“The outpouring of freedom songs went to the core of the struggle and expressed, as nothing else was able, the hope, belief, desire, passion, dreams, and anguish of the conflict.” Mary King speaking of the power of song during the US Civil Rights movement.
I put this selection of songs and chants for climate justice together with the specific aim of helping us all to find stuff that was simple and catchy enough to use outdoors at protests. I wrote a few and gathered a few from other people but this is only the beginning of my collection and there’s loads of other great stuff out there. The problem is finding stuff that is reallyshort and easy to learn, yet effective. (Kavisha Mazzella’s Mother Earth song is a perfect example of all these things).
As yet – to my knowledge – there isn’t a central place where this specific type of song and chant are gathered but the Extinction Rebellion Choir is a good model and has some good resources available on Facebook. Closer to home, Climate Choir Melbourne is also creating a great collection of resources, available here.
People are writing and sharing new songs and chants all the time. Singing together gives us enormous sense of our shared humanity, makes us feel strong and positive, allows us to express our emotions in these desperate times and communicates in a non-threatening way to people observing and participating in our protests.
Jeannie Marsh, Jane York, Emily Hayes and others have been bringing singing to this week’s Extinction Rebellion protests in Melbourne. I humbly thank them for making this huge contribution to the campaign. Those of us who have the skills to enable people to sing together – now is our moment to make a huge difference to the face of the campaigns and the strength of the movements. Act now!
For recordings of these songs and chants, click below! Feel free to use any of mine as long as your protest is non-violent.
Sing out Strong!
*Photo of the Spring Rebellion in Melbourne, courtesy of Hilary Walker
It takes just over four days for a CEO from the top five companies in the garment sector to earn what an ordinary Bangladeshi woman garment worker earns in her whole lifetime. Source: Oxfam International
When faced with a bargain, it’s tempting to overlook the uncomfortable question of who’s actually picking up the tab if we’re not paying a fair price for what goes into our bag. Employees at garment factories work six days a week, often for less than USD$1 per hour. Workers are under pressure to meet daily targets and work long days with barely any breaks and their health and safety is not considered a priority by their employers.
In a bid to increase awareness of this exploitation and to address the inherent power we hold as consumers, community singing leaders and musicians, Jessie Vintila, and Emma Royle, wrote a song called ‘Every Dollar’.
The goal of the song is for singers and audience to actually change the way they are shopping, and to be inspired to notice their power and to use that power for good.
In the words of Jessie, “it’s about going ‘wow every time I spend a dollar, I’m communicating something, I’m either communicating, ‘yay’ I want that business to succeed, or I really don’t want that business to succeed… We go along being complicit and supportive of a whole lot of things that, if we stopped to think about, we’d find morally reprehensible.”
Jessie’s community choir, ‘Raise the Roof’ sang Every Dollar at Mullumbimby Music Festival in 2016. Throughout the course of rehearsing and performing the song, many of the singers told Jessie how their experience of learning and singing the words was actually changing the way they shopped and many were switching to fair trade options, where they could.
This is precisely the outcome Jessie and Emma had hoped would happen each time the song is taught, learned, sung and heard. While progress in the bigger picture can feel slow, Every Dollar is a reminder about taking small steps in the right direction and doing what we can as a community to support the liberty and rights of workers in the clothing industry and beyond, whenever we can. The recent announcement by Kmart, Cotton On and Target to ‘strengthen their commitment to a living wage for their clothes makers in response to the Oxfam initiative, ‘What she makes’ is testimony to the effectiveness of this approach. These outcomes are in direct response to action and pressure from shoppers who have had enough of the injustice.
Jessie applauds consumer activism of this nature: “What I love about consumer power is that you don’t have to be fighting; you don’t have to be campaigning, you don’t actually have to be doing anything other than making conscious choices when spending your money. And you know you’re doing something really powerful but it doesn’t give you the burn out feeling that other forms of activism can do over time. It’s completely sustainable at a personal level.”
Jessie and Emma were thorough in their research for the song and the verses about Ranya the seamstress and Abdul the cotton picker from India are both based on real stories and statistics.
Activism runs in Jessie’s blood. She grew up in an environment where accountability and sound ethics were highly valued. “I remember as a child, a friend of my parents’ being all excited about finding a woman down the road in a suburb of Perth who worked in a Vietnamese clothing place and could make t-shirts. At the time I didn’t get why she was so excited about what I thought were these really boring T-shirts!”
Jessie’s now adamant about sourcing fair trade clothing herself and has t shirts for her Raise the Roof choirs and her Sing the Camino* tours made by fair trade manufacturers. This anecdote about T-shirts is a lovely testimony to the outcome of conduct and influence. The repercussions of the choices we make and the effect of the songs we sing ripple out into the world in ways we can never know. So, in the words penned by Jessie and Emma, lets ‘Stand up for justice, Turn every dollar to good’. (Full song below)
Every DollarLyrics: Emma Royle & Jessie Vintila Music from Rarely Herd’s version of Mary Don’t You Weep (Spiritual)
Every dollar sends a message
Every dollar plays a hand
For somebody somewhere
Think of the people and the land
Oh, well singin’, if I could
You know that I should, I surely should
Stand up for justice, stand up for justice
Turn every dollar to good
Well Ranya was a seamstress
In a Dhaka factory
Worked fifteen hours seven days of the week
Can’t feed her family
Well Abdul picked the cotton
In the fields of Gujarat
Eight years old, twelve hours a day
Forced out of school to work
Well Wendy clothes her family
From her favourite shops in town
Pays the money never stopping to think
How they keep their prices down
Every dollar sends a message
Every dollar plays a hand
For somebody somewhere
Think of the people and the land
Oh, well singin’, if I could
You know that I should, I surely should
Stand up for justice, stand up for justice
Turn every dollar to good
“… the fish in the river, the clouds in the sky,
the wattles and gum trees that grow up so high
the kookaburra singing so gaily and free
good morning to you and good morning to me…”
from the Good Morning song* by Woody Clark
Woody Clark dreams of a world where families find time to make music as they go about their lives together. Over the past fifteen years or more, Woody has been working to build a catalogue of songs and resources available to parents and carers to turn this vision into reality and help integrate the rich experience of intergenerational singing and playing into the familial tapestry of homes and lives across Australia.
For Woody, the value is in ‘creating music rather than consuming it’ and, where possible, within a familiar setting involving children, parents or carers, grandparents, aunties, uncles, cousins…
“Make music relevant and engaging and something that’s just part of the fabric of the household rather than something external to that, find the means to utilise it in your life in a way that will bring expression and joy, or whatever that might be.”
Woody’s own three kids have collaborated with him on musical projects, co-written songs for his album, and in recent years toured as part of the family band ‘Woody’s World’. This includes his parents, folk singer-songwriters Kate Townsend and Dave Clark. Woody’s World played at many regional festivals and events in 2016, including Adelaide Festival Centre, Melbourne Cabaret Festival and Ukulele Festivals, Pt Fairy Folk Festival and Mt Beauty Music Festival.
Woody remembers feeling surprised by the excitement of former classmates in recalling the novelty of a school teacher who would sing and play guitar to them during art classes. For Woody who grew up in a household where music-making was a normal and assumed part of daily life, this occurrence was familiar and common to him. He realised as an adult, the experience at school had evaporated from his memory as something unremarkable tends to.
Years later as a father and classroom teacher himself, Woody is using his experience and knowledge as a songwriter and musician to uphold the tradition set by his own background, advocating for the benefits and joys of the style of unplugged family music-making he’s enjoyed in his own life.
Woody’s tips for anyone who’s keen to encourage kids to make music are:
Model the behaviour and expose your kids to live music-making.
Have a guitar or ukulele sitting on the couch and build music into your day, for example sing a morning song*, or sing a song before you eat your food, or a bedtime song.
Make it fun! A lot of music education is serious and focuses on the classical side, so if you can show kids that learning and making music can be really fun and engaging too, you’re half way there.
“I’m not putting pressure on my kids to be musicians but if when they leave home, they can play instruments, have some appreciation of the language of music, it’s accessible for them and they can express themselves, then I’ll feel I’ve done my job in that regard.”
As a way to facilitate integrated music-making in the home, Woody runs 8 week ukulele classes teaching kids aged from 5-12 years and their grandparents, parents or guardians, to play the instrument together. In doing so, Woody’s observed the positive benefits and effects that intergenerational learning brings:
“The parents who model the behaviour, doing weekly practise with their kids really upskill in the ukulele, they come back the next week and they’re both excited; they can play that new chord or they can do the new strumming technique. By the end of the 8 weeks instead of the uke being a foreign object that they are wondering how to hold and tune, they are learning to speak that language.”
Next year Woody will take this course online, making it available as a learning resource for kids, parents and carers, everywhere. “It’ll be a kind of crash course in how to learn the basics and there’ll also be an opportunity to play along with Woody’s World during our live shows.” The course will provide footage recorded by Woody for all L-plate ukers to strum along to for practise in their own time. Woody describes it as ‘an integrated project, and a preparatory engagement experience.’
Woody has been working towards this point for a long time having coordinated a number of musical projects, including reKINDle, a response to the Black Saturday bushfires of 2009 and he’s dedicated to continuing this momentum around family music making and taking it onwards: “I’ve been developing my ideas around family music participation for well over a decade. I am passionate about music and how it can connect families and communities and through my upbringing and my teaching and my work with my own kids, it feels like all these strands are coming together.”
Article by Deb Carveth, online editor for Community Music Victoria, and Woody Clark.
* Woody’s Good morning song is available online! Download the lyrics and mp3 here for freeeee! You can also download the chords and to complete the experience, there’s a colour-in poster to download, print off and complete as you learn the song.
Woody’s debut album is available from his website which includes wonderful family collaborations. Check it out here here. You can keep up to date with his activities on his Facebook Page
Listen and learn ‘Catch the leaves’ a song written by Woody’s daughter when she was 7 years old.
If the ongoing issues surrounding climate change and the proposed Adani Coal mine leave you wanting to blow your top we’ve unearthed a way to help channel that frustration and anger into inspiration and joy. Let us begin. Pop a coin into your cerebral jukebox and select the tune to the chorus of the Abba song Fernando substituting the words penned by Bjorn, Agnetha and co with the following:
There’s more carbon in the air each night We’ve got to fight Adani Causing climate change for you and me It’s planet’ry Adani And we know that we must never lose The stage is set We’ll occupy your office suite Until you’re beat Adani…
Great isn’t it? Spirits depressed and deflated by overwhelming environmental concerns are momentarily lifted and buoyed with the added bonus that the familiar tune makes it an easy song to pick up and join in with in no time: empower yourself and others by engaging in a spot of choral activism and sing out against climate change. And there’s plenty more material where that came from, including for traditional folkies ‘Stop Adani Stop the mine’ to the tune of Oh my darling Clementine, guaranteed to stick firmly in ears everywhere:
Stop Adani, Stop Adani, Stop Adaaaani, Stop the mine Shouldn’t aughta poison water It’s an order – Stop the Mine
Clever and simple, these songs are addictive and accessible and are the work of two radically minded musician/activists from Queensland and NSW, Jenny Fitzgibbon and Paul Spencer, who have together created Carbon Canaries, an online song resource ‘enabling people everywhere to sing out for climate action with songs that ‘poke fun at fossils & fuelish humans, celebrate renewables of all genders and make choirs spring up at an action or staffroom near you.’
To date, Carbon Canaries have parodied and posted the tunes of 35 well-known songs re-writing the lyrics to reflect, as Paul writes, ‘the human experience of the social change movement and of living in a world that’s so beautiful, so alarming and so inspiring all at the same time.’
Jenny is motivated by the desire to offer protesters and climate campaigners a source of ‘joy and energy’ and to enable people everywhere.
The Carbon Canaries’ website provides all the tools group facilitators could wish for to get singing for positive change. Song sheets and tunes are available to download as well as backing tracks and videos of Carbon Canaries’ songs and climate inspired parodies of songs by other activists, such as the superb Specials-inspired ‘A Message to you Turnbull‘ by Melbourne’s Glorious Rabble led by Stephen Taberner and accompanied by the Horns of Justice, (below). In the spirit of solidarity, Carbon Canaries resources don’t cost the earth, in fact they are all available absolutely free, although visitors to the site are invited to support their great work by donation.
Back in April, an invitation was sent to community choirs to unite and sing up at a ‘pioneering choral event’ called You’re the Voice, an element of the 2017 Queensland Music Festival dedicated to highlighting the persistent problem of domestic violence across Australia and building awareness in a bid to ‘turn the tide’ and support positive change.
The project, directed by Dr Jonathan Welch, has received high profile support* from singers including Archie Roach, Kate Ceberano, and Katie Noonan, who is also the festival’s artistic director.
On July 29, 2500 community singers participating in You’re the Voice will congregate in Brisbane, joined by other community choirs and singing groups from around the country via live stream and social media, to deliver their powerful message, singing John Farnham’s song of the same name.
Closer to home and in response to news of the project, Vivienne Colegrove, a singer songwriter from the community music network here in Victoria got in touch, offering to share a song she had written about domestic violence with any other community singing groups and choirs wishing to address the issue, also:
Hi CMVic folk, following on from your post on FB re Katie Noonan’s call for choirs to sing out against domestic violence, I have a song that I am happy for choirs to use if they wish (just to acknowledge me as the composer obviously!) Here is a (strictly rehearsal-only quality) mp3 recording and pdf score for choir facilitators – please feel free to pass on to anyone who may wish to use it. Free to a good home! Warm regards – Vivienne Colegrove
‘White Ribbon Anthem’ byVivienne Colegrove
It’s time to sing out it’s time to speak out
It’s time to shout out we’re making change
We stand together we stand united
It’s time to sing out we’re making change
No more silence about the violence No more looking the other way Join our chorus Sing together Sing as one voice we’re making change
Safe for women safe for children
Safe for men of any age
Safe for my mother safe for my brother
Safe for each other let’s turn the page
Make it change now we’re making change now
Change is what we say and do
Let’s make change now let’s do change right now
Change is me and change is you
(chorus) x 2
Vivienne says “I was inspired to write this song because I feel excited about the power of singing together as a community to bring about the positive changes we want in our world. Music, and especially singing, is such an inspiring, unifying way to invite transformation and change. I have a vision of hundreds, thousands of voices lifted together in song as a heartfelt invitation to create a safe world together for us all.”
Vivienne’s words echo those of Katie Noonan who, when speaking of the potentially transformative power of You’re the Voicesaid, “We can sing together for those whose voices have been silenced by fear… I believe that art and music have the power for significant change and that musicians and art have a responsibility to respond to, and reflect on, our society and the things we can do to create change.”
Written by Deb Carveth, online editor for Community Music Victoria with massive thanks to Vivienne Colegrove.
Download the lyrics to White Ribbon here & the mp3 of White Ribbon here
*Archie Roach, Troy Cassar-Daley, Montaigne, Katie Noonan, Kate Ceberano and Isaiah have collaborated to re-record ‘You’re the Voice’ as a charity single to raise funds to support young people who are victims of domestic violence. To purchase the single, click here. (All proceeds will be donated to DVConnect.)
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