Plies, a foundational exercise in ballet, are far more than just bending your knees. They are the breath of ballet, embodying elasticity, weight, and responsiveness to music. For ballet teachers and musicians alike, understanding the nuances of plies and the music that accompanies them is crucial. Initially, as a ballet accompanist, plies seemed simple, a comfortable starting point. However, with experience, my appreciation for their depth and the subtleties of their musical accompaniment has grown immensely. Now, I find profound beauty in the simplicity of a plie exercise and the rich musical landscape that can support it.
This guide delves into the art of selecting the perfect “Plies Songs” for your ballet class, exploring how different musical styles can enhance the physical qualities you aim to cultivate in your dancers.
Ballet dancers gracefully execute plies during a music-accompanied class, highlighting the importance of plies songs in ballet training.
Understanding the Qualities of Movement in Plies
As ballet instructors, you seek specific qualities in your students’ plies: breath, expansive port de bras, a yielding into the plié, the grounded feeling of heels pressing down during the rise, and the engagement of leg muscles for rotation as they straighten. The pivotal question then becomes: what kind of music effectively nurtures and reinforces these desired qualities? The answer lies in understanding how different time signatures and musical phrasing interact with the movement of a plie.
Exploring Time Signatures for Plies Songs
Slow Triple Meter: The Flowing Choice (Adagio 3/4 or 6/8)
In my experience, slow triple meter music is the most prevalent choice for plies exercises. This preference likely stems from the inherently flowing and lyrical nature of triple meter. While both 3/4 and 6/8 time signatures are counted identically by dancers, the musical phrasing and accents within them offer distinct nuances. Opting for 6/8 can be particularly advantageous.
Both 3/4 and 6/8 meters feature a primary accent on the first beat. However, 6/8 introduces a secondary, less pronounced pulse on beat four (the beginning of the second group of three eighth notes in the measure). This subtle secondary pulse in 6/8 provides a more consistent musical support for the elongated phrases typical of a plie exercise. Furthermore, the less emphasized even counts in 6/8 can discourage dancers from rushing or “popping up” prematurely from their demi-pliés.
To illustrate the difference in accents:
Adagio 3/4 (Dancer Count): 1 & a, 2 & a, 3 & a, 4 & a (Musician Count: 1 2 3, 1 2 3, 1 2 3, 1 2 3) – Notice the four strong accents, one for each dancer count.
Adagio 6/8 (Dancer Count): 1 & a 2 & a, 3 & a 4 & a (Musician Count: 1 2 3 4 5 6, 1 2 3 4 5 6) – Here, you perceive two main accents per dancer count, creating a smoother, more sustained feel.
How does this musical insight translate to your teaching? Consider the movement qualities you aim to instill. The breath and extension in the port de bras, whether during the plié itself or in preparatory movements, are beautifully supported by triple meter music. The inherent “note-y-ness” of this meter encourages dancers to fully inhabit the music, preventing them from abruptly rising from the plié. The extended duration between dancer counts in slow triple meter naturally discourages rushing the demi-plié. However, it’s worth noting that excessively slow tempi in triple meter can make grand pliés feel protracted.
Slow Duple Meter: Cultivating Precision (Usually 4/4)
Slow duple meter, often in 4/4 time, is a less common choice for plies, perhaps due to the counting challenges it presents for some. A common pitfall is that the space between dancer counts in slow duple meter can feel “empty” if only an “&” count is used. Teachers may unintentionally fill this perceived void with an “& a” count, inadvertently drifting back towards a triple meter feel. If this resonates with you, rest assured, it’s a very common experience! The single “&” count can indeed feel less supportive compared to the more flowing triple meter.
However, incorporating 4/4 music for plies offers significant benefits, particularly for advanced dancers. In professional level classes, choosing 4/4 music for plies becomes a valuable exercise in musicality and control. Duple meter demands greater precision from dancers. With only a single “&” count between the main counts, there is less time to react and adjust. This necessitates a deeper understanding of the exercise and quicker responsiveness to the music. The reduced “wiggle room” makes duple meter excellent for refining technique and “getting down to business”.
Adagio Duple Meter (4/4 or 2/4): 1 & 2 & 3 & 4 & (Musician Count: 1 2 3 4, 1 2 3 4, 1 2 3 4)
The beauty of 4/4 in plies also shines in grand pliés. While triple meter can sometimes feel excessively drawn out in deep pliés, duple meter provides a more concise and appropriately timed duration, maintaining energy and preventing the movement from becoming sluggish.
Tango: Adding a Touch of Sass
Tango music, typically in 4/4 time but with a distinctive rhythmic feel, can inject a playful “sassiness” into plies. The characteristic “pull” or emphasis on the second beat of each measure (or the even dancer counts) creates a syncopated rhythm.
Tango Rhythm (Dancer Count): 1 a2 & 3 a4 & (Musician Count: 1 + 2 +, 1 + 2 +)
This rhythmic drive can be particularly engaging for relevés or port de bras incorporated within the plies exercise. However, if the focus is on deeply controlled, sustained movement flowing seamlessly through the music, tango might not be the ideal choice. Its inherent rhythmic push can detract from the smooth, legato quality often desired in fundamental plies.
Conclusion: Finding the Perfect Plies Songs
Whether aiming for expansive demi-pliés, powerful grand pliés, or lively relevés, the selection of “plies songs” plays a pivotal role. The right music can elevate a simple plie exercise into a rich exploration of movement quality, musicality, and dynamic expression. By thoughtfully considering time signatures, phrasing, and tempo, ballet teachers can harness the power of music to unlock deeper understanding and execution of plies in their students.
To further enhance your understanding of music for ballet and refine your teaching, consider exploring comprehensive music training resources designed specifically for ballet teachers. These resources offer invaluable insights into musicality and its application in the ballet classroom.
