Winners of the Richard Maddock CD Giveaway Announced!

This is just a quick anouncement to say thank you to all who participated in Dance Advantage’s first giveaway! Nine winners have been chosen, contacted, and confirmed.

Congratulations to…

Amanda D., Heather, and Isabelle – winners of Music for Movement and Imaginations!

Mary Susan, Karen, and Sarah – winners of Ballet Studio Inspirations: Volume Three!

Amanda L., Jill, and Angel – winners of The Garden Within!

I am so happy to be sharing this great music with you!

If you did not walk away with a CD this time, be sure to check out Richard’s website (click the image below). You can preview many of his tracks and make purchases online. Plus he’s got even more new music on the way, so bookmark his page! Also, stay tuned here. There will be other chances to win in the future as I explore opportunities to give away free stuff to readers! Yay (look out Oprah lol)!

In Sleep a King — Farewell to Michael Jackson

For those who are too young to remember him at the very height of his career, I’m sorry. There’s no questioning Michael Jackson’s influence on our current pop music and dance culture. His life was somewhat of a tragedy but his talent was a gift. So, in honor of this icon, I’m taking a moment to celebrate that gift.

A few videos.

First a collection of footage that clearly demonstrates the icon’s signature movement style and its relationship to today’s popular dance.

Second, one of my favorite Jackson tunes. It is impossible not to move when you hear a Michael Jackson song. That is the legacy within his body of work and the part of his life and career that will outlive everything else.

This song’s original music video is on YouTube and worth a watch. It is not embeddable. However, you can find it here.

“Thy self thou gavest, thy own worth then not knowing,

Or me, to whom thou gavest it, else mistaking;

So thy great gift, upon misprision growing,

Comes home again, on better judgment making.

Thus have I had thee, as a dream doth flatter,

In sleep a king, but waking no such matter.” – William Shakespeare; Sonnet 87

Farewell, Michael!

Richard Maddock Music — CD Review and Giveaway!

Richard Maddock is an accomplished musician as well as a seasoned dance class and exam accompanist. He is currently Head Accompanist at The Pia Bouman School of Creative Movement and Ballet, in Toronto, Canada and has written, performed, and engineered eight CD’s for dance in the last three years. I recently came across Richard online and he graciously offered five of these discs for review here, on the blog.

To top it off, he agreed to donate nine CD’s to give away to nine lucky Dance Advantage readers!

Music for Movement and Imaginations

Ballet Class & Creative Movement (for children ages 3 and up)

I’m not currently teaching preschool ballet, but this is a CD I wish had been around a few years ago when I was teaching younger children! Dance teacher and collaborator, Kelly Jones-Hart has developed a class structure that effectively blends the conceptual exploration of creative dance with basic ballet technique. And with over 40 tracks, there is plenty of material and alternatives to spread over many classes. The disc provides brief notes on each track explaining its possible uses in class. The notes are not a how-to manual. Some familiarity with creative dance methods would certainly increase the variety of ways you could use the musical material. However, plié, tendus, relevé, ballet walks, sauté – it’s all here – forming a cohesive lesson format whether you are comfortable with creative movement concepts or simply looking for a way to enliven your children’s ballet classes.

Musically, the selections are simple but engaging. Composer, Richard Maddock knows when to keep the beat “readable” so that young dancers can stay in time with the exercise. And, he is playful, adding flourishes and fun when trying to inspire little imaginations. There are a variety of “freeze” dance selections with random pauses, and a group of compositions designed for Enchaînment (combination of steps or concepts). These often switch tempo or meter and could be applied many ways to whatever you are working on with your students. Also included are seven “Dance-a-Story” arrangements. In these, the music changes and progresses in a way that suggests a plot or sets a scene. Two sample stories are included in the album notes and a general outline is offered for the others but, the music itself will encourage your own creativity.

Although this is most certainly music for young dancers, I appreciate that the musical cues and changes are subtle and that the compositions have an elementary sophistication compared to some of the “baby ballet” albums out there. Because of this, the CD could be functional for children’s classes well beyond the preschool years, extending the usefulness of this album.

For further detail or to preview some of the tracks, click the image above.

Ballet Studio Inspirations: Volume Two and Volume Three

Richard creates from a colorful palette of musical hues. His compositions for dance classes are expressive. It is easy to find inspiration in the material for the choreography of exercises because he paints attractive landscapes of sound. But, it is the lyrical quality of the songs that also make these tracks enjoyable to dance to. They encourage the student to perform the exercises rather than just complete them, which makes a teacher’s job easier in the long run.

Volume Two includes 14 compositions, beyond the 31 barre and centre selections, which are recommended for pointe work. And overall it has rather lengthy tracks, particularly for barre. As a result, this CD is probably more appropriate for advanced students than beginners. Containing an hour and 20 minutes of music, the disc offers plenty of selections to mix and match for different lesson plans. What I found unique about this album was its delicate orchestrations. Though the piano is the focus, there are textures added beneath which suggest the richer dynamics of an orchestra without overpowering the dancers during class.

Volume Three, on the other hand, is special for its purely piano sound. Recorded on a Concert Series Grand while corresponding class exercises were performed, this album more closely resembles the experience of having a live musician at your disposal, a luxury that few dance studios enjoy. Though in the notes it suggests that the music was composed to compliment a pre-professional level ballet class, I feel that this CD might be more adaptable to varying levels than the previous disc. The shorter tracks have much to do with this. The compositions, consistently featuring 64 bars of music, also seem more symmetrical overall.

On both discs, it is helpful that the selections are ordered and titled according to how they might be utilized in a class. However, the compositions could be easily rearranged (perhaps on your iPod or mp3 player) according to preference. I also appreciate that the liner notes include the time signature of the piece, how many bars (measures) are available, and note changes or breaks in pattern. Knowing these details can make choreographing exercises a much smoother process.

For further detail or to preview some of the tracks, click the images above.

As Creation Unfolds: Part Three and The Garden Within

While the first three albums are definitely designed for class use, these two albums include longer compositions more suitable for creative or improvisational dance, or composition. Again, I visualize landscapes as I listen to Richard’s work. Most tracks have a contemplative quality.

As Creation Unfolds Part Three is the shorter (i.e. fewer songs) of the two albums. However most of its tracks are well over four minutes long. A favorite on the disc is “The Newborn Fawn.” Its skipping rhythms make it the most dance-y of the compositions and, as the shortest track, it could certainly be used for a lilting ballet in your next recital. “Woodland Nymphs” is another standout. I instantly recognized this one as a great fit for a creative dance class. Beginning with gentle pauses and gradually increasing in tempo, I picture children making shapes and exploring in a scarf dance. Incorporating several changes in texture, the music seems to have “events” that could easily be turned into a story dance.

On The Garden Within, the selections “Oh What Wonders” and “Gently Guiding,” in particular, produced movement images and motifs in my mind as I listened. Their lyrical melodies and slightly more stirring tempos make them relevant for phrases or class choreography. My most pleasant surprise came at the end of this body of work, however. The final track, “Moving Forward” is underlined with percussive elements. This, coupled with its Asian-inspired gongs and chords, give the song a Cirque du Soleil vibe. What I find most compelling, however, is the tempo fluctuation in the piece. Of all the tracks on these two albums, this is my favorite.

The Garden Within and As Creation Unfolds Part Three are both filled with lovely compositions. They are a pleasure to listen or meditate to, making them ideal for relaxation, yoga, or stretching (inside or outside of class).

For further detail or to preview some of the tracks, click the images above.

All CD cover images are the photographic work of Kim Fiocca.

Here’s How To Enter:

Sorry, the giveaway is now closed!

Winners have been contacted

♫♫♫♫♫♫♫♫♫♫♫♫

Richard Maddock Compositions
Inspiring CDs for Ballet Class and Choreographic Work
www.richardmaddock.com

How to Develop Musical Awareness in Dance Students

Do your students have a basic understanding of musical concepts? As music and arts programs in public schools have faced cutbacks, I’ve found myself needing to work more diligently to cover meter, tempos, and rhythms more thoroughly in my dance classes. This knowledge is an important building block toward musical artistry in dance but even at a more base level it is simply easier to keep students moving together and on the beat if there is a shared comprehension of music.

Fortunately, there are many inventive ways that dance teachers can lay a foundation for musicality and a competency in musical theory within their classes. The suggestions (or perhaps more accurately, principles) below are by no means a complete guide to accomplishing the task but, hopefully they’ll prime the pump of your own creativity. I’d love to hear about additional strategies or ideas that you have in the comments below and I know others would too!

Explore Tempos and Rhythm in your Curriculum

Most classes for younger children incorporate music-related activities through the use of props, instruments, songs or rhymes. Rarely, however, do teachers of students older than 5 or 6 years make exploration of tempo or rhythm part of each dance lesson. It can’t be assumed that older children have “naturally” developed a sense or understanding of these concepts. Continue musical exploration beyond the early years.

Break Patterns

Whenever possible, seek out music with varying meter or with time signatures other than 4/4. This can be particularly challenging in classes that make use of popular music. Experiment with music from other cultures and push yourself to try something new or that goes beyond your own choreographic or musical preferences. Include your students in the process, urging them to be on the lookout for music with unusual meter and to bring in their best finds for use in class.

Return to Square One Every Now and Then

Sometimes even older students have trouble finding the beat. It never hurts to revisit such basic concepts as moving on the beat, finding the downbeat, counting the music, or locating phrases within the music. Try having students improvise – moving on each clap, drumbeat, or beat of the music. Then have them try moving on each downbeat, or every 3 or 4 or 5, etc. beats. Create rhythms and patterns like move, hold, hold; mo-oo-ve; hold, hold, move!; hold, hold, move!

Music Theory through Dance

Music educators know that movement is great tool in teaching music theory. There are many creative ways you might incorporate concepts like note value and rhythm in your classes. Try visual aids as simple as halved, quartered, and further divisions of paper. Allow students to explore what it feels like to suspend movement throughout a whole note or dance a rhythmic pattern. Allow them to create and dance their own patterns. Or, help students to recognize the musical structure of phrases or movements which they already know. Explore the uneven quality of a skip for instance – Clap the rhythm. How many fit within a given measure? What would a skip look like if written in musical notation? And, what about chaîné turns? A triplet or waltz turn? A time step?

Why Is it Important that Students Have Musical Awareness?

At the top of my list of reasons is communication. As students progress in their study or as they move toward teaching or choreography the ability talk about and interpret music and its relationship to dance with clarity will be an asset rather than a handicap.

“Something in three,” the ballet teacher says, and the poor accompanist can’t satisfy the request until the teacher finally yells, “No, no, no! Something in THREE! One, two, three, eee; One, two, three, eee.” — from an article by Monica Dale; MusiKinesis website (check out the resources and articles on this website about Dalcroze Eurhythmics)

Also, an understanding of musical form, rhythmical structure, and the other ingredients that make up music, is necessary to developing musical artistry (or musicality) in dance. What is musical artistry? My definition: The ability to connect with accompanying music, interpret it, phrase and add dynamics to movement in relationship to the music (or even in the absence of music) in a way that is unique or interesting.

Why do you feel musical awareness is important?

What are some methods you use in your classes to increase musical awareness?

Five Favorites: Music for Children’s Dance Classes

Today I’m sharing with you a list of five albums from my own class music collection. I have put these to use and would recommend them for classes with young children. Enjoy!

Contrast & Continuum — Music for Creative Dance Vol. I-IV

by Eric Chappelle

Designed specifically for creative dance, this set works well with curriculum ideas offered in Anne Green Gilbert’s Creative Dance for All Ages: A Conceptual Approach. However, the rich variety of styles, sound textures, and tempos offered here could be used for any creative dance curriculum. The album liner notes also offer movement ideas and uses for each track. These are also available as pdf files on the site below. As I tend to mix and match tracks depending on what I am teaching, I cannot make an “if you can only buy one” recommendation. You can sample the music and decide for yourself or purchase the whole set at Ravennaventures.com.

Rhythms on Parade

by Hap Palmer

This collection of songs are beneficial for teaching rhythm. The songs are designed for use with musical props like rhythm sticks, shakers, bells, or tambourines – great additions to preschool movement classes. However, most could be adapted for movement-only classes by encouraging children to put the rhythms in their body. Songs include explore tempos, meters (how many kid songs are in 5/8?), rests, and instruments. And there is even a class “transition song” that encourages children to “come up and choose an instrument to play.” You may also want to check out Hap Palmer’s other selections including his Holiday Magic album.

Sweet Taps

by Rosemary Boross with Bruce Stephen Foster

This truly sweet collection of candy-coated songs is great for covering tap fundamentals like cramp rolls, shuffles, heel drops, and more. The vocals provide combination choreography and rhythms that are geared toward older preschool and young elementary/primary students (CD notes recommend its use for children 4-8). However instrumentals are provided. My only complaint is that these are not separate tracks as on Boross’s Fantasy Garden Ballet Class series, also found at Kimbo Educational.

Soulville

by Little Monsters

Sometimes even the little ones just want to rock. Little Monsters covers classic soul tunes like ABC, Dancing in the Street, and Mustang Sally on this album. Adults provide lead vocals while children provide back-up. Unlike big-name compilations that similarly cover pop songs, the production is slick and the vocals don’t have that nails on a chalkboard affect! I’ve used these in class for a fun free dance, across-the-floor, and recital music. You can purchase the CD at Amazon by clicking on the image or at the very cool Little Monsters Records web site where you can keep an eye out for new music.

Positio

Whitefeather Productions

This CD’s short tracks and clear and even tempos have proven helpful in pre-ballet classes. All of the 29 music selections are classical favorites, providing plenty of music for introductory barre work, center, jumps, and traveling movements. Whitefeather has a number of ballet CDs for various levels. These can be purchased on iTunes or at their website www.whitefeatherproductions.com.

What are your favorite albums for children’s dance classes?