Some pianists are so good you can enjoy hearing them play nothing but scales. Colette Yglesias, a bright spot on the Washington horizon for a number of years now, is like that as a dancer. When she moves, her small, compact body and rounded limbs display an innate eloquence, a singing quality above and apart from her technical finish and finesse. She wins you over before you're even aware of choreographic design.

So it was again last night at the Church of the Epiphany, where Yglesias offered a program of mostly self-composed solos, in an attractively converted small gym now serving as a studio for the newly formed Dance Arts-Moving Arts organization.

It was an evening of miniatures, the longest of the pieces lasting only several minutes. Within this framework, the persuasiveness of Yglesias as a performer held sway over the uneven choreography, which ranged from trifles to moderately interesting conceptions. On balance, the best material was contained in the premiered "Waltz," a me'lange with music by composers such as John Cage, Philip Glass, Roger Sessions and others, which Yglesias has turned into a series of abstract character sketches, the basic style being academic modern dance. Some of these numbers showed touches of charming ingenuity. Another highlight was a poignant nocturne from Yglesias' "Isadora." The remaining, predominantly whimsical pieces, including one by Peter Noterman, verged on the precious. An exception was Yglesias' "Nobody," edged with a deadpan, loony-bin humor.