Human Music L-R Dave Camlin, Sharon Durant, Helen Chadwick, Jon Baker, Sian Croose, Katherine Zeserson – seated: Sianed Jones
The vocal acapella group will be performing with The Voice Project Choir on Saturday December 14th. They originally got together for ‘Singing the Building’, Katherine Zeserson’s initiative to sing in (and compose for) all the acoustics of a building: in this case the Sage Gateshead at the building’s inception in 2006. Since then they have recorded in caves in the Lake District and created ‘Singing the Building’ shows for the RSC and the British Museum.
More info about the show on Facebook and on Google +
New ways to get involved with the Voice Project from January (no experience necessary for any of these as usual): a Singing from Scratch course, a Men’s Voices course, a Tuning in course and our new commission for the choir for the Norfolk & Norwich Festival at a very special location to be revealed… Details here
I’ve posted this before but it’s timely now so here we are again:
With all the music there is to learn, we thought it would be a good idea to itemise a few methods for learning off by heart. Some of them are really obvious but I hope it will be useful if you’re not used to doing this kind of thing. Of course, everyone learns at different speeds in different ways. a combination of approaches can help. Some people will probably have learned their parts already. Anyway, for those who haven’t, here are some pointers:
- Take your time – cramming the information doesn’t work as it all becomes a jumble. Being methodical definitely helps.
- Break things into manageable sections – e.g. an eight-bar sequence.
- Write the words down.
- Listen on repeat – not necessarily with full attention: in the car or in the kitchen is good.
- Sing along as much as possible.
- Look over the piece whenever you have some free time.
- Read the poem through as it helps to know what the piece is about.
- Use a combination of the mixes and the ‘enhanced’ parts.
- Some people learn music best when asleep (headphones advised for this…)
- Try to memorise one line at a time, starting with the first. Cover it up and try to repeat it, move to the next etc
- Try to learn the ‘shape’, the ‘form’ of the song.
Good luck and if anyone has other effective tips for helping to learn by heart then please reply to this post.
“I believe in roots, in associations, in backgrounds, in personal relationships. I want my music to be of use to people, to please them, to ‘enhance their lives’. I do not write for posterity – in any case the outlook for that is uncertain. I write music, now, in Aldeburgh, for people living there, and further afield, indeed for anyone who cares to play it or listen to it. But my music now has its roots, in where I live and work. And I only came to realise that in California in 1941”. (First Aspen Award, 1964) Benjamin Britten
Ely Station by Sian Croose
The waiting room smells of bleach
Of warm newspapers and tired food.
The mopped floor a memory
Of a Polish boy on the minimum wage
And the hope of something else.
Lean your head on the window.
Outside the greyness hangs in patches,
Mist and rain like wet washing,
The odd standing figure on the opposite platform
In another film, not yours.
The light reduces towards evening.
Minutes drip away,
Steam sticks to the walls
And the sad shoulders of the man at the next table
Hunch a little more.
Through the glass,
Three smokers exhale in different directions.
Inside, the woman with calls to make
Finds her place in the world.
It’s not here.
Best bit about coming back from Newcastle/Gateshead is that it all gets progressively bleaker – so this is how we spend our Saturday nights…
Sharon Durant, Katherine Zeserson, Sian Croose and Dave Camlin in room. C26 Sage Gateshead