THE MAKING MUSIC MEMBERSHIP MAGAZINE | SUMMER ISSUE 2020
Musical connections MUSIC FOR MENTAL HEALTH The importance of music groups during COVID-19 lockdown and beyond • PAGES 19
ADULT MUSIC LEARNING The value of music learning for over-18s • PAGE 8
WHY NOT JOIN A CHORAL SOCIETY? Our research into the barrriers to joining • PAGE 13
e m e r Sha your h wit up! gro
COVID-19 impact survey Support and resources Adopt a Music Creator
Where will your ensemble be next summer? Get away from it all…perform…have fun
We are committed to helping you maintain your students’ education in the face of the COVID-19 pandemic. For schools impacted by COVID-19 closures, we are offering free access until June 30, 2020. Visit bit.ly/COVIDSM
Finale notation software is also available for an extended 60 day free trial. Visit bit.ly/COVIDFIN
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AVICII
NOW FOR CHOIRS
Hans Vainikainen (Arr.)*
“Hey Brother”, “Levels” and “Without you” are now available for six-part mixed (SMATBarB) or female choir (SSSAAA).
Hey Brother female: BA 11394 ◊ mixed: BA 11395
The arrangements offer a wide variety of vocal and choral possibilities and attention has been paid that all parts are of the same musical standard.
Levels female: BA 11396 ◊ mixed: BA 11397
Without You female: BA 11398 ◊ mixed: BA 11399
* Hans Vainikainen heads Stockholm’s Katarinakörerna with more than 500 singers in various combinations.
Hans Vainikainen arranged three of AVICII’s best songs for classical choirs, intending them to be encore pieces.
Bärenreiter Bärenreiter Ltd., Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX, UK Tel. 01279 828930, info@barenreiter.co.uk, www.barenreiter.co.uk
Whether homophonic or unisono, they artfully intertwine from one passage to the next. However, for all their sophistication the arrangements remain manageable and easy to learn, displaying the typical groove of each AVICII song within a multi-layered texture.
CONTENTS & EDITORIAL
SUPPORTING AND CHAMPIONING LEISURE ISURE--TIME MUSIC
Welcome
CONTENTS NEWS
5 The bigger picture 6 Around the UK
There’s only one story in town, and for the first time in four years it’s not Brexit.
FEATURES
8 13 19 20
Adult music learning Why not join a choral society? Music for mental health A digital renaissance
As I write, lockdown due to the COVID-19 pandemic has been extended until May and by the time you read this, another extension or an easing will have been announced. Either way, it is clear the impact of this crisis on music groups will be far-reaching.
FROM OUR TEAM
14 Membership and services 17 Projects 26 Making Music people
Our survey (see p.5) helped us understand where to focus our support for you. The Making Music team, from their homes, have been working flat out to provide the resources you are looking for: practical support, inspiration and toolkits to remain connected socially and musically, and help with planning what the future may look like.
MEMBERS
11 21 23 24 25
Blow your trumpet Exploring music Drop the mic Corporate members Readers’ page
I hope you will join me in a big THANK YOU to the Making Music team who have risen to these new challenges with their usual enthusiasm and professionalism.
If you have suggestions or would like to contribute to Highnotes, please contact the Commissioning Editor, Natalie Joanes, on 020 7939 6041 or editor@makingmusic.org.uk
And I want to encourage all of you to give yourselves a BIG ROUND OF APPLAUSE. Member groups have been addressing this unprecedented situation with impressive resourcefulness and cheerfully experimented with unfamiliar – and not always satisfactory – online tools.
The copy deadline for Highnotes Autumn 2020 (published 1 September) is 29 June Any views or opinions expressed by external contributors may not necessarily represent those of Making Music Highnotes is the official journal of Making Music, The National Federation of Music Societies, 8 Holyrood Street, London SE1 2EL 020 7939 6030 info@makingmusic.org.uk www.makingmusic.org.uk
May you all stay healthy and: keeeeeep making music!
A company limited by guarantee, registered in England and Wales no. 308632 Registered charity in England and Wales no. 249219 and in Scotland no. SC038849
Barbara Eifler
If you need us to make any of this information more accessible, please get in touch
CHIEF EXECUTIVE, MAKING MUSIC Email: barbara@makingmusic.org.uk Twitter: @BarbaraEifler
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SUPPORTING AND CHAMPIONING LEISURE ISURE--TIME MUSIC
Cover photo: Crystal Palace Progress Band rehearse online during lockdown
Summer 2020 HIGHNOTES
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Volume 5 of the acclaimed resource for classroom teachers, specialist music teachers, and children’s choir directors is out now!
Packed full of enjoyable songs and fun vocal activities designed to equip and enable children to sing to their full potential, and presented in clear, progressive steps, with invaluable teaching notes suitable for teachers of all musical abilities.
Demonstration and backing audio tracks are provided for teaching and performance.
www.boosey.com/singing sherlock
Credit: RNCM Photographic Society
TILLETT DEBUT 2020
DOMINIC DEGAVINO piano
CONNAUGHT BRASS brass quintet
These artists were selected to join the TILLETT DEBUT programme in 2020. The scheme helps young musicians in the early stages of their careers to find performance opportunities. As well as offering them a London platform it encourages concert promoters around the UK to engage the artists for recital and concerto opportunities with the Tillett Trust offering sponsorship towards their fees.
Let us cross the boring stuff off your to-do list. We’re here for you! Call us Monday to Friday, 10am5pm, chat with us on our website or email us 24-7 020 7939 6030 | info@makingmusic.org.uk www.makingmusic.org.uk
TILLETT DEBUT PRESENTATION CONCERT Monday 23 November 2020 at 7.30 pm For more information contact: 0845 070 4969 | info@thetilletttrust.org.uk
www.thetilletttrust.org.uk
NEWS
THE BIGGER PICTURE @makingmusicuk
Coronavirus impact Threat and opportunity
Over only three days in March, 883 (24%) Making Music members responded to our survey about the effects of the pandemic on music groups across the UK.
income makes a group unsustainable in the long run. Social connections
Even though this was before the lockdown, 90% of respondents had had to cancel one or more events and almost all had already cancelled their regular weekly activity.
The survey included hundreds of comments, many of them very emotional, about the social value of groups for their members. The dread of isolation from their musical friends and family quickly emerged as a dominant theme after activity ceased.
Financial repercussions
Making Music support
Members’ first concern was to minimise their losses on events, both imminent and further down the line. Often venues and other suppliers were understanding, and many events have instead been postponed, saving having to disburse cash, including on ticket refunds. The largest proportion of cancellation losses (55%) related to payments to professionals, mostly because members chose to continue (beyond contractual obligation) to pay the many musicians they engage.
We are really grateful to all members who took the time to complete the survey, especially at a time when they were no doubt under pressure in relation to their work and private lives, as well as their music group. Responses helped us to understand clearly that whilst practical guidance is appreciated (see p.14 for full details), members are also looking to Making Music for inspiration and tools to help them stay connected with their group, socially and musically, and to survive to enjoy another day.
The suspension of regular activity (calculated till September) showed even more impact. Whilst MD fees accounted for 32% of losses, the largest proportion here related to the immediate and anticipated reduction in membership subscription income (51%) – either due to refunds or inability to collect if nothing was taking place.
‘We’ll Meet Again’
Altogether, we estimate our 3,675 members have lost £3.7m in respect of events and £5.1m in connection with regular activity. This equates to an average per group of around £2,400, but with a range from £0 to £65,000. These are major and, in some cases, life-threatening losses for groups which are generally self-funded and 70% of which have an annual income of below £14,500.
Find all our resources at makingmusic.org.uk/resources
Fears for the future So it was perhaps not surprising that groups’ biggest worry is that they may now lose members, and therefore fold. Short-term losses may be accommodated – but a reduction in subscription
The next step, then, is to plan when and how ‘normal’ can resume. And to work out what to put in place in the meantime, to make sure your group returns not just as good as it was, but stronger and better. Can you turn this threat into an opportunity?
Not forgotten Unfortunately, we have already heard from groups who have lost members to the virus. If that has happened to your group and you would like to remember someone on the Making Music website on our new ‘In Memoriam’ page, please email us at info@makingmusic.org.uk with the person’s name, brief details (eg long-serving soprano, first bassoon etc.), their dates (eg 1942-2020), your group name and location.
Summer 2020 HIGHNOTES
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NEWS
AROUND THE UK If you have any news you would like to share, email editor@makingmusic.org.uk LONDON
Pressing the play button Leisure-time music groups rise to the challenges of lockdown As the COVID-19 pandemic descended on us and the world hit the pause button on regular daily activity, most of our members found themselves having to cancel or postpone their regular activities and upcoming events. However their creativity has reached new heights in finding ways to continue to stay in touch with group members and continue with making music. Like many instrumental groups, the Devon Philharmonic Orchestra took to Facebook Live to run weekly rehearsals, which was picked up by the BBC, and which you can view online on the local BBC England news page. New member group Moseley Misfits, an instrumental community group in Birmingham, took to hosting free weekly public music sessions, open to anyone to join, with added social activities and quizzes. 6
HIGHNOTES Summer 2020
Notorious Choir has been testing out Google Hangouts and Zoom. Success was varying but the group have a host of ideas to try out. Sectionals, learning new vocal techniques with guest speakers, and other activities are proving to be possible avenues to explore. Musical director Clare Edwards says, ‘Whatever happens we are going to meet each week, catch up, sing and have some fun together. It won’t be exactly the same as being in the same room – but we will get as close as we can.’ Meanwhile, Staffordshire choir Songbirds in Harmony, who have been busy rehearsing via Zoom, covered Mariah Carey’s ‘Hero’ in a video recording dedicated to all keyworkers battling the pandemic. What has your group been up to? Do let us know at editor@ makingmusic.org.uk or get in touch on Facebook, Twitter or Instagram.
Photo: Leo Geyer conducts the Devon Philharmonic in an online rehearsal
Since 1876, members of the Royal Choral Society have performed Handel’s Messiah at the Royal Albert Hall almost every Good Friday. The concert has only been cancelled twice before, due to the London Blitz (1940 and 1941). This year, it wasn’t possible for the 144th performance to go ahead but, determined to recognise this important tradition, the choir performed ‘together’ in isolation. On Good Friday, music lovers were invited to join in and sing Handel’s Hallelujah Chorus as it was planned to have been sung at the Royal Albert Hall, but now as part of the Royal Albert Home series. The performance was led by a video of the Royal Choral Society singing from their own homes with conductor Richard Cooke joining in from his garden. royalchoralsociety.co.uk YORKSHIRE
“... thanks for today, it’s lovely to feel our group is part of a huge musical family all over the UK … the local meetings are nice but this really makes you feel part of a UK collective.” Online member meetup participant. (See p.15)
The Yorkshire Wind Orchestra were disappointed to postpone their 25th anniversary concert in May. However, they instead decided to make a lockdown recording of ‘Happy Birthday.’ They asked their MD, Keiron Anderson, to write an arrangement, and members of the wind orchestra have been recording their individual parts ready to be combined into a final video. Realising their timpani were locked away in their rehearsal venue, they managed to get Mark Wagstaff, percussionist with Opera North, to record the timp part. The final video will be available on the group’s social media and website in support of the Yorkshire Ambulance Service Charity along with a PDF version of the arrangement. facebook.com/ YorkshireWinds/
NEWS
Member announcements New appointments, anniversaries, awards and projects Last season, Derby A Cappella chose to support the charity Prostate Cancer UK, which promotes awareness of the disease, and funds research into new, potentially lifesaving, treatments. The group held two major fundraising events during the year: a concert with the Dalesmen Male Voice Choir and saxophonist Reuben Dakin, followed by a second concert at the British Legion in Mickleover with the Silver Sax Show Band, raising over £3,000 in retiring collections for Prostate Cancer UK. derbyacappella.co.uk
The Glasgow School of Art Choir has launched a new project called Composeher, which will commission seven women composers to write a choral work each and give pre-premiere concert talks about the commissions and Composeher project, plus a series of workshops focusing on their work and processes, and exploring the current under-representation of female composers in the professional music industry. composeher.co.uk
60-second interview Community singing group co-founder and practice nurse Pauline Waugh introduces the Cheyne Gang
Lady Hilary Groves Prize Making Music is delighted to announce that Andrew Jackson, founder and creative director of the Cobweb Orchestra, has been awarded the 2019 Lady Hilary Groves Prize. The prestigious prize is presented annually to an individual of a Making Music member group who has had a significant impact on the success of their music group or made an outstanding contribution to music in the community. Under Andrew’s leadership, the Cobweb Orchestra has grown from an evening course inviting lapsed instrumentalists to ‘blow the cobwebs off their music stands’, to a network of nine regular groups across the North of England, and an extensive programme of study days, concerts and weekend residentials. The orchestra is completely open access and unauditioned. It offers instruments on loan, as well as bursaries to those who would not otherwise be able to afford to participate. Find out more about Making Music awards on p.18.
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ond sec rview e t in
Describe your group in three words? Singing for breathing Why the name ‘Cheyne Gang’? Our first meeting venue was in Cheyne Street, Edinburgh How long has it been running? We started our first group with eight members in 2013 and we now have eight groups with over 120 members. We became a Scottish charity in 2017. Why and how was it first set up? Practice nurses Anne Ritchie, Sarah Marshall and myself read a short piece of research showing how singing has positive health benefits for people who have long-term respiratory conditions, and decided that singing was something we’d like to offer our patients. We secured a grant from the Queen’s Nursing Institute for Scotland and carried out a study to see if it was possible to consolidate the research results, which we did, and this encouraged us to set up a community singing group. How does singing help people with respiratory conditions? People with Chronic Obstructive Pulmonary Disease (COPD) and other chronic respiratory diseases suffer from debilitating breathlessness, which impacts negatively on their quality of life leading to physical disability, anxiety, low mood and social isolation. Singing and learning natural breathing teaches them to manage their breathlessness.
What kind of music do you sing and where have you performed? We sing all genres and teach as much as possible by ear to help with cognition. We have sung at the Scottish Parliament, with two street orchestras, the Ricciotti Ensemble and the Nevis Ensemble, and at the Edinburgh International Book Festival. How have you been dealing with the impact of COVID-19? Although all our groups are suspended for now, our singing group leaders are recording songs, breathing exercises and relaxation techniques which we are emailing to our members and posting on our social media. We plan to make these into a DVD which we can send out to those who are not online. Our admin team are calling our members for a chat and offering advice on things like how to get their shopping delivered or their medication collected. thecheynegang.com Summer 2020 HIGHNOTES
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FEATURE
Adult music learning
Chief Executive Barbara Eifler discusses music education for over-18s If before COVID-19 we might have struggled to explain the value of adults connecting and making music in a group, the lockdown has now proved conclusively how important the human, emotional and musical dimensions of leisure-time music groups are. Even adults previously not in a group are joining online choirs and dusting off their trumpets, so this seems the ideal moment to talk about Making Music’s Adult Music Learning Manifesto, which we launched to great acclaim just before everything shut down. It was born out of a recurring frustration with the exclusive concentration on music education for under-18s that we encountered in the music industry. Our instinct told us – and our survey and focus groups recently confirmed this – that adult music learners are different to under-18s: they are not all of one kind; their barriers, challenges, expectations and starting triggers vary; and current music teaching does not fully engage with or cater for these differences. The tsunami of research studies showing the benefits of adults actively participating in music throughout their lives has even convinced the likes of the NHS and the government’s health secretary. But are the conditions in place for adults to
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become - or continue - as active music participants? Now we are able to make the case more cohesively, there is lots more that policymakers in local or national governments can do to enable access for all. So, what does the manifesto ask for?
Manifesto for adult music learning A) Every adult in the UK is able to actively participate in music: access and inclusion B) Adult music learning is supported with infrastructure, information, recognition C) Under-18s education encourages lifelong music-making We refer to adult hobby musicians as ‘adult music learners’ – but why? Do we all define ourselves as ‘learners’? Probably not but whether having formal lessons, watching online guitar tutorials or following the instructions of our choir leader, we are all learning; some of us more consciously, others more informally or imperceptibly. Among the many differences between under-18
FEATURE
7. Never given the opportunity to make xxxxmusic as an under-18, starts with no xxxxpre-conceptions
and over-18 music learners, the main one seems to be that we are so conditioned to perceive our lives in terms of linear progress that it is difficult for us at an older age to accept that it is ok not to be as good on the piano as we were at age 17; for our own child or youngest employee to be technically more accomplished on the saxophone; and to enjoy ‘standing still’ with our singing or playing, without having to aim for a distant goal all the time (except that of knowing your part for the next concert – or else!!). The psychological barriers may be the biggest obstacles we have to overcome as adults, but there are plenty of other challenges, too. Some of those are more easily addressed: affordable instruments; teachers to cater specifically for our needs; information and resources available to all; and accessible spaces in every community for people to practise or come together to make music; and more. We can also come together to ask policymakers to consider this area of activity when planning towns, when looking at adult education, when investing in research. It was cheering to see how much can be done, now these simple asks have been formulated. And how many organisations and individuals have already come forward to pledge a contribution to making active participation in music more accessible to more people.
8. Had negative experience as under-18 xxxx(eg told not to sing), so has overcome xxxxreluctance
What can you do? Read the manifesto and make a pledge at makingmusic.org.uk/ manifesto
What kind of adult music learner are you? These are the various types of adult music learners we identified. You may be more than one, in respect to different aspects of your music participation. 1. Trained to be a professional performer, xxxxnot earning a living as one, now plays as xxxxa hobby 2. Used to sing or play as under-18 and has xxxxcontinued without break into adult life 3. Used to sing or play as under-18 and xxxxhas continued, adding one or more xxxxother instruments 4. Used to sing or play as under-18 and xxxxhas stopped, usually between ages of xxxx15-22 5. Used to sing or play as under-18, xxxxstopped and has started on same xxxxinstrument again 6. Used to sing or play as under-18, xxxxstopped and has started again on a xxxxdifferent instrument
Photo: Learning the saxophone on Make Music Day at Westminster Music Library Credit: Rey Trombetta
“... it is difficult for us at an older age to accept that it is ok not to be as good on the piano as we were at age 17.”
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Missing your Selected Artists Guide?
Rehearsal Orchestra Orchestral repertoire courses for advanced players 2020 London weekends Bartok, Britten, Bridge, Rachmaninov, Rautavaara, Saariaho & Sibelius
Edinburgh summer week August 8 to 15 2020 “The Rehearsal Orchestra does invaluable work on the quiet and with the minimum of fuss.” Sir Simon Rattle
Artistic Director Levon Parikian
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rehearsal-orchestra.org
As a result of the COVID-19 pandemic, the 2020 Selected Artists Guide will be published in September. To ensure that groups can still book affordable artists for performances beyond the lockdown, we have extended the deadline for subsidies on the 2019 Selected Artists and Philip & Dorothy Green Young Artists (PDYGA) to 31 August.
makingmusic.org.uk/subsidies
Registered Charity Number 237816
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MEMBERS
BLOW YOUR TRUMPET Classical guitars in Northern Ireland Robert Cuthbert, Chairman, introduces the Classical Guitar Society of Northern Ireland (CGSNI)
The CGSNI was founded in the 1980s by two adult guitar students who first met at a Protestant-Catholic cross community event. People were encouraged to come simply by homemade posters and ringing around, and word of mouth through the guitar teachers at the School of Music. The first meetings were held in a number of venues in Belfast until the Society settled in the Ulster College of Music in 1996. The Society also created strong links with
enthusiasts in Derry-Londonderry through travelling Belfast teachers, and the support of a professional guitarist. Today we are a mixed-ability amateur society with around 30 members, and 10-20 or more attending society meetings regularly. Our members range in age between their 20s and 70s, with most in the older bracket. We have skilled tradespeople, doctors, lawyers, teachers, businesspeople, architects all sorts of professionals, quite a few retirees and some professional musicians as associates. Some members are beginners, or have transferred from acoustic guitar, while some members are grade 8 level and beyond. Members meet in small groups to try out new pieces and discuss various aspects of performance, and then the whole group meets together for an informal recital.
Performances include solos, duos, trios and occasional larger ensembles. We play predominantly classical music, but the range extends to any music played on the nylon strung Spanish/classical guitar. We have quite an interest in arrangements of the Irish harp music of Turlough O’Carolan, and in contrast we have even been known to play an arrangement of ‘Bohemian Rhapsody’! Planned performances this year at the Ards International Guitar Festival and Belfast City Hospital Arts Care Spring Festival have unfortunately been cancelled due to the coronavirus crisis, but we hope the Derry guitar weekend will go ahead in Bangor in August. In the meantime the Society has set up a WhatsApp group to keep in touch, where at the moment we are discussing the subtleties of the Leo Brouwer studies. CGSNI.org
One step for Enfield Community Orchestra A not-so-giant leap to moving online. Orchestra Founder and Manager Adrian Bullock explains. Enfield Community Orchestra meets on a weekly basis and performs three concerts per year. Our members range from 22 to 70 years old and come from a variety of backgrounds, from IT and aromatherapists, to teachers and retirees. We had to cancel our rehearsals because of the coronavirus outbreak with just two weeks to go until our spring concert. When it became clear that the situation was not likely to return to normal any time soon, we knew that we needed to act quickly to support our members, and we launched our Online Music Centre on the day that our spring concert would have been held. One of our trustees, Hayley Butchart who has a career in graphic design, took the initiative to produce the Online Music Centre on our website, and I am working closely with her. Our MD Eddie Morgan
is providing content, including videos of himself introducing some weekly 'challenges' for members. These include: setting new music for members to practice in readiness for our next concert, a virtual pub quiz, music theory activities, and individual practice guides. We have also created a 'Useful Resources' area which has a list of helpful practice tools, like the ABRSM Speedshifter, where our members can play along to a backing track that we provide and adjust it to their own practice speed; this was the nearest thing we could find to simulate playing along with an orchestra. Plus a handy online calendar of free performances to watch online. The social connections that are built during our weekly rehearsals are so important especially now with social
distancing. We already had a WhatsApp group in place but not all of our members had the facilities to join, so we have added a 'Chatter Box' chat feature in our Online Music Centre so that all members can interact with each other. We have had a fantastic response from our members, but you simply cannot beat meeting and playing in person, which we hope we will be able to do soon. enfieldcommunityorchestra.co.uk
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FEATURE
Why not join a choral society? Youth Engagement Manager Xenia Davis presents research into what’s stopping people joining Last year we asked people from vocal, promoter, instrumental and no music group backgrounds about what they thought the barriers are to joining choral societies. Here are some top findings. 1. Not wanting to audition is the top reason for not joining choral societies If your group holds auditions that’s perfectly ok, but it’s useful to think about how you can make the process feel as unintimidating as possible for auditionees. If you’re a non-auditioned choral society, make sure this is really clear in all your marketing, because people may assume that you do have to audition to join, and may be put off. 2. The perception of choral societies as ‘stuffy’ could be an issue There are no easy solutions to changing public perception. However, there are a couple of ways you can counteract this. If your group’s culture is friendly, inclusive and welcoming, then this should be reflected in what your members say about you to each other, to friends and family, and on social media. How, then, does your group come across on your own website or on your social media? If you are a friendly, sociable group, is this being conveyed successfully? 3. Not having enough time to attend regularly is a bigger issue than choral societies realise Working out how to accommodate people with busy lifestyles is an important challenge for all music groups to consider, not just choral societies. The reason why people can’t attend regularly is often misunderstood (perceived as ‘lack of commitment’ as opposed to, ‘this person is a midwife and doesn’t always know when their shifts will be, and sometimes
they over-run’). What can you do to include people who find it difficult to attend on a regular basis? Could you have learning tracks so people can catch up in their own time? Could members pay per term instead of for a whole year? 4. Possible new members thinking that they have nothing in common with the group, including age, is less of a factor than choral societies may think While a lot of people from choral societies ranked this fairly high, everyone who was not in a choral society ranked this as the second least important barrier to joining. This is great news for choral societies! You don’t need to overhaul your age profile or demographic to get new people to join. 5. It’s not about the style of music Choral societies ranked ‘not liking our style of music’ highly as a barrier, as did members of other music groups. But people who aren’t in a group at all ranked it much lower. The positive news is that there are plenty of people out there who aren’t in a group, but do like choral music! According to our survey, not being able to sing well enough or read music, and affordability, are not as big factors as you might think. These are just a few findings from the huge and encouraging response we had to the survey. We hope it will give you somewhere to start when considering how to make your choral society more inclusive. Read the full report at makingmusic.org.uk/choralresearch
“If your group’s culture is friendly, inclusive and welcoming, then this should be reflected in what your members say about you ...”
Find more tips and resources for musical directors: makingmusic.org.uk/resources/mds Summer 2020 HIGHNOTES
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FROM OUR TEAM
MEMBERSHIP AND SERVICES
CONTACT US info@makingmusic.org.uk / 020 7939 6030
Helping you get the most from your membership
MAKING MUSIC PLATFORM Having to rely on online systems to run your group is more important than ever in these times. But switching between digital platforms can be a hassle. Making Music Platform combines a public website, a members’ information area and an admin database into one cloud-based system. It may be worth considering whether this could help your group improve the way it operates and communciates with members, possible new members and audiences. Find out more: makingmusic.org.uk/ platform
Keeping up with the music Groups give a masterclass in how to keep running
The uncertainty thrown up by the COVID-19 pandemic is a huge challenge, but we’ve seen how brilliantly our member groups are responding to the crisis. Here are some of the ways they have been meeting circumstances head on. 1. Dealing with the immediate impact: by cancelling events and regular activities, negotiating contracts and fees, refunds and more. 2. Keeping groups running: finding new ways of operating virtually to keep music in members’ lives and maintain the all-important social connections. 3. Planning for the medium term: asking which events should be cancelled, whether to cancel or postpone, working to understand what ‘normal’ will look like after the lockdown. We cover all of these areas in our coronavirus guidance – please check the website
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regularly for updates: makingmusic.org.uk/covid19-keep-running We’ve also created detailed, ‘how to’ guides on using Zoom for instrumental and vocal groups, plus a resource for promoting groups on staying in touch with your members and audiences, with ideas and inspiration as to the many ways that you can do this: makingmusic.org.uk/ resources The value of music has more media coverage than ever before, and as people emerge into a world full of possibilities after the lockdown, joining a music group could be on their list. If you have time now, it could be a good moment to think about news stories you could share with local media, or how you could be making the most of your online presence (you could attend one of our free online events on this topic see opposite page).
*NEW* Coronavirus guidance • Keeping your group running - Cancelling events - Ticket refunds -C ontracts (professional musicians) -C ontracts (with organisations) - Member subscriptions
Did you know? Our events are now running online, so you can attend wherever you are in the UK! Find a date and time that suits you: makingmusic. org.uk/events
-C harity Commission (AGMs, online meetings and reporting) -O SCR (AGMs, online meetings and reporting) -D BS checks (changes to DBS ID checking guidelines) • Staying in touch with members and audiences (performing and promoting groups) • Zoom: how it works • Zoom: online rehearsals (instrumental and vocal) Visit makingmusic.org.uk/ resources
FROM OUR TEAM CONTACT US info@makingmusic.org.uk / 020 7939 6030 We are here Monday to Friday 10am to 5pm
*NEW* ONLINE EVENTS Our events have moved online! We’re offering help and support with running your group that you can access anywhere you are in the UK, plus events with a local focus. Book your free place online: makingmusic.org.uk/events
Making the most of your online presence An online presence is a vital part of your marketing strategy - but how can you make the most of the various platforms available to you? We’ll discuss the ins and outs of creating and growing your online profile on different digital platforms. Sunday, 17 May Saturday, 30 May Saturday, 13 June
Growing your membership
Online member meetups
Many groups have told us that they want to be able to recruit more members, and in particular, to engage better with younger people. Come along and find out more about research we’ve done into this, and how to help your group reach more people of all ages.
It’s more important than ever in these uncertain times for groups to be able to share ideas, and to support one other. These location-specific online meetups will help groups to connect locally and discuss issues in their areas. Northern Ireland: Scotland: Tuesday, 19 May Tuesday, 2 June Tuesday, 16 June Tuesday, 30 June
Wednesday, 3 June 2020
Wales: Tuesday, 26 May Tuesday, 23 June
New members A warm welcome to the 68 new members who joined between 1 December and 31 March Aberdeenshire Saxophone Orchestra
Encore Sittingbourne
Midlands Beer and Brass on the Grass Entertainment contest
Rosin Academy Roy Bailey Big Band
Ashtead Singers
Fleet Concert Orchestra (incorporating Quintessentially Wind)
Big and Brassy
Frinton Festival
Mullion Handbell Ringers
Blandford Stour Valley Band
Gloucestershire Boys’ Choir
Music in Your Village
Brighouse & Rastrick Band
Hatfield Welwyn Community Choir
National Youth Harp Orchestra of Great Britain
The Dragons Youth Brass
Honley Girls Choir
North East of Scotland Performing Arts
The GUS Band
Horsham Borough Band
Northern Voices
In the Pipeline
Nuneaton Ladies Harmony Group
Coquet Concert Band
Kantado
Peculi8
Culture:Music
Kent Philharmonic Orchestra
Dart Music Festival - Classical Section
Knighton Town Silver Band
Aquarian Opera
BREMF Community Choir Cambridgeshire Symphonic Winds Chipping Campden Festival Chorus
Dixieland Stompers
Hognaston Music Group
Leicestershire Co-op Band Lincoln Choral Society
Monday Afternoon Band
Solent Philharmonic Winds
Moseley Misfits
Perth Choral Society Phoenix Saxophone Orchestra Limited Pittington Brass
South Yorkshire Police Band The Brooklands Sinfonia The Cantabile Ensemble The Forget Me Notes Project The Ledbury Waytes The Wall of Sound Choir Tredici Chamber Choir Village Voices (Great Wakering) Voices of Exmoor Voices of Hull Weekend Opera Workshops
London Nordic Choir
Reading Spring Gardens Brass Band
Early Music in the Marches
Marlow Gospel Choir
Resonate - Colchester
Wiltshire Saxophone Choir
East Leake Community Choir
Middle Eden Voices
Rhapsody Chorus
Yiewsley and West Drayton Band
Dunbartonshire Wind Ensemble Trust
Wendover Singers
Summer 2020 HIGHNOTES
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PROJECTS & OPPORTUNITIES Keeping you up to date with projects and programmes NEW MAKING MUSIC AWARDS ADDED!
Photo: The Fretful Federation Mandolin Orchestra perform Esmeralda Conde Ruiz’s The Other Ocean
Adopt a Music Creator Making Music is expanding the landmark Adopt a Composer project for 2020/21 under a new name This year we’re delighted to offer this unique project to more music creators and music groups, in celebration of the range and breadth of music being made by music makers and creators. As before, the project pairs Making Music members with a music creator for up to a year. Music creators have the opportunity to get to know performing groups and write a piece especially for them to premiere, while groups have the chance to contribute to the creation of a new work by some of the UK’s most promising music creators. Each pairing is assigned an experienced mentor to support and guide the music creator and group, and help the creative process run smoothly. In 2020/21 for the first time, alongside the usual pairings of one group and one creator, places will be available for up to two groups to apply to work together with a matched music creator. In future,
we are also looking to offer groups the opportunity to select their own music creator. What’s in it for groups? • A new piece of music tailored xxxxto your group • A working relationship with xxxxa skilled and committed music xxxxcreator • Exciting new experience for the xxxxgroup • A development day for your xxxxMD • An opportunity to be recorded xxxxand a possible radio broadcast • An understanding of the xxxxcollaborative process of xxxxcreating new music, and the xxxxknowledge and confidence to xxxxdo it again independently Find out more and apply at makingmusic.org.uk/adoptmusic-creator. Even if you’re not ready to apply yet, email us with questions: sally@makingmusic.org.uk
Did you know? Adopt a Composer has been running for 20 years, with over 127 collaborations. Some of the pieces created are available for free for members to download and perform. Visit: makingmusic. org.uk/aacscores
Making Music is proud to celebrate outstanding music makers by regularly awarding prizes to both leisure-time and professional musicians, groups and organisations. Our member groups can nominate music makers in their midst who have made lifelong contributions to local musical life, or to leisure-time music for communities in the UK with The Lady Hilary Groves and Sir Charles Groves Prizes. The yearly Philip & Dorothy Green Young Artists Awards are presented to young musicians at the beginning of their careers in recognition of their outstanding talent, while the President’s Award celebrates the hard work and dedication of Making Music volunteers. However we know that there is a whole lot more talent to be recognised and championed, in the spotlight and behindthe-scenes, so this year we are excited to introduce four brand new awards: Best Music Creator for a Leisure-Time Music Group, Best Arranger for a Leisure-Time Music Group, Best New Music Project (‘new’ defined as 21st century music), and Best Photo of a Leisure-time Music Group. Prizes will range from publicity across Making Music’s sectorwide networks to bursaries towards commissions or other musical activities and projects. All awards are being launched in May – visit the website to find out how to nominate or apply: makingmusic.org.uk/awards
Summer 2020 HIGHNOTES
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FEATURE
Music for mental health Natalie Joanes, Highnotes editor, takes a timely look at the evidence that ties music groups to mental wellbeing Humans are not built to live in isolation. We move within social circles whether we choose them or not, from our families and work colleagues to our friends and music groups – and yet we are now in self isolation. Last year’s major report from the World Health Organisation led by Dr Daisy Fancourt is part of a growing evidence base that shows that shared arts activities actively improve our mental health and wellbeing, while loneliness and social isolation increase health risks. Being in a music group in particular does many things for our mental health. In one study (Evolutionary Psychology: an international journey of evolutionary approaches to psychology and behaviour, 2012), researchers found that participants who performed singing, drumming, and dancing together had a higher pain threshold (therefore increased endorphin release in the brain) than if they just listened to music alone. Performing music together resulted in greater positive emotion, making people feel closer to one another. Group identity can also be built around music. In a series of studies (Unravelling the mystery of music: Music as an evolved group process, 2013) researchers found that the extent to which a person reacts to music is tied to a sense of belonging to a group, positive associations with group members, bias towards people outside the group, and responses to group threat in various populations. In a social cohesion study (Lost in the Rhythm: Effects of Rhythm on Subsequent Interpersonal Coordination, 2015), those who listened to rhythmic music finished collaborative tasks more efficiently than those who listened to the other types of sounds, suggesting that rhythm in music promotes behaviours that are linked to social cohesion. However, the social value of belonging to a music
group is perhaps greater still for mental wellbeing. We conducted a survey of our members shortly before the UK government brought in coronavirus lockdown measures (see p.6). Members have had to cancel all their activities, and when we asked how they felt about this, we received a wave of emotional responses. Many of the comments echoed that: ‘[It’s] devastating to face not meeting and singing with our musical family for so many weeks.’ Not to mention all the hard work that had gone into preparing for performances: ‘… Members were visibly upset at not seeing friends and performing after working so hard on this concert’s repertoire.’ Many groups were extremely concerned about, ‘The loss of community as many members are older or live alone.’ Others talked about the fact that they are rurally located, and the music group gives their community a focal point. One said, quite simply: ‘Our events give us a reason to exist and are sociable outings.’ This response shows that rather than being a regular activity that’s forgotten about in between times, music groups play a crucial part in people’s happiness and wellbeing. Even before the lockdown has ended there has been talk of the devastating impact that the global pandemic is having on the population’s mental health. So it’s more important than ever that music groups act now to keep in touch with their members. Small gestures from a chat on Zoom to a practice CD in the post can bring a little light into someone’s day. Making Music has created some resources to give ideas and practical advice to groups on how they can keep in touch with their members online and offline in a variety of ways – not just musically but socially too. Visit: makingmusic.org.uk/stayconnected
“... rather than being a regular activity that’s forgotten about in between times, music groups play a crucial part in people’s happiness and wellbeing.”
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FEATURE
A digital renaissance Ways to make and experience music online have blossomed under difficult circumstances If there was ever any doubt, music has proved once again to be the place that humans turn to during a time of crisis. Lockdown measures brought in to fight the coronavirus outbreak have been necessarily stringent, but people the world over have responded with music. From the lone Italian trumpeter captured on video playing Imagine and mass online singalongs on YouTube, to a South African youth choir’s public health music video and free, streamed performances from major world music venues, music has flooded our living rooms. However, we haven’t just been ‘consuming’ music – we’ve also been throwing ourselves into taking part. Here are just some of the highlights. For singers, apart from The Sofa Singers run by James Sills and Gareth Malone’s Great British Home Chorus singalongs, there are countless online choirs. There’s the Stay at Home Choir and Duet Yourself, a virtual community choir open to all on Facebook. Our corporate member Choir Community has been running Distant-Sing sessions, with resource packs you can download for each session. For current or returning instrumentalists, there are lots of YouTube tutorials to help you practise, as well as professionals offering online lessons (our corporate member Your Space Music, for example). Part Play is a practice companion instrumental app that’s especially good for stringed instruments – you can play your part along to a professional ensemble backing track. Brass players have been joining in with Kearsley Youth Brass Band for live rehearsals on Facebook every week, and they can also access free music from Pennine Music and Mode for Publishing. But it doesn’t stop there – our member groups have 20
HIGHNOTES Summer 2020
joined in, meeting up with each other to play or sing online or even just have a chat and keep their social connections going. At the time of writing, popular online platforms for group rehearsals include Zoom set to ‘music mode,’ which has a free version for up to 100 participants and as many meetings or sessions as you like for up to 40 minutes per session. We hear that Facebook Live is best for broadcast rather than interaction, but members tell us they have had success with musical directors broadcasting and everyone at home singing or playing along. Acapella is an app that lets you record and share music (vocal or instrumental) with each other, though for full, recorded pieces professional software like Cubase Pro will bring better results. There are also musical activities to look forward to further ahead. The global grassroots music festival Make Music Day will still be running on 21 June but with a digital focus – take part in the Live From Home Challenge by recording a musical performance and tagging friends on social media to respond with their own performances. Upload any musical recording to one of Make Music Day’s ‘Street Studio’ producers, then watch the livestream as they incorporate it into a track. Or just sit back and relax on your sofa, and watch a day-long video stream showing the rich diversity of live Make Music Day performances from around the world. Even when this crisis is over, we may find ourselves taking forward some of these inspirational ways of making music and reaching out to new people and audiences in ways that we’ve never done before. Visit makingmusic/stay-connected for more
“Lockdown measures ... have been necessarily stringent, but people the world over have responded with music.”
MEMBERS
EXPLORING MUSIC Readers tell us about the music they love. Email editor@makingmusic.org.uk
Jukebox Readers share how a particular piece of music inspires them There is a piece of music that always brings me out in goosebumps. I can tell you exactly when I heard it for the first time: 30 September 1965, and I was seven-and-a-half years old. The composer’s name is not very well known, but this piece would be recognised by a multitude of people, young and old. Its original, full orchestral version is rarely performed these days, but in versions for concert bands, brass bands and other groups, it gets regular airings. It has a very percussive start, something that has always appealed to me - perhaps it played some part in persuading me to become a percussionist - but although the main theme is played by the brass, even the accompanying background string writing is memorable. Structurally, it is
rather like a Viennese waltz (though it is certainly not in 3/4 time!), in that there are two secondary melodic sections, one in which the strings dominate and the other with a prominent saxophone solo. However, that insistent drum rhythm comes back to herald the recap of the main theme, this time with a coda featuring a dominant pedal that makes me tingle just writing about it! Oh, I should have said: the composer’s name is Barry Gray, and the music is the signature tune for the TV show, Thunderbirds! Whatever suspicions my parents might have had that I had musical tendencies, I can’t honestly say that I had any awareness of it myself. I would probably have been humming the music to myself after only one or two episodes but would have thought that was nothing special. Nowadays I’m a busy bee. I belong to two Making Music groups, Bromley Symphony Orchestra as timpanist and Bromley Philharmonic Choir as a tenor, but I regularly play for a long list of other orchestras too. David Coronel
Jazz Michael Pearce finds there’s something for everyone in the genre Jazz is often referred to as America’s classical music; a broad genre which encapsulates some of the country’s diverse cultural heritage. At the turn of the twentieth century, the port city of New Orleans provided the unique environment for different musical styles to cross-pollinate. The blues — hailing from the slave workers of America’s Deep South — blended with gospel, opera, ragtime, Latin and marching bands to create what many consider the earliest style of jazz: dixieland. With no real precedent to follow, a complex web of jazz sub-genres emerged throughout the 20th century. The 1930s saw the era of ‘swing’ — the heyday of big bands with celebrity band leaders such as Duke Ellington and Benny Goodman. In the 1940s, musicians such as Charlie Parker and Dizzie Gillespie pioneered ‘bebop’, characterised by its fast tempo, rapid changing harmony and dexterous melodies. After World War Two, a more relaxed tempo and lighter tone emerged in the form of ‘cool jazz’. In the 1970s, ‘fusion jazz’
incorporated elements of rhythm and blues, and rock and funk. This was followed in the early 1990s by ‘smooth jazz’, a sub-genre which, for some, strayed too far from the original spirit of jazz’s New Orleans roots. Jazz musicians today try to steer clear of labels, but a few musical features continue to transcend the wide-ranging genre: harmonic freedom, syncopation, swing rhythms and improvisation. Any combination of instruments or voices can perform jazz, but the two most common type of groups are the big band (usually saxophones, trumpets, trombones and a rhythm section) and smaller ‘combos’ (usually a quartet or quintet comprising of a solo instrument or voice with rhythm section). If you’re looking to try jazz yourself, there’s no need to worry about improvising; most leisure-time groups will have notated music to introduce you to the genre. Use our find a group tool to find a jazz group near you: makingmusic.org.uk/find Summer 2020 HIGHNOTES
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No v 18-22, 2020 Mรกlaga/Spain
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FROM OUR TEAM
DROP THE MIC If you have any software, hardware or performance tips you would like to share, email editor@makingmusic.org.uk
Making out the music
In the last issue of Highnotes (spring 2020), we featured an anonymous letter from a choir singer who is struggling to read the music due to deteriorating eyesight. Lots of members got in touch with some interesting ideas to make things easier. Here’s a selection — could any of these help someone in your group?
‘As long as you have an original copy of the music as evidence, it is perfectly legal to make a larger print photocopy of any music (which is then destroyed after the concert). I find that often I can enlarge music for my visually impaired friend by at least 110-125% on A4 which deletes all the unnecessary ‘stuff’ and still fits the music onto the page. The above will allow for highlighting the voice part and, if necessary, numbering each bar above the music for fast recognition of bar numbers.’ ‘I’d make a light clipboard to go behind my music, like a sheet of A3 landscape corrugated plastic board, onto which I’d clip a stand light. The best light that I’ve found, that has a choice of brightness settings and two horizontal bars which spread the light right across, is the AROMA AL-1 Rechargeable Music Stand Lamp. As it implies, it has a rechargeable battery that lasts about 6 hours at a time. It folds away quite compactly too.’
‘For conducting I invested in a Mighty Bright Orchestra Light (available via Black Cat Music), which is excellent, and more than adequate for singing too, as it clips to the top of a folder.’ ‘A head torch! It can be adjusted in angle without having to bend your head to the music.’ ‘Try the app forScore on iPad, using the ‘Reflow’ function. It takes an ordinary score and converts all the systems on a page into a continuous ribbon which can be scrolled across the page. If the original part is highlighted, and large bar numbers written in (using ‘Annotation’), the ribbon speed can be set to automatic, or, more importantly and usefully, controlled manually by a light touch. I tried this out last night at rehearsal with our member who has visual difficulties, and she thought it was fantastic.’ ‘Youtube and practice apps are great for supporting learning the pieces by ear.’
REVIEW: PARTPLAY APP
This app is a practice companion for all abilities so whether you’re just starting out with chamber music, missing playing along with others, or even if you’re just plain rusty (as I am) then it’s a great way to find your way back in. You can search for pieces by composer, difficulty (easy, moderate, hard, advanced), era, and instrument (clarinet, strings and piano are all catered for but the repertoire is constantly being updated). Pieces are classical but there is some folk and traditional. Download the sheet music for the part you’d like to play (if it’s out of copyright) and you can watch a high quality recording of professionals playing the piece in real time, along with interviews with the players who give useful tips. You can mute each player in the recording (handy when you want to hear just your part, or when you want to mute just your part and play along with the others). The performers are filmed in such a way that makes it possible to look at what they’re doing if you need help with bowings or fingering for example. On iPhone you can also slow pieces down. As a rusty violinist it was fun to play the pieces I know and love with what feels like a live group in my living room but I also really appreciated being able to explore pieces I’d never encountered before and use all the app’s tools to get to know them before gradually attempting to play along. At the moment this app is only available for iPhone and desktop devices but an android version is in development. Natalie Joanes Summer 2020 HIGHNOTES
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PREMIUM CORPORATE MEMBERS Our corporate members play an important role in supporting leisure-time music. Member music groups can use exclusive discounts, subsidies and offers (indicated by below) to save on everything from sheet music, to booking artists and making recordings. See makingmusic.org.uk/discounts for more
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MEMBERS
READERS’ PAGE Got something to say? We’d love to hear from you: editor@makingmusic.org.uk. BOOK REVIEW
Do Sing by James Sills
The last time I sang in a choir was when I was in secondary school. I have fond memories of singing as a child but as I got older, I developed a sense of embarrassment about my voice. Like many people, I only sing on rare occasions such as at a Christmas concert or in the safety of my own home. So I was delighted to discover that James Sills had written a book for those of us who long to join a choir but lack the confidence to do so. In Do Sing, author and choir leader, James Sills explains the joys of singing to both the uninitiated and those who have past singing experience but have faced challenges in going back to it.
Through concise, accessible chapters, get the reader thinking about rhythm, he explores how singing can boost breath and flow and to encourage a person’s mood. He also examines people to put aside distractions, some of the most common reasons why focus on their voice, and how they people stop singing in feel while they sing. Sills ‘If you can walk, their daily lives. Sills makes a passionate is a great believer in case for the importance you can dance, if the healing powers of lifelong singing to you can talk, you of music (especially improve wellbeing, bring when experienced in a can sing’ us closer to our local shared social setting). communities and lift us Sills asks the reader to challenge their up in body and spirit. Under Sills’ assumptions (you don’t need to be encouraging guidance I now feel professionally trained to sound good!), confident enough to join a local reflect on their journey with songs they choir and embark on my own singing have enjoyed throughout their life, and adventure. to let go of their insecurities in order to - Clara Cook find a vocal group that specifically suits them. The book includes simple exercises to
A brave new world A reason, that’s all I needed, a good reason to make me want to understand this whole ‘digital’ world. Until now I’ve found it hard, and scary – what if I do something wrong and lose all my money from my bank account? I never did a job that involved computers and just have a mobile phone to make calls really. The daughter bought me a laptop and set it all up, but I haven’t had the heart to tell her that I find it a struggle just working out how to turn it on and off and what to do when it flashes up messages. I just about use the email, and the internet for googling things. Then this coronavirus comes along and the government tells me to stay indoors for three months. Three months! How to cope with not going to choir, not
singing, not seeing my mates? Almost immediately, though, there were emails from friends, family, Making Music, about the wonderful stuff people were trying online – having chats and attempting to sing, lots of pictures of happy faces. It made me think: ‘I can’t go anywhere and the only way I’m going to see another living soul between now and June is if I crack this digital business.’ So I did! I have now chatted to my friends, had a singing lesson with our conductor, and planned a Zoom committee meeting for next week – and am so so much happier. Anon
It made me think: ‘I can’t go anywhere and the only way I’m going to see another living soul between now and June is if I crack this digital business.’ Tell us! If you’ve got something you’re burning to say, or a book you’d like to recommend, or even a piece of music you love you’d like to share on these pages, email editor@makingmusicorg.uk
Summer 2020 HIGHNOTES
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FROM OUR TEAM
MAKING MUSIC PEOPLE Interested in getting involved? Visit makingmusic.org.uk/volunteers
VOLUNTEER SPOTLIGHT
SHIRLEY MITCHELL
STEPHEN MCNALLY
SELECTED ARTISTS LISTENER
MANAGER, NORTHERN IRELAND
How long have you been volunteering with Making Music? I joined the North West Committee in 1982 when it went by the name of the National Federation of Music Societies! I spent about ten years in the position of chair of the North West Committee, and was later on the panel which selected the artists for Making Music’s Selected Artists Guide. In recent years, I have been a listener for the Guide.
When did you join Making Music? Late October 2019
What does being a Selected Artists Listener involve, and what’s your favourite part of the role? This involves offering to go to concerts in the Greater Manchester area to hear musicians or ensembles and writing up a report. I always look forward to these concerts, especially hearing musicians who are not well known, and discovering some which are outstanding. As a member of Rochdale Music Society, what sort of music do you promote? The Society, which was founded in 1980, has always tried to bring - to Rochdale people and beyond - the very highest quality of music, mostly classical, but ensuring that there is variety in the season. Pianists, solo instrumentalists, piano trios, string quartets, various wind ensembles and also unusual groups are chosen for any one season. Do you play any instruments or sing? I sing in choirs, play and teach the piano, and play the viola in two amateur orchestras. My life’s work has been in the field of music teaching. What’s your favourite piece of music? I find it hard to choose a favourite piece, but I do love Bach, Debussy, and Chopin. Perhaps a piano favourite would be ‘Jardins sous la pluie’ by Debussy?
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STAFF MEMBER SPOTLIGHT
HIGHNOTES Summer 2020
What did you do before? Mostly publishing - I joined a local newspaper as a type setter when I left school. From there I went on to work as a graphic designer, sub editor, photographic editor and photo librarian. However, over the past 10 years I’ve been very involved in promoting cycling and cycle culture. What are you most looking forward to as Northern Ireland Manager? I’m really looking forward to meeting new people, making new connections and hearing lots of new music. I haven’t been part of a music group in a few years so I’m looking forward to opening the guitar case more often and getting more involved making music as well. What’s your favourite piece of music? That changes from week to week. I’ve put together a playlist of what I’ve been listening to this week – looking through that I might choose Wayne Shorter’s Speak No Evil. If you could invite three people to dinner, who would they be? I’d invite someone to cook, someone to play music and someone to talk with. Keith Floyd could cook, Herbie Hancock could play piano and I could have a yarn with my Dad who I haven’t seen in a while. What was the last piece of music you listened to? I’m constantly listening to music. It’s easy to get caught in a loop of listening to the same music over and over, so I find internet radio a brilliant way of discovering something new. I found Stro Elliot’s Moods while listening to WFMU New Jersey at the weekend. I listen to Worldwide FM most days - Toshio Matsura live from Tokyo makes Monday morning more bearable! WKCR – Columbia University’s (New York) campus radio is great at night – their birthday broadcasts are quite something!
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THE PERFECT START FOR YOUR SCORE Free music notation software from Steinberg ■ ■ ■ ■ ■
Fast and easy to learn Ideal for students Free to use, forever Share your music as PDFs and MP3s Beautiful, modern design
Download Dorico SE for free today Go to www.steinberg.net/dorico/se to get started steinberg.net/dorico All specifications are subject to change without notice. Copyright © 2020 Steinberg Media Technologies GmbH. All rights reserved.
