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. . . in working with Merce,
the first thing
we did was to liberate the music from the necessity to go with the dance,
and to free the dance from having to interpret the music. The way that
was done was that I had established a rhythmic structure for music, since
I didn’t have access to a harmonic structure. And I made those rhythmic
structures that are based on the square root, and then Merce would make
a dance within that structure. I would make music within the same structure,
and then the two could come together without in any way having forced each
other in terms of details. Then the dance was independent, but in the same
structure.
John Cage
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