Heart Music: Soundscapes of South Africa

Somebody asked me a while ago what my 'heart' music was. 'Heart' music is that which speaks most directly to you, that which comes naturally and evokes a deep emotional response when you hear it. It's the music that you just HAVE to sing along to. It's unique and personal to everyone, and is often deeply connected to what you listened to as a child.

I've been living in the UK for almost five years now, and, I never would have guessed it, but the music of my homeland, South Africa, is more and more important to me. On honeymoon with my husband in the Drakensberg, a Zulu choir sang to us one night, and I couldn't keep the tears back. I visited Trafalgar Square the day after Nelson Mandela died, and it was the African voices singing that really got to me. Something about South African music - folk music in particular - touches me very deeply.

This year, Soundscapes of South Africa is showing at the International Youth Arts Festival (19, 20 July) and the Camden Fringe Festival (3 August).

Soundscapes of South Africa was born out of this increasing love for the music of my childhood, and also I think the yearning that most of us who live away from our home country experience in one way or another. The music of South Africa also speaks volumes to me about the struggle for freedom, and the continuing struggle for the dignity, peace, and prosperity of ALL who live in the country. Music somehow expresses and also transcends the complex history and current reality of South Africa - the sorrow and the joy - the despair in the face of poverty, corruption and crime, but also hope for our land.

Soundscapes of South Africa is for everyone. It is a mixture of folk, classical and jazz-inspired South African music, featuring the evocative sounds of flute, voices in harmony, piano and percussion. Together with poetry and narration, the music becomes a captivating journey which celebrates this astonishing country's diverse cultural heritage, natural beauty and story of political liberation. Soundscapes premièred at the Didsbury Arts Festival 2013 where it was described as 'excellent,' ‘enthralling' and 'beautifully crafted.'

This year, Soundscapes of South Africa is showing at the International Youth Arts Festival (19, 20 July) and the Camden Fringe Festival (3 August). Please see the Soundscapes website for more details. We want to share this amazing music with as many people as possible, so please spread the word too! We are also running give-aways leading up to the July events - see our Facebook Page to enter!

Making Music in the Moment

Prima Volta is an exceptional trio of Guildhall graduates who enjoy successful music careers. Together, Simon Gilliver (flute), Miguel Tantos (trombone) and Drew Balch (viola) do the unthinkable: they perform entirely improvised full-length concerts. Prima Volta’s philosophy is that there are no wrong notes – only unexpected notes. Each unexpected note is an opportunity to develop – a little turn en route which makes music all the more exciting and interesting. Within this supportive context of free experimentation and adventure, musicianship flourishes and possibilities are endless.

In January, I attended Prima Volta’s workshop and concert in Bishop’s Stortford, Hertfordshire, and was drawn into the exhilarating world of improvisation. Our first task was a musical question-and-answer game, in which we responded individually with our instruments, in a given key, to a phrase played by Simon, Miguel or Drew. The trio’s warmth and encouragement put everyone at ease. We later honed our skills in small groups, improvising in multiple parts and even delving into key changes.

Improvising can be scary, as any risk-taking activity is, but it is also hugely rewarding. It requires a willingness to let go, and to work with what emerges rather than striving for instant ‘perfection’. Most of the participants were of high school age, and it was humbling to see the courage with which they expressed their innate musicality. We don’t always realise it, but we all absorb the musical languages we hear, and are capable of creating music within and indeed beyond them.

I wasn’t sure what to expect of Prima Volta’s evening performance. There was not a piece of sheet music to be seen, nor had anything been learnt previously; all the music was spontaneous. I feared it might become a little too off-the-wall, or even too samey after a while. However, the programme was enthralling and showcased a range of styles, from Baroque to jazz to avante-garde.

Breaking down barriers: Prima Volta Ensemble www.primavoltaensemble.com

The concert began with an overture on five notes, followed by a fantasia on two ring-tones provided by the audience.  Already, we were spellbound. The combination of flute, viola and trombone worked surprisingly well, and no instrument was ever overpowered by another.  The trio almost danced as they passed musical ideas back and forth; one rising to prominence, another fading away.

During the course of the evening, we were treated to a two-part invention, variations on Humpty Dumpty, a three-movement sonata, and an extemporisation on Verdi’s Chorus of the Hebrew Slaves.  We also enjoyed an avant-garde piece based the audiences’ rules: Miguel had to hold his trombone the wrong way around, Simon could only use his headjoint, and Drew could only use one string of his viola. A highlight for us participants was performing a unique version of Cinderella which we had developed earlier in the day.

One of my favourite items was a ‘Dance Sweet’. Far from the traditional suite, this consisted of audience suggestions of a Minuet, Habanera, Waltz, a Tarantella, and a Tango which featured the flute playing over a brilliantly percussive trombone and viola foundation. The trio also asked the audience to give them a story to improvise on. With obvious delight, Prima Volta ensured that we could hear a grouchy bear called Bruno (trombone) plodding along in search of honey.  A bee (viola and flute) emerged out of a bee-hive, buzzing frenetically before meeting its untimely end in the bear’s stomach.

I left the concert venue that night energised by the consummate musicality and breath-taking moments of risk that I had witnessed. I knew that I would never hear that particular music performed again, and, actually, I was strangely grateful – it made the experience all the more precious.

Prima Volta is holding another workshop and concert on 31 May 2014 at St Giles Church, Camberwell (London). I highly recommend going! The concert will only be £3, and free for under-16s. 

For more information, see:

Facebook

Music at St Giles

Prima Volta's website

Blackberry Bushes: What’s around the corner?

Blackberry picking is addictive. You set off merrily with an empty plastic container, spy some tantalisingly good-looking blackberries peering out from under some leaves, make a bee-line for them, and start picking. Close, up, they might be a bit shrivelled, rotten, or not quite ripe. They could be far into the bush, past some nasty brambles. You’ve only just started, but, compulsively, once you see them, you HAVE to pick them. You can’t just walk past them… There might not be another bush!

Last night I found myself mentally paralysed over a decision about whether or not to take a gig. I find myself in this horrible state fairly often when I’m offered a performing opportunity that clashes with something else.  In this case, it was a paid gig with a choral society in Manchester.

As young musicians, we’re often taught that we HAVE to take absolutely every gig that comes our way. Because we know (we know SO well) that work is scarce, competition is fierce, and that every time we say no, we’re damaging our future careers. We give so much of our time to honing our skills, it doesn’t make any sense to say no to an opportunity to perform. Right?

Well, I argued it out with myseIf:

On the one hand, “I need to take this. I need the experience. I need the money. I need another orchestra on my CV. If I say no, I might not get the next professional audition I apply for. I can take the 8:00 coach from London and the 23:45pm coach back and I’ll be absolutely exhausted, but I’ll save money and it will just be one day of my life. If I say no, I might not be asked again.”

On the other hand, “Actually, transport expenses will cancel out the fee. It’s not a rewarding piece of repertoire; I don’t feel inspired to play it, and it won’t challenge me. It will set my energy levels back and rob me of time to practice and develop other opportunities. Also, I had planned to spend this weekend celebrating my husband’s birthday.”

So, after agonising for about two hours (I kid you not) and searching online for the cheapest transport options out there (shout out to megabus.com!), my answer was NO.

As I pressed send on my email, I thought, 'Please, please, let there be another opportunity for me - a better blackberry bush around the corner!'

In a lovely case of synchronicity, I checked my email at 6:30 this morning, and somebody has offered me work performing in care homes local to me. YES! This is a way better blackberry bush, and I’ve been looking for one like this for ages! This gig excites me, is local to me, is in line with my beliefs about using music to serve others, and there’s even some financial profit involved.

The truth is… there generally is another blackberry bush around the corner. Not always. But usually, if you keep on walking. And if your lunch box is full of puny hard blackberries, you won’t have space for the lush, ripe ones just a few steps down the road! You could even turn around, thinking you’ve accomplished your goal, without ever knowing what you’re missing.

Of course we need to take good opportunities that are offered to us – that will build us up and give us good experience. But let’s not undervalue ourselves! I think that one of the best skills we can develop is to know when to accept and when to say no.  We need to be able to say no with absolute confidence that we are not damaging our careers, but protecting them. Our time is precious. For me, it’s also about cultivating my faith that God is good, and provides for all of us.

Blackberry picking isn’t easy. I’ve been stung by wasps, scratched by brambles, and got my fingers covered in mouldy blue liquid. But for the chance to taste those big, purple, juicy, sweet ones… mmmm….it’s so worth it!

                                                                                                                                                                   

I have to give my husband, Richard, credit for this blog. He introduced me to the wondrous activity that is blackberry picking, and he came up with the blackberry bush analogy to help me to make my decision. The photo is also his!

Making post-holiday practice fun

Picking up your instrument after a break can be the most awfully depressing thing in the world.

These are my tips for making the first 5 – 7 days of practice after a break a bit (hopefully a lot!) more bearable:

1) Take an intentional break.

This Christmas, I took my flute with me for a five-day holiday, vaguely intending to ‘keep my muscles in shape’ with a bit of practice each day. This was a silly idea. I picked it up once, to play ‘Rudolph the Red-Nosed Reindeer’, and felt that I’d let myself down every day I didn’t play.

Leave the thing at home and have a proper holiday! I say this for two good reasons:

- It will reduce guilt

- It will increase your anticipation for when you can play again.

We often want what we can’t have, and you might well start itching to play, which is a great attitude to have when you do pick up your instrument again.

2)     Don’t expect too much, too soon.

Don’t put too much pressure on yourself.  Chances are you won’t sound quite ‘yourself’ for a few days, but you will sound better MUCH more quickly than you think you will.

Make a deal with yourself that you’ll practise for a certain amount of time each day (perhaps only half an hour at first), and then be proud of yourself when you achieve that.

3)     Play simple melodies that you enjoy.

I recommend playing easy tunes that help you to create music when your technique isn’t in tip-top shape.

They’re rewarding, but also a challenge to play well, so they get you into that all important ‘zone’ or ‘flow’, from which you can tackle more difficult repertoire.

You can extend the exercise by playing the tunes in different keys, which is great for:

- mental agility

- aural training

- getting your fingers working, and

- improving tone across the instrumental range.

I recommend this great mini fake book, packed full of popular tunes to enjoy. 

4)     Play along and improvise to a backing track.

I have had so much fun on YouTube lately playing along to jazz standards and pop songs that I enjoy.

There are many good reasons to do this!

1)   It’s FUN, and when we have fun, we learn better.

2)   It’s DIFFERENT – you may never want to be a jazz musician, or improvise in public, so there’s no pressure - but doing something out of your comfort zone is always refreshing.

3)   It stops you from being overly critical. Your brain has to combine so many skills that your self-critical voice doesn't have much time, if any, to interfere.

4)   The backing music connects you to a structure of rhythm, harmony and layers of sound that you simply don’t have when playing by yourself.

5)   Your instinctive musicianship will kick in and you will find that your tone, breathing, and phrasing automatically improve.

Here are some of my favourite clips to play along to:

When I Fall in Love

My Way

Somewhere Over the Rainbow

A minor chord progression

Happy practising!