| Introduction to the Series |
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xv | |
| Acknowledgments |
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xvii | |
| Introduction |
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xix | |
| How to use this book |
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xx | |
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1 | (1) |
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1 | (1) |
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2 | (1) |
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3 | (1) |
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4 | (3) |
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7 | (1) |
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8 | (1) |
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9 | (1) |
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10 | (1) |
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Placement of Symbols on the Staffs |
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11 | (2) |
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Relationship Pins and Hold Signs |
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13 | (3) |
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16 | (1) |
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Taking a Step/Moving the Center of Weight |
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16 | (3) |
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19 | (1) |
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LN (Autography / Labanotation) |
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20 | (3) |
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23 | (3) |
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Sub-division and ``Hand-els'' |
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26 | (1) |
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27 | (3) |
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The 5 Positions of the Feet (Western Dance) |
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30 | (3) |
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Stepping into the Open Positions |
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33 | (1) |
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34 | (1) |
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35 | (2) |
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37 | (1) |
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38 | (3) |
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41 | (1) |
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41 | (1) |
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42 | (1) |
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43 | (3) |
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46 | (5) |
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51 | (1) |
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Pickups: external (``& One'') |
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52 | (3) |
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``One &'' versus ``& One'' |
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55 | (1) |
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56 | (1) |
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Lengthening and Shortening: steps and positions |
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56 | (2) |
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Stepping versus Shifting Weight: moving from 2 feet to 1 foot |
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58 | (1) |
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Changing Level within Steps |
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59 | (2) |
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61 | (1) |
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62 | (1) |
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63 | (3) |
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66 | (2) |
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68 | (3) |
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Code Words: derived ``Diatonic'' |
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71 | (1) |
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72 | (2) |
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Movement Clusters in 2/4, 3/4 and 4/4 |
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74 | (1) |
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75 | (2) |
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77 | (2) |
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79 | (1) |
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80 | (1) |
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81 | (2) |
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83 | (2) |
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85 | (2) |
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87 | (2) |
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Articulations and Accents |
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89 | (4) |
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93 | (1) |
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94 | (3) |
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97 | (2) |
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99 | (4) |
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Relationship Pins on Arm Gestures |
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103 | (1) |
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104 | (2) |
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Bows: ties, slurs, and phrases |
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106 | (2) |
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Rules: writing and beaming ``by the beat'' |
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108 | (1) |
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109 | (1) |
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110 | (2) |
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Code Words: 8th and 16th combinations |
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112 | (1) |
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113 | (4) |
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Code Words: displacing the quarter in 2 beats |
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117 | (1) |
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Code Words: dotted quarters and larger |
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118 | (2) |
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120 | (1) |
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121 | (1) |
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122 | (2) |
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124 | (3) |
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127 | (1) |
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128 | (5) |
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133 | (1) |
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134 | (2) |
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136 | (1) |
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Comparisons: simple versus compound |
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137 | (2) |
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Rhythmic Identity and Transposition |
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139 | (3) |
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Tree of Perfect Meter: expanded |
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142 | (1) |
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143 | (3) |
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Lengthening and Shortening: leg gestures |
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146 | (1) |
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Split-column Leg Gestures |
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147 | (2) |
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Lengthening and Shortening: arm gestures |
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149 | (1) |
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Split-column Arm Gestures |
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150 | (1) |
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151 | (1) |
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152 | (1) |
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LN: springs and air lines |
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153 | (1) |
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154 | (1) |
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Repeated X and Backward N |
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155 | (2) |
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157 | (1) |
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158 | (1) |
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158 | (4) |
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162 | (1) |
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163 | (1) |
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Clusters: flok and social |
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163 | (2) |
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165 | (1) |
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Compound Conducting Patterns |
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166 | (1) |
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167 | (3) |
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170 | (4) |
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174 | (1) |
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175 | (6) |
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181 | (1) |
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Long Beats and Short Beats |
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182 | (2) |
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The Tree of Irregular Meter |
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184 | (2) |
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Polyrhythm: triplets and duplets |
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186 | (2) |
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Polymeter: ``two against three'' |
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188 | (3) |
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191 | (4) |
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Applying Ties to Steps and Turns |
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195 | (1) |
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196 | (1) |
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Turns that Begin or End in the Air |
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196 | (1) |
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Retentions in Space (``space holds'') |
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197 | (2) |
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Transitional and Non-swivel Turns |
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199 | (1) |
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200 | (1) |
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Front Signs: stage facings |
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201 | (1) |
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201 | (1) |
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202 | (2) |
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204 | (1) |
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Tables of Hold Signs and of Cancellations |
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204 | (1) |
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205 | (1) |
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206 | (1) |
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206 | (2) |
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208 | (1) |
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209 | (1) |
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Conducting Patters: irregular |
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210 | (1) |
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211 | (4) |
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215 | (4) |
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219 | (1) |
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220 | (1) |
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221 | (1) |
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Syncopation: upbeat (contre-temps) |
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222 | (2) |
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224 | (3) |
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Syncopation: styles and use |
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227 | (2) |
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229 | (3) |
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232 | (3) |
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235 | (1) |
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236 | (1) |
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237 | (2) |
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Floorplans: placing the dancer on the stage |
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239 | (2) |
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Floorplans: duets and groups |
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241 | (1) |
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242 | (1) |
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243 | (2) |
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Re-grouping: moving between simple and compound meters |
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245 | (2) |
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Re-grouping: moving between perfect and irregular meters |
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247 | (3) |
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250 | (1) |
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251 | (1) |
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252 | (3) |
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255 | (2) |
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257 | (1) |
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258 | (3) |
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261 | (3) |
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264 | (1) |
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265 | (1) |
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Monometer: 1-beat measures |
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266 | (2) |
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268 | (1) |
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269 | (2) |
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271 | (4) |
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275 | (3) |
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278 | (2) |
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280 | (1) |
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280 | (2) |
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282 | (1) |
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282 | (1) |
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283 | (2) |
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285 | (3) |
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288 | (3) |
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291 | (10) |
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301 | (1) |
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302 | (3) |
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Polymeter: superimposition |
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305 | (3) |
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308 | (1) |
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Polymeter: mixed variable |
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309 | (2) |
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311 | (5) |
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316 | (3) |
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319 | (1) |
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319 | (2) |
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Six Degrees of Contraction |
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321 | (3) |
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324 | (1) |
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325 | (1) |
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RN Repeats: large and sectional |
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326 | (3) |
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Scoring for Percussion/Creating New Symbols |
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329 | (3) |
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LN Repeats: large and sectional |
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332 | (4) |
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336 | (6) |
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342 | (2) |
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344 | (7) |
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351 | (2) |
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353 | (2) |
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355 | (2) |
| Appendix A Table of Maxims |
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357 | (12) |
| Appendix B Music Cues |
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369 | (1) |
| Index |
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369 | |
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