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!
There’s a new drop-in choir in Tecoma, that’s all about feeling good, celebrating resilience and being grateful for Community, our safety and the Environment. During the time when Singing Leader and Community Music Activist Barb McFarlane was planning to form Tecoma Peace Choir, Donald Trump was elected to the stage and the ensuing political pantomime has done nothing to reassure anyone about the state of the world:
“These are turbulent times and people want a bit of escape, they want to go to a zone where none of that’s even mentioned, they want to believe that all could be well because we’re singing about it being well…”
The desire underpinning and driving Barb’s vision for the Tecoma Peace Choir is to promote affirmation of the positive things in life. It’s about making the world a better place through positive celebration of self rather than singing about specific causes. To facilitate this, Barb writes simple chants to affirm the positive things in life. Singing simple and meaningful ‘mantras’ in English that give out messages of positivity:
“We had a really big storm here last year and there was a lot of damage; trees were down and the power went out, businesses flooded. While there was lots of damage and danger, I recognised that we had all the help we needed to restore power, fix roads and buildings and that people are very well looked after in situations like this in our country. In gratitude, I had one line running through my head “I am safe and I am well’ and it turned into this: ‘We are safe and well, We are warm and dry.’ “
I worked it into a boppy little 8 part ‘thing’ on garage band and taught it at choir at the next opportunity. It’s a reminder that mostly, in this lucky country, we are all fine, we’re all alive, safe and walking around, and that we could be grateful for that.
A few other chants penned by Barb are:
“ I’ve been forged in the fire of life and I am strong…..woah!”
“ Deep river of love X3 Carry me, carry me Deep river of love”
“ I remember I remember I remember who I am”
Tecoma Peace Choir is inclusive of people with all abilities and highly accessible in terms of material. It operates on a drop in or ‘low commitment’ basis where people can pop along and have a sing, even if this happens only once every few weeks. As the perceived pace of our lives picks up, the model of Barb’s new choir offers people with busy lives the chance to stop everything and slow right down into a different space for a little while: “It’s inclusive of people who work really long hours, work shift work, or who just have a lot going on in their lives. It provides an opportunity to sing without any commitment or guilt!”
Each week there is toning, improv, sound baths, and percussion jamming. Songs are chosen with a focus on peace, hope, resilience, comfort and fun and Barb makes sure there is a good ‘play’ component to each session, too. In compiling the program for a group without not knowing exactly who will be coming along, Barb draws up a Plan A and B. ‘I’ll write a song name down, add an alternative and I know at what point during the session I’ll change my mind.”
Barb is also planning to incorporate some yoga and breathing practice into the structure with a view to encouraging people to bring a pillow and a blanket as part of the process of reaching peace.
“The emphasis is on feeling good. In modern times people are so stressed and really need a space for relaxation.”
Barb has been incorporating yoga into singing sessions as she’s studying and will soon be a Dru Yoga student teacher. There are many benefits – physical, mental and emotional from both singing and yoga and combining them works beautifully.
“I’ve been adding sounds to movement and using sound and singing as a relaxation tool for many years and that feels pretty good.”
Tecoma has a rich and very inclusive community outreach program emanating from the Tecoma Uniting Church, including a Community garden and a Food is Free initiative, where people share their garden produce or store cupboard contents. This provides a source of food for people who need it and is run along the lines of take what you want, leave what you don’t and share what you have with love.
The Hills Food Frontier, a group dedicated to promoting healthy eating and growing is also based there. Barb brings gardenny songs to some of their events and working bees and now Tecoma Peace Choir’s home is based in the Uniting Church Chapel. “There are so many things already going on there, it’s a very happening sort of place.” All of the activities grow from the sense of sharing and connection evident within the community made famous when it took on McDonalds, campaigning against the fast food giant and holding off the development of a restaurant in the town for three years.
Above all, Barb hopes the Peace Choir will provide ‘a bit of a service’ to people who want to sing, but can’t commit to a performance choir due to work or life.
“I imagine as things go on that I’ll see the same things happen as in other groups… watching the friendships develop is always lovely, especially for the single people who wish to be with other people in a meaningful way”
Barb also hopes to see some blokes dropping in to sing with Tecoma Peace Choir: “I would love to think that blokes feel comfortable to come and have a sing too. It’s great having the full range of human tones singing together.”
Article by Deb Carveth with Barb McFarlane.
Tecoma Peace Choir meets Tuesdays during school terms from 7 – 8.30pm at Tecoma Uniting Church,1566 Burwood Highway, Tecoma. For information, contact Barb McFarlane: 0407 548 165
Now and again an opportunity comes along that speaks to the heart.
In January 2014, I met Terry White at the Turramurra Folk Music Camp. I was there in my capacity as a storyteller, having been invited to run some workshops.
Most likely I was on a riff about the role storytellers might play in connecting folks to Australian landscape and the places they called ‘home’. I carry this niggling idea that it’s actually really important to take some responsibility for the patch of earth that we walk, and this requires a little ‘land literacy’.
It seems that Terry had me spotted as a kindred spirit, and by the end of the weekend, I had been woven into his vision of bringing scientists, traditional land custodians and songwriters together, the purpose being: to create new songs to celebrate old wisdom and knowledge about Country, the kind of songs that can be arranged for community and children’s choirs to sing, celebrate and learn about land.
What followed was over two years of meetings where partnerships were developed, grant applications wrestled and the idea was given a name, ‘Singing from Country’.
The big vision of ‘Singing from Country’ is to divide Victoria into about seven bioregions and commission songs that explore these. However we thought it best to start with a pilot project with four songwriters and focusing on the Central Victorian Goldfields area. The pilot was launched as a ‘festival within a festival’ at the Maldon Folk Festival this year. This experience proved invaluable – giving the committee a chance to navigate the difficulties and cheer when things go to plan.
At Maldon we opened the process to the public with a day of presentations from local naturalists, Geoff Park,Andrew Skeoch, and Rebecca Phillips who spoke about the Dja Dja Wurrung language reclamation project and the protocols around use of this language. Uncle Rick Nelson performed a Welcome to Country ceremony, and a group of children from The Meeting Place (Nalderun) sang the Loddon River Song, led by Kerrie Patmore.
In the evening the four selected songwriters ‘unveiled’ the work they had created in response to the commission to write two new songs each.
After so much thinking and dreaming and so many, many meetings, I was deeply moved by the concert, the vulnerability of the writers who were revealing (in some cases) works in progress, and songs never before aired in public. I was brought to tears by how deeply and respectfully they had explored the concept. Local a cappella choir, ‘The Chat-Warblers’ led by Jane Thompson rose to their feet and sang at the top of their lungs, exemplifying the power of singing about place.
Spring in Victoria has been fabulously wet and the rain has brought the country alive. Swathes of wildflowers have burst through the ground and the birds are singing out loud, building nests and raising chicks. Carl Panuzzo’s song evoking the dance one does when walking through the bush in spring elicited cheers of recognition from the audience. For me the wonder of Terry White’s vision is the willingness of people to come together, share what they know and add to the body of song that will teach and connect people to place, strengthening a sense of responsibility.
I feel gratitude to the four songwriters who committed to the ‘Singing from Country’ pilot, Neil Murray, Kavisha Mazzella, Eva Popov and Carl Panuzzo. I give thanks to the artists who demonstrated their belief in us and assisted our grant application with letters of support, and thanks too, to project manager David Juriansz, for pulling the threads together.
The ‘Singing from Country’ pilot is led by Community Music Victoria in collaboration with VACL (Victorian Aboriginal Corporation for Languages) and Connecting Country, and has received grant funding from the Regional Arts Fund.
I’m looking forward to the next phase of the project as a member of the steering group, and hanging out in the meeting rooms at Ross House with Bruce Watson (chair), James Rigby, Oli Hinton, Paul Paton and of course, Terry.
Jackie Kerin is an author of children’s books and storyteller working in the oral tradition. She is the current president of Storytelling Australia Victoria.
Picture the scene: a large group of leather clad bikers on a pit stop; add a healthy dose of community musicians into the mix, and what do you get? Broadway, a street through the small, regional town of Dunolly, last Saturday afternoon.
The latest addition to the CMVic StreetSounds project shook its collective feathers and stepped blinking into the light at 2pm last Saturday as the new and perfectly formed Dunolly Street Band. Emerging from the Ministry of Fun after less than two hours playing together, the fledgling band wasted no time in taking their newly learnt tunes into the street, where the bikers proved an enthusiastic audience for the horns, ukes, flute and accordion players.
Anna and Phil Ashton who organised the afternoon in collaboration with StreetSounds project manager, Lyndal Chambers, declared it it loads of fun and a total success.
“It was nicely low key and I don’t think anybody was scared!”
Anna was inspired to start a Street band in Dunolly after hearing about the opportunities offered by other bands emerging from the project, particularly the Kyneton Street Band, led by Andy Rigby, but still more than an hour’s drive from Dunolly. For Anna and Phil,
“It didn’t make sense to be part of a street band anywhere else.”
The last community brass band in the town finished up about fifteen years ago. A Ukulele group formed a couple of months ago, but for players of more honky and stronger sounding instruments, an opportunity to gather regularly has been a long time coming. Once she knew support from Lyndal Chambers and Community Music Victoria’s StreetSounds* project would support her vision of a Street Band for Dunolly, Anna felt the idea was too good to pass up and set the wheels in motion, posting publicity within the community and on Facebook. A street band is a fantastic way to bring together local people from all age groups and backgrounds, playing different types of instruments in different ways; a wonderful smorgasbord of sounds and skills.
As the promotional poster for Dunolly Street Band promised, ‘absolutely no experience needed, just come and play for fun.’
Anna admits she felt a bit nervous about numbers ahead of the gathering on Saturday. Strat (Brian Strating) and Lyndal were travelling up from Gippsland to help facilitate and Anna wanted them to have a good ole group to lead when they arrived. She needn’t have worried. Keen community musos travelled from the other side of Newstead and Bendigo to join local Dunollians, including a musician fairly new to the area which is what it’s all about, after all. Anna knows other people are out there and keen for the band to happen, who simply couldn’t make it along last Saturday.
Following this hugely successful inaugural get together, there are plans to carry the band forwards into a bright (and brassy) future, and working together with Phil’s uke group. Anna is also hoping to encourage local school kids and their families to try it, too.
By the time the StreetSounds festival rolls around next May, it sounds like there will be a thriving Dunolly contingent out in the throng on the streets of Geelong.
And what happened to the bikers? They gave the new Dunolly Street Band an encouraging round of applause before heading off through the Central Goldfields, chasing the dissipating, freed-up notes of newly learnt tunes as they dispersed into the atmosphere.
Below is a video clip of the band in action, out on Broadway. (Thanks to band member Judy Meldrum for the footage)
Article by Deb Carveth with Anna Ashton
Join the Dunolly Street Band! The band is in the process of arranging its next rehearsal. To be a part of it, contact Anna and Phil: 0490 077 902
*StreetSounds is a major project that resulted from the Victoria Makes Music Program and started in January 2015 with the help of funding from the Helen Macpherson Smith Trust and the R E Ross Trust. The project aims to create at least 10 new street bands in Victoria and will run until Dec 2017 – find out more about StreetSounds here.
Tides of Welcome Choir has been celebrating diversity and harmony through a shared passion for singing, and has just blown out the candles on its thirteenth anniversary cake. The choir comprises locals from Queenscliff on the Bellarine Peninsula in Victoria, who enjoy the experience of singing together and creating soulful harmonies under the direction of their dedicated leader, singer songwriter, Andrea Robertson.
Based in Queenscliffe Neighbourhood House, Tides of Welcome has never struggled with numbers enjoying a consistently strong turn out and cohesion from day one, back when it was lead by Sarah Carroll and known as The Ripchords.
Carolyn Williams is one of the founding members, and has been heavily involved in the development and evolution of the choir from its outset, participating in the fun stuff at the front end, and overseeing the administrative nuts and bolts behind the scenes:
“Myself and a few other people were keen to start up a choir and had been for some time but we knew we had to find the right person to lead it, somebody charismatic who would bring people along with her or him. And we found Sarah Carroll who at that stage was in the Melbourne based country band, Git, and had recently moved down to the Bellarine Peninsula. We approached her and she was very keen, so we advertised and on the first night we had about 40 people. Given that Queenscliff is a small population this was a real coup!”
So was it something in the sea air, or was there simply a gap in the singing market?
Carolyn believes it was Sarah’s reputation that drew singers in and the hard to resist attraction of what she had done previously in her own musical right. The group found a home in the senior citizens centre in Queenscliff, changed their name to Tides of Welcome Soul and Gospel Choir, and remained singing with Sarah, for the next 7 years.
One clear problem emerged extremely early on, during the group’s first year, and stemmed from an ebb and flow in the number of people attending. “At times there were 20 people who’d turn up, while on other nights there’d be 40. Sometimes there would be an entirely different group from one week to the next based on who came to sing and who stayed at home. “
This caused a few challenges around the practicality of teaching songs to a group whose dynamic would shift and change, and where people were remembering the repertoire in varying ways and to differing extents.
The choir committee decided to nip the problem in the bud by introducing termly rates, and this immediately fixed the problem. “Once people weren’t paying on a weekly basis it really sorted things out, reiterated everyone’s commitment to the group and regardless of whether you were on holiday half way through term or whatever, you were in it for the duration.”
By 2004, the choir was performance ready and scored themselves a spot at the Queenscliff music festival. Their debut turned into an annual place on the bill, and offers incentive and focus to the singers, and a shape to the year.
A strong set of values underpin the group. As an inclusive community choir, there are no auditions and everyone’s welcome. Tides of Welcome have had a range of experiences over the years including recording five CDs and the production process has been so tight that every voice counts. There are people within the choir who are happy to do solo spots while others can think of nothing worse than being out there by themselves. If a person joins the group who is less confident in their ability to hit the notes, they’ll be put alongside stronger, more confident singers until they find their groove.
So what’s the secret in the success and longevity of the choir? Carolyn believes that comes down to a combination of factors such as the willingness of individual choir members to support the group. For example, they’re fortunate to have a guy who makes time to record all the songs and put them on Soundcloud so that everyone can rehearse in between choir practise, and who has also prepared the website, a fantastic resource richly populated with photos of the group in action, songs and lyrics.
Another huge bonus is the auspicing received by Tides of Welcome from Queenscliffe Neighbourhood House. Not only does this assure them a rehearsal space, it means the administrative and financial needs of the group are all taken care of by the House; the emails which need sending around; the printing of the lyrics, any photocopying; the list of admin and back house tasks which are necessary to underpin all community music groups, are entirely taken care of. And the cherry on the cake is that Carolyn is not only a founding member of the choir, she is the Coordinator for the neighbourhood house, too.
“We have always had the wider community as our heart and the Queenscliffe Neighbourhood House as our heart beat.”
A small Tides of Welcome executive committee meets regularly to take stock, review guidelines and ensure things are on track for everyone, while the final choice about material sung by the group, is made by the leader. During their incarnation as a soul and gospel choir. Sarah Carroll sourced some amazing and rare gospel songs for the group to sing, “what she’d call white gospel from the southern states of America.” Tiffany Eckhardt who went on to direct the choir later on, wrote songs specifically for the choir which was also wonderful, and choir members are always welcome to contribute ideas for material, at any point in time.
Tides of Welcome have benefited from three sessions of professional development over the course of the past 13 years, including a ‘tune up’ from Jonathan Welch, which Carolyn feels was extremely valuable. They continue to be led by experienced leaders, rich in musical background and experienced in teaching a variety of age groups and abilities. Local musician and educator Andrea Robertson is the current director.
“Andrea is a singer songwriter based in Ocean Grove… whilst new to directing a choir like Tides of Welcome, she is an experienced singing and piano teacher and has worked with children’s choirs and church groups. We were very fortunate to have Andrea join us. She’s embraced the role of Director and continues to teach and inspire us to create our soulful sound layered with rich harmonies. She’s also expanded our repertoire to include many songs that she has written specifically for us.”
Thirteen years constitutes many, many weeks of singing together and a handful of the original singers involved since the start are still coming back for more.
While people come and go, for Carolyn, it’s the camaraderie of being in a group and just the fun of singing together that keeps her engaged.
“There is something undeniably powerful about the experience of singing together where the feelings of warmth, joy and harmony are enjoyed and shared…people will often say “I’ve had a really hard day and I didn’t want to come tonight but I forced myself and I feel so much better.”
Join Tides of Welcome in concert to celebrate their 13 year anniversary on Wednesday September 14th,from 7.30pm at the Uniting Church in Queenscliff or join them at 6pm for a community meal (by donation). For tickets and further information, click here.
‘If I can reduce my living expenses significantly that’s as good as making money.’ says Werribee singing leader, Steph Payne, who recently established ReciproVocal, a Barter Choir where instead of paying a termly fee to join, participants are invited to share and exchange skills and trades and even sing for their supper. (Steph dreams of dentists, desperate to sing, and who wouldn’t?)
At ReciproVocal, your money won’t get you anywhere! Steph’s vision is for the group to experience not only the bond of solidarity and support for each other common between members in community singing and music groups, but to educate themselves in ways of bartering and skills exchange that will extend out to enrich and sustain the wider community in unforeseen ways.
The idea for ReciproVocal germinated from a seed sewn at an inspirational workshop run by community facilitator, Debby Maziarz, at the Wyndam Arts Incubator, in Werribee. The workshop focussed on bartering and the establishment of mutually beneficial connections between artists and businesses, an idea that resonated heavily with Steph, inspiring a steep and positive learning curve. While she is in no doubt about the sense in trying this ‘revolutionary-retro’ approach, Steph acknowledges that she, herself, had to learn a lot of lessons in the lead up to the launch of the singing group, and that other people may also need time to come around to the concept:
“There needs to be a huge amount of education around bartering and trading. People can’t see how bartering fits into their world because they’re used to a money based currency.”
Steph has also noticed that even amongst her existing network of singers and ukulele players all keen to continue working with her, there is often the initial response of ‘but I don’t have anything to trade.’
“But they do! We are all so used to being valued monetarily and comparing ourselves based on what we have. People just don’t realise they have loads of things to trade and that you’ve got to look at it more creatively.”
To encourage new participants to dip a toe in the ReciproVocal waters, Steph is willing to accept money from her singers to begin with, gradually introducing the barter model as the group grows and develops its collective understanding of a non-monetary based currency.
“We’re all fixated by the concept of money. On the one hand it’s a leveller because everything has a monetary value, it’s very open and clear and you can see what you’re buying into. But on a whole lot of other levels it’s incredibly unfair and messed up. Money’s convenient, but it’s a real trap and it only gives things one value, when certain things hold much more.”
A significant piece of the sociological scaffolding required to support the bartering model, is trust. Trust in the validity of the concept by the participants is crucial, and belief by Steph that the services and goods offered will be forthcoming in the way they are promised is important too. A clear, shared understanding of the need for mutual boundaries between the definitions of professional and personal space between members of the group is equally important. This line in the sand is necessary for the sake of all participants because the variety of tendered tasks require varying degrees of access to areas of each other’s lives.
And while response to the idea of ReciproVocal has been hugely positive Steph believes it will be a slow burn to reach a sustainable level of interest, and is prepared for this to take time. She’s excited by an awareness that the more people she can engage and educate about bartering, the more likely it is that there really can be a functioning level of trading going on, with the possibility of a real alternative economy starting in Werribee.
To help people get their head around the type of things they can bring to the table, there’s an area on the ReciproVocal website which offers examples of what 8 weeks in a choir is worth. Steph has supplied this as a guide to allow people to work out for themselves the equivalent ‘value’ of what they might like to offer.
Again, a sliding scale of value applies because the value is not just monetary. It’s not as simple as being a term’s worth of singing valued at $150. Singers might offer a service which will save Steph time, or produce something she needs or simply just wants, or be able to arrange a lead into further work for her. The option of third party trade also exists. For example, you may not be willing to mow Steph’s lawn but you might know somebody who is for whom you can babysit, who will then mow the lawn and the chain of exchange grows longer and more embedded.
Steph is always looking to enrich and develop communities through the groups that she runs. It’s a strong part of what drives her. In the past she’s run a singing group in a pub because of the immediate social set up, and she’s hopeful that Reciprivocal will grow to enrich the community in a myriad of ways. Her hope is that once people are engaged in the trading and bartering concept, they will extend those terms and values of collaborative, sustainable living to each other, and eventually to people and life situations beyond the singing group:
“There’s a great level of satisfaction in getting your needs met in a way that’s not financial. As a person with something to offer, as a product as a service, any of us have a choice in how we exchange that. We have our needs, we have our resources, it’s about how to match those two things up. “
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.
I recently attended the 2016 CMVic Music Camp at Grantville Lodge. I had never attended a CMVic event before and was somewhat trepidatious. I do not play a musical instrument myself, but I do sing in a choir, and I love singing, so was keen to take part in the singing workshops during the weekend in particular.
On the Sunday morning I took part in the Sharing Jewish Songs Workshop. From the minute our facilitator Sarah started talking to us about Jewish and Yiddish Music, about how (according to the strict Jewish faith) women are not really supposed to sing the songs we were about to learn, and about how we were about to make a song together consisting of only “ay di-di dies” I think we were all hooked. Sarah herself had the most beautiful singing voice, and encouraged us to “put the cry in our voice” in the way that she had been. It worked, we sounded good!
Within what seemed only a few minutes we had all engaged in a very emotional moment together, singing what sounded like a heart-breaking song that lifted all of our souls.
I know that may sound extreme, but that is how it felt at the time. We must have done something right, as Sarah herself had to wipe away a tear and told us we sounded beautiful when we had finished.
Sarah then went on to teach us two other Jewish songs, this time with lyrics, which she explained to us from a Jewish perspective, with an enjoyable sprinkling of humour thrown in. Again, the group very quickly seemed to be able to pick up the nuances and tunes of the songs, and before we knew it we were all singing in a circle, with our eyes shut, and “putting the cry in our voice” in a way we never knew we had in us. This was aided by Sarah’s youngest daughter who had joined us (who I’d had fun learning to play the marimba with the day before), adding the little harmony lines to accompany the songs. We then learned those too.
I enjoyed my whole weekend at Grantville, but this workshop was the one I didn’t want to end. I don’t think I was alone. I had a sneaky suspicion beforehand that I was going to love this workshop, but I had no idea how much.
I have just returned to England where I live and am now thinking about looking into if there is a local Jewish singing group in my area. I never saw that coming. I think Community Music Victoria’s weekend hit the mark in ways I never expected.
By Sarah Jackson
Listen to a recording of the beautiful song Adio Querida from Sarah’s session, here.
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
The last rays of a Tuesday evening sun can often be glimpsed glinting off the brass horns, drums and other instruments of the Sunshine Street Band by the runners and dog walkers soaking up day’s end on Albion’s oval.
Every second week, the band throw open the doors of Albion Community House to allow strains of ska, jazz, whatever they’re currently playing to escape into the evening air and across this little patch of Melbourne’s West.
Peter Hinton, band founder and self professed freewheeling trombone player, sees the Sunshine Band as a ‘perfect gateway into playing in a group where different instruments are represented.’ Players of any acoustic instrument are welcome, with age and a lack of experience no barriers to joining. Some people follow dots, others play by ear.
As one of the inaugural bands in the StreetSounds project run by Community Music Victoria, the Sunshine Street Band is a real collective and has evolved to run as a collaborative model after a large dose of input, encouragement and mentoring in the early stages, from Lyndal Chambers, guest tutor Robert Jackson, Brian Strating and Katie Rose Fowler, who still plays with the band.
Peter considers the band an effective way to combat social isolation and improve connectedness between like minded people living in and around Sunshine: ‘It’s a very healthy thing to have a connection with your community..’
Hinton was the catalyst in getting the band started because he was keen to find somewhere for himself and his family – specifically his teenage daughter, to play music together with others and because there was ‘genuinely nothing else like that around where you could play music for the joy of it, where auditions and an expected level of experience didn’t apply..’
With some musical experience playing guitar with friends who then moved across town, Peter was keen for himself and his daughter to have the freedom to try new instruments and keep music going as an ‘outside of school type of thing’. After a spot of googling, and deciding that a local community band open to beginners would be the most rewarding thing to be part of, Peter discovered Community Music Victoria and picked up the phone.
His timing was perfect. Funding for StreetSounds had just been granted by the Helen MacPherson Smith Trust and the RE Ross Trust, and Lyndal Chambers was in place as project manager. Peter’s passion and palpable conviction of the need for a community band in Sunshine were the perfect sparks to ignite the project, and the Sunshine Street band, and the project, were launched.
‘Without Lyndal, this wouldn’t have started… she had all the contacts… Together with Strat she helped set the culture in the first couple of sessions .. they made it clear that you don’t have to be professional to be in a band, there were no wrong notes! It was all motivation and encouragement. And she found us the room too. (thanks to Brimbank Council).’
The band is evolving into a real collective in the way they choose what to play and the way they play it. ‘Katie knows which instruments play in which key which has really helped cos you need somebody like that… and we’ve found there are heaps of good reasons for all sharing the leader role, everyone has a say and when they have a say they feel more involved and connected. It also feels more sustainable and means that all the pressure isn’t just on one person.’
As the numbers increase, Peter says people are being drawn to the community vibe of the band. ‘There are some strong players coming in now from Sunshine West way, and you can tell from the way they play they like their music.’
As a band open to players of all abilities and musical tastes, Peter believes the key to participants getting the most enjoyment out of belonging to the Sunshine Street Band is to be open to trying different styles of music, be supportive of each other and ‘don’t expect too much, too fast… you have to make the commitment.’
From a personal perspective, Peter says that ‘being in the band and playing a brass instrument has opened up a new world for me… I’ve never done something like this before… It’s loosened up some inhibitions in me, you can feel constrained trying to play by the book and I was feeling musically detached, playing a bit of guitar but not socially, so being in the band is really important.’
The door to the Albion Community Centre is open for the duration of the band’s rehearsals every second Tuesday, and newcomers from absolute beginners to experienced players are always welcome: Drop in and try it out!
The Sunshine Street Band: Meets fortnightly at Albion Community House, 61a Selwyn St, Albion, VIC 3020 For dates and further information, go to www.cmvic.org.au
Article by Deb Carveth with Peter Hinton; feature photograph courtesy of Angela Casella