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winning freestyle. Think about Laura Graves and her powerful freestyle based on the music from Rudy. Laura’s freestyle was custom selected and edited for Verdades (“Diddy”), but not custom written and has scored beautifully over the years. Kasey Perry Glass’s freestyle with Goerklintgaards Dublet, based on the music from Lord of the Rings, is also an example of good editing and layering that wasn’t composed from scratch. Step 4b: Composing a Whole New Jam. Some examples of a fully customized and orchestrated freestyles would be Debbie McDonald’s “Respect” freestyle for Brentina, Adrianne Lyle’s “Play that Funky Music” freestyle she used for Wizard, and Steffen Peters rap freestyle “Ice Ice Baby” he had composed for Legolas. Like Debbie, Adrienne, and Steffen, international riders are increasingly using music specifically composed to match their choreography much the same way a soundtrack is composed to match a movie. The biggest advantage to this method is flexibility. There is no need to be concerned with various selections that may not blend together, or with a song available in lyric version only, or with choppy editing while expressing the various movements. The final composition is seamless, orchestrated the same, has the option of including lyrics or not, and follows the movements as they change. So if composing and recording gives you such great ability to customize your freestyle, why doesn’t everyone do that? Many of the top riders do, but this also comes at a price. For a fully composed and orchestrated freestyle, you are probably looking at a starting price of around $25,000 to $30,000 and that can push upwards to six figures depending on the choreographer you’re working with and who you’re hiring to perform the music. For freestyles such as Laura’s or Kasey’s that are edited from existing music, the starting price is closer to $5,000 or $6,000. Step 5: The Final Phase Now that your music is edited and fully put together, you send a copy of your original (silent) video to your professional so they can overlay the music onto it, that way you can watch it a few times to get a feel for what it should look and sound like. Then get the music file or CD and start practicing. But at this point, everything should be more or less right on, with the exception of a few timing changes. If you need to make changes, you must make the final adjustments with your choreographer and then have a final version sent to you. Done, right? Well, not quite.

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EQ AM Spring 2019  

EQ AM Spring 2019  

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