Begin with these. First position. 
One, two, (inaudible). One, two, three,

four, five, six, seven, eight. 
Two counts. Two, three, four, rise via six

bridge on seven, change on eight. 
Same thing in second position.

Same thing in fourth, same thing in fifth.
Rising five, demi plié six,

arms seven, eight. 
Port de bras forward, four, five six seven

eight. Five six, five six, arm eight,
(inaudible) port de bras arms (inaudible).

Palms up, elbows up,
shoulder blades together.

♪ (piano) ♪
(instructor inaudible)

Follow that arm with the head.

(inaudible)

Arms go back, and rest.
Other side, please.

Two things to know that are very
important in dancing,

in ballet especially.

Musicality one, you have four counts
down, four counts up. Following that,

two counts down, two up.

Second thing to observe, there is
no meaning to any port de bras if

the head does not follow it. 
The head follows the arm all the way

to fifth, and it reverses
following the arm.

Don't do independent movements
from the head. Other side.

Shoulder blades together,
and épaulement. Chin up.

♪ (piano) ♪
(instructor inaudible)

(music stops, instruction continues)

(inaudible)

Chins up, eyes up.
And one--

♪ (piano) ♪

(inaudible)

(music stops)
Heads épaulement,

shoulder blades together,
and relax.

(inaudible) tendu-- we won't
be doing pointe today in class,

but ladies especially, when you
do that (inaudible) tendu,

try not to use just the ankle. 
Just the ankle. Just the ankle.

You will be needing those toes
to press up on two points.

So make sure that as you brush,
you leave the toes on the ground

and you lengthen. You leave the toes
on the ground and you lengthen.

So you work that last part
of your leg with your toe.

Other side, please.
(inaudible)

Heads épaulement. And--

♪ (piano) ♪

(inaudible)

(music stops)
And relax.

You're late!

>> (inaudible) 
>> (inaudible)

And-- ♪ (piano) ♪

(inaudible)

(music stops)
And heads up.

Not too bad, other side.

♪ (piano) ♪

(inaudible)

Heads épaulement, and arms.

(music stops)
Relax.

Let me get in the middle.
Can everyone see me here?

Ronde de jambe, same preparation,

five six, chin up, head
épaulement seven, stretch.

And rond de jambe one, full half-circle,
big demi plié, rond de jambe.

Five, six, good port de bras
(inaudible) first, rond de jambe.

(inaudible) two, three, four, lift,
(inaudible), same height off the floor,

and seven, port de bras eight.

En dedans. And two, good port
de bras, plié to first, stretch.

Head épaulement, six,
good demi plié seven, eight.

(inaudible) third, two, three,
four, three (inaudible)

but we do lift off the ground,
we turn out on the hip socket,

and seven-- six, seven,
full port de bras, and eight.

We'll do twice on the up,
twice on the down.

Second position fifth,
port de bras four counts,

five, six, seven, eight,
back four counts,

up five-six, relevé in six-seven,
(inaudible).

Two counts, three, four,
five, six, seven, eight.

Passé, eight counts open. And...

Do a good first position,
full half-circle on the floor.

Work on your turnout,
keep your heels (inaudible).

♪ (piano) ♪

(inaudible)

(music stops)
And fifth position. And (inaudible)

First port de bras, not too bad.

Let's check the ending arms,
the first-- the last (inaudible)

and the last en dedans.

The arms in second.
Arm alongside the body, good first

position, and the head lifts.

Yeah, arm in second. En dehors,
six, seven, bring the arm from behind the

shoulder (inaudible) through a good
first, incline the head, and raise.

As you lengthen the arm (inaudible).
Okay? En dedans.

Five, six, seven, same
as you did (inaudible).

It opens the chest but with
the rib cage still closed.

Aim for the back, chins up.
And (inaudible).

♪ (piano) ♪
(instructor inaudible)

(music stops)
And finish still with the head épaulement.

Relax.

(inaudible) one and two and three and
four and.. and.. and.

No arm (inaudible) for the last balance,
fondu coupé one, relevé two,

turning one piece, make sure the heel is
the one that brings the body to the bar.

Three. Fondu, relevé, make sure that
the heel makes the shoulders turn.

Six. Fondu coupé with the arm,
passé, arms first, four, five, six.

Fondu, relevé, heel front,
fondu, relevé, heel front

change coupé, passé, arms first,
four, and five, and six,

fondu, relevé, heel front,
fondu, relevé, heel front,

coupé, passé, arms first,
open four, five, six.

About that speed,
not too fast.

Make sure that the shoulders do not
turn (inaudible) the heels,

the heel is the one that will
make the upper body turn, please.

♪ (piano) ♪

(music stops)
Hold it, hold it, hold it, hold it.

I can't find the (inaudible).

(humming the music, counting)

(inaudible)

♪ (piano) ♪

One two three four, slower, six,
(inaudible)

(music stops)
And relax. Rest.

You have a slow adagio.

(inaudible)

I think we'll need to spread
the bars a little bit. It's too crowded.

(inaudible)

Begin en face, audience (inaudible).

Passé one, two, turn and
do a (inaudible), three, four.

(inaudible) on the five, (inaudible),
relevé passé six, head front,

on the second-- seventh, relevé on eight.
Balancé one, (inaudible) port de bras,

down, piqué attitude three,
heel front four, (inaudible) five,

six, come up (inaudible) seven,
fifth, head épaulement.

Other side. One, open the (inaudible)
front, two, turn onto effacé,

raise the chin, eyes up four.

(inaudible) on the five, relevé passé six,
fondu second on seven, relevé on eight.

Balance one, good tombé port de bras,

and three, outside hand goes to the bar,

heel front four, (inaudible) five, six,

come up arabesque on seven, (inaudible).

Four times, please.

(inaudible)

(inaudible continues)

And one.
♪ (piano) ♪

♪ (piano) ♪

(instructor inaudible)

(instructor inaudible)

Eyes front, eyes front.
I'm your front.

Raise the leg (inaudible)

This is your front.
This is where your head stays.

(inaudible)

(inaudible)

Second (inaudible)

Open the arm.

(inaudible)
Head stays front.

♪ (piano) ♪

One more time.

Here, one.

(inaudible)

(inaudible)

That's front.

Up.

Balance.

(inaudible) port de bras.

(inaudible)

Head stays front.
This is front.

(inaudible)

(inaudible continues)

(inaudible continues)

Head over the arm.

(inaudible)

Balance.

Here we turn.
(inaudible)

This is front.
(inaudible)

Hold (inaudible).
Straight out, the knees.

Stretch knees.
Point your toes.

Come up (inaudible)

Arms in the air.
Arms second.

Head stays up as we close it.

And relax.

(scatting)
(snapping fingers)

(inaudible)

They point with the arm in fifth.

Begin on (inaudible).

Open your knees
(inaudible).

Strike one, strike two, strike three.

(inaudible)

Side, two, three.

(inaudible)

Back, two, three.

(inaudible)

and six and seven from back-front.

(inaudible) and two and three
from back-front

Flex side and six and seven
back from back.

Flex back and two and three,
back from back, flex, side,

six and seven from back-front.

Demi-plié and straighten.

(inaudible) with the pointe of foot.
Frappe. Definitely.

Flexing of the foot,
striking on the ball of the foot,

and pointing your toes.
Pull up. (inaudible)

And--
♪ (piano) ♪

♪ (piano) ♪

(clapping)
(inaudible)

Side, side, side,
one-two-three,

♪ (piano) ♪

One, two, three,
(inaudible)

(inaudible)

(inaudible)
♪ (piano ends) ♪

And straight. Not too bad.
Other side please.

Loosen up those knees.
Get your feet (inaudible)

♪ (piano) ♪
(inaudible)

Point the foot!

(inaudible)

Relax! Let's try once again.

See if we can coordinate 
that foot, please!

When we do the frappe this way,

then we do the (inaudible) this way.
It's not going around.

Flex right, flex right, flex right,
point the foot.

Flex right, flex right, flex right,
only the knee.

Flex foot and foot and foot,
only the knee.

Flex side and side and side,
only the knee.

Flex. One more time, please.

♪ (piano) ♪

(clapping)
(inaudible)

(inaudible)

Side, side, side,
point the foot.

Rest. And straighten.

Other side, please.

♪ (piano) ♪

Very good. (inaudible)

Point the foot.

(inaudible)

Rest and straighten.
A little bit better.

Same (inaudible)

(scatting)

Arm in second, first set.
One and two, three and four,

five, six, seven, and eight.

Back and fifth, six and fifth.

(inaudible), six, 
seven, and eight.

Arms fifth and two,
three and four,

Back, (inaudible),
and fifth.

Back, heel fit, don't close 
the toes only. Tight (inaudible).

Second, control, front, (inaudible)

(inaudible) and fifth.
Arms second.

Head (inaudible).
Loosen the legs, please.

You're already (inaudible).

Keep up. 
(inaudible)

Great knees. Pointed feet.

Hold your body straight.
Only the leg works.

♪ (piano) ♪

(clapping)
Up. Up.

Back, front, back.

(inaudible)

Up. Side.

(inaudible)

Second. 
Leave the head and eyes up

when you close straight (inaudible).
Other side, please.

It makes no difference
how quick we work

or how slow we work.
Every (inaudible) has got

two motions.

It is not one-two.

There's something in between.

One.

Two.

One.

Two. There is a 
(inaudible) before we close.

Arms second.

♪ (piano) ♪

(instructor inaudible)

(inaudible continues)

Second, leave the eyes up
as you bring the arms over.

Relax, center. Do your own stretch.

Keep your knees (inaudible)

Did you count them? How many....

How many people have come?

I count about 43. Is that right?

(inaudible)

(inaudible)

Let's try and split into half-half.

About 20 in each group,
if there is room.

Fifth position. (inaudible)

(inaudible)

Two, three, four,

five, transfer to fourth.

Seven, close back in (inaudible)

(inaudible) one, two, three,

four, five.

With a proper (inaudible)

(inaudible)
Close in.

En face.

Fifth position.

Single coupé .

Second position.

To second.
Plié single.

Coupé back.

Sorry. Mistake.

One, two, single,

Coupé front.

From second position, single.

Leg at your side.
Hold your backs.

(inaudible) to fourth.

(inaudible) one plié.

Attitude (inaudible).

Sixth. Straight (inaudible).
Arms (inaudible).

Other side.

Two and a three
and a four.

Focus on your hands.

Transfer to plié.

Back. Two, three, four,

five, come down.

Open (inaudible) up.
Fifth position.

Sixth. Fifth.

High passé.
Low coupé.

(inaudible)

♪ (piano) ♪

Long necks.

(inaudible)

To the front, and begin
the other side. First (inaudible) please.

(inaudible). Shoulders down, show me 
necks, arms away from the body.

Don't (inaudible) 
♪ (piano) ♪

(inaudible)

Relax, not too bad. 
Second group please.

Come forward, come forward. 
Just a little bit, there we go.

(inaudible), arms, heads up, 
long necks please, don't let me see

pointed elbows (inaudible).

♪ (piano) ♪
(inaudible)

Chin up, chin up, only the eyes look down.

Eyes up! (inaudible)

Relax, before we go back 
to (inaudible) first group.

Stay here, stay here, just a minute,
don't change groups.

There's advantages and disadvantages 
to having (inaudible)

The disadvantage is when you 
are (inaudible) you are looking in the

mirror and (inaudible).

Because your eyes are looking down because
normally you have to do this.

The chin does not rest on the chest. 
Your head turns. Your chin is up, the neck

is still long, the only thing that focuses
down are the eyes. You transfer,

you focus, still with the chin up, 
(inaudible).

With the chin up, the only thing that
looks down are the eyes.

(inaudible)

The (inaudible) most important
thing of any (inaudible),

especially for the (inaudible).

If you finish in fifth
position, (inaudible).

If you finish in fourth
already (inaudible),

you finish in second (inaudible),
you finish (inaudible),

the head must always precede the body.

The second group (inaudible)
too many groups.

We'll talk about it (inaudible) later.

One, two, three, four.

And the head arrives
after the body arrives.

The head must always arrive
to the front before.

You have one, you have
from fifth position,

(inaudible) head so
you know (inaudible).

(inaudible) second position,
plié-- head,

so you know when
you need to (inaudible).

All the way over. (inaudible)
don't let me see.

Head, arabesque.

I don't know which one is
(inaudible), I haven't found it yet.

That means your head has
to arrive before.

You have your fourth position
is plié, head, head,

one (inaudible), and hold your backs.

First group once again.
Change the lines.

Keep your heels on the floor also.

(inaudible) take it away from
fifth, second, or fourth.

Try not to do this.

You're not curling up to pointe--
we'll sort out the lines in a second.

We're curling up to pointe and
we don't know what our balance is.

There's always that extra plié
before you run (inaudible),

especially when you're doing
pirouetted en pointe.

From fifth, tandu, second,
don't lift the heels,

tandu fourth, don't lift either heel.

You have an (inaudible), bracing with
your heels on the ground,

before pulling up and
executing the pirouettes.

Whoever was in back, forward please.

Back two lines, front.
Don't be shy.

I (inaudible), but I don't bite.

Come on.
Forward, forward, forward.

Eyes up, arms in front of the legs,
do not stretch your thighs.

And-- ♪ (piano) ♪

(instructing dancers over music)

(music ends)
Second group please.

Also change the line.

I'll eliminate adagio.

We won't do all that, we're gonna
go straight to (inaudible).

But we'll do with this
combination once again,

there's something we're leaving out.

If I (inaudible) from this side,
second pirouette, second.

It is not (inaudible)

You have a single pirouette,
you have a single from second,

(inaudible)

Second group please.
Coordinate the arms.

(inaudible), heads up, eyes front.

♪ (piano) ♪

(instructing dancers over music)

(music stops)
And rest. Do that once again.

Can I have something else to work on?

On the arms on the (inaudible),
continue working on those (inaudible).

(inaudible) we used to take classes
with a teacher in New York

who always used to say

the port de bras is like
the icing on the cake.

There's no reason we have to wait
until we have everything else

before we work on the icing on the cake.

Give me arms first position,
the whole class.

First position.

They're nice and rounded, right?

What we learned when we were
little kiddies, you know?

Beach ball, yes? Okay.

Let's open to second position,
a proper second position.

The elbows do not point
to the ground, right?

The elbows are raised.

There's another teacher we used to
take classes in (inaudible).

Madame (inaudible) used to say,
imagine that you carry the most

expensive china plate that
you can find in (inaudible).

Okay?

So imagine the most expensive
china plate you can, right?

Okay. The arms are all
below the shoulders appropriately.

Relax now.

There's no reason why when we
have arms turned,

which technically one arm is
first position, one is second,

that we're doing...

That is not first and
that is not second.

First, third. That elbow (inaudible).

One and a two,
four, five, six,

is still (inaudible), don't look
down, don't stretch it.

Once again, please.

Heads front. Good (inaudible).

Chins up, look important, you all are.

And-- ♪ (piano) ♪

(instructing dancers over music)

♪ (music stops) ♪

Arms in front, don't stretch
your (inaudible),

hands (inaudible) out
in front the body.

Second group, please.

Come front, come front,
don't crowd in the back, please.

Good fifth croisé, long necks,
arms down (inaudible),

totally ready to open.

And-- 
♪ (piano) ♪

(instructing dancers over music)

♪ (music stops) ♪
Arms in front of the body,

heads up-- head up, head up.

Relax for a second.

(instructing dancer, inaudible)

(clapping)

First (inaudible), first jump please.

(snapping, humming music)

Simple jump.

Use your (inaudible) please, that's
what we worked on the feet

on the bar for.

Right foot in front.

Demi plié on fourth chord.

We have (inaudible).

And first, and two, and three,
fifth back,

stand two, (inaudible) three,
fifth front.

To fifth position.

Changement, turnout.
Changement.

Changement, turnout. Changement.

Changement, turnout.
Changement.

Changement, turnout,
do not grip the floor,

hold the eight count, your plié
begins with the left foot front.

And a one, and three, fifth back,
and a five, six, and seven, fifth front.

Fifth, and note these positions, please.

That heel closes to fifth.

Changement, fifth, changement,
fifth, changement, fifth,

hold your plié, do not grip the
floor with the toes,

hold your back straight.
(inaudible)

Arms (inaudible) heads up,
shoulder blades together.

Right foot front in fifth position.

And-- 
♪ (piano) ♪

(instructing dancers over music)

♪ (music stops) ♪

Great, we'll do that
a second time (inaudible).

Put your weight into your jump.

Your back as straight as possible--
(inaudible)

Temp levé (inaudible) with the legs.

Don't do it with the upper body.

The only thing that bends
is your legs.

One, and two, and three, and fifth.

One, and two, and three, and fifth,
don't (inaudible).

You are (inaudible).
(inaudible) with the legs only.

Second group, please.

Right foot front, good arms,
heads up, (inaudible).

And-- ♪ (piano) ♪

(instructing dancers over music)

Relax, and straight.

Third group once again, please.

Change lines, come forward,
come forward, don't be shy.

Use your feet, real (inaudible).
Push away from the ground.

And-- ♪ (piano) ♪

(instructing dancers over music)

And use that plié.

Relax. Second group, please.

And-- ♪ (piano) ♪

(instructing dancers over music)

Arms, and straight.

We'll try and do it once again.

You know, demi plié is the most
marvelous friend of yours

if you can master it to help you.

Use that whenever you can.

Make sure that your backs
are always straight,

are always on balance,
on top of both feet.

On two feet or one, if you're
supposed to land in coupé,

it is the same thing.

Relax your feet, try and avoid
(inaudible) plié.

It's only one.

Bracing it to the ground,
be ready for the next jump.

Once again, please.

Don't bounce in pliés.

Demi plié is only one motion.

Down, hold, and be ready
for your next jump.

Arms in front, palms up,
elbows up.

And-- ♪ (piano) ♪

(instructing dancers over music)

Thank you.
Second group, please.

And-- ♪ (piano) ♪

(instructing dancers over music)

And stretch, arms, arms, curve--
elbows out, out, out.

There you go, don't
point to the back.

I call this "chicken".

About the same speed, a little bit slower.

From the back, please (inaudible)
lines, moving forward.

Jumps and port de bras,
let's coordinate.

One, and two, and three,
demi plié (inaudible).

Glissade, jeté,
glissade, jeté,

jeté port de bras,
jeté port de bras,

jeté port de bras, jeté port de bras.

Glissade, jeté,
glissade, jeté,

jeté, jeté, jeté, arms second,
glissade with the head,

glissade, port de bras,
and five, six, and a seven eight.

Glissade, (inaudible),
glissade, jeté,

port de bras, port de bras,
port de bras (inaudible).

It's like doing this, it's good for you.

One, two, three, four, five, six.
Alright.

Arms second position,
the third-- fourth count.

And-- ♪ (piano) ♪

(instructing dancers over music)

And relax.

Let's go over it once again, slowly.

You begin with the arms
in second on demi plié.

Glissade, as you brush,
(inaudible) on the head (inaudible).

The arms (inaudible) come
to fifth as you land.

You make it look (inaudible).

You go glissade, jeté.

That picture should be in the air
as you jump up.

The arms in second.

Port de bras on your
glissade, brush, jeté.

Now the arms will go
through first (inaudible).

Glissade, same (inaudible).

On the way up, jeté.

Jeté, jeté, leave the arm, jeté.

Glissade, jeté, glissade, jeté,
jeté, jeté, jeté.

Let's highlight one other thing.

Which direction (inaudible)?

I saw one finger (inaudible).
Okay.

Are you sure we don't (inaudible)?

Does that work (inaudible)

(inaudible)

In place, in place, in place, in place.
First line once again, please.

Coordinate those arms.

And-- ♪ (piano) ♪

(instructing dancers over music)

Just be careful and avoid
this on your second.

Don't (inaudible)

You know what I just realized?
We haven't done left.

Left side, please.

Right foot front.

And-- ♪ (piano) ♪

(instructing dancers over music)

And relax.

(inaudible)

In the same lines, please.

Begin with the arms in second,
right foot in back.

Assemblé over.

(inaudible) arabesque assemblé,
(inaudible), attitude,

saute coupé, tombé,
pas de bourreé, assemblé.

That assemblé is in two counts,
it's seven-eight.

It's the biggest jump (inaudible).

Preparation, then (inaudible).

One, and two, and three, four,
and five, and six, seven, eight.

Preparation, demi plié.

Assemblé, sissonne, assemblé,
attitude, coupé, tombé, (inaudible)

First line, please.

Right foot in back.

First line move over a little bit so
you can (inaudible) that huge

assemblé and (inaudible).

Don't kill the pianist, we need him.

And-- ♪ (piano) ♪

(instructing dancers over music)

And relax.

We'll do same side once again.

Not bad.

First sissonne over on second.
Arms, please.

Assemblé.
(inaudible)

Every motion goes.

Assemblé, don't open, (inaudible).

Saute coupé, you're in
(inaudible) position.

Tombé, (inaudible), let's
talk about the last step.

Can someone tell me,
what step is this?

The last one.

What was that step?
(dancers answering, inaudible)

The (inaudible) jump,
what do you call that jump?

I'll do it again.

What was that jump?

(dancers answering, inaudible)

Oh, good. Because that's what-- assemblé,
that's what nearly everybody's hearing.

Coupé, tombé, 
assemble those feet!

Don't jump (inaudible) your position.

Once again, same side.

If a teacher wants a grand saute
à la seconde, he'll ask for it.

Assemble means exactly
what it means in French.

Right foot in back.

And-- ♪ (piano) ♪

(instructing dancers over music)

Left side, please.

Right foot front.

(inaudible)
♪ (piano) ♪

(instructing dancers over music)

Once again to the left.
Once again to the left side, please.

Watch your directions.

(inaudible) various stages
of training (inaudible)

Assemblé to (inaudible),
sissonne first, arabesque,

assemblé, inclination of the hips so
you have some place to go with the arms.

(inaudible) saute coupé efface.

Tombé, bourré, grand assemblé,
(inaudible) the diagonal line,

(inaudible)

One more time to that side, please.

And-- 
♪ (piano) ♪

(instructing dancers over music)

Alright, let's put them all together now.

(inaudible)

Demi plié, glissade, jeté,
glissade, jeté,

jeté, jeté, jeté, jeté,
assemblé, sissonne,

assemblé, attitude, coupé,
tombé, bourre, assemblé.

First line.

Be daring.
Come on.

Right foot in back.

And-- Oops!

Don't fall out of the chair.

(laughing) And-- 
♪ (piano) ♪

(instructing dancers over music)

And relax.

Shall we give it a try to the left?

Might as well, otherwise we'll
end up lopsided.

Left side, please.
Right foot front.

♪ (piano) ♪

(instructing dancers over music)

And down. Not too bad.

Shake your legs.

(snapping, humming music)

(instructing dancers, inaudible)

Preparation.
Demi.

Emboîté, and two, and (inaudible)
six, finish seven, release.

One and two and (inaudible).
Chaînés. Six, change your feet.

Five, seven, arms second,
glissade preparation.

(inaudible)

Emboîté, and two, and (inaudible),
chaînés, six, finishing fifth,

changing feet on seven, big
glissade, in preparation

to begin once again.

Two at a time please.

[1:16:34] Let's do three, I think
there's room. Three.

One, two, three. 
One, two, three.

Don't do it unless it groups 
on that, okay?

Not very much time left
of the class.

Preparation four.

♪ (piano) ♪
(snapping)

(clapping rhythmically)
Up! Up!

(inaudible) glissade. Next, 
one, two, up, up.

(clapping)
(inaudible) glissade.

(snapping)
Fifth, change, left, left.

Fifth, glissade,
and left.

(inaudible)

Please, emboîté from 
fifth position.

(inaudible)

The first emboîté, make sure
that you (inaudible).

Number one. Number two
is on tour second (inaudible)

first position. There's only 
one single emboîté.

Third, third (inaudible).
There is no arm first position

and there's no arm in second.
(inaudible)

Preparation plié. 
One, and two, and three and--

The arms are not in first position.

Wiser preparation for your chaînés.
The saut de basque, saut de basque.

From your (inaudible) give me
and chaînés.

You have only two ways of doing 
your chaînés from there.

The way I'm asking is (inaudible).
Piqué. Chaînés.

Or there is the alternative,
which will be from here

(inaudible).

Left side please.

And-- ♪ (piano) ♪

(clapping)

One, good, up, down,
up, down, (inaudible)

Glissade. One, two,
up, up, chaînés.

Fifth. Glissade.

One, two, three.
(snapping)

Seven. Glissade.

Fifth. Glissade. One.

(instruction over the music)

Let's try once again to 
the right, please.

Do do a definite finish 
on your chaînés.

Your turning (inaudible).

Close your feet.
(inaudible)

Make sure the back foot is the
one that begins your coupé.

Once again, please.

Same one, that was good.

And--
♪ (piano) ♪

And left, hit, left, hit,
(clapping)

(instructing over music)

And rest before (inaudible).

Nearly everyone is having 
the same trouble.

We're turning, we're turning,
We're turning, we're turning,

we're turning, turning, glissade,
then we expect to stand the turn.

Nothing helps the upper body.

That arm has to close
on that first emboîté.

Chaînés five, six, seven,
glissade, one,

(inaudible) that body around.

(inaudible) leaving their
arms in second position.

Left side, please.

And-- ♪ (piano) ♪

Now use the right arms.

Fifth, glissade.

(clapping rhythmically)
Right, right, up.

Fifth, glissade.
Right, right.

Right arm, right arm.

Go and join them in first.

Don't (inaudible) the arms in
chaînés, keep them in first.

Lock the arms.
Fifth, glissade.

Glissade, right, right--
there you go, good.

Once again. Right, right, up,
up, chaînés, fifth, glissade.

I thought-- I think it was

the other way, wasn't it?

Yes, alright.

Alright. From the corner
once again, please.

We'll finish (inaudible) jumping.
Grand allegro, please.

(inaudible) All the accents are
up except for your last two counts.

Only the seven and eight are down.

Temp levé first, arabesque.
Accent up.

Temp levé passé, accent up.

Chassé, accent up.

Développé temp levé, accent up.

Attitude, temp levé, accent up.

Chassé back, accent up,
down and jeté.

And up, and up, and up,
and (inaudible)

chassé, down-- up, down.

And up, and up, up, and up
and attitude, up, down and jeté.

First three from the corner
with the music.

Light, (inaudible)

And-- ♪ (piano) ♪

(instructing dancers over music)

First three from the corner.

You should in one set be able to get
from that corner to the piano.

And don't stand in the
middle of the room either.

First four. Four.

One more.

There we go. 
And-- ♪ (piano) ♪

(instructing dancers over music)
Real light!

(clapping on beat)
Up, up, up, développé,

attitude... down-up, move!

Travel!

Chassé, then move!

Up!

Travel, travel, travel!

Move, move, move, up!

Men.

And travel, and travel.
Up.

And up.

And rest, rest, rest, rest
before we go to the left side.

Not too bad.

Let's go over some of
the arms and the heads.

(inaudible)

We have preparation in croisé.

Up.

Up.

Up, développé.

Attitude.

Chassé, down, head to the audience.

Head up on your
temp levé arabesque.

Head to the audience on your
passé épaulement.

To the side.

Développé, focus on the hands,
attitude croisé,

bring your arm in front.

Chassé, down-up,
port de bras (inaudible).

Left side, please.

And-- ♪ (piano) ♪

(instructing dancers over music)
Heads up!

(inaudible) travel, and first,
attitude, down, and jeté.

Travel!

Up!

(clapping on beat)

Control your force for
that second temp levé.

And the side.

And rest.

We'll do once again right and left,
but I must ask for one more correction,

one thing... I'll ask one
more thing from you.

Some of you are still worried
about the steps,

others of you are worried
about the arms.

Just don't forget something,

when it gets to grand allegro,
I don't remember ever--

I don't remember having
seen on any ballet,

any dramatic grand allegro.

You worry about the steps,
the audience that paid

the tickets to see you dance,

they don't know what
the choreography is.

You make a mistake, they think
that that's the choreography.

But they paid to see you dance.

Nearly the whole class,

"I'm worried, is this
the step (inaudible)"

It looks like a dramatic allegro.

Enjoy! Once again!

Come on, faces!

The audience doesn't
know the choreography.

Make a mistake, but do it
with a smile on your face.

And-- 
♪ (piano) ♪

(instructing dancers over music)
It's the end of class, enjoy it!

Up, down (inaudible)!

And up.

(snapping on beat)

A little better, come on, faces up!

Smile!

Up, face, face, come on!

Eyes up!

Up.

Heads (inaudible) the audience.

Up.

(inaudible) move!

Up, up, move (inaudible), I don't
want to travel too much, come on!

Up and jeté!
And up!

And jeté, (inaudible) and jeté!

One more watch.

Left side.

Down and go!
Up!

Up, travel, travel.

(inaudible)

Some of you won't smile
for anything, come on!

(inaudible)

Face!
And up.

Face, and up.

(inaudible)
Very nice.

Up. And... go!

Up, up, (inaudible) chassé,
down-up, down. Up.

Up, chassé.

Last time.

Up, failli, chassé, down.

That's it for class. 
Thank you.

(clapping)

(conversation)