If all you crave at night is the sound of silence, encouraging somebody who snores to sing for their supper could be the key to a peaceful night’s sleep, and the clip below will be music to your ears. We know from experience that an interrupted sleep pattern impacts negatively on concentration levels and increases the likeliness of accidents and mistakes during our waking hours.
Snoring can also lead to loss of friends if we’re putting up enough zeds to disrupt the sleep of others on a regular basis, and when we’re tired, we become more susceptible to illness so the ramifications of this nocturnal behaviour can be detrimental to the general health and well being of everyone in the fall out zone.
Having first hand experience of a partner who snored, British community choir director and composer, Alise Ojay, designed and created a set of simple singing exercises, Singing for Snorers, focussed on strengthening the soft tissues of the palate and the upper throat, specifically the pharyngeal muscles which, like any other areas of the body, grow slack without exercise.
Sorry folks, it’s true: even your epiglotiss needs a work out. But don’t lose heart at this point, because it’s where the good news begins: Epiglottal flaps don’t require tread mills or gym memberships to start shaping up. All that’s required is for the soon to be proud owner of the pharyngeal muscles to open their mouth and sing, making the sounds ‘ung’ and ‘gar’ a practise Alise Ojat refers to as ‘giving the whole snoring apparatus a work out.’
Alise, a member of the Natural Voice Practitioners network, undertook her initial research to determine whether singing exercises could in fact be used as a non-invasive treatment to increase muscle tone in the tissues of the throat in 2000, as an Honorary Research Fellow at the University of Exeter. A clinical trial followed in May 2013 involving a study group of 93 patients who completed a self-guided treatment programme of singing exercises, performing from a 3CD boxed set for 20 minutes daily.
The findings of the trial concluded that use of singing exercises to strengthen the throat across a period of three months contributed significantly to a reduction of snoring pollution in the atmosphere. It demonstrated that singing holds real potential to improve the health and wellbeing not only of snorers, but the quality of life for their partners and housemates, too:
“The Epworth Sleepiness Scale improved significantly in the experimental group compared to the control group. The frequency of snoring also reduced significantly in the experimental group and loudness of snoring showed a trend to improvement…” The research write up concluded:
“Improving the tone and strength of pharyngeal muscles with a 3 months programme of daily singing exercises reduces the severity, frequency and loudness of snoring, and improves symptoms of mild to moderate sleep apnoea.”
So if you’re living with somebody who snores, or if you suspect that you are susceptible to it yourself, try frequent singing exercises (and singing more frequently!) as an early approach to addressing the issue and set to work on achieving a set of buff pharyngeal muscles: they’re understatedly sexy and guaranteed to make you better off in bed.
A list of singing groups across Victoria can be found on the groups page of the Community Music Victoria website to assist you in your mission and a link to Alise’s Singing for Snorers exercises can be found on the CMVic online repertoire resources page. Let us know how you go!
Whether you like it or hate it, the ways in which we absorb and process information have changed irrevocably, and putting a message out into the world is easy as pie. The challenge comes in finding your target audience before the pastry turns crusty and hard.
How long have you spent on social media today? The chances are you’ve been bombarded by information and communications of all kinds. Like magpies, our eyes are drawn to whatever stands out and glitters in the proverbial online hedgerow.
Of all the online hooks, film clips wield a mighty power to entertain, inform, amuse and to educate. Armed with smarter and smarter smart phones we each have the capacity to be the storytellers and documenters of our own life. Our pockets hold the power and the tool, all we need is the incentive and the imagination! A single clip delivered via the right platforms can be successful in attracting new audiences and engage the attention of people right across the world. As singing and instrumental group leaders and participants, a short film can be a highly effective way to share resources, increase participation, attract potential sponsors and funding and, let’s face it, it makes a way sexier tool for evaluation than a written report.
“People are watching more than they are reading, and people are watching small screens, not big ones.”
Below are some tips from Bill Pheasant* on building skills and developing technique that will help you be more mindful of the content you select to film, and how you then go about presenting and editing that content for maximum effect, whether it’s your cat climbing the curtain or your community choir in full belt. Bill has worked in communications for close to 30 years, and for the last 5 has been working globally to create tools and approaches to help almost anyone use modern technology such as a mobile phone to create short, compelling stories:
“Filmmaking for the movies is incredibly complex, but the stories at the heart of any clip are often simple. Why not consider how can we use the equipment we have, and the skills we bring, to tell meaningful stories that will help this community music work to continue.”
The following tips are taken from Bill’s notes for his workshop in Storytelling at the Community Music Victoria music camp at Grantville in April 2016.
First things first. If you’re the one in your group keen to start filming, take some time to ask yourself the following questions:
Why are you – and all the others – involved in the group?
What does it give you?
How does it make you feel?
How many people know about that?
If other people knew your stories and how you feel do you think they would get involved?
And the money question: Do you think those funding your activity would be interested in your stories? (If you got to this point, you know the answer is always yes!)
Key points to remember before you film:
People love to watch emotion.
They don’t have a long attention span.
So we need to show people the key moments. And as filmmakers – we need ways to find those moments efficiently.
Film can be a great medium for observing. A lot of clips on social media are just that: little moments of ordinary life. But to communicate well we often need more context: Why am I watching these trombones?
To get more context, use interviews with people/participants. Interviewing somebody – rather than having them talk at a camera or phone – puts them at ease, makes them feel less self-conscious and more relaxed. It also allows them to demonstrate their passion more effectively. To stay out of the picture yourself, ask the question, then listen attentively while you film the answer, without responding. If possible, pair these interview clips with some overlay images to elaborate on what is being said and hold the viewer’s attention. It means the speaking continues while the images change – even free edit software can do this.
Unless you have rock-solid arms, consider using a tripod for your phone/camera to allow you to be involved in the human connection as interviewer. It makes for better viewing and also means the person you are interviewing isn’t looking directly into the lens.
Before you begin filming, check the following:
Phone/camera memory space.
A pocketful of ideas!
A bit of technique.
A way to manage what you film.
Ways to share it.
Here are some things that will make your video better:
Light – you need enough or your film will be drab. You need to be able to adjust it. Most current smartphones have light level adjustment on the screen. It it’s still too dark, change where you film.
Cut them down to make the outcome more watchable! It may not feel like you’re shaking much while you are filming but try watching more than a few seconds of playback.
Listen for background noise and replay to test the sound is clear. Poor audio ruins many videos.
Don’t be afraid to set the scene and start filming before your subject comes into view. This creates context and draws the viewer in.
Consider the types of shots you plan to use: Wide shot. Mid shot. Close up. Why? What sort of feeling are you trying to evoke in the viewer?
Avoid panning and avoid zooming. Instead, stop filming, move closer to your subject and start again, or change your position for a different angle. If you can edit, you can sew your sequence together, later on.
Use the background as well as the foreground to tell your story.
A little forethought can mean when you sit down later to put the pieces together, you have all you need! Set the scene, as you would in any story. Take some context footage. The hall as everyone enters, for example, or a bit of the banter before the magic begins. This allows people to begin imagining what will happen next and gives them an opportunity to begin to ‘feel’ your story.
Finally, give some thought to how you are going to share your film, once it’s made. This may dictate the length and the style you go for. In giving some thought to the style, message and content of your film, try storyboarding.
If you’ve never tried this before, give storyboarding on paper a whirl. All you need is a whiteboard or some paper and pens and the time to let your imagination flow out – progressing the story scene by scene – onto the paper or whiteboard.
Storyboarding in your head
Also known as a daydream. Which can lead to some great things and unexpected ideas. Use the same principles as above and be sure to give some thought to how you’re going to store the great ideas and examples you dream up!
Give it a go! Better to get out there, try and fail than never try at all. As Bill said in his workshop, Don’t let perfect be the enemy of the good.
Written by Deb Carveth & Bill Pheasant. Huge thanks to Bill for providing the notes from his workshop as the basis for this post.
*Bill Pheasant is the Director of Communications for Children’s Ground in Jabiru, NT. Children’s Ground was established to work with communities experiencing disadvantage and inequity as they lead the way towards positive change. To learn more about the organisation, visit https://www.childrensground.org.au Children’s Ground also has a page on Facebook.
All-in ensembles: a mix of instruments, a mix of ages, a mix of skill levels with everybody welcome to squeeze up together and join in. They may be a whole heap of fun to be part of, but how does it feel to be the person standing in the middle, holding every thing together?
CMVic’s recent music camp featured a wonderful wealth of workshops for instruments and singers of diverse experience and skill levels. The all in ensemble, led by Lyndal Chambers, gave everyone the opportunity to come together and make music en glorious masse.
Imagine being the facilitator. You’re stood among a squeeze of accordions, a swathe of strings, a blast of horns, a strum of ukuleles, and a chorus of voices, all keen, all excited to be a part of this amazing thing, this swelling of sound, all packed into a room with a fairly low ceiling, and all looking at you … Where do you start things off and how do you keep it all going?
Even with a proven track record as a highly experienced music leader, facilitator and teacher, Lyndal admits the prospect of leading the 2016 CMVic ensemble made her nervous.
“I was incredibly anxious about being able to meet everybody’s needs. Usually working with a group of kids or adults, working with a group of say 25, you’re reasonably able to suss out the room and observe who needs what. You can physically run around and see who needs a simple B-flat part or the harmony in C part or whatever…you get an idea of what people need to get the most out of the experience and can sit them next to a relevant support person, but I was aware during the preparation that with so many people (100+) in the ensemble there was no way I was going to be able to do that.”
All Lyndal’s preparation payed off, and the ensemble at camp went with a swing on Saturday when everyone was full of beans and last thing on Sunday, too, when Lyndal pulled a fantastic second session out of the bag to end things on a high note.
So what were the processes and strategies used by Lyndal to prepare for the diverse needs of an all in ensemble? Here she shares some of the pointers and tips she put into play for planning things out and staying on track:
First things first, find a tune; find a song
Lyndal used ‘Caderas’ (a traditional Balafon band tune) and ‘Coffee Love’, a song by Leanne Murphy and Frank Prem in four parts which worked for the singers and across the ranges of the instrument families too.
“People played Coffee Love really well; you could hear all the quiet instruments, which was really great. And Caderas is a great tune… the accordions can play it, the horns can play it, and the strings can play it.”
Draw on your resources and be prepared to learn too
“Preparing for the ensemble, one really big piece of learning I had was about the overlap between singing groups and instrumental groups. The decision to use Coffee Love out of the new song book (Sing It) came to me like a bolt out of the blue, having sung it while recording for the book. I could apply the same process to learning Coffee Love as I would use with a singing group. Sing the part over and over and then apply that part to an instrumental group. This makes it a lot quicker for people to learn their part and it makes the transition to playing that part on an instrument easier having sung it through, so many times.”
Have section leaders in place
Having section leaders in place when leading a large group works well. “All of the weekend’s workshop leaders were sitting in the ensemble as well as all of the CMVic regulars and leaders who also understand the importance of listening and looking out for the people sitting around them. Seeing some people do this automatically in the ensemble was a great relief.”
Keep things simple
In addressing the diversity of skill level and experience in a large group, Lyndal recommends the key to success is in keeping things simple.
“Think about how simple you think it should be and then go one step simpler.”
Solos and Extensions
“Leave room for solos and extensions so the competent musicians aren’t left wondering at what point you’re going to move off three notes and are given opportunities, too.”
Provide a tune that has easy access
Coffee Love has two chords so Lyndal took her partner Strat’s ukulele and learnt those two chords from scratch. The process of doing this made her think that anyone else trying something for the first time would be able to join in with at least one chord or note of the tune. Lyndal also set the tempo and created a groove using clapping and dancing before starting on teaching the tune.
“I feel dancing is like singing. Everyone can do it and you can do it as much or as little as you like. It’s a real mixed ability thing.”
Keep the faith!
How do you stay focused and keep everything together leading a group that size and diverse?
“At no point did I feel I had to pull the whole thing back. I just felt really optimistic. You have to have faith in the group and remember that they’re going to be forgiving. If you have to stop to collect your thoughts, do it.”
Some good tips to remember are:
Have faith in the group: they will be forgiving.
If you have to think on your feet, that’s okay!
Be mindful of the fact that everyone in the room is barracking for you and again, it will be okay!
You will get to where you want to go and the group will cooperate and help you to get there.
Once everyone’s cracked the tune, extend the musical experience.
In the lead up to the weekend, Lyndal spent time considering the elements of music: tempo, rhythm, dynamics, pitch and timbre and how these could be explored in the context of the workshop, including:
Being able to do a solo
Being able to improvise
Playing slowly at times
“This was particularly helpful in the second session on Sunday because by then everyone knew the tunes and I was wondering how we could vary things and make it more musical.”
I threw it over to the group to answer these questions but at the back of my mind, I had those elements to fall back on to make it more interesting, more satisfying and to extend people’s musical experience.
Leading a large group of varied skill and experience levels makes you draw on your resources as a leader, whatever those are. In the preparation stages Lyndal drew on her expertise and experience in terms of how complicated to make the music and considering what the instruments were capable of doing. In the actual leading of the session she was thinking about ways to make things more satisfying and more musical, but as she says, there are different approaches to take and outcomes and direction will vary between leaders:
“I don’t think necessarily that you have to have the full palette of musical elements. My palette is just my palette, other people will have a full palette that’s a different palette.”
And so I think it’s about tapping into the people you’re working with. They bring skills and they bring cooperation.
Listen to the whole sound and listen to the needs of people who will let you know if things aren’t clear to them! For example, if the ukuleles can’t hear themselves or if somebody is confused by a chord, they’ll generally ask you.”
How does it sound? Take a listen here! And, above all, remember to enjoy the experience.
Article written by Deb Carveth with Lyndal Chambers
Sound recording by Stuart Ashburner at the CMVic Music Camp 2016, reproduced here with permission from Leanne Murphy and Frank Prem
My friend Bev McAlister was diagnosed with breast cancer a few years ago. She got through her surgery and radiotherapy, frequently making the long trip from her home in the Dandenong Ranges outside Melbourne to a hospital in the city for treatment. Of course this was an exhausting and challenging time. When Bev was told after her treatment that she should now do daily exercises for lymphoedema, she simply could not get motivated. So she came up with an idea to help women get motivated to add this important activity to their lives: Breast Beaters.
Bev’s vision was this: set the exercises to lively music; add some singing and light-hearted activities; make a DVD so people could do it at home (alone, or with family and friends); run regular group sessions at local community venues, where women could meet others who had been through breast cancer, do the exercises together, have a laugh, have a chat, have a sing, have some fun.
As a singer and community arts worker, I thought this was a great idea. So, through Dandenong Ranges Music Council we applied for funding, were successful, and before I knew it I was Musician in Residence for Breast Beaters! Twelve months later, the vision has become a reality – the DVD was launched at a lively event in Lilydale on 26th of June 2015; the first Group Session has been run in Yarra Glen, and the DVDs are being distributed to health professionals and women living with breast cancer.
During the research and development phase of Breast Beaters, I worked with lymphoedema therapist Maria Stirling (Health Consultant on the project), and consulted with other health professionals working in the field. Guitarist Ken Murray and I worked together to create a 15-minute Medley of 9 songs (ranging in style from bossa nova to waltz, twist, and Celtic), each song matched to the timing and needs of the exercises. In the Medley we included deep-breathing exercises (used by both lymphoedema therapists and singing teachers) and “singalong” sections for easy singing. This material was trialled for six weeks by a small group of women living with breast cancer in the Yarra Ranges region, and responses were encouraging.
In addition to the Medley, the DVD includes teaching material, voice-over and subtitle features to help people learn the Medley, and delightful animations (including a dancing gorilla) to give people a laugh. We also trialled Group Sessions, and learnt that these will be an extremely important part of the program. Group Sessions will occur at least once a month, in a range of community venues, and will be informal, fun, and accessible. Sessions will last 90 minutes, and will be suitable for women new to the program, and those familiar with the program. They will be led by community choir leaders (or others with similar skills) who have received training about lymphoedema and Breast Beaters. Sessions will include learning and participating in the Medley, simple group singing activities, cup of tea and chat, and information about relevant events or resources.
Further funding was recently awarded by Yarra Ranges Council to run a series of 8 group sessions and these will run from October to December, in community venues across the region. Free copies of the DVD will be distributed at these sessions. The schedule (and other resources) can be found on the Dandenong Ranges Music Council website www.drmc.org.au Please contact me for all enquiries, and to obtain a free copy of the DVD.
We are proud and excited to have created a new resource for women living with breast cancer, and for their health professionals, families and friends. May the joyful breast beating and singing begin!
I have been a keen fan of homemade marimbas since the very first community-built instrument was made in Australia, at a family music conference in Melbourne in 1991. As I now come to the end of my teaching career in schools, I’ve realised that the absolute favourite part of my job in recent years has been getting kids and adults playing marimbas (often along with xylophone and other melodic percussion). I also really enjoy helping people to make marimbas, and a one-day working bee with a group of families can result in an instrument that will last for years. For adults in the community they are a perfect step into playing music in groups. (One of my most satisfying workshop sessions was getting some novice 90 year old men playing marimbas.)
In the early 1990s, Jon Madin and Andy Rigby began what is now an international movement by adapting the marimba-making model Andy had learnt about in Botswana. Ever since then, playing marimbas, encouraging others to play them, and making them with school and community groups has been a big part of my life.
Some of the instruments I have been using in schools recently were made in the early 1990s and are still going strong – with perhaps a few bars replaced over that time, and a bit of re-tuning every few years.
What’s so magical about Marimbas?
Lots of things! They are so big, you can make them yourself, they are made of lovely wood, they can be played by anyone, they always sound good, and you can play with your friends! Someone can play just a two note bass and others can add in other patterns and it will sound good. Or you can play more complicated things like the “Can Can” which is great fun. All levels, all ages.
I just love the sound of a room full of marimbas booming away, whether it’s school kids or top-level musicians or a mix of all ages or beginner adults.
Anyone can sound good on a marimba within ten minutes.
With carefully selected pieces, even a new group of players can sound terrific in fifteen.
Marimba playing = Immediate gratification!
As a foundation to a classroom set of xylophones and other percussion, they have now become common in music programmes, especially in the Australian states where music specialists are regular members of staff in primary schools (Victoria, Queensland etc). Ideally they are the Jon Madin design and have been made by parents and children at the same school, for feelings of ownership and empowerment.
Carl Orff, a German composer and music educator, inspired an approach to learning music that encouraged playing and singing as a group, integrating music and movement or dance, and used instruments that were easy to play.
The set of instruments used in an Orff-inspired music programme is called the ‘instrumentarium’ and usually consists of ‘melodic percussion’ or barred instruments: xylophones (wooden bars), glockenspiels (the little high-pitched metal ones), and metallophones (larger, lower-pitched metal ones), Percussion instruments such as drums and wood blocks, and recorders, are also part of the ‘Orff Instrumentarium’. Marimbas are an ideal addition to this collection, and are common in primary schools around Victoria. One of the enormous bass marimbas added in gives great ‘oomph’ to the music and is always popular with students.
The Victorian Orff Schulwerk Association (VOSA) runs lots of workshops and other events for teachers and other adults interested in music and/or working with children. Carl Orff also emphasized improvisation, and marimbas and percussion.
sound great, look impressive
are really satisfying to build (for $300 or less)
are perfect for schools and community music-making
improvising is easy, with a visual aspect
are good for people with varied musical background
can be used for quick group music
are a non-threatening introduction to instrumental music
are ideal for social interaction.
The large size and physical nature of the marimbas make them appealing, especially to older students and adults, and they give a good bass to the other instruments.
Ideas that work
Many of the musical pieces Jon Madin and others have developed over the last twenty years have a quite simple bass line – often only a few notes – and use similar ideas to those developed by composer and music educator Carl Orff after his interest in African and Indonesian traditional music:
repeated patterns or ostinati
segments that are visually and aurally separate
sometimes removal of some of the notes to make patterns easier
familiar tunes (from the Pachelbel Canon to Hell and Toe)
catchy rhythms can emphasise the percussive nature of marimbas
a small number of notes
avoiding big jumps
songs which tell players which letters to use
By combining a simple bass with a middle part which is not too difficult, and perhaps a more complex top part or melody which is fairly quick to learn, groups of novice musicians can be led to group music-making that is immediately satisfying.
Jon Madin’s “Boris the Bassman” has been a great favourite for 20 years because it incorporates these elements.
Community Marimba Playing
There are regular events where you can play marimbas. Weekends such as Community Music Victoria’s Treetops Music Camp, Turramurra Bush Music Camp, Roses Gap/Charnwood Folk Camp, and the monthly playing sessions in West Heidelberg (HeidyMarimba) all offer opportunities for everyone to try these instruments.
You’ll see them at some festivals. Look out for Jon Madin and his marimbas (plus all those other surprising instruments such as Musical Bikes and DingBoxes). Andy Rigby may be there with some marimbas as well as harps or flutes of various types. The annual Melbourne Wood Show has a stand where you can see an instrument being made, and try them out. In Geelong, and at the Port Fairy Folk Festival, you may see the Tate Street Primary group playing. Maybe your local primary school has a couple.
Marimbas are all around, especially in Victoria – hooray!
Want to know more? Want to play? Want to make one? Contact CMVic or like Marimba Victoria on Facebook
Here we are, almost half way through February and the summer holidays feel well and truly behind us. Thong-fit feet have been rounded up and shoved grudgingly back into shoes, but the back of the car remains defiantly full of sand and the days are still golden and long.
February feels like the month when things start to happen and take shape, the new year shakes out its tail feathers and finally finds its groove. School’s back, there’s a cool edge to the mornings and it’s not only smooth-fronted notebooks with pristine spines and pens WITH LIDS that are the order of the day. It’s all about seizing the sense of awakening and potential that accompanies new beginnings and fresh starts.
And perhaps for singing leaders looking to embrace the optimism that swept in on the coat tails of 2015, now’s the perfect time to sing out and celebrate life with some different songs. So! How would you like to source some great new material to sing with your group?
Well look no further, because we have found some for you, and it’s right here!
CânSing is a Welsh based organisation working in the UK to raise the profile and standard of singing across Wales. Whilst they work mainly with schools to deliver their program, they have heaps of resources available to share and download from their website, which they encourage use of ‘by anyone in any location’ in the true spirit of community music making. High five, CânSing.
You’ll have to choose whether to navigate the site in Welsh or English and once you’ve done that, you’ll find Call and Response Songs, Echo Songs, Rounds, 2 and 3 part harmony songs, and a stack of others to choose from, too. They also grade the material in terms of accessibility giving you the choice of Easy, Intermediate or Challenging. Not only that, but you can very easily pick a theme from the list, which is given at the side of the home page. So, if you’ve promised your mob a sea shanty, but the mere thought of singing ‘the drunken sailor’ has you heading for the poop deck, the CânSing site can help.
Listen to a song, and you’ll then have the option of downloading a pdf of the score and the lyrics, as well as mp3 rehearsal and parts tracks, and there is also support for teaching the song from interactive HTMLs. We think that’s pretty special and far too amazing a resource not to share with you all.
Sign up and keep reading the CMVic blog for further new links to other useful repertoire resources for leaders of community music, as we find them. Hop onto the CMVic website for a comprehensive list of the ones we’ve compiled to date, and do let us know if you know of one that we’ve missed.
In the meantime, here’s a link to a song for you all called ‘The Song of the Elements’ which is a teaching song about the elements of music written by Aled Lloyd Davies and Robat Arwyn, courtesy of CânSing. It was introduced to us here at CMVic following our Treetops music camp, held in May, last year. (NB it’s from the ‘challenging’ section of the website.)
Big thanks to Maurie for starting all of this off, and here’s to another community music filled year. Let us know how you go!
Most people can learn to match pitches if helped constructively. Some may need more assistance and experimentation than others. I don’t accept that there is a condition in some people of ‘tone deafness’, although where there is a physical injury to voice or hearing apparatus, it may not be possible to match pitches.
Singing in a large group may help, but can also mask the problem or limit the singer to particular tunes or a particular group.
I have discovered or learnt various things that will help the teacher who is helping a singer to match pitches (sometimes referred to as ‘singing in tune’). I would welcome feedback on these:
Work with student/singer alone. Avoid group situations where family or peers act as an audience
Work with a recording device if the student feels comfortable with this. They often discover extra ideas from listening to it later.
Many will know this one. Experiment with slides, hoots, yells, growls, etc. Play with the sounds. There is no right or wrong in this exercise. Avoid the words ‘right’ and ‘wrong’ – use ‘comfortable’, ‘uncomfortable’, ‘matching’ as appropriate.
At first, the teacher can try matching pitches with the student rather than the other way around. If you don’t have the same registers (e.g. other sex) use an instrument to match the student’s pitches (piano is best even if you don’t play). This shows the student how ‘matching pitches’ feels. Later, get the student to match pitches with the teacher.
•Once the student has started to match pitches with the teacher, find out which notes or area of notes (low, middle, high) they feel most comfortable with. Most recently I have worked with female students whose range focuses between middle C and F below it. (Later, in two cases, we have explored up to an octave in range).
See if the student can distinguish between low and high areas of her/his own voice. There are tests but you can just ask the student to make what they hear as high or low notes in their own voice. (Men are usually weaker on this point).
Extend the range gradually, using three or five note runs. It will also help if you can find songs in the student style of preference, first songs in their comfortable pitch area and later others.
If the student is almost matching pitches but not quite, encourage them to slide their voices around in a small way until they match. Whatever method that helps is OK.
Get the student to make positive affirmations about their voice (e.g.‘I am now discovering new areas of my voice’). The student rather than the teacher needs to do this, though the teacher may guide.
Often people who sing off key are quick to pick up on technique. I have developed an abridged and adapted version of (classical) technique, which works well for beginning singers in all styles, especially relaxing the throat. Student’s confidence can increase quite a bit on this point, even if they are struggling to match specific pitches.
One of the challenges faced by singing leaders is finding ways to source new material to keep things fresh and exciting not only for their groups, but for themselves. (Even Matt Preston must occasionally wonder what on earth to cook for dinner.) To overcome this, CMVic holds regular song swaps throughout the year offering singing leaders an opportunity
to come together and share favourite songs,
discuss any problems they may be facing, and
to try out new material in a safe supportive and friendly environment.
We can have our very own Song Swap right here! We’ve got some interesting things to share over here: Free Resources – send a song, and we’ll post here and share it with our fabulous community.
As well as extending repertoire, song swaps provide valuable time to check in and recharge with like-minded people and form the basis for new connections. In short, song swaps are soul food for anyone who loves a good sing. Visit our website for more information www.cmvic.org.au