Words from the composer about the GPD score : Sometimes the stars align:  I've been wanting to score a documentary and re-visit making music for dance.  Ah, finally, two birds, one stone. A wonderful opportunity for a film composer.  From the internet came an ad, email / samples of my music sent, a meeting was set, and  then ... DQR and her wonderful film came into my life. From our first session at my studio in Brooklyn, where I sketched and improvised to the film, it was clear I was meant to be a part of this journey.  Instinct and aesthetics fell into place for us in a very natural exchange of ideas - there would be acoustic bass (one of her favorite and, luckily, my main instrument) but plucked only this time (no bowed string sentimentality in this film), vibraphone (acting as bell, steel drum and jazz sparkle)  married in the sound of space (reverb) - the sounds of grounded lusciousness in a sacred place for playful life affirming movement.  (As for referencing the steel drum? There are palm trees reaching toward the stars with a glass roof in the cathedral-esque Winter Garden.)  Bass and vibes acting as mother Earth and man made metal, moving hot and cold air molecules bouncing around in a steel and glass cavern filled with everyday people everyday. Early on, I also gravitated to the cigar box guitar, a primitive American instrument usually best for playing the blues but when fretless and plugged in with some treatment, it's a worldly expressive sound.  It's use as a former receptacle for cigars recycled as resonator for steel string sound (so close to Wall Street) gave me a chuckle as well.  Later, electric guitar with various effects and in loops, kalimba, kazoo's and lot's of percussion (including  my Sioux Native American drum and even a large ring of keys.)  Last but not least, the most human instrument of all, the voice, both whistling a tune and providing choral textures and, at times, non sensical exclamations. These non-dancer dancers express whimsy as happy as kids at summer camp. As a producer, I left all the breathing sounds in.  As the non-dancers and choreographers were sometimes not in sync, so too would the music be "off" (in rhythm and phrase) at times.  In the process with the director, there were times where a few of these chaotic overlays approached the limits of what is considered music - that is "sound organized in time" - and it's opposite, arhythmic noise. There would be majestic beautiful moments filled with pure joy, child-like wonder, redemption, camardarie, and even, despair and melancholy.  I had a splendid time working on this film.  I can't wait for the world to see it and hear the music this story, film, process and place inspired in me.  Mmm, then again, maybe it's only a matter of time, stars aligned and all. Perhaps the two birds shattered that stone and are now spreading the pebbles all over.