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| Foreword | |
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| Preface | |
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| What Is Dance Accompaniment? | |
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| Essential Elements of Music for Dance | |
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| Rhythm | |
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| Meter/time signature | |
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| Melody | |
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| Tempo | |
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| Harmony | |
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| Tonality | |
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| Phrasing | |
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| Dynamics | |
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| Line | |
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| Style | |
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| Musical Forms for Dance and How to Count Them | |
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| 2/4 or [characters not reproducible] -Examples 3-12: all are twos | |
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| Tango (habanera, beguine, zapote, samba, rumba, etc.)-Examples 3 and 3a | |
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| March (to be discussed under 4/4s) | |
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| Rag-Example 4 | |
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| Polka-Example 5 | |
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| Coda, galop, can-can (sometimes even "circus music")-Examples 6 and 7 | |
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| Czardas-friszka-Example 8 | |
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| Miscellaneous-Examples 9-12 | |
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| 3/4-Examples 13-29: sixes and threes | |
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| Sarabande-Example 13: six or three | |
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| Polonaise/Polacca-Examples 14 and 15: six | |
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| Bolero-Example 16: six | |
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| Minuet-Example 17: six or three | |
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| Landler-Example 18: three (sometimes six) | |
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| Mazurka-Examples 19-21: three (occasionally six) | |
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| Waltz-Examples 22-28: three | |
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| Slow waltz-Example 22 | |
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| Medium-tempo waltz-Example 23 | |
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| Spanish waltz-Example 24 | |
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| Viennese waltz | |
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| Fast waltz-Example 25 | |
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| "Big waltz" or "grand allegro waltz"-Examples 26-28 | |
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| Miscellaneous-Example 29: six | |
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| 3/8-Examples 30-33: all are threes | |
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| Medium-tempo-Examples 30 and 31 | |
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| Allegro-Examples 32 and 33 | |
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| 4/4 or C -Examples 34-39; all are twos | |
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| Czardas-lassu-Examples 34a and 34b | |
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| March-Example 35 | |
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| Gavotte-Example 36 | |
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| Stop time-Example 37 | |
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| Miscellaneous-Examples 38 and 39 | |
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| 6/8-Examples 40-48: all are threes except the 6/8 march (two) | |
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| Barcarolle-Example 40: three | |
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| March-Example 41: two | |
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| "Big waltz" or "grand allegro waltz"-Examples 42 and 43: three | |
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| Tarantella-Example 44: three | |
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| Miscellaneous-Examples 45-48: all are threes | |
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| 9/8-Example 49: six | |
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| 12/8-Example 50: three | |
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| The adagio-Examples 51-64 | |
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| 2/4 adagio-Example 51: two | |
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| 3/4 adagio-Examples 52-55: threes and sixes | |
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| 3/8 adagio-Example 56: three | |
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| 4/4 or C adagio-Examples 57-60: twos | |
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| 6/8 adagio-Example 61: three | |
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| 9/8 adagio-Example 62: six | |
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| 12/8 adagio-Examples 63 and 64: two (rarely, three) | |
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| For Dance Teachers | |
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| Music and you | |
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| Music and your students | |
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| How a new dance teacher deals with an accompanist | |
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| Learning to count correctly | |
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| Face to face with your accompanist in the studio | |
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| Where to demonstrate | |
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| What to say during a demonstration | |
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| How to get a combination started | |
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| Preparations (introductions, "four-for-nothings," lead-ins, etc.) | |
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| How to correct faulty tempos | |
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| The second side of barre combinations | |
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| How to continue a combination | |
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| How to stop a combination | |
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| How to finish a combination | |
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| How to organize groups of students in the center | |
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| How to mark clearly | |
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| Dos and don'ts for dance teachers | |
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| Dos | |
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| Don'ts | |
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| Checklist | |
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| For Accompanists | |
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| Background information for beginning accompanists | |
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| Classroom etiquette | |
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| The structure of a dance class | |
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| The barre (sometimes called side practice) | |
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| The center (sometimes called centre practice) | |
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| How teachers demonstrate | |
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| Qualities of steps and movements | |
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| At the barre | |
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| Plies | |
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| Tendus | |
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| The degage family | |
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| Ronds de jambe a terre | |
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| In two | |
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| In three | |
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| Fondus | |
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| Frappes | |
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| Adagios/Developpes | |
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| Petits battements serres and battus | |
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| Ronds de jambe en l'air | |
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| Grands battements and battements en cloche and en balancoire | |
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| Grands battements with the leg going up on the count | |
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| Grands battements with the leg going up on "and" | |
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| Grands battements en cloche and en balancoire | |
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| Stretching | |
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| The cambre family | |
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| Cambres and circular ports de bras within plie combinations | |
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| Medium-tempo waltz | |
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| Slow waltz, slow 3/4, or 9/8 | |
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| Cambres and circular ports de bras added onto rond de jambe a terre combinations | |
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| Slow waltz | |
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| Moderato two or tango | |
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| Medium-tempo waltz | |
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| Movements of the cambre family included in combinations of a non-legato quality | |
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| In the center | |
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| The first combinations in the center | |
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| Adagios | |
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| The turn/pirouette family | |
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| The adagio turn or pirouette | |
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| "Normal" pirouette combinations | |
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| Turns in attitude and arabesque | |
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| Turns in succession | |
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| Chaines/Deboules | |
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| Soutenu turn | |
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| Tour en l'air | |
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| Balances | |
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| Sautes/jumps | |
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| Changements | |
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| Petit allegro | |
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| Medium allegro | |
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| Grand allegro | |
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| Turns in succession | |
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| Reverence/port de bras | |
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| The tools of an accompanist's trade | |
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| Repertoire | |
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| How to develop it | |
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| Improvisation | |
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| When you must improvise | |
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| Using written music | |
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| Syllabus music | |
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| Collections of music | |
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| Czerny etudes | |
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| Operas and operettas | |
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| Salon music | |
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| The traditional ballet repertoire | |
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| Show tunes | |
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| Where to find it | |
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| How to organize it | |
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| In binders | |
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| By step | |
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| By complete class | |
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| By form | |
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| By composer | |
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| In your head | |
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| Adaptation of music | |
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| Mechanical phrasing | |
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| Kinesthetic phrasing and accents | |
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| Important musical additions | |
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| Starts (preparations, introductions, "four-for-nothings," "four ins," lead-ins, vamps, and who knows what else) | |
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| Two-bar or six-count preparations | |
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| Four-count preparations | |
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| Two chords | |
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| Without preparation | |
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| Transitions (also known as bridges) | |
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| Balances | |
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| Finishes | |
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| Arpeggiation | |
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| Pianistic approaches to producing an orchestral sound | |
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| Pianistic methods | |
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| Posture and stamina | |
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| Octaves | |
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| The elusive arm muscle | |
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| The use of the fourth finger on black keys | |
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| Fingering | |
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| Pedaling | |
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| Reverse pedaling | |
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| The sostenuto (middle) pedal | |
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| The soft (damper) pedal | |
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| How sensitive pedaling can help dancers breathe correctly | |
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| Tone quality | |
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| Memorization | |
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| Sightreading | |
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| Pianos you may meet | |
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| Miscellaneous | |
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| An overview of various dance classes | |
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| Pre-ballet and children's classes | |
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| Adult beginner class | |
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| Intermediate, advanced, and professional classes | |
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| Point class | |
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| Men's class | |
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| Variations and repertoire classes | |
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| Classes for pas de deux, adagio, partnering, double work, and so on | |
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| Theory class | |
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| Character class | |
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| Tap class | |
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| Workshops, lecture-demonstrations, visitors' day, and so on | |
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| Auditions | |
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| The first class for a new teacher | |
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| Potential areas of misunderstanding | |
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| Tempo | |
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| Ritard | |
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| Rubato | |
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| Fermatas and accelerandos | |
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| Setting and changing tempos | |
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| Marking | |
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| Adagios | |
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| "Ands" | |
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| "That's too heavy" | |
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| Miscellaneous | |
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| In the rehearsal room | |
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| Company class and pre-performance warm-up | |
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| Playing for rehearsal | |
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| The choreographer | |
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| The conductor | |
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| The photographer | |
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| Cathwords | |
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| Tempo | |
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| Ritards, accelerandos, and fermatas | |
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| Problems | |
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| Marking scores | |
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| The grand pas de deux | |
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| Rehearsal with tape/CD | |
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| The music librarian | |
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| Calling cues | |
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| The gray areas | |
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| Checklist | |
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| Afterword | |
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| Musical Examples | |
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| Glossary | |
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| Notes | |
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| References | |
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| Recommended Reading | |
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| Index | |
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| About the Author | |