Classes of Tumkovsky, Eglevsky and Stuart

Classes described and edited by Sheila Claire Cohen

Based on classes recorded by Janet Bush Light, a 1950s student of the School of American Ballet.

These classes were recorded in the 1950s by Janet Bush Light, a well-known dance critic, when she was a high school student at SAB. They were her personal notes that she gave to me when I was Chair of the Dance Department at the School for Creative and Performing Arts in Cincinnati, Ohio. I found them interesting and useful when I taught my own classes. Now I am bringing them to life again as a historical record of the contributions made by three prominent teachers at SAB, Muriel Stuart, André Eglevsky and Antonina Tumkovsky.

Because the notes I am transcribing were not written with “history” in mind, plié combinations at the barre are not described; preparations for all the exercises were not recorded; indications of meter were not included. As you read through the classes,
some of these elements have been added by me. I have suggested meters and counts for each measure in all of the classes with the aim of making these classes easier to recreate.

While transcribing and editing the classes, I was struck by how much the teaching of ballet technique has evolved over the years. Note the variety – or lack thereof – in the combinations. Note the simplicity and number of repetitions in barre exercises. Also, the order of exercises was different. Barres taught by contemporary teachers are quite unlike the barres recorded decades ago.

Our knowledge of physiology and our consciousness of the strides made in the field of physical therapy have contributed to the change in structure, most obviously at the barre. For example, grand battements, now the last or nearly last exercise at the barre, were, at one time, often done as the third or fourth exercise. Also, the barre was much shorter than it is now. Exercises were not as “choreographed,” i.e. port de bras with each exercise, but the working arm could be held in 2nd position for most if not all the combination.

In addition, the numbering and naming of arabesques varied from one teacher to another depending on their original training background. Arabesque numbers will be distinguished whenever possible by designations of “Cecchetti or “Vaganova” origin. The naming of arm positions is treated similarly. These categories are now standardized at SAB but the variety in terminology is still found in studios worldwide. Although many written and printed records of classes include counts of measures, they do not indicate whether the measures are in 2/4, 4/4, 3/4 or 6/8, or whether the movement begins on the beat or on “&”. Therefore, I have included suggestions for meter/time signatures. The importance of time signature should not be overlooked; the quality of the movement depends on it. A discussion of this subject will be more easily understood after reading the comments below.

One example highlighting the importance of meter was revealed in conversations with Suki Schorer, Senior Teacher at SAB. She joined NYC Ballet in 1959, therefore she is an excellent source for historical reference. The specific subject we discussed was the way to teach rond de jambe. As a company member she attended George Balanchine’s company class every day. He consistently used 4/4 for rond de jambe and emphasized the quality of the exercise as done in duple meter. From speaking with Alla Resnik, class and rehearsal accompanist at SAB for many years, that time signature stemmed from Russia and is still used at the Vaganova
Institute. Other ballet institutions founded by Russians during the Soviet period, specifically in Beijing, China and in Cuba, teach rond de jambe in 3/4 as often as not. In fact, the majority of SAB’s faculty, at present, prefer using 3/4 and some use it exclusively.

Other interesting knowledge of the various time signatures also stemmed from my discussions with Alla Resnik. For example, a Tango rhythm in 2/4 is not used in Russia but is a favorite with accompanists and teachers in the Americas and Western Europe.

There are other distinctive uses of music in the various schools of technique. Grand battement in the Russian school has the accent on “&” and uses a style of music to convey lightness. At SAB various accompanists play in 6/8 meter – or a fast ¾ – for tendu jeté and petit allegro. Historically this is of interest in terms of style of teaching.

With the invaluable help of Paul Boos and Marina Eglevsky, advice from Vicki Simon, Alla Resnik, and Suki Schorer, and Peter Stark’s vivid memories from his student days, I have tried to fill in the blanks to make the classes more useful for those who are utilizing the archive. Thanks to them and to other dancers who helped in passing conversations. I am indebted to them all.

~Sheila Claire Cohen, 2025

Antonina Tumkovsky

On SAB faculty for 50+ years, Tumey's class was known for it's emphasis on musicality, speed, precision, and building a dancer's stamina.

See Classes

Andre Eglevsky

Classes known for their simplicity, but difficulty, Eglevsky was known to have a condensed barre to warm up the muscles and a longer center to include varied exercises.

See Classes

Muriel Stuart

A classicist with an English background, Stuart's classes offered students technical prowess in her 50+ years on SAB faculty.

See Classes

Antonina Tumkovsky

André Eglevsky

Muriel Stuart

Antonina Tumkovsky

For more than 50 years, Antonina Tumkovsky, affectionately known as “Tumey,” has taught generations of dancers at the School of American Ballet, many of whom joined the New York City Ballet after completing their training. Tumey’s specific style of teaching was crucial in preparing these dancers for the Balanchine repertory. Emphasis on musicality, speed and precision; fast-paced for stamina; and full of complex reversals and changes of direction: a class with Tumey was a class filled with challenges.

Born in Kiev, Ukraine in 1907, Tumkovsky, unlike Balanchine and the older Russians who were products of Imperial Russian training, was a product of the Soviet system. She eventually became a soloist with the Kiev Ballet before WW II and after the war emigrated first to Berlin and then, in 1949, to New York. Soon after arriving, she went to the School of American Ballet to apply for a position on the faculty. Modestly, she told Balanchine that she had only reached the rank of soloist, but after watching her teach a class George Balanchine took her by the arm, led her to his office, and hired her on the spot.

Having never achieved fame as a dancer in Ukraine, Tumey has not merited a Wikipedia page, but has certainly reached the pinnacle of success as an SAB teacher in the hearts and minds of her students. Interested in speed, strength and precision, she focused on stamina and energy in a way other teachers did not. Funny and touching interviews with past and present NYCB dancers illustrate the affection with which Tumey is held and the influence she has had and continues to have on dancers’ lives.

“Dancers knew that if they could get through her extremely demanding class, they could take on the most technically difficult roles onstage,” said Kay Mazzo, a former City Ballet star trained by Ms. Tumkovsky. Jacques D’Amboise described her as “loving and efficient; very direct, not pretentious.” He said she was “very special to my life, part of my heart.”

Allegra Kent, who studied with her in 1952, said “her classes were so hard I could barely do them…she was straightforward, no nonsense…you just do the step!”

Elizabeth Walker, a dancer in NYC Ballet in the 1990s, recalls “She had the kindest blue eyes. As soon as she looked at you, you just forgot how tired you were…she definitely had a joy and genuine concern for the students.”

Tumey, already in the ninth decade of life, continued to teach daily, passing the riches of her art to future generations. She finally retired in 2003 and died in 2007, at age 101.

Class 1

Antonina Tumkovsky Pointe Class #1 [B class]

(time signatures are suggestions since they were not indicated in original notes)

BARRE

1. 4/4- Left hand on barre: 1st position

[cts 1-8] 8 counts plié/relevé; [cts 1-8] Repeat in 2nd position; (One side only)

2. 4/4- Left hand on barre: Preparation RFF

[ct 4] Demi-plié in 5th; [cts 1-3] Échappé to 4th position devant with Rt arm en haut; close 5th position demi-plié; soussus with arm en bas; [ct 4] demi-plié 5th position ; [cts 1-3] échappé side closing back 5th position demi-plié; soussus ; [ct 4] demi-plié 5th position ; [cts 1-3] Échappé to 4th position derriére; demi-plié 5th position; soussus; last time to the side do 2 échappés to 2nd closing back then front ending with RFF; counts remain the same and port de bras is repeated throughout exercise; Repeat exercise reversed; Repeat entire exercise on other side

3. 4/4- Face barre RFF

[cts 1-8] relevé passé close 5th front ; relevé passé close 5th back ; Repeat closing back and then closing front; [cts 1-4] Pas de bourrée dessous with passé ending LFF; OS; repeat all

4. 4/4 Left hand on barre en face en soussus

[cts 1-6] bourrée en place; [ct 7-8] tendu effacé devant (face slightly away from barre) ; [cts 1-6] with working leg back bourrée en place en face; [ct 7-8] tendu effacé derrière (facing slightly toward barre) ;[cts 1-6] with working leg front bourrée en place en face; [ct 7-8] tendu effacé devant (face slightly away from barre); [cts 1-4] pas de bourrée dessus (using passé for each leg) to the other Side ; Repeat on other side; Then repeat entire combination in reverse (starting en face en soussus).

5. 4/4- Left hand on barre

[cts 1-4] Passé développé devant with arm up; [cts 5-8] bring arm side and port de bras down to leg; retiré with rt arm up; [cts 1-4] développé to arabesque;[cts 5-8] plié/ relevé on supporting leg; ; Balance; OS; repeat both sides

6. 4/4 Face barre with RFF

Preparation: relevé with working leg en l’air à la seconde on ct 4

[6 cts] 3 ronds de jambe en l’air en dehors en relevé ; [cts 7] sur le cou-de-pied demi-plié derrière;[ct 8] relevé leg en l’air à la seconde; [6 cts] 3 ronds de jambe en l’air en dedans; [ct 7] sur le cou-de-pied demi-plié devant ;

[ct 8] repeat relevé leg en l’air à la seconde; [cts 1-12] 6 ronds de jambe en l’air en dehors ;[cts 13,14] pas de bourrée dessus (using passé for each working leg) ; [ct

15] land in 5th position demi- plié ; [ct 16] relevé turning toward barre to other side ; OS ; repeat both side

7. 2/4 Left hand on barre: Preparation- soussus and sur le cou-de-pied RFF

[cts 1-4] 4 frappés simple devant ;[cts 5-8] 4 frappés simple à la second;

[cts 1-4] 4 frappés simple derrière ; [cts 5-8] 4 frappés simple à la second; repeat ; OS

CENTER

1. 4/4 (en face with arms 5th en haut)

{cts 1-2] échappé to 4th devant closing 5th ;[cts 3-4] échappé to à la seconde closing back; [cts 5-6] échappé to 4th derrière closing 5th; ;[cts 7-8] échappé to à la seconde closing front; (arms stay up);[cts 1-4] temps lié croisé to Corner 1 with right arm en haut and close 5th; [5-6 échappé closing 5th back; arms go to 2nd;; [hold cts 7-8]; OS; Repeat 4x

2. 3/4 Preparation en face with Left Foot sur le cou-de-pied derrière

[cts 1-3] relevé écarté derrière ; [ct 4] plié ;[cts 5-7] relevé attitude derrière en effacé [look under left arm] ;[ct 8] failli ; [cts 1-4] pas de couru;[ct 5] close 5th with LFF ;[cts 6-7] relevé attitude devant en croisé (arms crossed in front of chest); [ct 8] close B+ ; do combination 3x; on 4th set : [cts 1-8] bourrée in a circle to the right with right arm up; Pose LF (B+) sur le cou-de-pied derrière

3. 3/4 RFF

[cts 3,1] Glissade relevé on LF; [cts 2,3] ronds de jambe en l’air en dedans ; [cts 1-2] failli with right arm forward in 1st position ; [begin with ct 3] Other Side ; repeat 8x

4. 2/4 (Polka) Corner 3-1: Preparation RF point front

[and 1-4] (step on right leg on and) 4 “lame duck” turns stepping on left leg ; [and 1-4] (plié on left leg on and) 4 piqué turns stepping on right leg) around in circle clockwise; continuous

5. 3/4 RFF in 5th [each beat = one measure]

[ct &1-2-3] sissonne simple tombé ;[cts &2-2-3] pas de bourrée to 4th ;

[ct 3-2-3] pirouette en dehors end 4th back, arms en haut ;[cts 4-2-3] Ronds de jambe en dedans par terre to front closing 5th en plié; straighten ;

Continue counting each beat as a measure

[ct & 1] sissonne simple tombé; [cts &2] pas de bourrée to 4th ; [ct 3 ] pirouette en dehors end 4th back; [cts&1 ] repeat pirouette en dehors end 4th back ;[cts &2,3] pirouette en dehors end 5th back ; OS

6. 2/4 RFF in 5th

[cts 1-2] relevé RF cou-de-pied devant; plié 5th;[cts 3-4] with foot at knee in passé position: pirouettes en dehors closing 5th back; [cts 5-8] Repeat OS;

[cts 1-8] 3 consecutive pirouettes en dehors (each one from 5th closing 5 th front) 3x; close 5th back 4th time; OS

7. 3/4 RFF in 5th

[cts &1] 1 entrechat quatre;[cts &2,&3] 1 échappé to 2nd close 5th back; Repeat 16x; sousus balance

REVERENCE

Class 2

Antonina Tumkovsky Pointe Class #2 [B class]

(time signatures are suggestions since they were not indicated in original notes)

BARRE

1. 4/4 Lft hand on barre; 1st position

[cts 1-4] relevé holding 4 cts (port de bras with rt arm) ;[cts 5-8] plié/relevé/ plié/relevé [cts 1-8] balance ; close 1st ; repeat exercise 4x; OS

2. 4/4 Lft hand on barre; 5th position

tendu to 4th; plié/relevé in 4th[rt arm up}; plié in 4th ; to soussus in 5th [rt arm side]; plié/passé ; close 5th back; relevé passé; close 5th front; 8x; OS

3. 3/4 Face barre, 5th position RFF

[cts &1-4] pas de bourrée dessous 2x ;[cts 5-6] relevé passé ; close 5th plié ;[cts 7-8] soussus ; close 5th ; OS ; 4x slow tempo ; 4x fast tempo

4. 4/4 Face barre, 5th position RFF

[ct &1] sissonne simple landing on RF with LF in demi-retiré derriére;

[ct 2] close 5th back plié;[cts 3-4] sousus (change to LFF); plié; OS; 8x

5. 4/4 Lft hand on barre 5th position RFF

[cts &1-4]plié relevé passé to attitude devant (rt arm up);passé; arabesque; [cts 5-8] passé développé front ; turn toward barre and working leg is now à la seconde; close 5th back and turn to OS; 2x

6. 4/4 Lft hand on barre 5th position RFF

[ct &1] plié relevé with RF in sur le cou-de-pied devant ;[cts 2-6] battu serré; [cts 7-8] [cts 1-8]point RFF effacé (gesture arm out); 3x; bourrée toward barre to OS; 4x

7. 3/4 Lft hand on barre 5th position LFB

[cts &1-4] plié relevé to 4th arabesque; turn toward barre moving working leg to passé to OS attitude devant LFF with arm up; close 5th plié; [cts&1-8] OS; 2x

CENTER

1. 2/4 RFF: [ct 1-2] dégagé à la seconde en plié (look left) ; RFB 5th soussus ; [cts 3-4] RF passé; close demi-plié 5th front ;[cts 5-6] soussus ; LFB close 5th; [cts 7-8] LF passé

derrière en relevé ; soussus; come down to a flat 5th while sliding to tendu (?) ;OS; 8x

2. 6/8 RFF ; corner 1-3

pas de bourrée dessous 2x ; bourrée en arrière ; relevé arabesque’ failli (lt arm forward) 2x ; then repeat the following 3x : bourrée en arrière; pas de bourrée to 5th; bourrée in circle to the left 2x ; then bourrée to Corner 2 with left arm up and RFF; OS

3. 3/4 RFF

[cts &1-2] en face: sissonne ouverte to corner 1 ; [cts 3-4] failli ; bourrée croisé with rt arm up; LFF close 5th ; [cts 5-8] ;Finish with LF sur le cou-de-pied ; low développé en plié en pointe ; pas de bourrée ; repeat with RF sur le cou-de-pied and keep alternating while moving in a circle and gesturing with arms out; OS

4. 2/4 Corner 3-1 Preparation RFF pointe tendu

[cts &1-4] 2 “lame duck” turns en dehors; [cts 5-8] 3 chaîné turns ; repeat Corner 4-2

5. 4/4 RFF

[cts 1-2]Passé relevé with arms 5th en haut; working leg to 4th; [cts 3-4]pirouette en dehors ending 4th en arrière with arms 5th en haut; [cts 7-8] relevé; plié; relevé; close 5th demi plié; OS

6. 6/8 RFF Preparation: sousus with arms 5th en haut

[cts 1-3] bourrée en avant 3 counts; [ct 4] lift LF to sur le cou-de-pied ; arms fling out/wrists in with hands gently flexed; repeat 4x; OS

REVERENCE

André Eglevsky

The title Premier Danseur, not in use today by most ballet companies, was a very prominent honorific in the early years of the 20th century, one given to André Eglevsky during his performing career.

Born in Moscow in 1917, he moved with his family to France when he was a young boy. Although no longer living in Russia, his training was primarily with Russian teachers, one of his earliest Maria Nevelska, in Nice. Later, in Paris, he trained with Mathilde Kchessinska and Alexandre Volonine. He also trained in London with Enrico Cecchetti and Nicolas Legat.

A prodigy by the time he was a teenager, he joined Col. de Basil’s Ballet Russe de Monte Carlo when he was 14 and six months later was performing leading roles in several popular ballets including Swan Lake and Fokine’s Les Sylphides. In 1936, he joined Ballets de Monte Carlo and the following year came to the United States as a permanent resident. The first major company he joined was Ballet Theatre, now called American Ballet Theatre. Then, in 1951, he joined New York City Ballet. Balanchine cast him in several leading roles, taking advantage of his sensational virtuosity. His 1950s performing repertoire included Harlequinade Pas de Deux, Scotch Symphony, and Western Symphony, among others.

After seven years dancing for George Balanchine, Eglevsky opened his own school in Massapequa, Long Island, with his ballerina wife, Leda Anchutina, who had trained with Michel Fokine. She performed for Balanchine in his first company, The American Ballet. Lincoln Kirstein wrote that she was “a tiny but brilliant dancer” who had a featured role in Serenade, Balanchine’s first ballet in America. She was the dancer who arrives late to take her place in the repeat of the opening formation.

The couple introduced innovative concepts, like adult classes, and created the Eglevsky Ballet with their students. Additionally, George Balanchine allowed his own advanced students and company members, such as Edward Villella and Patricia McBride, to dance with the Eglevsky Ballet. As further encouragement, he lent costumes and ballets to the young company. They toured all over Long Island and as far away as Martha’s Vineyard and Bermuda, exposing new audiences to ballet.

Always a dedicated teacher, André Eglevsky also accepted a guest faculty position at the School of American Ballet. His classes were built along the lines of the training he had in Europe. The barre exercises were simple and constructed to warm up the muscles. The barre never lasted longer than a half hour so that many varied combinations could then be taught in the hour of center work.

Peter Stark, a former New York City Ballet dancer, has vivid memories of Eglevsky as a teacher whose classes were so difficult that he – and several other dancers – could barely do them. His description of Eglevsky paints a picture of someone larger than life:

“… as a person he was a huge presence with a muscular and fit physique and excellent posture appearing taller than he might have actually been. He taught in fitted jazz pants (like tights) and leather ballet slippers, demonstrating with energy. He commanded great authority. However, he also was very approachable and personable outside of the studio.”

Eglevsky’s devotion as a teacher was demonstrated vividly after his death when his daughter, Marina, discovered notes for classes written out on menus, napkins and various other pieces of paper.

He died in 1977, at the age of 59. Leda Anchutina continued the school for the rest of her life, creating a lasting legacy. Marina Eglevsky has continued to stage the ballets Mr. Balanchine gave to her father. She has done this for schools and companies worldwide and recently, in 2025, she staged Balanchine’s Minkus Pas de Trois for the first part of Alexei Ratmansky’s Paquita, performed by the New York City Ballet. This pas de trois was one of the roles for which André Eglevsky was famous.

Class 1

André Eglevsky class #1

(no level indicated)

(pliés not described) (no preparations for exercises are given)

(time signatures are suggestions since they were not indicated in original notes)

BARRE

4/4 Pliés

2. 4/4 [cts &1] Battement tendu

[cts1-4] 2 tendus to the side dessous-dessus ;[cts 5-6] 1 tendu en plié ; close dessous; [cts 7-8] point à la seconde ; demi plié in seconde position ; [cts 1-8] relevé); 8x; OS

3. 4/4 Fondu

2 fondu simple devant (flat); fondu double time devant with arm 5th en haut; hold 2 counts; do this 2x; then repeat en croix; Balance sur le cou-de-pied; Other Side

4. 2/4 battements tendu jeté

[cts &1-8] 7 battements jeté; hold 1 count in 5th; en croix and repeat all; OS

5. 3/4 Rond de Jambe par terre

Preparation : point front en plié and circle leg to à la seconde

[cts 1-2-3-4-5-6] 2 slow rond de jambe; [cts 1-2-3] 3 fast [cts 1-6] ; repeat en dedans [cts 1-2-3-4-5-6] 2 slow ; [cts 1-2-3] 3 fast ; Repeat en dehors and en dedans ; [cts 1-3] close 5th front ; Preparation point front en plié;[cts 1-6] grand rond de jambe back par terre ;[cts 1-6] grand rond de jambe front par terre ; close 5th ;[cts 1-6] port de bras; [cts 1-6] balance en attitude derrière ; OS

6. 3/4 Rond de Jambe en l’air: Preparation à la seconde

[cts 1-2-3-4-5-6] 2 slow rond de jambe en l’air ; [cts 1-2-3] 3 fast;[cts 1-9] Repeat en dedans ; repeat 4x flat ; 4x relevé ;[ct 1-6] balance sur le cou-de-pied derrière ; OS

7. 4/4 Balance Exercise

{cts 1-4] Tendu devant ; dégagé ;[cts 5-8] hold 4 cts; [cts 1-8] relevé with arm 5th en haut; slowly close 5th; [total cts 64] repeat en croix 2x; OS

8. 2/4 Frappé

3 frappé simple à la seconde ; one double à la seconde 8x flat ; 8x en relevé ; balance side) ; OS

9. 2/4 Frappé : Preparation sur le cou-de-pied

[CTS 1-16] frappés en croix : 4x flat; reverse and 4x relevè [begin derrière]; preparation for fouetté turns: working leg front at dégagé level and standing leg en plié ; fouetté turn en dehors ;Balance; Repeat combination 8x ; OS

10. 4/4 Grand Battement

[cts &1-4]1 devant; 1 à la seconde ; 1 derriére ; hold 1 count; [cts &5-8] reverse ; [total cts 32]4x ; OS

CENTER

1. 4/4 Adagio : RFF and arms en bas

[cs 1-3] grand plié ;[ct 4] come up quickly to sousus with arms 5th en haut;[cts 5-6] hold sousus; [cts 7-8] heels down in tight 5th; [cts 1-4] RF développé devant en croisé (both arms up with rt arm in 2nd and lft arm in 5th); demi-plié closing 5th; [cts 1-4] plié; piqué on RF to 3rd arabesque; promenade en dehors to left gradually ending in passé; close 5th front; [cts 5-8] RF développé à la seconde; close 5th RFF; (cts 1-4) pirouette en dehors en cou-de-pied (LFB) ending attitude croisé; (cts 1-4) grand port de bras croisé (Allongé); adjust 4th position for pirouettes;[cts 5-8] pirouette en arabesque en dedans; hold; tombé to 4th;[cts 1-4] pirouettes LF en attitude; land effacé; preparation 4th for pirouettes; [cts 5-8] pirouettes en dehors; close 5th back; OS

2. 4/4 Preparation RF tendu a la seconde; sur le cou-de-pied

[cts &1-2]Fondu la seconde ;[cts 3-4] fondu effacé ;[ct &] close 5th plié;

[cts 5-8] piqué arabesque ; heel down promenade [always by keeping weight over ball of foot and turning heel] ; close 5th; OS

3. 6/8 Petit Allegro LFF

[cts 1-4] assemblé dessous-dessus ; entrechat quatre ; changement ; tour en l’air to rt ; end fondu devant ; open RF front and rt arm opens ; OS

4. 2/4 Petit Allegro

[cts 1-4] LFF : glissade 3 jetés ; [cts 5-8] OS ; [cts 1-2]coupé brisé volé back (lft arm up)2x ;[cts 3-4] coupé LFF ; quick glissade front; [cts 5-8] piqué pirouette en dedans with arms en haut ; OS

5. 3/4 RFF

[cts &1&2] 2 sissonnes fermé ; [cts 3-4] preparation demi-retiré devant; close 5th; [cts 5-8]pirouette en dehors ; close 5th derrière ; OS

6. 3/4 Corner 3-1 : LFF

[cts &1&2] glissade en avant ; cabriole devant en effacé fermé ; glissade derrière en arrière ; cabriole derrière en effacé ; failli; continuous

7. 4/4 Foutté turns right and left

8. 4/4 RFF: 7 changements en tournant; 1 entrechat quatre; Other Side; 4x

9. 2/4 on diagonal

Embôités or piqué or chainés NOTE- CHOICE OF THESE TURNS IN BOTH CLASSES

REVERENCE

Class 2

André Eglevsky Class #2

(no level indicated)

(pliés not described) (no preparations for exercises are given)

(time signatures are suggestions since they were not indicated in original notes)

BARRE

1. Pliés 4/4

2. Battement tendu 4/4

[cts 1-8] 2 tendus front closing 5th ; 1 tendu front to 4th plié; tendu relevé; close 5th; Repeat en croix 2x; OS

3. battements jetés 2/4 or 6/8

[cts 1-8] 7 battements jetés devant; hold ct 8in 5th ; Repeat en croix 2x ;OS

4. Frappé 6/8

[cts 1-8] 7 frappé simple devant ; hold ct 8 ; Repeat en croix ; repeat en relevé ; balance à la seconde ; OS

5. Rond de Jambe par terre 4/4 or 3/4

[cts 1-4] 2 ronds de jambe par terre en dehors ; on 3rd ct come from derrière and brush thru 1st position ending in a low dégagé and carry to 2nd ; [cts 5-8] 3 ronds de jambe en l’air en dehors ; hold ; close 1st ; [cts 1-8] Repeat en dedans ; [cts 1-16] Repeat en relevé: passing thru 1st and ronds de jambe en l’air both en dehors and en dedans ; close 5th ;[cts 1-8] extend leg to pointe tendu devant en plié ; circle leg en dehors to pointe tendu derrière ; circle leg en dedans to pointe tendu devant ; close 5th ; [cts 1-8] port de bras 2x flat ;[cts 1-4] 1x en 4th position relevé ; [cts 5-8] passé attitude derrière ; Balance ; OS

6. 3/4 Rond de Jambe en l’air: Preparation à la seconde

[cts 1-2-3-4-5-6] 2 slow rond de jambe en l’air ; [cts 1-2-3] 3 fast;[cts 1-9] Repeat en dedans ; repeat 4x flat ; 4x relevé ;[ct 1-6] balance sur le cou-de-pied derrière ; OS

7. Adagio 4/4

[cts 1-4] Sur le Cou-de-pied /passé/ développé devant with arm up ;[cts 5-8] hold 4 counts ; [cts 1-4] cou-de-pied front/bk/ passé/ développé arabesque ; [cts 5-8] hold 4 cts ; [cts 1-4] cou-de-pied bk/frnt/ passé/ développé à la seconde ; [cts 5-8] hold 4 cts ; [cts 1-4] close 5th front in demi-plié ;pirouette en dehors ;[cts 5-8] hold ; close 5th back ;[cts 1-32] repeat entire combination starting derrière and end with en dedans pirouette ; OS

8. Frappé 2/4

[cts cts 1-8] 7 cts frappés with accent front; repeat en relevé ;[cts 1-8] repeat all with accent back; 16 cts battu devant (serré) en relevé; 16 cts battu derriére (serré) en relevé ; balance sur le cou-de-pied ; OS

9. Petit Battement

7 PB repeat on relevè ; serré front; serré back ; passé pirouette; balance

10. Grand Battement 4/4

[cts &1-32] 1 grand battement en croix ; 2x flat ;[cts &1-32] 2x en relevé ; OS

CENTER

1. Adagio 4/4

[cts 1-4] 1st position grand plié;[cts 5-8] relevé with arms 5th en haut;

[cts 1-4] lower heels and passé RF développé croisé devant with rt arm up; [cts 5-6] supporting leg plié; temps lie on RF to 4th arabesque;[cts 7-8] retiré and promenade to en face; [cts 1-4] développé à la seconde ; relevé;[cts 5-8] 2nd position demi- plié; pirouette à la seconde with LF extended; hold; close LF 5th back; [cts 1-4] RF développé efface devant; relevé ; [cts 5-6] 4th position ;pirouette en arabesque;[cts 7-8] finish with supporting leg plié;[cts 1-2] soutenu en tournant with arms en haut; hold;[cts 3-4] pas de basque to 4th position ;[cts 5-6] preparation for pirouette; pirouette en dehors finishing in attitude croisé; relevé; [ct 8] close 1st position; OS

2. Tendus & Pirouette 3/4

Begin with RF back:[cts 1-4] RF tendu à la seconde ; close 5th devant/ derrière/ devant with demi- plié ;[cts 5-6] glissade to the right; pointe LF side; [cts 7-8] bring LF devant to 4th position preparation for pirouette; pirouette en dedans; close 5th RF front; OS 4x

3. 2/4 assemble LFF

[cts &1] RF assemblé to 5th front; [cts &2] entrechat quatre; [cts &3] RF assemblé to 5th bk ; [cts &4]entrechat quatre;[cts &5-6] failli assemblé; [cts 7-8] pirouette en dehors ; Other Side 4x (add battu on repeat)

4. Petit Allegro LFF 2/4

[cts 1-4] 4 jeté battu;[cts 5-8] brisé volé Bk/Frnt/Bk ; pas de bourré (FSB) ;

OS 4x

5. Waltz Grand Allegro 3/4

Preparation- Point RFB with arms in 1st arabesque

[cts 1-2]chassé; saut de basque with arms en haut; [cts 3-4] chassé; tour jeté with arms up;[cts 5-6] chassé; saut de basque with arms en haut; [cts 7-8] pas de basque ; [ct &] piqué on Left Foot into 4th arabesque turning to back of room ; OS

6. Waltz Grand Allegro 3/4

RLF Corner 3-1: [cts 1-4] failli- fouetté battu with lft arm up; assemblé derriére; Repeat 2x ;[cts 5-8] relevé/demi-plié preparation 5th position; pirouettes en dehors; close 5th front ; 2x ; OS

7. 4/4

RFF : step on RF cabriole ; failli; glissade cabriole devant en effacé ; close RFF ; failli ; fouetté battu en l’air with left arm up ; land arabesque en plié ; pas de bourrée ; OS 4x

8. RFF 6/8

Preparation-pirouette en dehors

[cts &1-4] 3 fouetté turns ; 1 turn en attitude; 8x

9. Petit Allegro 6/8

RFF : [cts 1-4 or 2 Measures] Échappé (to 2nd) changé closing RFB; 2 entrechat quatre; OS 4x

10. on diagonal 2/4

Embôités en tournant or piqué lame duck or chainés

REVERENCE

Muriel Stuart

Muriel Stuart was born in London in 1903. Her life spanned most of the twentieth century. As a dancer, her most notable association was with Anna Pavlova; she was Pavlova’s last protégée. Stuart trained with her in London from age eight, eventually becoming a member of Pavlova’s company from 1916 to 1926.

As well as being trained by Pavlova, Muriel Stuart had an eclectic list of teachers with whom she studied both in Europe and in the United States. They included Enrico Cecchetti, Uday Shankar, Harald Kreutzberg, Martha Graham, and Carmalita Maracci.

While still in her twenties she moved to the United States and began to teach, first in San Francisco and then as ballet mistress, as well as soloist, with the Chicago Civic Opera. She joined the faculty of the School of American Ballet in 1934.

Although Balanchine chose his early faculty from among the Russian dancers who had come to the United States, his choice of Stuart revealed another dimension in his thinking as to how to train dancers for his company. She was recognized as an excellent classicist, but also had sympathy for Martha Graham’s expressivity and use of original forms of movement far from
the orthodoxy of ballet.

An outstanding advantage for Stuart was the fact that English was her native tongue, so she could give her students detailed technical corrections and embellish her teaching with memorable imagery in a way not possible for the French and Russian speaking faculty members. The result was that her teaching added a knowledge of movement which prepared the dancers for Balanchine’s innovations and inspired in them everlasting gratitude for the unique training she gave them.

When she published her book in 1952, THE CLASSIC BALLET: Basic Technique & Terminology, Balanchine wrote the Preface, stating that “Miss Stuart has done more than anyone else to make the academic dance clear to students.” He went on to write, “No one with experience of stage and classroom as extensive or exact as Miss Stuart’s could hope to bring into the space of even a library all of the information she has accumulated.” Praise indeed for this prominent teacher whose career at SAB spanned more than fifty years. She received the first Mae Wien Faculty Award for Distinguished Service in 1987. She died in 1991, at age ninety.

Class 1

Muriel Stuart [C Class] #1

(pliés not described) (no preparations for exercises are given)

(time signatures are suggestions since they were not indicated in original notes)

BARRE

1. Pliés 4/4 adagio

Start first position.

2. Battement Tendu 4/4

[cts 1-4] 2 tendus devant;[cts 5-8] 1 tendu en plié; sous-sus; plié in 5th; straight legs;

[cts 1-8 for each set] 2 times en croix; [cts 1-8] 4 tendus to the side closing first;

3. Battement Tendu Jeté 4/4

[cts 1-32] 8 battement jeté from 5th en croix; [cts 1-16 ] low passé dessus-dessous;

[cs 1-16]16 battement jeté to the side in 1st (increase tempo);

4. Développé & Grand Rond de Jambe 4/4

[cts 1-4] développé devant;[cts 5-7] grand rond de jambe en dehors to arabesque;

[ct 8] close 5th; repeat en dedans;

5. Développé & Grand Rond de Jambe 4/4

Repeat exercise 4 en relevé

6. Rond de Jambe par terre 3/4

[cts 1-6] two ronds de jambe par terre en dehors;[cts 7-12] low dégagé devant; low passé to low arabesque ; on last count close 5th front; 4x flat; 4x relevé; balance

7. Rond de Jambe par terre 3/4

Repeat exercise 6 en dedans;

8. Frappé 4/4

[ct &]Start sur le cou-de-pied devant ; [cts 1-4] 4 frappé simple to the side;[cts 5-8] 4 rond de jambe en l’air en dedans; [ct &] sur le cou-de-pied derrière; [cts 1-4] 4 frappé simple to the side;[cts 5-8] rond de jambe en l’air en dehors;[cts 1-64] 4 times flat; [cts 1-64] 4 times en relevé; Balance sur le-cou-de-pied;

9. Petit Battement 2/4

Preparation tendu à la seconde: [cts 1 & 2 &] Front-back-front Hold; [cts 3 & 4&] Back-front-back Hold; [cts 5 -8]; cts 1-8] repeat flat; [cts 1-16] 16 in relevé; Balance sur le-cou-de-pied with arms in fifth en haut and looking to the right;

10. Grand Battement 4/4

[cts &1-3] 3 grand battements devant; [ct 4] Passé close 5th front; [cts 5-8] Repeat; [cts & 1-16] repeat to the side

11. Grand Battement 4/4

Face Barre: [cts 1-16] 3 grand battements back; 1 passé, close 5th back; 4 times flat; [cts 1-16] 4x relevé passé

12. Développé 4/4

Preparation demi plié in 5th; [ct.1] relevé sous-sus; [ct.2] sur le cou-de-pied devant; [ct.3] low développé side/ arms off barre; [ct 4] plié 5th bk ; cts 5-8] reverse ;[cts 1-8] Repeat

13. Développé 4/4

[cts 1-16] Repeat Exercise 12 with high développé

CENTER

1. 4/4 RFF

5th position / arms in croisé: [cts 1-4] 4 tendus devant; [cts 5-6] Rt leg low développé front croisé en plié;[ct 7] piqué attitude croisé;[ct 8] close 5th;

[cts 1-8] Repeat back; repeat entire combination again

2. 3/4 RFF

Preparation [ct &] rt ft dégagé à la second : [cts 1-3] 3 rond de jambe en l’air en dehors last r de j end pointe effacé front en plié; [cts 4-6] grand pas de bourreé dessus with arms up ending 4th position LFF;

[cts 1-3] Pirouette en dehors [cts 4-6] end développé à la seconde with arms 5th en haut; ; repeat all 4X ; last 2x add relevé on last rond de jambe en l’air

3. 3/4 Preparation: point LFB

[cts 1-6] 1 balancé right; step back and plié; relevé on LF écarté; [cts 1-3] tombé; pas de bourrée to 4th preparation for turn; lft arm forward; [cts 4-6]attitude turn en dedans; land 3rd arabesque plié; point back; 4X *

*Ms. Stuart used 3rd arabesque frequently. Description: Whichever leg is the working leg, that arm is extended forward at 1st position arm level. The other arm is also extended forward but placed about 10 inches higher (the hand is at eye level); head and gaze straight ahead.

4. ADAGIO 4/4

[cts 1-4] preparation: point LF back; 1 soutenu turn with arms 5th en haut; balance; close 5th; [cts 5-8] RF développé devant and grand rond de jambe to arabesque; plié; [cts 1-4] step on RF and pt LF devant croisé with arms opening à la seconde; [cts 5-8] port de bras to 5th en haut; change port de bras to croisé; degagé croisé front;[cts 1-4] LF passé and promenade to right; end 3rd arabesque *; [cts 5-8] plié step on LF; RF passes front/back to attitude effacé; [cts 1-8] promenade en dehors; finish in attitude croisé; relevé balance

5. WALTZ 3/4

Corner 3-1: [cts 4 sets of 3:1-2-3;2-2-3;3-2-3;4-2-3] 1 tour en l’air; land 2nd position with arms up; pas de bourrée; glissade; assemble battu.

6. MARCH 4/4 RFF

[cts 1-4] échappé to 4th front; finish échappé by closing 5th in demi plié; entrechat quatre; royale; [cts 5-8] repeat in reverse;[cts 1-4] échappé to 2nd; close 5th back in demi plié; entrechat cinq in back; assemble back; [cts 5-8] 2x entrechat quatre;[cts 1-16] repeat OS

7. Petit Allegro 4/4

[cts 1-32] 16 royale; 16 grand changements.

REVERENCE

Class 2

Muriel Stuart [C Class] #2

(pliés not described) (no preparations for exercises are given)

(time signatures are suggestions since they were not indicated in original notes)

BARRE

1. Pliés 4/4

2. Battement Tendu 2/4 or 4/4

Start 5th position. [cts 1-16] 3 tendus front. 4th tendu en plié. [cts 1-16] Repeat en croix. [cts 1-16] End with 16 tendus a la seconde from first position.

3. Degagé 3/4

[ct : [cts 4 sets of 3:1-2-3;2-2-3;3-2-3;4-2-3]:] Low degagé devant en relevé ; 5th sous-sus ; straight down (no plié); en croix ; Repeat

4. Battement Jeté 4/4

[cts 1-16] One Battement Jeté in each direction en croix; Repeat 4x

5. Ronds de Jambe par terre 3/4

[ct 8 sets of 3: 1-2-3;2-2-3;to 8-2-3] 8 rond de jambe par terre en dehors ; [ct 8 sets of 3] 8 rond de jambe par terre en dedans ; [ct 16 sets of 3] Repeat en dehors and en dedans ; [ct 8 sets of 3] pointe back and port de bras in lunge ; straighten and port de bras back ; [ct 8 sets of 3] arabesque en plié ; balance

6. Ronds de Jambe en l’air 3/4

[ct 4 sets of 3: 1-2-3;2-2-3;3-2-3;4-2-3]] 4X Ronds de Jambe en l’air en dehors ; [ct 4 sets of 3] finish with plié à la seconde ; pointe tendu side ; leg en l’air ; [ct 4 sets of 3] repeat en dedans ; 4X flat ; 4X relevé ; passé balance

7. Développé 4/4 (adagio)

[cts 1-8] Développé devant ; retiré ; développé derrière ; retiré ; [cts 1-8] repeat en relevé with arm up

8. Développé 4/4 (adagio)

[cts 1-8] Développé à la seconde ; retiré ; repeat en relevé with arm up ; retiré ;[cts 1-4] attitude derrière ; plié relevé 2X ; [cts 5-8] balance

9. Grand Battement 4/4

[cts 1-8] 2 grands battements devant; 3rd grand battement hold and carry side then back; close 5th; [cts 1-8] repeat en arrière; 2X full combination

10. Grand Battement 4/4

[cts 1-8] 2 grands battements à la seconde ; passé développé à la seconde close 5th. 2X flat ; 2X en relevé

11. Frappé 4/4

[cts 1-8] 4 frappé à la seconde ; 4 frappé devant (accent front) ; [cts 5-16] repeat with 4 frappé derriére; 4X flat ; 4X en relevé ; Balance sur le cou-de-pied

12. Facing Barre 6/8

Begin 5th position RFF- [cts 1-6] Pointe tendu side en plié ; piqué onto RF with LF in demi- passé front ; [cts 1-6] plié/straighten; close 5th ; repeat alternating sides 4X

CENTER

1. 4/4 RFF

[cts 1-8] 4 tendus devant ; plié/step forward with a petit développé to soutenu/ arms in front of chest; low développé with arms open to 2nd; close 5th;

[cts 1-8] Repeat back; [cts 1-8]Repeat 2X side; [cs 1-16] Other Side;

then repeat combination using grand battement instead of tendu; arms in 5th en haut; high développé

2. 3/4 LFF

[ct 4 sets of 3] right leg 4 ronds de jambe en l’air en dedans; plié; pas de bourrée dessus ; [ct 4 sets of 3] LFF relevé passé/ left arm up (4th position arms); développé arabesque en relevé/plié; pas de bourrée

3. 3/4 RFF

[ct 4 sets of 3] Balancé en avant with right arm up; step back on LF; RF développé écarté;4th tombé and pas de bourrée; 4th LFF; [ct 4 sets of 3] attitude turn en dedans; plié in 3rd arabesque ; piqué back on RF with LF degage devant ; Repeat 2X

4. 4/4 RFF

[cts &1-4]Begin I5th Position; Failli, glissade assemblé ;entrechat six ; pirouette en dehors with left arm up ; end 4th position ; [cts 5-8] relevé in 4th and RF développé croisé with RF ; close 5th; repeat

5. 2/4 LFF

[cts 1-4]glissade assemblé battu; entrechat trois ending LF cou-de-pied back; brisé; Repeat 4X

6. 4/4 RFF

[cts &1-8] Tombé coupé; balonné back ; step on RF; LF assemblé front with left arm up; entrechat trois end LFF; OS

7. 4/4 RFF

[cts 1-16] 16 petits changements; [ritard music cts 1-16] 16 grands changements

REVERENCE

Class 3

Muriel Stuart C Class #3

(pliés not described) (no preparations for exercises are given)

(time signatures are suggestions since they were not indicated in original notes)

BARRE

1. Pliés 4/4

2. Battement Tendu 4/4

[cts 1-64] 2 tendus en plié en croix 4X ;[cts 1-16] 16 tendus en plié à la seconde

3. Battement Jeté 4/4

[cts 1-64] Repeat tendu exercise with battement jeté and no plié;

[cts 1-16] 16 battement jeté à la seconde

4. Développé 4/4

[cts 1-8] RFF- Low développé devant ; pointe tendu devant en plié ; straighten and degagé devant ; carry side and passé ; close 5th back ;[cts 1-8] Repeat in reverse ; repeat all en relevé

5. Frappé 2/4

Begin RF sur le-cou-de-pied ;[cts1-24] 3 frappé simple en croix;

Repeat flat ; 2X en relevé ; Balance sur le-cou-de-pied

6. Ronds de Jambe par terre 3/4 or 4/4

[cts 1-8] 8 ronds de jambe par terre en dehors ; [cts 1-8] 8 en dedans; [cts 1-16] repeat; [cts 1-16] finish pointe back and port de bras forward and back with straight legs ;[cts 1-16] repeat in lunge ; finish in arabesque en relevé

7. Ronds de Jambe en l’air 3/4

[cts 1-3] 3 slow ronds de jambe en l’air en dehors ;[ct 4] hold ; Repeat en dedans ; 4X flat ; 4X relevé ; passé and balance with arms in 5th en haut

8. Grand Battement 4/4

[cts 1-2]1 grand battement devant ;[ct &3] plié soussus ;[ct 4] close 5th ; 4X en croix

9. Petit Battement 2/4

[cts 1-8] 8 cts petit battement flat ;[cts 1-8] repeat en relevé ;[cts 1-8 serré front en relevé with port de bras ; [cts 1-8] attitude devant balance

10. Face barre 3/4

Begin 5th position RFF- [cts 1-6] Pointe tendu side en plié ; piqué onto RF with LF in low passé front ; [cts 1-6] plié/straighten; close 5th ; repeat alternating sides 4X

CENTER

1. Frappé 4/4 RFF in sur le cou-de-pied

[cts 1-7] 8 frappé simple to the side ;[ct 8] sur le cou-de-pied beat front/back ;[cts 1-8] lift foot to passé and then attitude croisé en arrière ; promenade en dehors ; close 5th ; Repeat

[cts 1-8] 8 frappé double to the side; [cts 1-8] RF to passé and then to attitude croisé en avant; promenade en dedans ; close 5th; Repeat

2. Rond de Jambe en l’air 3/4 RFF/5th pos

[cts 1-4] 4 (slow) ronds de jambe en l’air en dehors;[cts 5-8] flic flac ending RF back en croisé relevé ; plié 5th ; straighten; Repeat with LFF

RFB- right leg still the working leg; [cts 1-4] 4 (slow) ronds de jambe en l’air en dedans; [cts 5-8] flic flac ending front en croisé relevé; plié 5th ; straighten; Repeat with LFB

3. Corner 3-1: Preparation-Pointe RFF 2/4

[ cts1-8]] chaîné turns; [cts 1-8] piqué to 1st arabesque/plié balance; coupé on LF/RF demi retire devant ; Repeat

4. Adagio: RFF 4/4

[cts 1-8] grand plié 5th [left arm comes up and rt arm down/ reverse on rise] ; arms in 1st and pointe side to 2nd position with port de bras to 2nd position; [cts 1-4] grand plié in 2nd position with ½ twist of torso to the left with right arm reaching forward; come up from plié; [cts 5-8] relevé and port de bras with right arm- 5th en haut to 2nd and en bas; LF degagé side and carry front; left arm up; relevé 5th; OS; Repeat; then 2x carrying leg back from à la seconde

5. Petit Allegro LFF 4/4

[cts &1-4] assemblé dessus; sauté landing LFB sur le cou-de-pied ; glissade left without changing feet ; entrechat trois ;[cts 5-8] 3 glissades to the right changing each one; entrechat quatre; 4X

6. Allegro RFF 3/4

[cts &1-2-3] 1 assemblé back in 3rd arabesque; tour en l’air landing attitude croisé ;

[cts 2-2-3] glissade assemblé; [cts 3-2-3 ; 4-2-3] sissonne tombée pas de bourrée ; pas de bourrée en tournant ; continuous from corner 3-1

7. 4/4 RFF

[cts 1-16]16 petits changements; [ritard music cts 1-16] 16 grands changements

REVERENCE

Class 4

Muriel Stuart C Class #4

(pliés not described) (no preparations for exercises are given)

(time signatures are suggestions since they were not indicated in original notes)

BARRE

1. Pliés 4/4

2. Battement Tendu 4/4

[cts 1-64] 2 tendus en plié en croix 4X ;

3. Battement Jeté 4/4

[cts 1-16]Low battement devant en relevé/hold 2 cts ;5th soussus ; 5th straight legs; en croix ; [cts 1-16] Repeat

4. Frappé 2/4

[cts 1-32] 4 frappés à la seconde; 4 petit battements accent front ; 4X flat;

[cts 1-32] 4X en relevé

5. Rond de Jambe par terre 3/4 or 4/4

[cts 1-4] 4 rond de jambe par terre en dehors ;[cts 5-8] repeat en dedans ;[cts 1-8] repeat ;[cts 1-16] same combination dégagé ;[cts 1-8] RF low dégagé front and port de bras; [cts 1-8] balance

6. Ronds de jambe en l’air 3/4

[cts 1-8] 8 ronds de jambe en l’air en dehors ;[cts 1-8] repeat en dedans ; [cts 1-16] Repeat en relevé ; balance sur le cou-de-pied

7. Adagio 4/4

[cts 1-3] Passé développé devant ;[ct 4] retiré ; [cts 5-8] développé to arabesque ;[cts 1-8] repeat en relevé with right arm up; [cts 1-8] attitude ; balance

8. Adagio 4/4

Cts 1-16] Reverse #7 combination;[cts 1-8] attitude devant leaning right; balance

9. Grand Battement 4/4

[cts &1-32] 4 piqué pointe devant ; 1 grand battement ending pointe tendu ; 1 grand battement end 5th ; en croix 2X ;

10. Face barre 6/8

[cts 1-4] dégagé à la seconde en plié ; piqué onto RF with LF sur le cou-de-pied devant ; plié 5th ; straighten ;[cts 5-8] OS ; Repeat

CENTER

1. [cts 1-64] Repeat exercise #10 from barre 8X with arms en haut

2. LFF:[cts &1-4] 4 tendus side alternating rt, lft, rt, lft;[cts &5-8] RF pas de bourrée dessus ; LF pas de bourrée dessous repeated 4X ; close 5th ;

[cts &1- 2] 2 changements ; Repeat in reverse

3. Rond de Jambe en l’air 3/4

RFF/5th position: preparation RF en l’air- [cts &1-4] 4 ronds de jambe en l’air en dehors ; [ct 5] step to the side on RF en plié ;[ct 6] LF dégagé and piqué onto LF ;[cts 7-8] RF dégagé à la seconde ; close demi- plié 5th back ; straighten; OS [ct &-preparation LF en l’air]

4. Corner 3-1: RFF 3/4

[cts 1-2] chassé sauté en arabesque ;[cts 3-4] 4th front ;[cts 5-7] pirouette en dehors ; [ct 8] plié in 5th RFF ;[ ct &] RF dégagé devant ;[cts 1-2] relevé on LF as RF does grand rond de jambe to 3rd arabesque en plié ; [ct 3] balancé to rt corner 4 ; [ct 4] plié ; [ct 5] balancé to lft corner 3 ; [cts 6-7] piqué arabesque on rt ;[ct 8] close

5. Adagio:RFF in 5th pos 4/4

[cts 1-3]grand plié ; [ct 4] as you rise LF fast développé to 1st arabesque; [cts 5-8] bring LF to à la seconde; temps lié thru 1st to attitude croisé (RFB);[cts 1-4] relevé to 4th allongé back (RF) and straighten;[cts 5-8] RF rond de jambe par terre en dehors; close 5th back. OS; Repeat 4x

6. Grand Allegro 3/4

RFF: tombé sauté à la seconde ; pas de bourrée ; tombé ; saut de basque en tournant ; cabriole ; chassé en arrière ; turn ; entrechat cinq ; assemblè

7. Petit Allegro RFF 6/8

[cts 1-4] 4 changements ; [cts 5-6]1 entrechat quatre ; 1 royale; [cts 1-6] repeat ; [cts 1-6] 3X entrechat trois with arms in 3rd arabesque and assemblè back arms end en bas [cts 1-6]; end with 2 entrechat quatre; OS

8. Petit Allegro RFF 4/4

[cts 1-4]1 changement (or royale or entrechat six) ; sissonne ouvert en avant landing in arabesque; arabesque relevè with arms to Lft; close 5th; 8X

REVERENCE

Class 5

Muriel Stuart C Class #5

(pliés not described) (no preparations for exercises are given)

(time signatures are suggestions since they were not indicated in original notes)

BARRE

1. Pliés 4/4

2. Battement Tendu 4/4

Cts 1-32] 3 tendus straight ; 4th tendu en plié ; en croix; [cts 1-32] Repeat ; [cts 1-8] 4X to the side closing 1st

3. Battement Jeté 4/4

[cts 1-16]Three battements jeté ; hold 4th count; en croix; 4X

4. Rond de Jambe par terre 3/4 or 4/4

Preparation to à la seconde- [cts 1-8] 8 ronds de jambe par terre en dehors ;[cts 9-16] 8 ronds de jambe par terre en dedans ;[cts 1-32] Repeat ending pointe tendu derrière ;

[cts 1-4] port de bras devant with straight legs; release back leg and lunge ;[cts 5-8] port de bras devant ;[cts 1-4] straight legs- cambré back ;[cts 5-8] attitude en relevé balance

5. Rond de Jambe en l’Air 3/4

2 ronds de jambe en l’air en dehors ; plié in 2nd position ; dégagé à la seconde ; repeat 4X flat and 4X en relevé ; balance passé ;

6. Adagio 4/4

Face slightly away from barre:[cts 1-4] passé développé front;[cts 5-8] tombé onto RF ; arabesque en plié; pointe tendu LFB; transfer weight and dégagé RF front ; close 5th ;

[cts 1-8] Face slightly toward barre and reverse the combination (LF begins); 2X

7. Grand Battement: 4/4

[cts &1-8] 4 low grands battements ending in pointe tendu; [cts &1-8]3 high grands battements ending in pointe tendu; 4th high grand battement close 5th; en croix; Repeat

8. Frappé 2/4

[cts 1-4] 3 frappé devant ; carry leg side; [cts 5-8] repeat side ; carry leg back; [cts 1-4] repeat back; carry leg side;[cts 5-8] repeat side; [cts 1-16] Repeat; [cts 1-32] 2 sets en relevé; balance sur le cou-de-pied

9. Petit Battement 2/4

[cts-1-2&]: Begin sur le cou-de-pied devant on count 1; use rhythm 1&2&= front/back/front/hold ; back/front/ back/hold; 8X flat and 8X en relevé;

10. Fondu 4/4

Begin in demi plié 5th; ct. 1- soussus; ct. 2- low passé; ct.3- low développé à la seconde ; ct.4- close 5th back en plié ; 4X with arm up for all

CENTER

1. RFF 4/4

[ct &] preparation sur le cou-de-pied;[cts 1-8] pointe front; return to sur le cou-de-pied; en croix ; [cts 1-8] passé développé à la seconde ; relevé ; close 5th ; OS ; (4 X arms en bas ; 4X arms en haut)

2. Rond de Jambe en l’air 3/4 RFF

Preparation RL en l’air : [cts 1-4] 4 ronds de jambe en l’air en dehors ; [cts 5-8] RF retiré relevé; tombé en croisé ; LF pass thru and piqué onto LF with rt arm up ; repeat with double rond de jambe en l’air en dehors ; OS

3. Corner 3-1: RFF 3/4

[cts 1-3]Glissade to right no change of feet; LF jeté dessous; with RF piqué forward to arabesque facing Corner 3; [ct 4] 4th position en face RFB for preparation pirouette;

[cts 5,6] pirouette en dehors landing RFB 4th; développé croisé devant with RF en relevé (Rt arm up) ;RFF close 5th; [cts 1-4] glissade to rt with change of feet; RF jeté dessus; LF piqué back to attitude croisé ; RF développé; [cts 5-8] tombé to 4th ; pirouette en dedans; land 4th with LFF; [cts 1-3] pirouette en dedans; RFF close 5th;[ct 4] développé with LF to 3rd arabesque facing Corner 2;[cts 5,6] failli with LF ending coupé with RFB; [cts7,8] pas de bourree ending 5th RFF; repeat

OS Corner 4-2

4. Adagio RFF 4/4

Preparation: lft arm up, rt arm in 1st;[cts1-8] grand plié to soussus; open rt arm to 2nd; passé RL développé écarté; turn to arabesque facing Corner 2; [cts1-8] promenade and finish RFB in attitude croisé; port de bras Rt arm up ; [cts 1-8] 4th preparation; pirouette en dedans; close 5th croisé RFF; pas de Basque en arrière; pointe LFF (arms 5th en haut);close 5th

5. Petit Allegro 2/4

Preparation 5th RFF: glissade with LF leading; jeté battu; assemblé back with RF with 3rd arabesque arms; entrechat trois; OS

6. Petit Allegro 3/4

Preparation 5th LFF [cts 1-4] glissade pas de chat; LFF to 4th; bring RF around to soutenu turn (arms up) end LFF; [cts 5-8] plié/

relevé 3rd arabesque RFB; chassé back; step to attitude croisé RF;[cts 1-4] balancé en tournant to rt; step on RF; LF assemblé croisé front; 4X

7. Petit Allegro LFF 6/8

[cts 1-8] 1 glissade; 3 brisés ; 1 glissade ; 2 brisés ; 1 assemblé battu ; 4X

8. Reverse exercise 7

9. Petit Allegro 2/4

[cts 1-4] 3 entrechat quatre ; 1 royale ; 8X

REVERENCE

Class 6

Muriel Stuart [C Class] #6

(pliés not described) (no preparations for exercises are given)

(time signatures are suggestions since they were not indicated in original notes)

BARRE

1. Pliés 4/4

2. Battement Tendu 4/4

[cts 1-32] 4 tendus en croix ; Repeat 3X

3. Battement Jeté 4/4

[cts 1-32] 4 battement jetés en croix; Repeat 4X

4. Rond de Jambe par terre 3/4 or 4/4

[cts 1-16] 8 ronds de jambe par terre en dehors ; 8 en dedans ;[cts 1-16] Repeat

[cts 1-8] RFF port de bras straight ;[cts 1-8] RFB in lunge ; rise ; lunge ; relevé arabesque with Right arm forward ; Balance

5. Frappé 2/4

Preparation :RF sur le cou de pied

[cts 1-7] 4 frappés simple front; fondu en plié ; low développé devant ; [ct 8] return to sur le cou de pied ; repeat en croix ; 1X flat ; 1X en relevé

6. Rond de Jambe en l’Air 3/4

Preparation : RF en l’air à la seconde

[cts 1-3] 3 ronds de jambe en l’air en dehors (slow) ;[cts 4&] plié 5th back; raise leg to 2nd ; repeat en dedans ; 4X flat ; 4X en relevé ; passé balance

7. Grand Battement: 4/4

[cts &1-4] 2 grands battement front from 5th;[[cts &5-8] 1 grand battement en relevé ; lower heel and close 5th; passé développé front close 5th ; 2X front; 2X side

8. Grand Battement: 4/4

Face Barre: Repeat exercise #7 to the back; 4X Right; 4X Left

9. Frappé 4/4

Preparation :RF sur le cou-de-pied

[cts 1-64] 3 slow accent front ; close 5th en plié ; Repeat back ; 4x flat ;[cts 1-32] 4X en relevé à la seconde ;[no cts] balance passé

10. Adagio 4/4

Face Barre :Preparation- extend RF off the floor à la seconde with LF en plié

[cts.1-16] relevé ; cou-de-pied devant ; return to starting position ; 8X ; Balance

11. Repeat Exercise #10 with Lft hand on barre;

12. Adagio 4/4

[cts 1-4] RFF Passé développé front; plié on supporting leg ;[cts 5-8] fouetté toward barre to Other Side ; balance en arabesque ; close 5th; OS

CENTER

1. RFF 4/4

[cts &1-8]3 tendus devant closing 5th; 4th tendu close sur le cou-de-pied devant en plié ; straighten leg and point front 4X ; repeat combination en croix 2X

2. Rond de Jambe en l’air en dedans 3/4 RFB

Preparation: (Right is working leg). Lift RF to à la seconde

[cts 1-8] 3 ronds de jambe en l’air en dedans ; relevé 4th devant ; relevé and fouetté turning towards barre to OS to 3rd arabesque and landing in plié; relevé balance; close 5th; repeat 4X

3. Preparation: 6/8 Pointe LF back

[cts &1-6]pas de bourrée dessus en tournant ;[cts 1-6] 6 arabesques hops in circle en dehors ; [cts 1-6] 4th position preparation ; [cts 1-6] double pirouette land 4th position ; repeat 4X

4. Petit Allegro 2/4

[cts 1-8] LFF : with RF leading going rt-glissade, brisé 4X; [cts 1-4 ]RF assemblé 4th back then à la seconde ending RFF ; Repeat both sides 2x

5. LFF: reverse combination #4 (LF leads going left)

6. Petit Allegro 4/4

Corner 3-1: LFB- jeté battu ( beat LF back/ front) and land en plié on LF with Right Foot cou-de-pied); jeté battu with RF i( beat RF back/ front) end on RF with LF cou-de-pied derrière; extend RF front and cabriole devant; step forward on RF and cabriole with a fouetté (beat RL to LL and land 3rd arabesque on RF; continuous [LFB jeté battu; etc…]

POINTE

March 4/4

Corner 3-1: [ct &1,2] RFF temps lié to soussus with Rt arm up; [cts &3,4] plié in 5th; passé relevé; close 5th back. [cts &5,6] 2 échappé changing; [cts 7,8] Left Foot passé relevé; close 5th: (also done with all passé relevé as pirouettes en dehors)

REVERENCE

Class 7

Muriel Stuart C Class #7

(pliés not described) (no preparations for exercises are given)

(time signatures are suggestions since they were not indicated in original notes)

BARRE

1. Pliés

2. Battement Tendu 4/4

[cts 1-8] 3 tendus straight ; 4th tendu en plié ; en croix 4X

3. Battement Jeté 4/4

[cts 1-8] Repeat exercise #2 with battement jeté 4X

4. Frappé 2/4

[cts 1-16] 3 frappés simple devant; hold 4th ct ; en croix ;[cts 1-16] Repeat flat ;

[cts 1-32] 2X en relevé

5. Rond de Jambe par terre 3/4

[cts 1-8] 8 ronds de jambe par terre en dehors ending pointe tendu devant ; [cts 9-16] repeat en dedans ;[cts 1-32] Repeat combination bringing foot slightly en l’air;

[cts 1-16] end pointe back and lunge : port de bras forward ; cambré back with straight legs ; arabesque relevé; balance

6. Rond de Jambe en l’air 3/4

RFF-Preparation en l’air : [cts 1-8] 3 ronds de jambe en l’air en dehors ; close plié 5th back ; repeat en dedans closing plié 5th front ; 8 X flat ; 8X en relevé

7. Adagio 4/4

[cts 1-3] RFF Passé développé devant;[ct 4] plié step forward to arabesque en plié;[cts 5,6] piqué back on LF and RF degagé front; [cts 7-8] close 5th; reverse 2X

8. Adagio 4/4

[ct &1] Soussus ; [cts 2-4] sur le cou-de-pied and low développé à la seconde ; close 5th back en plié ; (repeat from the back; back and front 8X )

9. Grand Battement 4/4

[cts 1-4] 1 grand battement devant ; close 5th en plié ; soussus ; 5th straight ; 8X front ; repeat en croix

10. Petit Battement 2/4

Preparation sur le cou-de-pied : [cts &1 &2] petit battement bk/front 2X ;[cts &1-4] repeat 4X double time ; 4X flat ; 4X en relevé ; balance

CENTER

1. Battement Tendu 4/4

[cts 1-8] 4 tendu devant; [cts 1-8 : each movement has 2 cts]1 tendu devant en plié ; soutenu; place working leg sur le cou-de-pied ; close 5th; en croix; Repeat; OS

2. Grand Allegro: 3/4

Corner 3-1; LFF:[cts1-4] relevé with working leg in low 2nd ;bring leg to 4th front and plié on front leg as preparation for pirouette; pirouette en dedans; land 4th LFF en face; [cts 5-8] relevé attitude front éffacé with Rt arm up; close 5th Rt arm goes to 2nd; sissonne to 1st arabesque Lft arm forward; close 5th; repeat

3.Grand Allegro 3/4

Corner 3-1:RFF: Begin 5th position-[cts 1-4] sissonne simple ending Right Foot sur le cou-de-pied; tombé to sauté arabesque to cabriole arabesque ; pas de bourrée en avant (no change of feet) ; repeat travelling on diagonal

4. Petit Allegro 4/4

[cts 1-16] 4 sautés 1st position ; 4 sautés 2nd position ; 8 changements ;

2nd part- [cts 1-8] 1 sauté 1st position ; 1 sauté 2nd position ; 1 sauté to 4th croisé LFF ; 1 sauté closing 5th ; repeat ; [cts 1-24] Then repeat entire combination

5. Petit Allegro 2/4 : Entrechat quatre ; royale ; continuous

6. Petit Allegro 6/8: 2 Changement ; soussus plié ; entrechat six (all changements may be done royale

REVERENCE

Class 8

Muriel Stuart [C Class] #8

(pliés not described) (no preparations for exercises are given)

(time signatures are suggestions since they were not indicated in original notes)

BARRE

1. Pliés 4/4

2. Battement Tendu 4/4 (March)

[cts 1-8] 3 tendus straight; 1 tendu ending demi plié ; 2X en croix ; 4X 1st to 2nd

3. Battement Jeté 4/4 (March)

Repeat exercise #2 with battements jetés

4. Frappé 2/4 (Polka)

[cts 1-8] 3 frappés front with brush on way out; hold; fondu en avant with low développé devant; en croix; 1X flat ; 1X en relevé

5. Rond de jambe par terre 3/4 (Waltz)

[cts 1-8] 8 ronds de jambe par terre en dehors ;[cts 9-16] repeat en dedans ; [cts 1-32] repeat all ; end pointe derrière ;[cts 1-8] lunge : port de bras forward ; cambré back with straight legs ;[cts 9-16] finish in attitude derrière en relevé balance

6. Rond de Jambe en l’air : 3/4 (Waltz)

RFF-Preparation en l’air : [cts 1-8] 8 ronds de jambe en l’air en dehors ; [cts 9-16] repeat en dedans ; 1X flat ;1X en relevé ; retiré and balance with arms in 5th en haut

7. Adagio 4/4

[cts 1-4] Face slightly toward the barre: passé développé front;[cs 5-8] step on RF and arabesque en pié; [cts 1-8] piqué onto back leg (LF); RF dégagé front and balance; close 5th;[cts 1-16] reverse exercise; repeat front and back

8. Grand Battement 2/4

[cts 1-4] 4 low battement ending in tendu front;[cts 5-8] 2 grands battements front closing 1st;[cts 1-8] tendu à la seconde to 2nd position demi-plié; tendu close 5th; en croix

9. Frappé 4/4

2 frappés accent front ; 3 frappés accent front (1and – 2 and / 1 and 2) en croix 4X flat ; 4X en relevé ; battu devant while arms port de bras en dehors ; passé attitude devant with arms in 5th en haut ; Balance ;

10. Adagio 3/4

Face barre : preparation 5th demi plié ; [cts 1-8] soussus ; RF sur le cou de pied & extend working leg in low développé à la seconde ; Ct.5-6 release hands from barre to balance ; plié 5th ; [cts 1-8] Repeat exercise with left hand on barre and leg working front and back

CENTER

1. RFF 4/4 (March)

[cts 1-8] 4 tendus à la seconde (dessus/dessous) ; repeat exercise #10 from the barre ;[cts 1-64] 4X back ; [cts 1-64] 4X front

2. Ronds de jambe en l’air: RFF 3/4 (Waltz)

[cts 1-4] 3 ronds de jambe en l’air en dehors ;close back ;[cts 5-8] soutenu en tournant ; failli with LF ; plié on LF ; renversé en relevé to attitude plié; [cts 1-4] pas de bourrée to 4th preparation ; pirouette en dedans ; close 5th ; Repeat

3. Adagio: RFF 4/4

Preparation-LF pointe back en croisé ;[ cts 1-4] soutenu en tournant ;demi plié /soussus RFF (arms port de bras down) ;[cts 5—8] passé développé devant en croisé ; grand rond de jambe ;[cs 1-4] step back on RF en plié ; arms go up and left arm opens ; dégagé croisé ; promenade to rt while leg returns to passé ;[cts 5-8] développé to 1st arabesque ;[cts 1-8] plié and step back to attitude effacé ;promenade to rt to attitude croisé ; relevé ; end tendu derrière (RFB)

4. Petit Allegro 2/4

[cts 1-8] Royale; échappé to 2nd ; pirouette en dehors; close 5th ; entrechat quatre; Repeat

5. Grand Allegro 3/4

Corner 3-1: grand fouetté sauté ;balancé en tournant; cabriole en arrière; balancé en tournant

POINTE

1. [cts 1-16] Repeat Exercise #10 from barre ; 4X back; 4X front

2. 3/4 Mazurka

[ct in 3s continuous] échappés to 2nd /to 5th

3. 3/4 Waltz

Corner 3-1: [cts 1-3] Développé relevé écarté (arms in écarté); chassé ; soutenu en tournant ; continuous

REVERENCE

Class 9

Muriel Stuart [C Class] #9

(pliés not described) (no preparations for exercises are given)

(time signatures are suggestions since they were not indicated in original notes)

BARRE

1. Pliés 4/4

2. Battement tendu 4/4

[cts 1-16]4 battement tendu in each direction en croix ;[cts 1-16] Repeat ;[cts 1-16] 16 battements tendu à la seconde

3. Battement Jeté 4/4

Repeat Exercise #2 with battements jetés

4. Battement Pointé (also called piqué) 4/4

Preparation:Dégagé devant low

[cts 1-32] pointe tendu and tap sharply 7X; carry leg to side; en croix 2X

5. Rond de Jambe par terre 3/4

[cts 1-4] 3 ronds de jambe par terre en dehors; demi plié on supporting leg and carry leg to side as the supporting leg straightens; 4X en dehors ; 4X en dedans ; [cts 1-8] passé relevé balance ; arms 5th en haut ;

6. Rond de Jambe en l’air 3/4

RFF-Preparation en l’air :[cts 1-8] 8 ronds de jambe en l’air en dehors ; [cts 9-16] 8 en dedans ;[cts 1-16] repeat en relevé ; [cts 1-8] sur le cou de pied Balance (arms 5th en haut) ;

7. Frappé 2/4

[cs 1-4] 2 frappé devant ;demi plié 4th ; straighten with pointe tendu devant ; repeat en croix 2X flat ; 2X relevé ; balance ; close 5th

8. Grand Battement 4/4

[cts 1-8] 2 grands battement devant ; 1 grand battement devant to enveloppé ; développé devant ; close 5th ; 2X devant ; repeat 2x in each direction en croix

9. Petit Battement 2/4

Preparation sur le cou-de-pied:[cts 1-8] 2 slow/3 fast accenting front on the & of each count ;return sur le cou-de-pied ; 4X flat ;4X relevé ; passé attitude derrière; Balance

CENTER

1. Part 1-RFF: tendu front; plié in 4rh ; relevé plié in 4th ; pointe tendu close 5th; 2 battements jetés ; en croix ; Part 2-Repeat using grand battement and use 1 grand battement instead of 2 battements jetés

2. Rond de Jambe en l’air 3/4 (Mazurka)

RFF:[cts 1-6] 2 slow ronds de jambe en l’air en dehors ;[cts 1-3] 3 fast ;[cts 4-6] développé to effacé devant (arms in 1st and plié on LF); [cts 1-12] port de bras to high 5th and then to 2nd; relevé and turn to arabesque; arms in 2nd arabesque; promenade; end attitude derrière croisé; relevé; close 5th

3. RFF 4/4

[cts 1-4] tendu devant en croisé to 4th ; pirouette en dedans; end 4th position en avant; [cts 5-8] pirouette en dehors with arms 5th en haut ;end 4th position back; shift weight to back foot and pointe front foot; close 5th; 4X

4. Adagio RFF 4/4

[cts 1-4] Passé développé to 3rd arabesque en demi plié ; relevé ; close 5th back ;[ RF [cts 5-8] Passé développé to 1st arabesque on the diagonal ; relevé ; close 5th ; [cts 1-4] RF passé développé effacé ; relevé ; close 5th devant ; [cts 5-8] RF Passé développé croisé devant ; pointe front en plié ; rond de jambe par terre to the back ;close 5th

5. Petit Allegro RFF 6/8

[cts 1-8] 2 glissades to rt no change of feet; 2 glissades with change; 4 glissades en tournant with change in feet; Repeat

6. Corner 3-1 RFF 4/4

Preparation: right foot sur le cou-de-pied devant ; Jetés en tournant ; continuous

7. RFF 2/4

entrechat six; continuous

REVERENCE

Class 10

Muriel Stuart [C Class] #10

(pliés not described) (no preparations for exercises are given)

(time signatures are suggestions since they were not indicated in original notes)

BARRE

1. Pliés 4/4

2. Battement tendu 4/4

[cts 1-16] Two tendus in each direction en croix; repeat 4X;

3. Battement Jeté 4/4

[cts 1-16] Two battements jetés in each direction en croix; repeat 4X;

4. Rond de Jambe par terre 3/4

[cts 1-8] 8 ronds de jambe par terre en dehors ;[cts 9-16] repeat 8 en dehors slightly off floor ;[cts 1-32] repeat all en dedans ;

5. Rond de Jambe en l’air 6/8

RFF-Preparation en l’air:[cts 1-4] 4 ronds de jambe en l’air en dehors ;[cts 5-8] pointe tendu à la seconde; dégagé to passé ; développé to à la seconde ; 4X (en dehors ; en dedans ; en dehors ; en dedans)

6. Adagio 4/4

Begin 5th position RFF – [cts 1-4] Passé développé devant ; leave leg and turn to barre ending leg en l’air à la seconde ; [cts 5-8] step on RF en plié and pointe LF à la seconde; lft arm port de bras side ; turn to Other Side and piqué 1st arabesque ; balance ;close 5th

7. Frappé 6/8

[cts 1-8] 3 frappés (with brush) devant ; return foot to sur le cou de pied beating front- back; repeat exercise derrière;[cts 9-16] repeat twice à la seconde ; 2X flat ; repeat exercise 2X en relevé ; balance sur le cou-de-pied with arms 5th en haut

8. Grand Battement 4/4

[cts 1-8]1 grand battement devant ; repeat en plié ; repeat en relevé; ending soussus ; repeat and close 5th ; 2X ; [cts 1-8] Other Side…………….[cts 1-8] return to first side and repeat combination to the side;[cts 1-8];[cts 1-8] Other Side ……[cts 1-8]Return to first side and repeat combination to the back;[cts 1-8] OS

9. Petit Battement 2/4

Preparation to sur le cou-de-pied: [cts 1-4] beat back-front 4X ;[cts 5-8] beat front back 4X ;[cts 1-16] repeat entire combination;[cts 1-8] relevé on supporting leg and serré; [cts 9-16] passé attitude en arrière ; balance

CENTER

1. RFF 4/4 (March)

[cts 1-4] 4 tendus en avant;[cts 5-8] small développé front to pointe tendu; grand batte- ment close 5th;(arms port de bras front to side on small développé);[cts 1-32] en croix

2. [cts 1-32] Repeat Exercise #1 with battement jeté and grand battement en relevé

3. Adagio : RFF in 5th position 4/4

[cts 1-8]grand plié with lft arm up and rt arm front in 1st position; soussus bringing rt arm up to 5th en haut; close 5th RFF;[cts 9-16] RF sur le cou de pied and beat front- back; passé développé to arabesque; grand rond de jambe en dedans ending croisé; 4th position preparation;[cts1-4] pirouette en dehors; end 4th position;[cts 5-8] 4th arabesque with arms crossed at chest; ¼ promenade ending in 1st arabesque; relevé faille;[cts 1-4] pas de Basque en arrière to 4th position; pirouette en dehors;[cts 5-8] LF piqué attitude derrière; flat- relevé; balance; close 5th

4. Rond de Jambe en l’air : RFF 3/4 (Mazurka)

Preparation: Lift RF à la seconde

[cts 1-4] 2 ronds de jambe en l’air en dehors ; 1 rond de jambe en l’air en dehors en relevé ; 4th position RFB preparation for pirouette; [cts 5-8] 1 pirouette en dehors ; end 5th RFF ; 1 tour en l’air end LFF ; port de bras front-side

5. Petit Allegro RFF 2/4

[cts 1-8] 4 changements ; 4 changements with ¼ turns;[ cts 1-8] 4 changements with ½ turns; 4 changements moving en avant; Repeat

6. 2/4 Polka

Corner 3-1; begin with RFF: emboîté en tournant; on ct 6 grand jeté with RFF; ct 8 close 5th; continuous

7. 6/8 RFF

entrechat royale 3X; entrechat quatre 1X

REVERENCE

Class 11

Muriel Stuart [C Class] #11

(pliés not described) (no preparations for exercises are given)

(time signatures are suggestions since they were not indicated in original notes)

BARRE

1. Pliés 4/4

2. Battement Tendu 4/4

[cts 1-16] two tendus en avant closing 5th front; 1 tendu closing 5th demi plié; soussus; close 5th; en croix;[cts 1-16] Repeat; finish with soussus arms in 5th en haut; balance

3. Battement Jeté 2/4

[cts 1-16] Four battement jetés in each direction en croix ;[cts 1-8] 2 battement jetés in each direction en croix ; [cts 1-8] 1 battement jeté in each direction en croix 2X; repeat entire combination

4. Rond de Jambe par terre 3/4

[cts 1-8] Two ronds de jambe par terre en dehors ; petit grand battement front ; passé to petit arabesque ; 4X flat ; 4X en relevé ; Balance in arabesque ; Other Side ; repeat in reverse (en dedans)

5. Rond de Jambe en l’air 3/4

RFF-Preparation en l’air : [cts 1-3] 3 fast ronds de jambe en l’air en dehors ; demi plié in 2nd position ; dégagé à la seconde ;[cts 4-6] repeat en dedans ; 4X flat ; 4X en relevé ; passé balance with arms 5th en haut

6. Adagio 4/4

RFF 5th : [cts 1-8]passé low développé à terre devant ; dégagé and rond de jambe to 2nd ; passé ; Développé to arabesque ;[cts 1-8] step back on RF on slight diagonal away from barre with rt arm up and LF pointe tendu effacé; LF piqué attitude derrière toward barre with arms 5th en haut; reverse combination

7. Grand Battement 4/4

Preparation pointe tendu en arrière :8 grands battements en arrière; OS

Preparation pointe tendu en avant : 8 grands battements en avant ; OS

1 Grand battement à la seconde finish pointe tendu seconde ; 1 grand battement close 5th ; repeat 4X ; OS

8. Frappé 2/4

[Cts 1-16] 2X frappés simple devant ; 1 fondu devant ; en croix;[cts 1-16] Repeat flat ;[cts 1-32] 2X en relevé ; balance sur le cou-de -pied with arms en bas

9. Stretch and Balance 3/4

Face barre in 1st position ;[cts 1-8] demi plié relevé; lean (cambré) back with rt arm up; balance both arms en haut; end in 1st position; OS

CENTER

1. RFF 5th position 4/4:

[cts 1-4] temps lié en avant with rt arm up ; temps lié en arrière with lft arm up ; [cts 5-8] bring rt arm forward and lean to rt; temps lié en avant with arms in 2nd ; preparation to 4th and pirouette en dehors; close 5th

2. RFF 5th position 4/4

[cts 1-8] 4 tendus à la seconde alternating 5th front/5th back; pirouette en dehors ending RF sur le cou de pied derrière ;[cts 1-8} piqué to 2nd / LF sur le cou de pied derrière ; piqué en arrière ending RF dégagé devant ; fondu piqué to 3rd arabesque ; close 5th and pirouette en dehors ; close 5th

3. RF 5th position 3/4

demi plié ; soussus with arms en haut; tombé RF chassé ;en dedans pirouette; end 1st arabesque ; port de bras with wrists leading up to high 5th; turn to à la seconde then effacé; plié piqué attitude effacé; heel down and promenade to left to attitude croisé; change arms and legs to 4th arabesque; penché; plié pas de bourrée en tournant arms en haut ; close 5th ; LF tendu side; close 5th front;

4. Rond de Jambe en l’air : LFF 3/4 (Waltz)

[cts 1-4] 3 ronds de jambe en l’air en dedans ; 4th back en dedans soutenu turn détourné ;[cts 5-8] LFF dégagé with LF and 3 fouetté turns ; 1 pirouette

5. RFF 3/4 (Waltz)

sissonne en avant; sissonne à la seconde (no change of leg) ; sissonne en arrière ; assemblé RFF ; pirouette en dehors close back ; OS

6. Petit Allegro RFF 6/8:

[cts 1-4] 2 royale ; échappé 2nd; entrechat six ; Repeat

REVERENCE