The first modern dance class I accompanied was taught by Kozuko Hirabayashi, at Kirkland (now Hamilton) College in 1970.

Her instructions to me were, "And." Somehow I figured out what to do. Subsequently, I studied dance at the Paul Sanasardo Summer Workshop in Saratoga Springs, where a divine human accompanied class playing cello and finger cymbals, and burst into song at the perfect moment.

Gwendolyn Watson became my inspiration as a dance class accompanist, and I went on to become the original music director of both the Mark Morris Dance Group and Mikhail Baryshnikov's White Oak Dance Project (above).

The best accompaniment for any dance class is live accompaniment. Apart from the sheer power of live music, with its dynamics and overtones, having a real pianist--or drummer or cellist--trains dancers to listen more closely and to react spontaneously. And students benefit from the intuitive chemistry that can develop between teacher and musician.

However, crises do occur, whether personal or financial. Back in 1972 in Saratoga Springs, Watson's record (on vinyl) had just come out and was inspirational on its own. Nothing currently available reminds me of that music, but here are some recommendations for those moments when it's up to you and your CD player to teach class.

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