Music for dance (movement II)

In a previous article, about how he saw the approach of creating a soundtrack for a choreographic work, I pointed out some criteria that is based on what I want now consider.

There are two ways in which the criterion of a corégrafo must travel: pre-recorded music is chosen or hiring a composer.

In the first case, this work should be in the opinion of a specialist (designer, musician), it is assumed that this or that "is cute" if you want a unit, each cut or transition must be studied from the point of view of the structure and musical form. Do not cut a piece of music at any point, if this text must be understood and used in such a way to propose and choreographic contribution to the discourse. This is not a mixture or collage making music without selection criteria than "works well", each statement must be treated and mixed in a pattern of loudness, tempo, tonality, meter, instrumentation, so that the unit achieved consistent with the discourse of the movement, the concept and staging.

The "atmosphere" is not a criterion by itself, this is created from a clear and accurate reading of what is said quire, this is coupled with the lights, costumes, music and of course the gesture and the word if it will fit.

Why is frequently heard in a same soundtrack a transition that begins with chamber music and more electronic aalge soon changes and then displays a traditional tune?. I wonder there is a musical approach to do this?.

How find unity in the color, the costumes, lights, gestures, movements, just as I seek unity in music. How to Stop the "I work well" the task of a part of my choreography that is undoubtedly the backbone upon which is mounted the movement?.

No doubt the good intentions and even I must say that the dancers and choreographers have introduced me to interesting composers, deconocidos for me so far. They seek, are reported to be daily. This approach is valuable and well, but the wisdom is in the power delegated to it belongs to what is their specialty.

The sengunda option or way is to work closely with the composer. Arduous and complex HOWEVER should not be left aside for this and many other implications. Thus, if you have the resources and possibilities to do so, should be the first option, the logical from the point of view of the whole creation, not bias and often arbitrary segmentation at the expense of staging.

For this road is necessary, the interpenetration of the composer in the world that the choreographer suggests, for his part corégrafo be a guide and should leave while influenced by the composer, only then the criteria will go back and forth and finally taking shape shall be poured into a single work in which sound and movement to achieve unity and to be seen as one. There is no guarantee that this is a necessary step to achieve homogeneity, many other factors will ultimately determine which staging is complete without esciciones or cracks in handling all the details.

Some of the criteria for this journey of choreographer and composer to a successful conclusion has to do with the mutual understanding of where they are headed and how they perform.

Clear ideas of the choreographer, demands, perseverance, cleanliness in the movement, soundness in handling the unexpected, are some of the qualities that similarly convey him as a director will know the composer.

On the other hand is the composer as a function not of crador on its own momentum, but as a bridge between the wishes of the choreographer and music. Read and process these impulses choreographer, who pervades and will endorse these ideas now transformed into sound.