“ (bpm 98 4/4) ”

“(bpm 115 4/4) Lots of little warm up pulses. Helen’s phrases are: 4 counts to roll down, 16 counts to bounce, 4 counts to roll up, 4 counts to transition to the next position. This repeats three times. There is an improvised musical coda at the end for stretching, breathing, or changing groups. ”

“(bpm 105 4/4) Helen says: 8 count introduction. Followed by 8 eights. After 4 eights the music implies the possibility of moving “double time”. There is a musical tag at the end. ”

“ (120 bpm 6/8) 4 measure intro. Helen says: The two kick drums are the “ready, and”; the “go” is the guitar strum. There are 8 threes of reaching and stretching arms overhead legs in parallel, 4 threes to push arms down, contract and curl on 5, release and reach arms up 7, 8. Then you have 8 threes to swing. This repeats three times. There is a musical coda at the end for balancing. Phrased for Helen’s warm-up swings. Can be heard as 6/8 or 3/4. ”

“(126 bpm 4/4) First four measures are a count. Then it fits an opening exercise. Helen says: This music was designed for a long, languid, connected, opening seated floor exercise. ”

“(bpm 106) In 3/4; Helen notes: This music was designed for a seated floor exercise that is more staccato. ”

“(bpm 120) Can be heard in 3/4 or 6/8. ”

“Programme syntax won't recognise an apostrophe in a title 'Saturday's Child'. (120 bpm) 4/4 Ametric; good for ankle circles, stretches; see video. ”

“(173 bpm 4/4) Once round the phrase, then you start with the piano. ”

“(bpm 132) 4/4; suggested use: adagio traveling across the floor. Original title DC - NYC -- it came out of a series of night drives between the two cities, and originally featured more club percussion styling and synths -- this dub strips back to the more interesting elements, and hints at a slower pace, hence ‘stau’ - traffic jam. ”

“(100 bpm) 4/4; a lot of pick up before each ‘one’. Helen says: percussive seated foldings with legs outstretched. ”

“(bpm 102) Three sets in 4/4; good for adagio or plies. Includes two short periods of silence for the dancers to count themselves through. ”

“ (120 bpm) Good for traveling runs, small jumps, foot work, traveling grand battements. Featuring some very big expensive sounds fed through very cheap small speakers. ”

“(154 bpm) Phrased in three measure groups; i.e., it can be heard as 3/4 or 9/4. ”

“(115 bpm) 4/4; speedy little drum, petite allegro. A distinctive traditional sound fed through some modern processing. ”

“(120 bpm) 4/4; in four eights with a fifth eight for transition. Count one phrase before starting. There’s a cymbal ‘ting’ at the beginning of each phrase, except the transition phrase. Helen says: check out the video. There’s a relaxed improvisational feel to the lyrical coda that evolves from jazz tinged piano and marimba into something far more electronic and abstract in character. ”

“(bpm 126) 4/4; Helen says: try it with traveling contractions through second position. ”

“ (97 bpm) 4/4 ”

“ (120 bpm) 4/4 ”

“ Ametric. This portrait is an improvised first take. ”

“ (bpm 114) 4/4. ”

“(bpm 143) 4/4 ”

“(bpm 99) 4/4 ”

“Bonus ”