Ballet repertoire and competition preparation
Choose a classical ballet variation by age, level, competition, and technique—then turn that choice into a focused preparation plan from first rehearsal to stage day.
Variation finder
Eligibility follows published repertoire lists. Difficulty, popularity, and element tags are editorial coaching guidance.
Also known as Little Radish · Cipollino Radish Variation
The Radish Variation is a lively character solo from Karen Khachaturian’s story ballet Cipollino, choreographed by G. Maiorov after Gianni Rodari’s children’s tale. Radish is one of Cipollino’s bright vegetable-garden friends, and the solo combines sprightly petit allegro with playful storytelling for young dancers.
Also known as Amour variation
The Cupid Variation (also known as the Amour variation) is a famous, lively solo from Act II of the classical ballet Don Quixote. The solo takes place during the ballet’s famous “Dream Scene.” In this scene, Don Quixote envisions a magical garden overseen by the Queen of the Dryads and Cupid himself.
Also known as Coppelia Doll Variation · Coppélia Doll · Mechanical Doll Variation
The Ballerina Doll Variation portrays one of Dr. Coppélius’s enchanting mechanical creations. The dancer combines precise classical placement with stylized doll movements, creating the illusion of a toy that has suddenly come to life inside the inventor’s workshop.
The Sleeping Beauty · Prologue
A compact, bright fairy variation with fluttering arms and petite, articulate footwork. It suits a naturally quick dancer who can project a distinct character immediately.
The Sleeping Beauty · Prologue
Also known as Candide · Candor · Candid Fairy · Candide Fairy · Fairy of Candor
Also known as Candide, Candor, Candid Fairy, Candide Fairy, or the Fairy of Candor, this poised Prologue solo favors clean balances, precise foot articulation, and transparent port de bras over showy virtuosity.
The Sleeping Beauty · Prologue
Also known as Coulante · Fleur de Farine · Coulante Fairy · Fairy of Flowing Flour
Also known as Coulante, Coulante Fairy, Fleur de Farine, or the Fairy of Flowing Flour, this brief, flowing fairy variation uses delicate traveling steps and soft port de bras to create an effortless garden quality.
La Fille mal gardée · Act II
A joyful village variation with buoyant footwork, playful gestures, and clear storytelling. Its youthful character and adaptable demi-pointe presentation make it an appealing less-common choice for a musical Pre-Competitive dancer.
La Fille mal gardée · Act II
The familiar Act II Moderato solo is one of the most frequently chosen La Fille competition variations. It pairs poised classical presentation with bright traveling steps and warm village character, giving younger dancers room to show musicality without extreme virtuosity.
Competition edition · commonly entered as Don Quixote
No matching YAGP track in the public folder
A distinct competition variation commonly called Cuban Cupid, with different choreography and music from the standard Don Quixote Cupid. It pairs buoyant allegro, crisp beats, and playful character.
Also known as Swanhilda Act I Variation · Swanhilda’s Entrance
The Swanhilda Act I Variation from the classical comedy ballet Coppélia is one of the most celebrated, joyful solos in the classical ballet repertoire. In this variation Swanhilda enters the village square and notices a beautiful girl (Coppélia) reading on Dr. Coppélius’s balcony. She bows, waves, and dances to get her attention. Swanhilda is unaware that the girl is actually a lifelike mechanical doll.
Also known as Coppelia Dawn Variation · Aurora Variation · L’Aurore
The Dawn Variation appears in Coppélia’s festive third act, where allegorical dances celebrate Swanhilda and Franz’s wedding. Dawn brings the first light of day to the stage through serene adagio, expansive lines, and a gentle sense of awakening.
Also known as Coppelia Folly Variation · Coppélia Folly · La Folie
The Folly Variation belongs to the allegorical divertissements in Coppélia’s festive third act. Its quick musical changes and playful gestures give the dancer room to portray a bright, mischievous character while maintaining clean classical technique.
Also known as Coppelia Work Variation · Coppélia Le Travail · Work Variation · Le Travail
Le Travail, or the Work Variation, is one of the allegorical dances in Coppélia’s third-act celebration. Its purposeful rhythms and carefully shaped gestures ask the dancer to suggest diligence and industry while preserving an elegant classical line.
Also known as Coppelia Prayer Variation · Coppélia La Prière · Prayer Variation · La Prière
La Prière, or the Prayer Variation, is one of the allegorical dances in Coppélia’s third-act celebration. Its serene adagio and devotional port de bras ask the dancer to communicate stillness, sincerity, and inner calm through refined classical placement.
Also known as Coppelia Spanish Variation · Coppélia Spanish Dance · Spanish Dance
The Spanish Dance Variation appears in Dr. Coppélius’s workshop during Act II, when Swanhilda—disguised as the doll—performs a vivid boléro. Its proud épaulement, rhythmic accents, and sharply shaped port de bras ask the dancer to combine theatrical confidence with clean classical technique.
A stylized doll character with delicate articulation, neat balances, and controlled changes of direction. The choreography favors precision and polish.
Giselle · Act I
Also known as Peasant Pas Variation 1 · Giselle Peasant Pas Act I Variation 1
The first female variation from the Act I Peasant Pas de Deux combines sunny ballon, neat turns, quick pointework, and open Romantic épaulement. It is a strong choice for a dancer whose jump and musicality are more developed than extension.
Giselle · Act I
Also known as Peasant Pas Variation 2 · Giselle Peasant Pas Act I Variation 2
A lyrical female solo from the Act I Peasant Pas, combining floating attitudes, traveling classical lines, buoyant jumps, and a turning finish. Variation 2 asks the dancer to make its broader phrasing feel spontaneous and joyful while keeping every transition clean.
Giselle · Act I
Also known as Peasant Pas Variation 3 · Giselle Peasant Pas Act I Variation 3
A bright Act I solo from the Peasant Pas de Deux, shaped by buoyant allegro, crisp pointework, neat traveling steps, and warm village character. Variation 3 rewards a dancer who can keep the phrasing generous while maintaining precise feet and quiet landings.
Giselle · Act I
Also known as Peasant Pas First Male Variation · Giselle Peasant Pas Act I Male Variation 1
A buoyant male solo from the Act I Peasant Pas de Deux, combining crisp batterie, traveling allegro, clean turns, and an open village-stage presence. The choreography asks for elevation and clarity while preserving the relaxed warmth of Giselle's harvest celebration.
Giselle · Act I
Also known as Peasant Pas Second Male Variation · Giselle Peasant Pas Act I Male Variation 2
A bright second male solo from the Act I Peasant Pas, combining traveling allegro, crisp batterie, turns, and buoyant elevation. Its larger movement and quick directional changes still belong to the warm, communal spirit of Giselle's harvest celebration.
Le Corsaire · Act III
A lyrical yet technically clear variation known for arabesque lines, controlled balances, and flowing travel. It offers elegance without relying on fouettés.
La Bayadère · Kingdom of the Shades
Calm classical purity with measured balances, arabesques, and restrained port de bras. It reveals placement immediately and suits a naturally lyrical dancer.
Also known as First Bridesmaid Variation · Don Quixote Bridesmaid Variation
A bright wedding-divertissement solo from Don Quixote, combining buoyant pointe work, neat turns, and gracious classical presentation. The First Bridesmaid variation suits a musical dancer who can make detailed footwork look effortless and celebratory.
Also known as Second Bridesmaid Variation · Don Quixote Bridesmaid Variation II
A sparkling wedding-divertissement solo from Don Quixote with quick, buoyant phrasing and gracious classical presentation. The Second Bridesmaid variation rewards clean footwork, clear musical accents, and an open celebratory stage presence.
The Sleeping Beauty · Prologue
Also known as Violente Fairy · Finger Fairy · Golden Vine Fairy
Also known as the Violente Fairy, Finger Fairy, or Golden Vine Fairy, this variation pairs sharp musical accents with quick pointe work and expressive gesture. It favors precision and bold stage clarity.
The Sleeping Beauty · Prologue
Also known as Miettes qui tombent · Falling Breadcrumbs
Also known as Miettes qui tombent or Falling Breadcrumbs, this buoyant Prologue solo combines quick traveling steps, delicate jumps, and precise scattering gestures.
The Sleeping Beauty · Prologue
A serene fairy solo built around measured balances, expansive lines, and calm musical authority. It rewards a dancer who can make sustained classical control look generous and effortless.
Also known as Lilac Fairy Act III Variation · Lilac Fairy Act 3 Variation · Lilac Fairy Wedding Variation
Also known as the Lilac Fairy Act III Variation, Lilac Fairy Act 3 Variation, or Lilac Fairy Wedding Variation, this distinct Act III wedding-scene solo is shaped by brighter, more celebratory phrasing than her Prologue variation. It combines poised balances, turning passages, open classical lines, and calm fairy authority.
Also known as Silver Fairy Variation · Fairy of Silver
Also known as the Silver Fairy Variation or Fairy of Silver, this sparkling Act III wedding-divertissement solo from The Sleeping Beauty is compact and musically bright, rewarding crisp classical footwork, poised balances, and a light, polished upper body.
A sunny Bournonville solo with buoyant steps, understated arms, and warm, conversational musicality. It favors coordination and ballon over extreme extension.
A compact, joyful Bournonville showpiece filled with clear beats, soft ballon, and gentlemanly ease. The short duration makes every musical detail visible.
Graduation Ball
A youthful Viennese character solo that combines polished carriage, bright développés, and irrepressible excitement. “Junior Girl” is the character name, not the competition division.
Graduation Ball
A spirited cadet variation with crisp allegro, clean beats, and playful ballroom character. It rewards a dancer who can keep military precision light and theatrical.
Swan Lake · Act I
A courtly Act I solo with flowing travel, clean turns, and open presentation. It offers classical sparkle without the dramatic and technical weight of Odette or Odile.
Swan Lake · Act I
A lyrical yet animated Act I solo that balances sustained classical line with brisk directional changes. It suits a musical dancer who can make refinement feel spontaneous.
Also known as Swanhilda Act III Variation · Swanhilda Act 3 Variation · Swanhilda Wedding
Swanhilda’s Wedding Variation comes from the celebratory third act of Coppélia, after the misunderstandings surrounding the mysterious doll have been resolved. The solo pairs bright classical technique with the warmth and composure of a joyful bride, asking the dancer to look polished, musical, and generous rather than merely showy.
Giselle · Act II
Also known as Giselle Albrecht Variation · Albrecht Act II Variation · Giselle Act II Male Variation
Albrecht's Act II solo transforms bravura technique into an expression of grief and remorse. Expansive jumps, clear batterie, controlled turns, and suspended Romantic lines must feel noble and haunted within the moonlit world of the Wilis.
Paquita
A polished classical showpiece with quick footwork, clean turns, and a proud upper body. Paquita rewards exact geometry and confident attack.
A grand, spacious variation centered on sustained balances, Italian-style fouetté lines in some versions, and commanding classical presence.
Also known as Dulcinea · Don Quixote Dulcinea · Kitri as Dulcinea
A refined dream-scene solo that presents Kitri as Don Quixote's idealized Dulcinea. Its delicate pointe work, buoyant phrasing, and noble classical lines favor a dancer who can combine technical clarity with serene, courtly expression.
Also known as Mercedes Act I Variation · Don Quixote Mercedes
A stylish Spanish character solo for Mercedes, combining classical pointe technique with fan work, proud épaulement, and sharply accented musical phrasing. It suits a mature performer who can project confidence without sacrificing clean placement.
Youthful radiance paired with exposed classical technique: balances, directional changes, and musical authority. The dancer must look spontaneous while remaining exact.
Also known as Aurora Act II Variation · Aurora Act 2 Variation · Aurora Vision Scene Variation · Sleeping Beauty Vision Variation
The Act II Vision Scene variation presents Aurora as an idealized apparition shown to Prince Désiré by the Lilac Fairy. Long classical lines, suspended balances, delicate pointe work, and lyrical phrasing demand calm control and a sense of weightlessness rather than overt bravura.
A compact virtuoso variation filled with sharp batterie, elevation, and quick directional changes. It favors a dancer with natural ballon and clean beats.
Also known as Prince Desire Variation · Prince Florimund Variation · Sleeping Beauty Prince Variation
Prince Désiré’s Act III wedding variation combines noble classical line with demanding jumps, batterie, and turns. It suits a dancer who can make bravura technique look effortless, courtly, and fully connected to the grandeur of the grand pas de deux.
Also known as Diamond Fairy Variation · Fairy of Diamonds
Also known as the Diamond Fairy Variation or Fairy of Diamonds, this brilliant Act III wedding-divertissement solo from The Sleeping Beauty combines sparkling footwork, precise pointe work, buoyant allegro, and regal port de bras to suggest the clarity and brilliance of a diamond.
The Sleeping Beauty · Bluebird Pas de Deux
A lyrical-bravura solo with delicate hops, expansive lines, and quick directional changes. It needs both lightness and a serene upper body.
La Bayadère · Kingdom of the Shades
An exposed adagio variation with long développés, deep musical phrasing, and sustained balances. It highlights line and composure rather than speed.
La Bayadère · Kingdom of the Shades
A demanding sequence of traveling hops and arabesque shapes that tests pointe stamina, coordination, and calmness under pressure.
Le Corsaire · Act III
A poised, sparkling variation that combines clean pirouettes, quick directional changes, and a proud classical carriage.
Le Corsaire · Act III
A lively, rhythmically detailed variation with brisk pointe work, little jumps, and fleet changes of direction. It showcases speed without requiring oversized tricks.
Also known as Kitri’s Entrance · Kitri Act I Entrance
Kitri’s theatrical first entrance establishes her immediately: proud, playful, and completely in command of the square. The variation combines crisp classical footwork, directional changes, fan work, and bold character phrasing without losing clean placement.
Giselle
A technically demanding Romantic variation whose hops, turns, and diagonal must remain innocent and spontaneous. Dramatic truth is inseparable from the steps.
Giselle · Act I
Also known as Giselle Pas de Deux · Giselle Classical Pas de Deux Variation · Giselle Act I Pas de Deux Variation
A refined Act I solo built around delicate pointe articulation, precise petit battement, sustained classical lines, and softly shaped turns. The exposed phrasing rewards a dancer who can make exact technique feel innocent, natural, and completely musical.
La Sylphide
No matching YAGP track in the public folder
Romantic lightness expressed through buoyant jumps, delicate footwork, and soft, forward épaulement. It favors elevation and musical ease over showy extension.
The Flames of Paris
An exuberant revolutionary showpiece with fleet footwork, jumps, turns, and direct audience connection. It rewards fearless musical attack and stamina.
La Bayadère
No matching YAGP track in the public folder
A sharply sculptural solo with explosive jumps, compact beats, and stylized golden-idol poses. It needs power, clarity, and absolute control of the silhouette.
Raymonda
A noble, lyrical variation with sculpted poses, musical restraint, and refined Hungarian-inflected épaulement. It favors line, control, and mature phrasing.
Harlequinade
A buoyant comic-classical variation with fleet footwork, neat turns, and a sparkling sense of play. It rewards charm anchored by meticulous technique.
A joyful classical male variation with generous jumps, beats, turns, and openhearted presentation. It suits a dancer with ballon and an easy, unforced stage manner.
Also known as Franz First Variation · Coppelia Franz First Variation · Coppélia Franz Variation
Franz’s First Variation is a bright, buoyant male solo from Coppélia’s wedding festivities. It combines expansive jumps, clean batterie, turns, and gallant presentation in a compact showcase of classical technique.
Also known as Franz Second Variation · Coppelia Franz Second Variation · Coppélia Franz Second Variation
Franz’s Second Variation is a bright, celebratory male solo from Coppélia’s wedding festivities. Its crisp allegro, buoyant jumps, and expansive presentation call for both technical clarity and an open, joyful stage presence.
Napoli · Pas de Six
Fast Bournonville footwork, buoyant jumps, and warm theatrical ease. It is an excellent match for a musical dancer with natural ballon and clean batterie.
Graduation Ball
A poised, waltz-driven solo with more composed social polish than the Junior Girl variation. “Senior Girl” describes the character in the ballet, not a Senior competition entrant.
Harlequinade
A brilliant comic-classical solo with fast beats, turning jumps, and Harlequin's quicksilver theatrical energy. It is the male counterpart to Columbine already in the catalog.
Also known as Le Talisman Male Variation · Noureddin Variation · Talisman Pas de Deux Male Variation
A polished bravura male solo from the familiar Le Talisman Pas de Deux competition tradition, combining buoyant jumps, clean batterie, turns, and an elegant lyrical upper body.
Also known as Aurora Act III Variation · Aurora Act 3 Variation · Aurora Wedding Variation · Sleeping Beauty Wedding Variation
Also known as the Aurora Act III Variation or Aurora Wedding Variation, this principal solo from The Sleeping Beauty’s wedding pas de deux presents Aurora at her most mature and regal. The choreography combines poised balances, precise pointe work, turning passages, expansive classical line, and refined musical phrasing rather than relying on speed alone.
La Esmeralda
A bold, theatrical showpiece combining balances, turns, tambourine coordination, and commanding character. It is as exposed artistically as it is technically.
Swan Lake
An iconic lyrical variation where breath, back, and musical phrasing matter as much as pointe technique. It demands mature artistry and seamless control.
A fiery entrance variation driven by bold jumps, turns, fan work, and fearless musical attack. It demands technical power and an unmistakable Kitri personality.
One of the best-known bravura variations: proud balances, sharp accents, and a turning finale that must look celebratory rather than survival-driven.
Paquita
A principal-level variation balancing grandeur, exposed adagio, turns, and sustained classical authority. It requires refinement across every technical area.
Diana and Acteon
A high-velocity virtuoso solo built around large jumps, tours, and forceful stage presence. It is appropriate only when elevation and landings are equally secure.
Le Corsaire · Act II
A signature male bravura variation of powerful jumps, turns, and dramatic kneeling finishes. The best performances pair spectacular elevation with nobility and control.
Grand Pas Classique
A crystalline test of academic ballet: long balances, exact développés, difficult turns, and formal grandeur with no narrative to soften technical exposure.
Swan Lake
The Black Swan variation combines seductive dramatic control with balances, turns, and sharply focused classical line. Its power comes from precision, not speed alone.
Laurencia
A passionate, folk-inflected virtuoso variation combining bold turns, expansive jumps, and forceful dramatic commitment. It needs a dancer who can command the stage.
Preparation studio
Foundational · Female role · 11 key elements · 0:59 shortest music
Watch and read the story of Don QuixoteStep breakdown
Break the solo into phrases that can be coached and repeated. Exact steps, music, and transitions vary by production, so this map supports—not replaces—the dancer's selected choreography.
Establish mischievous, sparkling, precise from the first pose. Mark the opening with exact musical counts and a clear eye line.
Rehearse sharp head and eye coordination, clean fifth positions, light pas de bourrée, and still balances that land exactly on the musical accents.
Connect Quick footwork and Petit allegro without changing the posture or rushing the musical phrase.
Rehearse the final approach, pose, breath, and exit as one complete performance. Coach watch-out: The speed can make shoulders rise and feet blur. Keep the upper body calm while the lower legs stay articulate.
Rehearse sharp head and eye coordination, clean fifth positions, light pas de bourrée, and still balances that land exactly on the musical accents.
Designed for coach-led preparation
Eligibility and technical fit shape a realistic repertoire shortlist.
Break the variation into phrases, exercises, and purposeful rehearsal weeks.
Track consistency while musicality, character, and confidence become the focus.