Music for Ballet Class
We understand how frustrating and tedious looking for just the right music for ballet class can be. We’ve heard this from hundreds of ballet instructors, just like yourself. How many times have you found yourself wading through volumes online libraries looking for those few magical, musical jewels? And it’s a pretty fantastic feeling when you actually come 
across some music that really works for you, isn’t it? We’re completely confident that once you listen to Don Caron’s music and use it in your ballet classes or in your personal ballet practice, you will want buy his entire series, The First Class Albums.
This is not just another set of ballet class music albums. It’s not enough to have the perfect tempos and a certain style of music. There’s something magical that has to present in order for ballet class music to really work for you and your students, and these albums have that magic. That did not happen accidentally, and you can read about how 
it all came to be through the development of the Motosonus Method. Or, if you prefer, you can audition samples of Don Caron’s Music for Ballet Class right now.
Don Caron, Composer
Don Caron an accomplished and sought-after ballet pianist, with a depth of experience in multiple disciplines that include author, screenwriter, dance instructor, choreographer, sound engineer, film-score composer, director, producer, pianist and conductor.
1999 Crystal Heart Award – Heartland Film Festival
2002 Composer of the Year –Music Teachers National Ass.
2007 Grand Remington Award – WorldFest Houston
2009 Platinum Remington for The Pull
2012 Platinum Remington for Different Drummers etc…
Caron has combined all of his diverse skills in order to develop a system of composing music for dance that makes his ballet class music albums absolutely unique, called the Motosonus Method.
A Groundbreaking System
Back in the mid 1980’s Don Caron was working with choreographer/teacher/composer, Elizabeth Carlssohn, at 
Eastern Washington University (EWU). They conducted extensive experiments with beat placement, phrasing and other musical nuances and observed how different uses of these musical elements impacted the response of the students. Their experiments led to using the manipulation of beat placement to correspond to the tension and release that each aspect of each exercise required, subtly pushing and pulling the beat to correspond to the stretch of the dancers’ muscles. The result was a collection of Music for Ballet Class called The First Class Albums.