musicality in fouettes

[Guest pdance]

I have heard from one teacher that when doing fouette turns, on the accent of the music you extend the leg to seconde, or devant and then seconde, however you do it. She says to do this rather than to have the accent of the music when you pull up into the turn. Our other teacher has never really specified, and when she demonstrates the musical accent is "up," or in the passe. Which is correct, or is it just a preference. Personally, I prefer to have it as I first described it, with the accent "down", or with the leg extended, but it doesn't really matter what I prefer! I hope this makes sense!

[Mel Johnson]

It can vary according to circumstance. In the most famous big brace of fouettés, in the "Black Swan" pas de deux, the accent should be on the pirouette part of the step. That's where the high note as well as the accent is. Once you're started on that, when the phrase starts to develop syncopation in the second sixteen, then you won't fall off count.

 

But a choreographer may want you to use the DOWN part of the step for the accent to achieve a certain effect. Let's say, in the manner of "Billy the Kid", a choreographer wants to do a ballet about Bonnie Parker of ... and Clyde notoriety. When Bonnie shoots at somebody, bang-bang-bang! - the accent could be down to emphasize the explosive effect of a gunshot! (I shudder to think what would happen if she were to go after somebody with a machine gun!;) )

[Guest pdance]

Aha, thank you Major Mel. I see what you are saying, that makes sense. I guess I will try to master both ways, which is probably what one should do with anything, provided it isn't totally incorrect. Thanks again, and by the way you seem to have had a good recovery from your surgery, that's wonderful!

[Mel Johnson]

Thanks for the good wish, Christa. Actually, I ascribe my successful recovery thus far at least in part to being a dancer, and keeping in the business, so that my body could rally successfully to support itself in time of need.

[Guest dancergal]

All of my teachers except one want us to make the accent on the priouette part of the step, like Mr. Johnson said. But my other teacher doesn't really give a preference. I usually start out with the accent on the pirouette part, but sometimes I get behind or in front of the music so the accent is when my leg is a la seconde.

[Mel Johnson]

One of the things that helps out in these trick steps (and that's all fouettés in a row are) is regularity. If you can establish a steady, even pulse of turns with the accent always in the right place, then more sophisticated things like multiple fouettés and ones that speed up(!) become more possible as you gain mastery!