George Balanchine described dance as visual music. “See the music, hear the dance” was his motto. The interconnectedness between sight and sound is not easy for instrumental musicians—pianists, orchestral musicians and their conductor—to convey. Mastering this skillset is remarkably complex and worthwhile, as the result is truly magical.
Each year the National Ballet School of Canada (NBS) hosts a Musicians’ Mentoring Program in Toronto during the last week of September and the first week of October. This week-long intensive is a program designed for pianists who seek training to accompany dance classes of different levels. The syllabus includes improvisation, selection of repertoire, and performance techniques. Participants observe and play in dance classes, under the supervision of expert NBS accompanists, and receive one-on-one instruction from a mentor. The week-long program culminates in a session with NBS’ Principal Pianist. NBS dancer education and training programs attract participants from all over the world.
Having participated in the program this fall, I cannot recommend it highly enough. The impressive biographies of the award-winning coaches, such as NBS Principal Pianist (Marina Surgan), my mentor (Craig Wingrove) and staff accompanists (Rob Thaller, Tanya Gordon, Olga Averbach, Julia Lifshine and SoHyun Kim) are listed at www.nbs-enb.ca.The perspectives they shared on music, dance, and life are readily applicable to communication in all walks of life and inspire advancement through lifelong learning.
Concepts particular to the dance world were explained by world renowned experts, with clarity
Marina Surgan, Principal Pianist and Manager of Musicians at the NBS is a world class pianist, accompanist, teacher and composer. Piano books for Ballet Class by Ms. Surgan are used by accompanists and teachers all over the world, Her music can be heard in television shows, films and documentaries. As a participant in the program, I was able to speak with Ms. Surgan and to bask in her warmth, incredible knowledge, and humility. I left my session with Ms. Surgan craving to keep on learning. If only her classes could continue!
My assigned mentor, Craig Wingrove is an award-winning full-time musician at NBS. As an experienced coach, he easily identifies how to advance the training of experienced dance accompanists. And yet, he is just as comfortable sharing his expertise with pianists learning to differentiate between a musical frappé and a coffee-based beverage. After completing the week, I wanted to return to our practice room and hone my improvisation skills.
We began the week with a session on the “anacrusis.” Idiomatic to the dance world, it is the musical equivalent to setting a table. Craig explained a simple technique to amend any existing score by adding a preface, an incomplete measure that is also known as the upbeat. A dance accompanist may use fragments retrieved from an existing musical score or improvise. They must perform an anacrusis that sets the quality of the tone. By indicating what is to come, the accompanist supports musically a vision of what is to be expected from the dancers.
The need to improvise, compose and transpose in real time was emphasized
Accompanists at the NBS display mastery of an eclectic repertoire. On the other hand, the printed score never constrains the dance accompanists. This is because of their ability to integrate music and dance, sound and sight, by listening, improvising, and supporting the dancers so expertly. I learned how to take my eyes off the music and hear the brush of the dancers’ feet when adapting repertoire under my fingertips, such as Schummann’s Scenes from Childhood. I sight read through the Chopin waltzes and traditional classical repertoire combined with ragtime and jazz-like rhythms throughout the days of classes.
Exercises may be repeated in dance class any number of times- and the accompanist must be ready to pivot along with the dancers, taking instructions in class and must on the spot, be able to choose and manipulate a pre-set score. Transposition is a useful skill to facilitate repetition by injecting qualitative freshness. Hence the need for accompanists to be able to improvise and transpose a score. Craig Wingrove is proficient at improvisation. His piece Improvisation #4 was featured in the 2005 Hollywood film The Man in which he performed live. Craig has written music for nine children’s musicals and one pop/rock opera with The Really Little Theatre Company. With his colleague Rob Thaller, another exceptional coach, he has recorded in various styles, including Latin jazz and developed an innovative methodology of notation which he explained to me during my playing session.
Feedback was meaningful
Observation of the dance classes brought unexpected opportunities to learn how to deliver and to receive feedback. The dance instructors motivated gifted, passionate students during their classes, with just the right tone of voice. By way of example, the Director of Teacher Training and Community Staff, Ms. Ashleigh Powell, conveyed a powerful lifelong message to her young aspiring students and participants in the training program. At the outset of the class, she asked each young student to consider what they would like to be complimented on. Towards the end of the class, she asked each student to consider in their mind two compliments they deserved. Looking forward to developing goals and backwards to reflect on achievements are life skills for all, on and off stage.
Next steps
Throughout the program, I observed expert dance teachers and accompanists collaboratively provide meaningful feedback. It is a true gift for artists to share their perceptions of progress, without being harsh on themselves or others. Mentors referred to the importance of acquiring skills and exuding confidence, to gain the trust of those dancers who depend on the accompanist for support and stability. I left with a profound desire to keep on learning. If only the classes could continue!
For more about Canada’s National Ballet School’s Musicians’ Mentorship Program, click here.
