| Ezra Pound wrote: "Music begins to atrophy when it | | | | is made up of phrases, dances are made up of |
| departs too far from the dance." | | | | interlinking sequences and steps. Listen to the way |
| He is right, as there is an essential link between music | | | | the music changes its dynamics and think about what |
| and dance, especially between ballet dancing and | | | | to emphasize in your dancing so that you can shape |
| classical music. Ballet dancers should never take the | | | | your dancing according to the melody line in the |
| music for granted. It is there to help you dance | | | | music. |
| better and isn't just a means of keeping time. | | | | Being on time with the music is one thing, but having |
| Music provides the fundamental pulse in your ballet | | | | musicality is the ability to hear the subtle qualities and |
| dancing, as is proven in some of the more modern | | | | structures within the music and then be able to |
| dance classes where there is just a drum beat going. | | | | communicate them in your dancing movements to |
| But even a lone drumbeat can tell you the quality and | | | | your audience. |
| the character of the dance steps that you are | | | | Musicality can be trained to a certain extent. Learning |
| supposed to be doing. When melody and harmony | | | | to read music and play an instrument has enormous |
| join rhythm and tempo, music gives even more | | | | benefits. Also just listening and trying to work out |
| guidance to the ballet dancer. | | | | the different rhythms by just clapping or tapping with |
| The ballet dancer must allow the personality of the | | | | the music. |
| music to move through her body and bring it out in all | | | | Also, having musicality as a ballet dancer will help you |
| her movements. Just as bold and loud music calls for | | | | to solve many problems for yourself. If for instance |
| big, bold steps, delicate music calls for more delicate | | | | you can't get a pirouette right, try listening to the |
| and pretty dancing. A dancer must learn to move | | | | rhythm of the music. Just a subtle change in your |
| through and with the music whether it be fast or | | | | rhythm or changing an accent here or there, you |
| slow, staccato or pizzicato or any other special | | | | could improve ten fold. At the end of the class music |
| effect that the choreographer is trying to achieve. | | | | also helps to keep you going and will give you a |
| The next level up would be phrasing your | | | | serge of ongoing energy to complete your class. |
| movements to the music. The same way that music | | | | |