Classical

Ballet 3

M PLE
SA

Classwork & Teaching Suggestions

for the Ballet Teacher of Intermediate to Advanced Students

Ruth H. Brinkerhoff, B.A.

Former Director, Utah Ballet Academy
Registered Teacher, Royal Academy of Dance
Classical Ballet 3:
Classwork and Teaching Suggestions
for the Ballet Teacher of Intermediate to Advanced Students
By Ruth H. Brinkerhoff, B.A.
Former Director, Utah Ballet Academy
Registered Teacher, Royal Academy of Dance

Copyright © 2016, The Ballet Source

Cover design and illustrations © 2016, Eric Hungerford.
All rights reserved. No portion of this book may be reproduced, stored in
a retrieval system, or transmitted in any form or by any means, electronic,
mechanical, photocopying, recording, or otherwise without the prior written
permission of the copyright holder.

The Teacher Must Decide

The Ballet Arts series of manuals provides information, activities and suggestions
for the teaching of ballet to children. The materials in these books have worked
well for the author, and for other teachers of her acquaintance. However,
the author cannot know what approach or which physical activities will
be appropriate and safe for any particular teacher, class, or student. It is the
responsibility of each ballet teacher to use his or her best judgment in applying
the information and teaching suggestions contained herein, and in using the
activities, enchainements, dances and teaching materials contained in the Ballet
Arts series from The Ballet Source.
Contents
I. Improving Technique and Artistry
Using This Manual 5
Suggestions for Improving Technique and Artistry 7
Correct Muscle Use
About Warming Up
II. Classes
Sample Ballet Classes
A Class For Balance
A More Advanced Class
Classes With Pointe & Boys Work
III. Enchainements
Warmup & Barre
Center, Port de Bras, Pirouettes
Adage
Improving Allegro
Allegro
Pointe

Links 16

PURCHASE CLASSICAL BALLET 3

I. Improving Technique and Artistry
Using This Manual 5
Suggestions for Improving Technique and Artistry 7
Correct Muscle Use 17
About Warming Up 19

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Using This Manual
Introduction Ballet terminology does differ from
system to system, and from teacher
These exercises, enchainements and to teacher. Hopefully the terminology
technical suggestions are some that used here will be understood by the
were given to me as a student, many reader. Some explanations for terms
years ago. used in this manual are on this page,
Neither the author nor The Ballet and on the following. If you have a
Source makes any guarantees or claims particular question, please contact The
of any kind regarding the choreography Ballet Source.
and technical suggestions contained in The abbreviations on this chart of stage
this manual. directions will be used to indicate
It is hoped that this collection of where the dancer is to face:
choreographed classes, and extra Stage Directions
enchainements will be a welcome
addition to your ballet teaching The areas of the stage are named from
repertoire. the performer’s point of view when
facing the audience.
It is expected that
teachers will make
changes and additions AUDIENCE
as suits their needs
and the needs of their Downstage Center
students, and that they Downstage Downstage
will use good judgment Left DL DC DR Right
in selecting and using
the material contained
in this book.
DANCER
Have fun with it! Stage Stage
Left
L C R Right
Introduce your students Center Stage
to some different
challenges, and some
helpful remedial work.
Upstage Upstage
Lengthen or shorten Left
UL UC UR Right
the exercises, or the Upstage Center
classes, as needed in
your school. Expand the
difficulty, or simplify
it; again, as is needed in your teaching
situation.

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Clarifications: RELEVÉ
To indicate which foot or leg or arm to use, the
capital letters R and L are used.
When the term demi plié is used, unless
otherwise stated, the entire exercise, going down,
and coming up, is intended. The same is true for
the term battement tendu.
When a relevé is indicated, again, unless otherwise
stated, the complete exercise is intended: going up
and coming down. Demi Plié Demi Pointe Demi Plié
Relevé
Releve feels like a tiny jump. Spring quickly from
the demi plié to the demi pointe. Spring quickly
down again to the demi plié. RISE, OR ELEVÉ
Rise, or Élevé
Lift the heels off the floor, keeping the knees
pulled straight. Lift through the center of the foot.
Lift as high as possible without the ball of the foot
coming off the floor. Lower the heels to the floor
again. This movement should be done slowly and
smoothly, like an “upside down Demi Plié.”
However, when the term “rise” is used, it will
mean lifting the heels to demi pointe, keeping À Terre Demi Pointe À Terre
the knees straight. If lowering is also wanted, the
word “lower” will be used.
Echappé relevé ouverte would mean to do the
relevé and stay. Echappé relevé fermé would mean
closing to demi plié from the echappé relevé
ouverte.
Battement glissé is a battement tendu done off
the floor about 3”. (This exercise is also known as
Battement Degagé.)
Degagé will be used to indicate the first half of a
battement tendu: the foot stays and does not close. Tendu Position Glissé Position
(Degagé means detached). Degagé will also be used
to indicate this extended position, such as after a
chassé, or when lowered from a developpé, etc.

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 Using the choreography in
this manual:
1. If unsure of what is meant
in a part of an exercise, just
fill it in with what seems
logical to you.
Battement Tendu showing the use of the metatarsal joint, or going
through the demi pointe. 2. Feel free to change any part
of an exercise that does not
fit your teaching style, or
THREE KINDS OF BATTEMENT FRAPPÉS the students’ abilities, or
what you want to work on
at this time.
3. Feel free to use the
exercises within any one
class separately, or to mix
the work in two or more
classes.
Battement Frappé With Flexed or Relaxed Foot 4. This work is intended to
be an addition to your
teaching repertoire, not to
replace it in any way. Use
what works, what interests
you, what challenges or
improves your students
performance.
5. Music: the meters and
Battement Frappé With Wrapped Foot counts are intended to
give an approximation of
how to time and blend
the parts of an exercise or
enchainement. Feel free
to adjust the meters and
counts as seems best to you.

Battement Frappé Piqué (or Pointed)

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 Retiré Positions

Petit Retiré Petit Retiré Devant Petit Retiré Derriere

Demi Retiré Demi Retiré Devant Demi Retiré Derriere

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 Positions of the Arms as Used in This Manual

Bra Bas First Position Demi Bras Demi Seconde Position

or Open First

Second Position Third Position Fourth Position

or Attitude

Fifth Position Open Fifth Position Open Fifth Position

When Coming from Fifth When Coming From Second,
or, Diagonally Up

First Arabesque Third Arabesque

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Suggestions For Improving
Technique and Artistry
General Rule: If posture is correct, the needed. Now the pliés can be done
legs and anns will have a reasonable in all positions without moving the
chance to work at their best. Posture supporting leg. Simply adjust the
incorrect? Legs and arms will have a placement of the left hand on the
hard time. barre.

Placing Feet for Even Turnout at the For Grand Pliés

Barre There should not be any shoulder
Turn thighs out, the feet follow. Place movement during grand pliés, as
supporting leg first, then the working this causes the back muscles to work
leg. unevenly, creating incorrect posture.

Need rosin to turn out at the barre? Use the back to stabilize the balance.
Dancer is turning out beyond ability— Lower, middle, and upper back areas—
using the floor friction instead of their all must be held, supported, not
muscles—can lead to lower leg and allowed to drop. Stretch front of hip
foot injuries. Don’t use rosin to try joint so it feels flat; this helps keep the
to increase turnout—it causes wrong tail down.
muscle use. Will not help center work.
Hips must stay slightly above the knees
For Placing Hands on the Barre in all grand plié positions. Going down
further causes a loss of control, and
Facing the barre: with arms relaxed puts undesirable stress on the knee
at sides, lift where they are, and place joints.
hands on the barre, elbows next to
waist. Elbows are relaxed, not sticking For Battement Tendu Closing to
out. Demi Plié
Sideways to barre: Stand in 2nd The legs work together, at the same
position. Lift arms to 1st, then open time, (as in battement fondu.) As the
to 2nd. Place left hand on the barre. leg moves out both legs straighten at
Elbow should be just in front of body. the same time. When closing, both
Hand on the barre will be a few inches legs arrive at the demi plié at the same
further in front. Keep the barre arm time. Timing is smooth. Don’t hold the
relaxed, and fairly straight. plié, and don’t separate it from the rest
of the movement.
Close right foot to 1st or 5th, moving
left hand forward on the barre as

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Details For Using the Feet in Alignment of the Feet in
Battement Tendu
Battement Tendu
Feel a lengthening of the leg as it
moves away. Hold hips level, and still. From 1st Position to 4th Position
Move the foot about two inches out of
The correct
5th with the heel still on the floor.
alignment when
Move the foot outward to the “demi moving the foot
pointe” position. Finish the movement out from 1st
with a full extension of the foot. position, is to
Return the same way. use the open 4th

L
R
position, both
Do this every time the foot moves out front and back.
of or into a closed position.
A more effective
For Battement Glissé (also known as use of the turnout
Battement Degagé) muscles is possible
in open 4th than in a crossed 4th.
Don’t take the foot too high—this is a
preparation for petit allegro steps. This makes it possible for the rond de
jambe a terre to actually increase the
Brush to about 2” off the floor. Keep ability to turn out, as it was originally
the supporting leg turned out, and its intended to do.
kneecap pulled up. Use the feet, use the
floor. All positions en l’air to devant or
derriere are in an open 4th, with the
When brushing to the back, think of leg directly front or back of its own hip
moving the thigh back rather than joint.
the foot or lower leg. Derriere might
have a very slight incline of the pelvis From 5th Position to 4th Position
for some dancers. The shoulders
compensate by moving slightly Tendus from 5th:
CENTER OF BALANCE

forward, but not facing down. use the crossed

4th position.
The toes are
inline with the
supporting heel,
R

but not crossed

L

over any further.

Once the leg goes
en l’air, however,
the leg should lift
directly in front
of its own hip joint. This puts it in the
open 4th.

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Legs off the floor should always be in part, the stabilizer of the movement
the open 4th. It allows the turnout The dancer should feel as ifthe leg is
muscles to work more strongly, and still “underneath them” in first, while
gives a more open feel to the classic it circles. Keep hips in place. Use the
line. feet.

Battement Tendu to 2nd Position To develop control in the air for

allegro, practice the circular part of
For battement tendu to 2nd position: rond dejambe a terre just barely off the
The toes of the two feet are ina floor, using consistent turnout, and a
straight line, which will be somewhat strong, secure brush through 1st.
in front of the dancer, and exactly
perpendicular to the direction the For Assemblé Soutenu
dancer is facing.
Assemble soutenu is a rond de jambe
Do not line up the extended toes with from and to 5th position. This is
the supporting heel! how it differs from rond de jambe a
terre, which is based in 1st position.
This does not allow the muscles to Shoulders and hips must stay level and
work correctly in second position, square on the fondu—don’t drop the
either a terre, or when the leg is off the working hip.
floor.
Because this circular movement comes
The ability to turn out determines from 5th, the crossed 4ths are used for
where this line for the toes in second soutenus instead of the open 4ths as for
position will be for each student. rond de jambe a terre.
Toes are in the same line for 2nd
position. Working heel is in line with
supporting heel in 4th.
L
R

For Battement Fondu

To improve placement, practice fondu
without the extension, as simply
a demi plié on one leg. This helps
For Rond de Jambe a Terre
placement.
The shape is a letter D, using the open
When extending derriere, think of
4th position, and making a straight line
moving the knee back and letting the
through 1st position.
foot follow. Battement fondu prepares
The path through first is the slower for ballonnés.

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For Frappé & Petit Battement A la Seconde: keep hips level; feel that
the heel is slightly forward of the knee
Don’t tense or constrict the ankle or (this is a feeling, not a place).
knee joints—they must move freely in
the correct pathways. Note: don’t show the sole of the foot to
the front, in 2nd. That is overturning,
To keep the thigh from turning in and is not correct technique (not
during the exercise, imagine a broom correct use of muscles), according to
handle holding the thigh out; it can’t most ballet authorities.
turn in.
Derriere: go through the attitude
position; don’t forget to push the thigh
back when moving out of the retiré.

For Grand Battement

Use some pressure on the floor as the
foot leaves 5th. This frees the leg to lift
more easily!
Get the placement right first, then
work on the height of the extended leg.
Keep the back steady, supported.
Think about lengthening the back
of the knee when extending the leg
derriere.

For Battement Retiré Understanding Extensions to the

Back
Working leg draws a line up the
supporting leg—stays in contact all the The reason students so often bend the
way up, and all the way down. knee when extending a leg to the back:

Keep hips absolutely level. Keep heel 1. The muscles needed to lift the leg
“in” when closing back—this helps to the back are the same ones that
maintain the turnout. Pull the body up bend the knee!
on the closings—don’t sink down. 2. The muscles that straighten the
knee are the same ones that lift
For Developpé
the leg to the front.
Devant: don’t sit back, keep torso
It takes concentration, and effort to
upright and tall.

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teach those muscles to cooperate, and For Pirouettes en Dehors
lift a straight leg to the back. Thinking
about stretching the backs of the knees Think of the relevé devant as a “lifted
seems to help. 3rd”. Do a simple relevé devant, then
do the turn with the same placement—
For Pivots (Promenades) this helps them find their balance.
Turn by moving the heel and the inner Arms are in 1st. Move body forward
thigh; the body is balanced above the into arms for the turn. Feel the body
supporting hip, with weight on the ball over the front (lifted) foot for the turn.
of the foot.
Don’t sit the plié at the end—press
For Arabesque down into it and recover. Arms ending
demi bras gives a nice finish.
The leg is in the “open fourth” at the
back—feel it with the back muscles. For Pirouettes en Dedans
The leg is directly behind its own hip
joint, and its own shoulder. Find and Chasse en avant into the fondu. Move
hold the correct position lying on the through the glissé position on the
floor. Then try it standing up. relevé. Lift under the seat muscles. If
weight is securely over the supporting
For Pirouettes leg, the turn will be OK. Moving only
one arm on the port de bras is easier to
Students learning or improving coordinate at first.
pirouettes must learn the exact placing
of each part of the movement. For Diagonal Turns
If more advanced students are having Don’t overdo the traveling—rather try
difficulty, go back to the beginning and to keep the legs underneath the dancer.
retrain the muscles. When worried about covering distance,
they often lose placement and control
At first use the strong rise. That of the turns.
is, do a relevé straight up, with no
displacement of the foot on the floor. Chaînés: On the first half turn, think
of bringing the back hip around, and
This method makes it easier to find the back arm to 1st. On the 2nd half,
correct placement and balance. spot, open arms to demi bras, bring the
(Research also shows that fewer second hip and shoulder around.
injuries occur with this method.)
Boys should always use the strong rise
Tips For Allegro
for turns. Girls can use the relevé with Some tips from a professional male
a slight displacement of the supporting dancer:
foot, if they can control it.

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 • Use metatarsals in jumps. same height in all three directions.
• Turnout from hips.
• Maintain foot to leg alignment. • Glissades—don’t forget to stretch the
• Make full use of all parts·of the second leg.
feet. • Brisés—think of the underneath foot
• Use the smallest amount of force catching up to the front foot (brisé
needed to produce the movement. derriere).
• Relax ankles to get a deeper plié.
• Use demi plié as a movement, not • Entrechant Six de Volé—think of it
a position. as an assemblé and an entrechant
quatre.
Technical Pointers
• Pas de Chat—show the two retirés in
• For the upper back: lay on stomach, the air.
and keep feet on the floor. Bring
arms from 2nd to 5th, then lift upper • Coupé Sauté is always jumped
body off floor. Have someone hold straight up.
the feet down. • Jeté Battu beats under you, not out
• The supporting leg stabilizes and somewhere.
controls movements. Lift off the • Assemblés—height of the brush
supporting leg, stretch abdominals determines the height of the jump.
upward. Use adductors on closings. Legs come together in the air before
• Maintain the natural spinal curves; landing, even in petit assemblés.
these should be balanced for that • Analyze and perfect all steps early
person. on. Limited but correct knowledge is
• For 2nd position extensions: find the a good beginning, even for teaching.
exactly right place during the grand • For keeping weight forward in
rond de jambe. Don’t pitch shoulders changements, hold a stick behind the
back, especially when the leg is in back with elbows.
2nd en l’air.
• To keep head from jerking back on
• Resilient pliés are necessary for good jumps, hold hands behind head.
allegro. Learn to relax the calves
and use the shin muscles (anterior • Having the eye line raised slightly
tibialis) when going down into a helps jumps to look higher.
demi plié, and when landing from
a jump. (This keeps the heels on the For Perfection
floor.) Do things in simple form to perfect
• Grand battements should be the them. Do movements in small pieces,
then put the pieces together.

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Do the step simply, by itself, not in begins with conscious, deliberate,
enchainements, for a few classes. movement planning.
If needed, analyze the parts of the
movement, and do these parts in For All Ballet Work . . .
isolation a few times, to make the Think the result you want;
dancer aware of the parts. Then put it Concentrate, or it won’t happen.
together.
A Word To Students About Practice
Give the muscles time to learn the new
way of doing the movement. The more Practice is for the muscles to become
change you want, the more time it able to do a movement better—it is not
will take for the movement to become for the brain, and it is not intended to
automatically better. entertain the dancer!

For Artistry Practice simple things to make them

perfect. This helps the more advanced
Complete ballet placement must be steps to improve.
learned first.
The easier
• Have a spiritual center; radiate movements are
outward. the foundation
• Explode upwards, lower gently. upon which the
more advanced
• Rest the eyes somewhere for movements are
adage—look at something! created. If the
advanced work
• There is artistic quality in the use
is to be strong,
of head and eyes—use them!
it must have a
For Coordination strong foundation.

Coordination arises from “movement If you love to

planning”. That is, the dancer plans the dance, teach
movement in his or her mind, then yourself to love
teaches it to his or her muscles. every part of
it, even the
The teacher is a professional guide, practicing!
one who can help the student to know
what they need to learn to be a fine
dancer. But the student must do the
actual teaching of their muscles. This

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