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Flashcards in Grades Deck (96):
1

Discuss the use of style in Grade 6

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2

What is meant by Demi-character

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3

Why can G6 be referred to as having a performance barre

Endings - plies, ronds/fondus, frappes, ronds en l'air, adage, demi-pointe
Openness of the chest
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4

Discuss the use of eyes, arms and upper body in a G6 simple port de bras

OPEN CHEST - starting to introduce idea of rocking - looking into hand or over hand

5

How would you divide up the G6 2nd port de bras

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6

Differences in qualities of the arms in G6 2nd port de bras

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7

Discuss the use of Epaulement in G6 2nd port de bras

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8

What is the tracking of the arms in circular port de bras - G6 2nd port de bras

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9

Discuss the use of weight, gravity & suspension in G6 2nd port de bras

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10

What does the use of weight/gravity mean

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11

What is meant by the term suspension

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12

How has the G6 2nd port de bras been prepared

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13

Discuss how the setting relates to the music

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14

Discuss the differences between the 1st & 2nd port de bras - G6

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15

Discuss the use of upper back in G6 2nd port de bras

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16

How would you approach teaching the G6 2nd port de bras

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17

Discuss the use of romantic style in G7

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18

What has the G7 syllabus been based around

Romantic
Bournonville
Repertoire, stylistic examples...

19

General use of music in G7

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20

How has the style changed/progressed from G6

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21

Discuss the use of port de bras and reference to Bournonville in G7 adage

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22

Discuss the timing and dynamics of "cut into soutenu" - G7 adage

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23

What features give a hint of romantic style - G7 adage

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24

How is the body used for the ballotte - G7 adage

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25

Where has the ballotte action and use of body been trained - G7 adage

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26

Describe the leg action in a ballotte - G7 adage

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27

Describe the different qualities in the arms and legs in G7 adage

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28

Give examples of contrasting dynamics in G7 adage

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29

Discuss the rocking action - how has it been prepared - G7 adage

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30

How has G7 adage been developed from G6

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31

Approaches to teaching once a week/vocational students - G7 adage

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32

What are the differences between G8 and the other higher grades

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33

How has G8 developed from G6/7

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34

What is the general quality of the dance - G8 Demi-character

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35

How is the upper body used - G8 Demi-character

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36

What is the dance rhythm / dynamics - G8 Demi-character

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37

How are different dynamics used - G8 Demi-character - give examples

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38

Give examples of weight placement t that influences direction of travel - G8 Demi-character

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39

Approaches to teaching G8 Demi-character

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40

What is the importance of the use of eyeline - G8 Demi-characte

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41

How can the use of eyeline be used in G8 Demi-character

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42

What are the physical issues when teaching the use of scarf - think health & safety

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43

Why are preparatory exercises with scarves necessary

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44

What might you do to train the use of scarf - what exercises

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45

How do you hold the scarf in G6/7 & G8

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46

How does scarf work relate/aid classical work

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47

Discuss the movement quality of kneeling in G6 study for upper back

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48

What is the timing of the circles in G6 study for upper back

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49

Where else in G6 has circular port de bras been prepared

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50

Discuss the relationship to the music in G6 study for upper back

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51

Discuss the importance of breaking down the ending section from kneeling to sitting for different students - G6 study for upper back

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52

How is the use of stillness & gravity used in G7 study for stillness & gravity

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53

What are you trying to communicate to the audience in G7 study for stillness & gravity

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54

Discuss the notion of inner intention or motivation in G7 study for stillness & gravity

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55

How might you develop inner intention with a teenager - G7 study for stillness & gravity

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56

How do you get up from the floor in G7 study for stillness & gravity

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57

What is the action of the turn in G7 study for stillness & gravity

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58

Discuss the relationship to the music in G7 study for stillness & gravity

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59

How does the use of the hands & arms differ from classical work - G7 study for stillness & gravity

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60

Is all the elevation taken at the same height - what are the differences - G8 poetique

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61

Describe the spiral action of the spine - G8 poetique

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62

Describe the use of the scarf as it is tossed during the run to corner 6 - G8 poetique

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63

What is your interpretation and how do you express it - G8 poetique

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64

What are the different character styles in the higher grades

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65

What are the differences between them

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66

Discuss the differences in the spatial features between the styles

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67

What is character dance

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68

What does "court" style mean to you - what does it mean now

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69

What is the tracking of the arms in the port de bras - G7 lejto & promenade

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70

What is the tracking of the legs - G7 lejto

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71

Discuss the music & dynamics in G7 lejto

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72

Discuss the tracking of the legs in e Russian mazurka step (G8)

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73

Describe how the G8 mazurka de salon should travel

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74

What expressive qualities are seen in G8 mazurka de salon

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75

How does G8 differ from G6 mazurka

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76

Can you think of a scenario for this dance - G8 mazurka de salon

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77

How does mazurka differ from dance russe

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78

Time signature of G6 2nd port de bras

3/4

79

Time signature of G6 exercise for upper back

9/8

80

How is the upper back used in G6 free movement exercise

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81

Time signature of G7 adage

6/8

82

Time signature of G7 stillness and gravity

2/4

83

Time signature of G7 lejto & promenades

4/4

84

Time signature of G8 Demi-caractere

2/4

85

Time signature of G8 poetique

9/8

86

Time signature of mazurka de salon

3/8

87

Analyse lejto (G7 character)

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88

Analyse quick lejto (G7 character)

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89

Analyse promenades (G7 character)

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90

Analyse break (G7 character)

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91

Analyse pas de bourrees / bell step (G7 character)

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92

Analyse turn in turn out step (G7 character)

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93

Analyse Russian mazurka (G8 character)

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94

Analyse running mazurka (G8 character)

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95

Analyse Russian court promenade (G8 character)

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96

Analyse tossing step (G8 character)

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