instrument, I will say only one thing: the presence
Improvisational skill will only help the accompanist in his work.
Again, there are a lot of factors
Which should be taken into account. Do not start improvising without knowing everything
Component of the lesson of the given collective, after all in each collective all especially
Individually. Each choreographer has his own special ideas about what kind of
Music should accompany his lesson and how the accompanist should present it.
Of course, for the accompanist there is a huge plus in that the classic
The ballet is an approved and canonized system, including a designated order of exercises. That is why, knowing the nature of
A certain exercise, its tempo-rhythm, the number of musical "squares" a
Also its features, the concertmaster can safely apply his talent
Improvisation, thereby pleasantly surprising the teacher and performing the exercise.

What is the very magic in
Relations between a teacher and an accompanist? I will not disclose all the secrets, I will say
Only that magic can be called everything that ultimately helped two people,
Serving the art, gain mutual understanding, and even on the cosmic level. it
It's hard to explain, but sometimes I just need to hear from the choreographer
Literally a few words to understand what kind of music you need at this moment,
Which passage. Or, for example, it's enough for a teacher to sing half the phrase, and I
I already have an integral composition in my head. I do not think that this is something of a category
Fiction. I think this is how it should be.

GUZZ