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Collecting Sounds with Your Phone to Accompany Dance Classes

An Approach to Dance Class Accompaniment

A Choir of You

Let's make a choir of you...

Empowering Dancers with Ableton Live

An Approach to Dance Class Accompaniment

Musical Imagination

There is no "special or specific" way to speak about music in dance.

Setting up to play a dance class.

Think of setting up and breaking down like a palindrome.

Moving Further into Sound

There is always more to learn.

Musicians in Dance

We are a niche, within a niche, within a niche.

Working with an Accompanist

Communication struggles that happen in a class can be averted by taking 15 minutes to connect beforehand.

Licensing

Reaching out for licensing is a perfect way to initiate future collaborations.

Remote Collaborations

I no longer need to travel to see a rehearsal of a piece, which allows me to work with anyone with access to the internet.

Budgets

A budget has nothing to do with respect, self worth or fairness.

Music and Process

There is no right or wrong time for music to come into the choreographic process.

Starting a Collaboration

Collaborations can be a place to learn something new about your own process.

Teach and Watch Phrases 2

Do you prefer to make movement with or without counts?

Teach and Watch Phrases

Practicing as a group makes musical concepts much more approachable.

Open Time

Music with no counts, or open time, is most often called ambient.

Music and Movement in 7

Every meter can be counted at any tempo.

Music and Movement in 5

Accents play a huge role in how meters feel when counted.

Music and Movement in 4

The most common meter is 4, but that does not make it any more or less complex.

Music and Movement in 3

Meters are “containers” for counted movement.

Beat, Pulse, Tempo, and Meter

A person is not a better or worse dancer if they choose to use, or not use, counting with movement.

Music as Practice

Listening to music is a practice.

Choosing Music

Search for music with someone in mind.

The Tiny Dance

Music can create an environment where even the smallest movement from a dancer can be framed and influenced.

Timbre

Is this a trombone or a marimba?

Playlists

Give students as many different experiences moving to as many different types of music as possible.

Choreographic Listening

The more you practice speaking about your choreography, the easier it will be to collaborate with others.

Embodied Musical Knowledge

Dancers are not "beginners" at music.