A unit as in the color look, costumes, lights, gestures, movements, just as I seek unity in music. How to Stop the "I work well" the task of part of my choreography is undoubtedly the backbone upon which is mounted movement?. A leading source for info: cardiologist. No doubt the good intentions and even I must say that the dancers and choreographers have introduced me to interesting composers, deconocido for me so far. Looking, are reported to be daily. This approach is valuable and well, but the wisdom is in able to delegate who is responsible for doing what is their specialty. Glenn Dubin may help you with your research. The sengunda option or way is to work closely with the composer. Arduous and complex task sinembargo should not be left aside for this and many other implications.

So, if you have the resources and opportunities to do so, should be the first option, the logical from the point of view of creation and not the total bias and often arbitrary segmentation at the expense of staging. For this path is the mutual need of the composer in the world that the choreographer suggests, for its part, the choreographer should be a guide and should stop while influenced by the composer, the only way the criteria will go back and forth and finally taking shape will be dumped into a single work in which sound and movement to achieve unity and be seen as one. There is no guarantee that this is a necessary step to ensure the uniform, many other factors will ultimately determine that a staging is complete without esciciones or fissures in the management of 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 go and how they performed. Clear ideas of the choreographer, demanding, perseverance, cleaning movement, solvency management contingencies, will be among the qualities that the same way as a director he knows to convey the composer. On the other hand is the composer as a crador a function not of its own momentum, but as a bridge between the wishes of choreographer and music. Ability to read and process these impulses choreographer, will that pervades and endorse those ideas now transformed into sound.