Music in Focus guidebook to Alternative Music for Grades 1-3

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A08: Classical walks – Male exercise Intro: 2 (6) Title: Polonaise from Don Sebastiano (opera ballet, 1843) Composer: Donizetti Ballet: Donizetti Variations (1960) Chor: Balanchine TS: 3/4 (3/4) R: Polonaise A09: Sautés Intro: 4 Title: Allegro vivo from The Four Seasons in I Vespri Siciliani (opera ballet, 1853) Composer: Verdi Ballet: The Four Seasons Chor: Various, including Bintley, MacMillan, Gore, Robbins TS: 3/8 (6/8) R: Pantalon type A10: Sautés and échappés sautés Intro: 4 Title: From The Four Seasons (I Vespri Siciliani) Composer: Verdi TS: 2/4 (2/4) R: Polka type A11: Spring points and petits jetés Intro: 4 Title: Pas de Six from William Tell (opera ballet, 1829) Composer: Rossini TS: 2/4 (2/4) R: Polka type A12: Skips and pony galops Intro: 4 Title: La Guaracha from Masaniello (La Muette di Portici) (opera ballet, 1828) Composer: Auber TS: 6/8 (6/8) R: Guaracha 8 STUDIES A13: Polka – Female Intro: 4 Title: Polka from La Favorita Composer: Donizetti TS: 2/4 (2/4) R: Polka A14: Hornpipe ‐ Male Intro: 4 Title: Finale from La Favorita pas de trois Composer: Donizetti TS: 2/4 (2/4) R: Galop FREE MOVEMENT The beautiful Prelude to Act I of La Traviata (Exercise for Poise) is an excellent example of the suitability of some operatic music for Free Movement. The short extract from Romualdo Marenco’s score for Excelsior (the ballo grande by Luigi Manzotti, who also choreographed the first performance of The Dance of The Hours from La Gioconda) exemplifies a particular kind of rubato (expressive timing) which was at its peak at the end of the 19 th century. Excelsior is only one of the many ballets which Marenco composed for Manzotti, and contains some delightful music; it is extraordinary that Marenco is almost unheard of except in Italy. Arditi, the composer of the song Parla! (Speak!), the waltz song used for Swaying and Spinning, is best known as the writer of the waltz Il Bacio (The Kiss). Both are fine examples of a particularly elastic form of the concert waltz as it developed towards the end of the 19 th century.
A15: Exercise for poise Intro: 4 Title: Prelude to Act I of La Traviata (opera, 1853) Composer: Verdi TS: 4/4 (4/4) R: Aria type A16: Run and pause with rise Intro: 4 Title: Waltz from Excelsior (ballet) Composer: Marenco Ballet: Excelsior Chor: Manzotti (1881) TS: 3/4 (3/4) R: Viennese waltz type A17: Swaying and spinning Intro: 2 Title: Parla! (song) Composer: Arditi (c.1883) TS:3/4 (3/4) R: Viennese waltz type RHYTHM & CHARACTER STEPS (based on Hungarian peasant style) What we often think of as Hungarian folk music ‐ influenced by models such as the rhapsodies and dances of Liszt and Brahms or through popular works such as Montyʹs Czardas ‐ is something of a ʹrogueʹ 19th century tradition, a layer of gypsy music in an urban, popular‐classical style which has largely displaced the older peasant song and dance tradition from memory. Songs composed in a popular form (műdal, e.g. artificial song) practically flooded the entire country from the end of the last [i.e. 19 th ] century until the First World War and got even as far as the villages…. The majority of the songs, in both their lyrics and melody, are foreign to the spirit of the Hungarian folk; their composers were educated men, more familiar with foreign than with Hungarian folk music. […]The question of the relationship between Hungarian folk music and gypsy music is closely related to this problem, all the more so since in the middle of the 19th century Ferenc Liszt in one of his works erroneously called Hungarian music “gypsy music”. BALASSA & ORTUTAY, 1984 It was the composers and folk‐song collectors Béla Bartók and Zoltan Kodály who were largely responsible for uncovering and reasserting the much older peasant tradition. As with so much folk music, these songs are often melodically and metrically unusual to Western ears. For the purposes of the syllabus, therefore, some of the more ʹregularʹ songs collected by KODÁLY (1982) have been arranged for piano using relatively conventional harmonies, so that at least a flavour of this rich tradition has been retained. It should be noted, however, that these arrangements are tempered by the demands of the exercise and the needs of the student; they are not attempts to recreate an ‘authentic’ Hungarian peasant tradition. In some cases, in particular those pieces in 3/4 time (triple metre is extremely rare in Hungarian folk music) melodies from nearby Slovakia and Central Moravia (SNP 9
Page 1 and 2: Alternative music for Grades 1‐5
Page 3 and 4: TABLE OF CONTENTS INTRODUCTION.....
Page 5 and 6: Classical, character, national, pop
Page 7 and 8: oppressive regimes ‐ Chopinʹs fa
Page 9: ABOUT THE MUSIC This section contai
Page 13 and 14: GRADE 2 The music for Grade 2 is ta
Page 15 and 16: known now for his two ballets La So
Page 17 and 18: is not performed today, it was reco
Page 19 and 20: C17: Changements and échappés sau
Page 21 and 22: C28: P Promenades Intro: 4 Title: P
Page 23 and 24: musically as something else. A good
Page 25 and 26: avoid writing a ʹtypicalʹ waltz.
Page 27 and 28: Chaconne and minuet Like the Saraba
Page 29 and 30: single jig rhythm. Contredanse or c
Page 31 and 32: 2.3 Ballets Ballet Choreographer(s)
Page 33 and 34: Appendix 4: Libraries and online so
Page 35: LITTLE, M & JENNE, N. (2001) Dance

Music in Focus guidebook to Alternative Music for Grades 1-3

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