Lovely lullabies

Coorie Doon is beautiful

Irene Watt is an ethnomusicologist in Scotland who teaches lullabies to mothers and all their babies fall asleep in the classes.

Bobby McFerrin Workshop!

Totally high. I’m at the Omega Institute in New York State, just after the first night of a workshop with Bobby McFerrin. The Master

thanks to pitch, rhythm and God for the picture. Oo. Pitch rhythm and God?

Circle songs
He creates them quickly. No premeditation. He gets a feeling, starts singing something, turns it into a loop, looks around for which voice it is, assigns it appropriately.  Creates another, off he goes.

He creates parts which he can break into chunks. It’s like a dolls house that you can take parts off. You can take off the whole roof, or this or that chimney, or all chimneys leaving the roof, or the whole roof again. By which I mean, he’ll give three voices the same part in harmony, and the part can be split in two. Then he plays call and response. Sometimes with one voice, silencing it one round while he sings in the gap that creates, bringing it back in again one round while he stops singing, silencing it again and singing back. Or he’ll do that with half the part – silencing it for the first half of the loop and singing, bringing it back for the second half. Sometimes he’ll do that with one voice, the top voice, say, keeping the lower two voices of that part, sometimes he’ll do that with all three voices, just leaving, say, the bottom three voices keeping a different part of the sound going. Like sometimes peeling off the trees, and sometimes peeling off the trees and the earth showing the bare rock beneath.

The conductor in the middle plays solo. They’re not taking from the group sound, the group doesn’t subjugate to support them; they’re contributing. Giving whatever they can to raise the energy. Bits. Pieces. Artful little contributions. The energy raises. They alter the piece. Add something. A hey on an off beat. That gets gradually louder. An underlying beatbox. Something that gives.

It’s brilliant. It’s fucking brilliant.

Small group improv
Wowweeeeee I can’t say how delighted I was to see what they started with.
A group of five. Bobby got going with a loose little loop that sometimes stuck to the pattern and sometimes didn’t. Gradually each singer began to contribute something complementary. All voices relaxed and soft. Everything playful and delicious and musical. The piece meandered, grew, took a left, up a sharp hill, down a soft slope, suddenly in unison, now polyphonic again, Oh My God this is heaven and I want to jump in and I want to swim and swim and live in this.

The four singers accompanying him are the teachers. They are Rhiannon, Christiane Karam, Joey Blake and David Worm. They are humble and brilliant and beautiful and I want to sit at their feet and apprentice myself to them, to Rhiannon and Bobby in particular.

There is embodied grace, embodied humility, embodied excellence, a palpable spirituality that is about grounded authentic play, play with elegant beauty, play with beastly snarls, play with all that it is to be human, but all that so subtly, because above all it is music and it is very very musical. Sometimes I find, in myself and in others, that when the musical expertise is lacking an over-expressiveness can take over to compensate. These guys have the balance.

Here are some of the things that they said.

Someone voiced my question: what are you doing when you do that? They said things like this:

I’m thinking, co-operate, co-operate, co-operate. Blend in. Don’t do anything tricky.
Give away. Find out where you fit. Trust. We have each others’ backs. A lot of love. Being very quiet. Listening for what’s being given.

Everyone has a tone, sound and rhythm. Don’t be impatient. Take time to listen for what the person is doing.

Not really thinking. Anticipating what they might do (often wrongly), supporting and accompanying.

Practice informs and enriches your vocabulary. Listen listen listen to all manner of things. Among other activities that will develop your vocabulary.

It’s all jazz. Be loose, be free, don’t think too much about it, let the music come out.

Skill building. Become confident to jump in. At first it will be fearful, of course. “Anything worthwhile doing, if it’s new, you’ll be a little afraid of it.” (Bobby).

Watch the music come out. See where it goes.

Practice
Play with different sounds, the whole alphabet. Play with each consonant against each vowel. Quickly. Light and agile. Play your way through the whole alphabet in something like a minute.

Could be supported by an underlying slow groove circle song.

Someone can lead it. Calling things like chord number – singing the instructions. And say things like: Stop. Hold a silence. Then, Go.

Humm. What can I do, each week, little by gentle little, humble by playful humble, enjoyably, to expand my vocabulary?

Poor old Amy

I just heard the sad news about Amy Winehouse's death.

She was in a tough position.

In a great TED talk, Liz Gilbert muses on what a difficult position contemporary arts culture puts artists in.

Back in the day, she said, artistic inspiration was understood to be about more than the individual. The creative at work was inspired, in-spired; spirit was in the house. The creative was a channel. Upon her shoulder sat a 'genie' - etymological origin of 'genius' - some small creature who would pour the ideas into the creative, who would then pour them into the work. If the musician was fabulous, they were lucky to have a great genie. It wasn't all about them. If they were having a fallow period, bad old genie wasn't showing up for work. The ego was protected from taking direct responsibility for the inevitable peaks and troughs in creative productivity.

Not so these days with our secular ideas: the individual is responsible for the greatness when the work is great, and has lost it, fallen from grace, when the work lacks spark.

It puts the ego in a difficult place. Especially for someone as talented as Amy. Huge inflation from the huge audiences, deals, money, fame. Huge crashes when her identity struggles to healthily accommodate these bloated notions.

She would have struggled too, I imagine, with the absence of a grounding humility in the idea of the role of the musician.

I once sung with some Kora players from Mali and was struck by their humble, generous, relaxed and playful attitude towards making and sharing music. The Kora player in Mali plays a cultural service, they explained to me, with three main roles. Firstly, to hold the values of the culture that are embedded in the traditional songs. Their role is to learn the songs, know the songs, teach the songs and sing the songs so that the people remember who they are and what they value. (The Shona songs from Zimbabwe that I sing with Chartwell play a similar role in carrying values. "Where will I be when the problem comes? I will be with my father" are the lyrics to one entire song. It tells a lot about the role of a father. "Don't make the children wear patchwork: patchwork clothes are only for adults," sings another. Patchwork fabric is a sign of poverty. If there is poverty, the priority is to protect the children from feeling poor, the song instructs.)

Two more roles for the Kora player from Mali: to create a party atmosphere for weddings and celebrations, and to keep the peace. The kora is wonderfully soothing - you've heard Toumani Diabate right? So, if you argue with, say, your partner, someone will go and fetch the nearest kora player to come and sit nearby and play the kora while you argue. And when he does, you will not be able to help but soften. You will soften into a way of communicating that is less violent, and as a result, face a better chance of hearing and being heard, and finding a resolution to your conflict.

How cool is that?

I think we need these ideas as musicians, of service, of embedded social role, of being a channel for 'god' rather than 'god' itself.

Malidoma Some agrees. He says:

"[Artistic] talents are widely recognised in indigenous communities because indigenous people assume that the artist is a priest or a priestess through whom the Other World finds an entrance into this world. If the priest or the priestess regards with reverence and humility the world where his or her art originates, then the work done becomes lasting and impressive. If not, the artist does not last very long."  - The Healing Wisdom of Africa

I bet a lot of people helped Amy to package herself - her sound, her appearance, her songs, her stage presence, her CDs, her financial management.

I wonder if anybody helped Amy to see the enormous talent she had been given in this way.

Somehow I doubt it. These ideas are not prevalent in our culture.

Poor Amy.

Sauna songs

I've just come home from the wonderful Buddhafield festival.

I'd like to go back next year armed with songs and singing to share. I didn't this year because I didn't think about it or prepare.

Firstly, Sauna songs. I was a bit stumped by this.

Sauna songs should be easy to learn and easy to build upon. Good to have high and low energy songs up your sleeve.

First thoughts:

In that sweet by and by
Hold on just a little bit longer
Great mother / from singing in the wild

in the morning

Good morning grandmother

the best bit of all was when someone started a beat, people picked it up and added to it, the light mysteriously went out, people started to tone, tones turned into harmonies, harmonies into yodels, yodels into musical yells, claps into stamps, the whole thing went WILD - fantastic.

Gaudete

This is one of my favourite Christmas songs.



I like this youtube comment from one of the choir members:


Mainly they are people who work on the fields (agriculture) whom don't even speak a foreign language besides myself 2 or 3 others among teenagers. The conductor (he is a music teacher) intended to do so... fast and joyfully. He meant to and we did it :)
matrixamp 1 year ago

I really like the Steeleye Span version.


Its author says:

Uploaded by viggojaredcoreymatt on May 1, 2009

I love the way this song sounds, I couldn't find the lyrics anywhere on YouTube so I made this video. I also wondered what it meant so I found a translation - I did not translate it myself!

Bangdiza 2 from Chartwell

Thanks to Emily for the words:

Mhuka inoruma vakomana

Mhuka inoruma

Mhuka inoruma vakomana

Mudeve mune tsanga

"Vakomana" means 'brothers'

The song means 'Hey guys this animal bites' or something like that...:)

Karimugamba

Hurendende iya wayene x3

nyama musango (in the middle of the bush)
huchi munodya mega
ndiyah wamora

it means
bring the honey!
Getting the honey is an act of daring. You have to climb tall trees and take honey from wild aggressive bees. Sugars don't come easy in the jungle :)

Mahororo!

Nyangara Chena 2

Nyangara Chena from Fred

Sorry about the wobbly videos. I'll edit them at some point. In the mean time here they are.

Words
Nyangara Chena (repeat)

Nai way Nyangara way
Ta zoku ona Nyangara

Nai way Nyangara way
Mambo wedu wofa Nyangara

Meaning
Nyangara is python-healer. The song says, Python healer, come out (chena). We need your help (ta zoku ona). Our chief is dying (mambo wedu wofa).

Mandarendare from Sebastian and Doug

The learning process. And 'genies'...

When I began to focus more on vocal improvisation, I found I often heard a little voice inside of me. My job as an improviser was simply to follow it. It always seemed to come up with beauty. To follow it was a smooth pleasure.

Now I have been studying vocal improvisation for a year, with David Eskenazy. I don't hear that little voice any more. I haven't for a while. My hunch about why this is has been pretty much the same as Jo's, but she explains it very nicely...

"We never got back to talking about how your voice connection to the 'genies' has gone.  My take on this is that while you are learning a new skill the genies go away.  This is so that they don't interrupt the dialogue that you brain is having with your body.  Once you reach your new desired skill level and feel confident in it the brain will be able to go back onto autopilot and the genies will come back.  PROMISE!

"It's all about the progression from unconsciously incompetent to unconsciously competent.  The steps in development are:

1) Unconscious incompetence (or old skill level)
2) Conscious incompetence
3) Conscious competence (new skill level)
4) Unconscious competence

The genies can only speak when the action is so well established that it can be performed unconsciously."