May-June 2016 | 2 Music Tips for Dance Teachers | Tchaikovsky’s Swan Lake

Photo courtesy Nina Pinzarrone

Photo courtesy Nina Pinzarrone

Tchaikovsky’s Swan Lake

By Nina Pinzarrone

Tip 1
With Swan Lake (1876), Peter Ilyich Tchaikovsky (1840–1893) became the second composer of symphonic stature to write a ballet score. (The first was Léo Delibes, whose Sylvia premiered seven years earlier.) Ignorant of balletic compositional techniques, Tchaikovsky studied the specialists—Adolphe Adam and Ludwig Minkus—to determine length and tempos for individual dances. However, Tchaikovsky used a complex system of key relationships and applied symphonic scoring techniques to create more interesting sonorities. His innovations include using two or more solo instruments within a variation (in Act 1’s pas de trois, the third variation’s melody moves from clarinet to flute to oboe, then back to clarinet) and unorthodox instrumentation (the swan theme, which ends Act 1 and bookends Act 2, combines oboe, tremolo strings, and harp).

Tip 2
Like the specialists, Tchaikovsky included many dance forms in Swan Lake. The waltzes (Act 1, score no. 2, “Peasant Dance”; Act 2, no. 13, “Waltz of the Swans”; Act 3, no. 17, “Waltz of the Fiancées”) show a sophisticated use of melodic material. Listen for cross-phrasing—lengthening the musical phrase by tying over a bar’s third beat into the next bar’s first beat—in “Fiancées,” and for the melody in “Peasant Dance” starting on the bar’s second beat against the accompaniment’s consistent “oom pah pah” rhythm.

Use Act 1’s polonaise (no. 8) and Act 3’s mazurka (no. 23) in character or ballet class. You can substitute Act 3’s bolero (no. 21) for a polonaise; the rhythm is similar. Act 3’s march (no. 15) is great for marches in children’s class. In a character class, try Act 3’s czardas (no. 20), especially for pas de bourrées and cabrioles; Russian dance (no. 24); or tarantella (no. 22). Unlike most tarantellas, Swan Lake’s begins in 4/4 meter and changes to a traditional 6/8 only in the presto section at the end.


Nina Pinzarrone, pianist at San Francisco Ballet since 1992, has bachelor’s and master’s degrees in music from the University of Illinois and has recorded seven CDs for ballet class.