INTERVIEW

Tayla-Leigh Payne

on how she wrote 'The Colour Palette' for CoDI Move

How did you go about creating your music for CoDI Move?

It most definitely a lot revisiting and revising ideas to say the least, especially when it came to the MAX Patch but what I kept in mind was that this was a collaborative process and I wanted the actors to contribute ideas as much as possible. Once, I figured out a general style, it became easier, but I still stumbled across challenges along the way but after the choreography started to come together and I had done a bit more research on this particular method everything began to fall into place.  

What's the most challenging part of putting together a score for dance?

The challenges which I faced most when putting this score together was giving time for both creative parts to develop and to make sure that I left space for appropriate moment in the music for the choreography. With ‘The Colouring Palette’, it was making sure that I was using appropriate movement so that the triggers would work through the MAX Patch.

 

What is your favourite part of the process of composing a score?

I absolutely love the research which goes into composing any piece and with this one in particular I looked into various sound/ art installations. After doing this, I typically start building a bank of sounds, textures, harmony, and other variables to help me start my compositional process.

Who are your favourite composers for dance and stage?

I would have to probably have to say some classics such as Tchaikovsky and Stravinsky with their ballets, but I also really admire work by composers such as Richard Rodgers and Lin Manuel-Miranda with their musical theatre works. I’ve always been a mix bag when it comes to music that I enjoy listening to, I can’t just like one particular genre or person/ composer.

 

In your opinion what is the mark of a good theatrical score?

Personally, I feel what makes a good theatrical score is when the music complements the movement and also elaborates the story behind the choreography, especially ones which deceive the audience in believing that the plot in going in one particular direction but isn’t. For example, when you play music which is eerie but you have something comical going on in the movement or on stage, it leaves the audience feeling uneasy or uncertain and I think it’s amazing when music can just instantly change the whole mood like that.

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