Blog 15, from a little toe to delightful piano music
I am recovering from my bruised little toe. The accident with my foot happened 10 days ago. It is still painful. I used a tape this first evening to fixate my little toe to its neighboring toe. From earlier experience with injuries, I’ve learned to listen to the signals of my body. Your body has a great capacity to heal if you give it proper time and rest. In the last 10 days, I took great care in immobilizing my foot. And of course, I skipped dancing.
But even sitting on a chair last week I learned a few things about ballet. Thanks to the power of observation, self-reflection, and visualization.
I’m glad to be back in Bayadère. Though I have to remain cautious in my moves, I don’t want to hinder the process of the healing of my foot.
I came in early, so Lyda and I had a chat about the piano music she uses in class. There are many variations and differences in the styles. Sometimes you can hear in what part of the world the pianist lives. A Cuban pianist like Aly Tejas plays with spunk and passion.
I’m gradually building up a collection of ballet music of my own. Names like Lisa Harris, Aly Tejas, Søren Bebe, Patience Clements fill my iTunes Library. I love this music so much! Simple and yet eloquent. How come I never found it before?
Most piano music that I collected in the past belongs to the regular classical stuff like Chopin, Ravel and so on. Ballet music used for class is more playful and vibrant.
Lyda told me that in the past it was difficult to find appropriate ballet music. Nowadays there is an overwhelming supply of music thanks to iTunes etc.
If you have good advice for me for new material: please be my guest!
The first lesson this week was nice, and my foot could take it without any pain. The second lesson was tough. I had to restrain myself.
Lyda concluded the second lesson with series consisting of 2 chassé’s (a gliding step in which one foot appears to chase the other foot out of position) and 2 temps levé’s (raising your body into the air by a leap from the feet) on the diagonal. She changed the sequence of the chassé and temps levé a few times. As soon as I managed to perform one of the series nicely, she quickly altered the sequence. And there I was a Humpty Dumpty again.
She mentioned the next series:
-2 chassé’s (right foot leading both times) and 2 temps levé’s (right foot leading, then left foot leading) and so on
-2 temps levé’s (right foot, then left foot) and 2 chassé’s (right foot leading)
-1 chassé, 2 temps levé’s, 1 chassé
-1 temps levé, 2 chassé’s, 1 temps levé
-1 chassé, 1 temps levé, 1 chassé, 1 temps levé.
I lost track. Lyda laughed.
Lyda never ceases to surprise me.