Tag Archives: choreography

Making the Impact-dance competition podcast

This morning, Making the Impact dance competition podcast released Episode 153, The Dos and Don’ts of Music Editing for Competitive Dance. The hosts of the show are Courtney Ortiz and Lesley Anne Mealor, and this week’s guests are myself and Amy Gibson. I was incredibly honored to be invited as a guest on this highly regarded and popular dance podcast. It was an immense pleasure to talk with Courtney, Lesley, and Amy for an hour. The conversation was excellent and time flew by in an instant. Listen to this informative episode here.

I am excited that this episode has been published! I hope that listeners come away with new knowledge about how to prepare your music so that it’s ready for the competition stage, or any performance stage for that matter. Listeners may gain a greater appreciation for how much a great soundtrack can elevate a dance routine.

Please comment below with any insights or tips that you may have learned. If you would like to learn more about making sure your music is stage-ready, get a copy of my free 5-page PDF: Top Ten Tips for Creating Stage-Ready Music

Find out more about my Catalog of stage-ready clean song edits and mixes. Each one is optimized to give your choreography maximum emotional impact.

Learn more about my custom Magical Recital Welcome Soundtracks.

To connect with me, email me at morriss@squirreltrenchaudio.com or message me on Facebook.

How to Edit Music for Choreography, beautifully

Below is the introduction for a book I am writing. I would appreciate any and all feedback you might have in the comments. I can be reached via email at: morriss@squirreltrenchaudio.com.

How to Edit Music for Choreography, beautifully by Morriss M. Partee. (c) 2023

Introduction

Dance is the art of human movement. And while dance can exist without music, most dance is performed with a soundtrack. For more than ten years, I have had the great honor of creating several thousand soundtracks for choreographers around the world, primarily in the United States, but also in Canada, Australia, the U.K., and New Zealand. It’s been my personal mission over that time to ensure that every dancer performs with flawless, beautiful music. Every time I take on a new music editing or mixing project, I give it the same care and attention as if it were my own child performing with it. 

This book is for choreographers, and those who create soundtracks for their routines. Having attended numerous dance competitions and recitals where dance was performed with the soundtracks I created, I have developed an array of techniques for making these soundtracks excellent. My aim is to give you the practical knowledge I’ve gained working with hundreds of choreographers, and studying music and audio engineering, so that you too, can produce flawless music for choreography.

This text focuses on transforming popular songs, which are generally three to four minutes in length, into soundtracks for choreography, which usually range from two to two-and-a-half minutes.  There are two disciplines needed to create flawless song edits for choreography – musicianship and audio engineering. Those two disciplines dovetail with understanding the intersection between music and dance, and the general cues that young dancers rely on to remember the choreography that they learn and perform. 

Music and audio technology have made impressive leaps forward over the past two decades. Fortunately, long gone are the days when choreographers would use two cassette decks to painstakingly align different parts of a song, often using a pencil to try to get it just right. (If you don’t know why a pencil is involved with cassettes, be glad!) What is now primitive technology came with a whole host of limitations. 

Digital audio and personal computer technology makes it so that all of us are within reach of an amazing arsenal of tools to make music for choreo that is flawless. Today’s laptop has more audio processing power at a reasonable price than the million-dollar recording studios built in the 1970s and ‘80s. Recording engineers of that era couldn’t have imagined that eventually we could put entire virtual orchestras inside of a portable computer that is less than ¾” of an inch in thickness. But while audio technology has advanced to the point where it’s relatively easy to shorten songs on a laptop, or even a tablet or smartphone, sometimes there are almost too many choices. For example, what bitrate should an mp3 be saved as? Should I save with constant or variable bit rate encoding, and why am I even being asked this question?

Beyond minor issues like these, I routinely find many errors and glitches in choreo music I receive for repairs or cleaning. And I have also heard far too many routines’ soundtracks played at top volume for competition in civic centers and auditoriums with jarring skips, breaks, and thumps. Such glitches take an audience (including parents and judges) “out of the moment” of enjoying the dance performance, with the worst of them creating difficulties for dancers trying to count the music.

You’ve probably heard these mistakes as well if you have watched other’s dance performances, in music that otherwise flows smoothly. Strangely, while you’ve heard these mistakes in others’ music quite clearly, you may have not heard them in your own music edits — and there is a reason for that.

It’s not that your own music edits don’t have flaws. It’s in the nature of how the brain works, that you are less likely to notice flaws in your own musical creations. When you listen to a piece of music, over and over again, it eventually becomes “normal” to you, even if there are one or more issues readily apparent to anyone else listening to it. This is why good audio engineers need to work fast, or else they too fall into the trap of thinking that what they are hearing is normal or good. 

Trying to hear your music work clearly is known as ‘maintaining perspective.’ There are several ways you can maintain perspective while creating your own music edits. The first way is to know your tools and techniques extremely well, so that you can work swiftly. The faster you work, the better perspective you can maintain. Another method is to take frequent breaks. Yet another method is to “put away” your edits for a couple of days or even a week, ensuring that you don’t listen to them at all. But even this technique won’t work if you’ve already listened to your own edits more than a dozen times.

***

Some may question the importance of creating beautiful soundtracks for dance. Does one thump or awkward break in a song really ruin an otherwise beautiful dance performance? That decision is up to every choreographer or dance studio owner. Does a jarring sound break the audiences’ enjoyment of a graceful dancer? Most would answer yes. But in any case, with today’s technology, there is no need for any dancer to ever perform with anything less than flawless music.

Here are a few more reasons I feel every dancer ought to have perfect music to perform with. From a dance studio owner’s self-interested perspective, flawlessly edited music does several things for the studio: It increases the perceived quality and professionalism of the studio, and it also increases the likelihood of student retention. One way it increases those chances  is that a beautifully edited piece of music has less repetition than when a song is simply started from the beginning and then faded-out at the two-minute or two-and-a-half minute mark. We’ve all seen the dancer on stage who performs their solo beautifully for the first two-thirds of the routine, and then suddenly forgets the next move in their choreography, and runs off the stage in embarrassment. While I don’t have a catalog of such ‘forgetting choreo’ moments, I am convinced that some of these occur because the music is so repetitive the dancer loses track of where they are in the song. 

The other way in which flawlessly edited music helps studios retain students is by avoiding the awkward fade-out. When music is faded-out at the routine length, it is an incredible disservice to the dancer. When the music volume starts to drop, that is the dancer’s queue to exit the stage… and usually these fade-outs take the audience by surprise. So that when the music finally is over, the dancer is already in the wings, and only then does the audience start to applaud. This robs the dancer of being center stage to fully receive the audience’s applause that they so richly deserve after all of their hard work. 

But these are the self-interested reasons for a dance studio to utilize nothing but flawless soundtracks for their routines. Other reasons go beyond self-interest. Dance students are impressionable youngsters who are going through the most formative times of their lives. Each dance student will hear their chosen group and solo songs hundreds of times in the course of a season’s rehearsals. This music forms the soundtrack of their lives. For that reason alone, every dancer deserves that music to be as perfect as it can be.

Senseless

I was deeply saddened by the Las Vegas shooting. In the tragedy’s aftermath, I decided to create an original spoken word soundtrack that I hope you will consider bringing to your audiences through your choreographic talents. This soundtrack features two young ladies giving voice to my words. Click the play button below to hear Senseless. (Note: this soundtrack may engender deep feelings of sadness. Please be emotionally prepared before listening.)

I am making this track available for $9.99. If you are interested in purchasing it, please email me at morriss@squirreltrenchaudio.com.

There is Always Hope

Squirrel Trench Audio is pleased to present a new, spoken word soundtrack, with an anti-suicide message: There is Always Hope. Music is One More Light by Linkin Park. Voice over written by Andrea Norris Olsen and voiced by Shaunessey Lambert. Edited for a 2:51 routine length. $9.99. Click here to listen to the preview: There is Always Hope.

Email me if you are interested in getting this track.

More spoken word soundtracks for choreography can be found here: Squirrel Trench spoken word soundtracks.

Making choreographers happy

When you need perfect music for a new routine, Squirrel Trench Audio’s catalog of more than 750 ready-to-go clean edits and mixes is an amazing resource. Here’s what Maggy had to say about it:

“A huge thank you to Squirrel Trench Audio for their fast and professional service. You have saved me many hours of editing. So many amazing cuts and songs to choose from! This site is a dance teacher/choreographers dream come true!”

—Maggy Elias Sonoski, September 3, 2017

The catalog is even searchable by dance style. Check out the catalog and find the perfect music for your next routine!

Music for a new dance season

Back to school time means it’s time for a brand new season of dance! One of the most exciting times of year for dancers is to find out what their new routines are all about. And in order to have a great new routine, you have to have great new music.

To transform the process of creating new music from a chore into a joy, we have more than 750 clean song edits and mixes that are instantly ready to be choreographed. Every song and mix is lovingly crafted to be the best possible foundation for your choreography. View the Squirrel Trench catalog of clean music and mixes here.

Here’s what a dance teacher had to say about the service today:

“Thank you so much! I’m going to continue browsing your mixes- you’re SO much more affordable than other sites and save me all of the time in editing. What you’re doing is great- thanks again.”

— Heather Closson, Dance Instructor
Ratio Dance, Auburn IN, August 28, 2017

Helping Ashley at Ohana

I love getting feedback from dance studio owners and choreographers. Especially when they find that my catalog of cleaned and edited songs and mixes transforms the music selection task from a headache and chore into an easy and exciting process of finding music that is perfect for their choreographic vision. Here’s the latest from Ashley Kohl, Creative Director for the Ohana School of Performing Arts in South Hadley, Massachusetts:

“You totally ROCK!!!! Wow, thanks so much Morriss! I’ll be in touch with more … this resource is a serious lifesaver. I have shared it with all of my instructors. I am so much more excited to pick music than I have ever been. It’s usually so daunting and stressful. Game changer!

Thank you for being so generous and helpful!”

—Ashley Kohl, Creative Director
Ohana School of Performing Arts, July 22, 2017

If you’d like to check out the listing of more than 700 clean songs and mixes, just click this link: Squirrel Trench Audio catalog. Find out how easy picking perfect music for your choreography can be!

Tap choreographers: It’s Time for Tea

If you choreograph tap or jazz, I have come across the most amazing song for a routine. And it’s pretty far off the beaten path, not a song I’ve ever heard at a competition. I will deliver a squeaky clean version, perfectly edited for a 2:39 routine​. As one dance teacher exclaimed today “This is FABULOUS!”

Listen to the preview here:
Time for Tea (Squirrel Trench Clean 2:39)

If you’d like to get this version, just email me at morriss@squirreltrenchaudio.com!

Welcome Dance Studio Life readers

I am pleased to welcome readers of Rhee Gold’s fabulous magazine Dance Studio Life. If you opened up to the inside back page (the Dance bag) section, you may have seen Squirrel Trench’s very first print ad, reproduced here.

Welcome and thank you for taking the time to find this web site! Squirrel Trench Audio has been serving dance studios in North America and worldwide since 2011. (more background here.) We create lyrically cleaned-edits and edits crafted specifically for choreography, of your favorite songs, as well as custom mixes for dance studios, pom teams, gymnasts, figure skaters, fitness competitors, pole athletes, and vocal competitors.

We have an archive of more than 1,000 song edits and remixes, of which 400 are listed here: Squirrel Trench Archives.

We also take custom edit and mix requests; however, due to popularity, we currently have a large backlog of music work. Requests from the archives are fulfilled immediately however. For more information, please email me: morriss@squirreltrenchaudio.com.

 

Edited songs for your dance recital

It’s that time of year again; time to select music for your dance studio’s recital. The good news is that Squirrel Trench is here to save you the time and frustration of aligning waveforms. Instead, browse the Squirrel Trench Audio archives of clean edits and remixes. Every edit and remix is created with recording-studio standards of quality, optimized for choreography. The archive now shows about 400 out of a total of more than 1,000. Special consideration if you’re interested in more than one song:
Squirrel Trench Audio archives