OPUS Northern Rivers

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Singing with Georgina

Photography & Styling: Mel Carrero (www.thechubbyfashionista.com.au)

The Northern Rivers is full of beautiful and inspiring musicians, one of these inspiring talents is singer/songwriter/teacher Georgina Pollard! Just have a listen to her award-winning album, ‘How to Film A Feast’ and try to tell us otherwise. She is a busy lady, with regular gigs, teaching and being her awesome self, so we were quite lucky to have a vocal workshop held by such a talent recently.

I was fortunate enough to be allowed to tag along to the workshop (in order to write this article), and one of the first things I noticed was the vast variety in ages.

  “Yes, I knew beforehand I was going to have an age range from 6 years old to about 58 years old so I prepared in advance…”

  It was very clear that this was the case! The activities were delivered in a way that engaged the young children’s creativity and attention spans, while still providing the older students the opportunity to question the activities on a deeper level. Towards the end of the workshop it was quite amusing for me to watch the youngest student running and skipping very energetically across the stage and offering me Tic Tacs every five minutes, while the rest of the group passionately engaged in some group singing. If you were sitting with me you would be able to tell, by the toothy grin on my face, just how impressive the singing was.

It was obvious Georgina had been very organised with her workshop so I have asked her to briefly describe the key activities that she delivered.

The beginning of my Vocal Workshop focused on teaching the participants the importance of warming up their bodies and their vocal chords before they get stuck into singing.  We also focused on good breathing technique as this is extremely important in singing as it helps to sustain a good tone in your singing voice, plus it also builds your confidence and ability to attempt songs which may have been too hard for you in the past.  We then focused on microphone technique together as a group and I also provided an opportunity for some solo singing towards the end of the workshop and how to maintain good vocal health.  Finally we concentrated on learning some songs.

Photography: Sonya Gatland

The songs that the group learned towards the end of the session were Katy Perry’s ‘Roar’ and ‘O Happy Days’ from Sister Act 2. ‘Roar’ was great because it got the younger students excited about singing. It was also pretty adorable to watch the youngest student demand to sing this song again and again and then sing most of it solo in front of the group, so cute and very confident indeed! ‘O Happy Days’ was also a fantastic choice because the arrangement Georgina had involved some harmony work, a key change and required more technical vocal work.

At the end of the day all of the students seemed confident and inspired! I’m not a vocalist myself (which I think can be appreciated by my friends and family!) but it was clear that Georgina is a fantastic singing teacher, whether it’s for private or group lessons. 

Before I sign off for this article, I thought it would be great to get Georgina to share some final advice for any vocalists out there who are keen to make their voice their career:

Look after yourself & your voice.  The vocal chords are fragile and if you gig too much, if you over-indulge in smoking/drugs/drinking you are damaging your most valuable asset!  Also, keep learning.  As soon as you stagnate you are not improving and you are not being inspired.  There is always somebody better than you... seek them out and keep being inspired to practice, learn new tunes or write better tunes if you are a songwriter.  One other thing is - be nice!!  The music industry is quite close-knit and if you want to be a part of it ... be a pleasure to work with!!

The secret is lots of hard work!  The process of putting together a professional recording is fantastic but requires determination, hours of work, many rehearsals, professionalism in the recording studio and then a good marketing plan at the end to get your work out there.  Booking gigs also takes persistence & often quite a lot of communication with your band & the venues.  You need to be very organised, turn up to rehearsals with great charts and be able to communicate clearly what you want and work really well in a group.

Musicians like Georgina Pollard are right at our doorstep here in the gorgeous Northern Rivers. Make sure you check out Georgina’s website (http://www.georginapollard.com) and her E.P. ‘How To Film A Feast’. You can find Georgina’s upcoming gigs on her website and also on the poster below, or maybe see if you can score a lesson with her!

    Article by Sonya

Edited by Kirstin 

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OPUS speaks with No Frills Twins

Earlier on in the year, OPUS spoke to the No Frills Twins about their music and time on X-Factor in 2012.

  You competed on X-Factor in 2012. Can you tell me a bit about how you found the process of competing in a reality TV singing contest?

X-Factor was an eye opening experience into the behind-the-scenes works of reality television. We'd watched X-Factor on TV for years and thought it looked like a lot of fun to be part of. In reality there was hours of waiting around, really late nights and early mornings. 

The live audition was so much fun, with a cheering audience of 3000+ and an undivided YES from all the judges, the experience was invigorating! Boot Camp required great perseverance and focus - by the end of the week we felt like we really did go to a "Boot Camp". There were pros and cons really, although we found that competing in such a competitive environment kind of took away the joy in music and performance and didn't quite suit us after all, we did walk away with life experience, a clearer picture of the future we want, and many great friends and contacts.

  Were you very aware of the specifics of the contracts and release forms you were signing? What do you know about the legalities of the ownership of the songs that you perform in those situations and any residual effects of the contracts signed in regards to your music and the songs you sang/write/wrote?

We had no idea that there were going to be so many legal documents and contracts to sign, truth be told we didn't have enough time to read most of them - they were generally thrown at us before auditions or interviews and we generally just had to trust/hope that whatever was in there was authentic. We understand it's not safe to bypass details of a contract and in the future we will definitely make sure we read through them thoroughly. From the very first private audition, our contract meant we were unable to tell anyone about our participation/success, which was very difficult to do! But, we did keep it secret and surprised all our friends!

  You put out a lot of YouTube videos. How much thought is put into these videos (purpose, song choice, personality) and what advantages or disadvantages do you encounter from your online presence?

Our YouTube videos are quite improvised and spontaneous. Usually we learn a song and rehearse every afternoon for a few days until we're confident with the arrangement, and then randomly decide to record it either on the weekend or after school. Thought does go into song choice, we try to pick popular songs on the top of the charts because we know people want to hear songs they love and these videos are more likely to get hits on YouTube. We change them around to create our own sound and flavour; we don't want to create identical imitations of the original track, but instead offer something new and fresh!  We like to incorporate different themes or colours in our videos, for example, completely blue attire with blue clothes matched with blue lipstick. This choice is completely out of our love for creativity, expressionism and fashion!  We tend to lack confidence when it comes to speaking. In live interviews we can get quite nervous…as you may have picked up, we usually don't speak in our videos as we find music suits us better as a way of communicating, connecting and conveying emotion and ideas. We can imagine that viewers would prefer to see more of our personality, and we're going to try ease up, relax, and speak more to our YouTube fans.

  For two young girls, your style is very mature. How do you describe your sound and how did you come about this approach to music?

We have no idea what our style or genre is. We've always been open to all types of music and generally do not have a dislike for any genre (we have an acceptance for all music). We think our lack of conformity to a specific genre has advantaged us by allowing us to cover songs from a variety of different genres. We've discovered we fall in love with songs not artists, apart from Celine Dion, we don't prioritise artists and we're open to covering songs we have a liking for from any artist, even Nicki Minaj! We naturally have a connection to songs with minor chords, we find them hauntingly beautiful, but these songs can sound quite gloomy and may perhaps make us appear unhappy or not youthful. But we are very happy and joyful young girls!! At the moment, we'd say our sound is a mixture of Blues, Country, Pop, and Rap, which we have very recently picked up!

  How much thought is put into the brand identity of your music? What type of audience do you identify with and how have you tried to cater to their interests?

We clearly have a passion for fashion, dedicating everyday to dressing up and decorating ourselves, even for school (a non-uniform, free dress school).  Initially, we began experimenting with our image even before we started YouTubing, naturally the image and music has merged together to create a unique brand for ourselves. Beforehand we were known for the fashion, whereas now we are known equally for both. We've recently begun covering popular chart-topper songs/artists, such as Taylor Swift, we thought this would attract solely a youthful audience, but surprisingly we've also been getting amazing feedback from middle-aged people (and all of mum's friends who are now dedicated fans). We have an undying YouTube fan, a middle aged American man, who revisits and comments on our videos on a daily basis. We're surprised by the unordinary variety in the audience reach of our videos. We're aiming more and more to cater for a wider audience; we try to cover songs that will do this.

    Do you ever worry about alienating fans by overdoing your brand identity? How much of your style is gimmick and how much of it is true to life?

We do not worry at all about alienating fans by our image, we've actually been told many times that people clicked into our YouTube videos because of how we look, to then find music they liked. If anything, it helps draw in a larger audience. We don't dress with any secret intention other than just for our own enjoyment in experimentation. We have realised it has evoked interest and curiosity and offers an easily identifiable brand identity.

  Find No Frills Twins on Facebook here.

  The No Frills Twins are playing THIS Saturday 31st, at the Back Alley Gallery Street Party in Lismore. More details here.

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OPUS Tech Talks with Jake Pember - How To Integrate Your Phone Or Tablet Into Your Musical Workflow

Without a doubt, one of the most exciting areas of consumer technology in the last five years has been touchscreen devices such as smartphones and tablets. Chances are, you already use a smartphone - more than 50% of Australians over the age of 18 have embraced the technology - but have you ever used a phone or tablet for musical work?

There are many different ways to integrate a smart device into music-making, and this article will outline a few of these. I hope to inspire you to begin to use that portable computer in your pocket for more than just texting, running from giant monkeys, or flinging birds at green pigs. I'm writing this as a musician, and my examples are going to be perhaps more relevant to musicians than other artists, but many will be adaptable.

Use your smartphone as a digital notepad

It may seem like an obvious suggestion, and you've likely used your smartphone to jot down notes and ideas every once in a while, but there is a huge opportunity to turn it into an auto-syncing, rich data notepad powerhouse.

One of the first apps that I install on any new system is Evernote. Evernote is a hugely powerful note-taking app that is capable of housing regular text notes, audio, video, images, attachments, and more. It lives on your phone, tablet, computer, and online, and everything you write or record on any of your devices gets instantly synced onto your others.

I use Evernote for many different things. Written or recorded music ideas, keeping track of tasks left to complete in particular projects, as an in-depth industry contacts book, and I'm even writing this article in Evernote right now.

Use your device for inspiration

As a musician or artist of any kind, finding sources of inspiration is hugely valuable to your craft. In the digital age, there has been an exponential increase in the sheer amount of creative output accessible on a day-to-day basis. When every band has easier access than ever to home recording technologies, when every visual artist can set up a web page to host images or videos of their artworks, it is easy to become overwhelmed with the volume of stuff available to check out.

Enter the world of "smart" playlists, instant mixes, generated radio, and content aggregators.

Streaming music services such as Google Play Music, Spotify, Rdio, and Pandora, as well as other services including Last.fm all give you the chance to discover "similar artists", many with this feature embedded into a streaming radio service. Spotify calls it "Radio" which can be activated from either an artist page or a playlist, Google Play Music also calls it "Radio", but can be activated from album, artist, playlist or even a single song. Both Pandora and Rdio call them "Stations".

Beyond just music recommendations, however, are services like StumbleUpon, which takes a list of your interests, as well as pages you have given the "thumbs up", and creates a constant stream of interesting stuff for you to check out, all at the push of a button. StumbleUpon is available as an in-browser webapp, or as a native app on both iOS and Android.

How about all that stuff that you know you like already, but you just don't have enough of it? Set up an RSS reader for yourself and you'll never run out of interesting articles to read.

RSS has been around for many years, and is simply a way of collecting posts from your favourite blogs or websites and being able to read them all in one place. You need an RSS reader, which comes in the form of an app or a website. My favourite, Feedly, is available for both iOS and Android devices. From within the app you can search thousands of feeds by topic to find ones that you want to subscribe to.

Play your device as an instrument

There are many fantastic apps, particularly for Apple devices, that function as complete musical instruments. Couple these with recent improvements in the iOS 7 system update with inter-app audio (the ability to send signals and audio between several different apps) and you've got yourself a powerful, portable synth studio. This is possible in current version of iOS with a hosting app called Audiobus. The Audiobus website provides a huge list of compatible apps, ready to become part of your interconnected synth arsenal.

As for a few awesome standalone synths to begin with, on the iPad check out Arturia iMini, a recreation of the classic Minimoog, Propellerhead Figure, an intuitive synth powered by Reason, or the more advanced Korg iMS-20, a virtual analogue synth with patchable interface, built-in sequencer, and drum machine! Lastly, for a different way to play music, check out both Chordion, an alternative layout that allows you to play chords with one hand and melodies with the other, and SoundPrism, an expressive instrument using a two-dimensional representation of musical pitches rather than the one-dimensional piano keyboard layout.

Unfortunately, due to the fact that there are many different Android phones and tablets available, made by many different manufacturers, it is difficult to ensure a low-enough audio latency (the delay between your finger touching the screen and the sound being produced), and so the range of synthesisers and virtual instruments available is significantly less than on iOS. However, there a more than a few that are definitely worth checking out. Electrum Drum Machine is a fantastic 8-channel drum machine with full editing capabilities (reverb, delay, EQ, pitch shifting, etc.); EerieSynth is a synth with a keyboard layout, but capable of microtonal shifts and expressive playing; and Caustic is a full sequencer with heaps of different synth modules, a drum machine, and effects.

Use your device to aid your performance

Tactile devices such as iPads and other tablets have begun to take the place of printed charts, lead sheets, and lyrics. When you can bring a library of thousands of songs with you - why not? Many times it is easier than gathering, writing, or copying paper charts, and with some decent editing and organising software, the whole process is completely seamless. The app of choice for many musicians is iReal b (App Store link) (Google Play link). Not only does the app function as a comprehensive catalogue of chord charts (you can download massive collections of jazz standards, the entire Beatles catalogue, pop, rock, latin, gypsy, etc.) but it can also play them back to you for rehearsal purposes! Its shortfall is that it doesn't include melodies or lyrics, but for the guitar/keyboard/bass crowd it is fantastic!

For lyrics and setlists, the aptly named Setlists looks great, though I have never used it personally. It can house your entire list of songs, and you build setlists from there - it'll even tell you how long the set will last. On top of that, you can bring up the lyrics for each song as you play them.

Forgot your guitar tuner? There's an app for that - or a couple of hundred ones. On iOS have a look at Cleartune or Guitartuna, Android users check out gStrings or Waves. For a slightly pricier alternative, you can grab GuitarToolkit on iOS for a tuner; scales, chords, and voicings dictionary; and a metronome with various editable drum and percussion feels.

To go even further and use your iPad or iPhone as your entire effects and amp chain, check out the iRig interface for use with AmpliTube software.

Use your device to control everything else!

One of the things I find most useful when using my smartphone and tablet for audio work is using them as controllers for software on my desktop and portable studio computers. Almost every DAW software package supports some form of remote control interface, whether it be through MIDI, RTP, or OSC protocols. But forget about acronyms! All you need to know is what they can do.

If you use any music sequencing software at home such as Pro Tools, Cubase, Logic, FL Studio, or REAPER, you can set up an application on your phone or tablet to control it from a distance with a tactile, responsive interface that you can edit however you like!

There are a few apps that do this. For Android, there is TouchDAW, which uses MIDI over the RTP protocol to control everything in your sequencer or DAW. It takes a little bit of setting up, but you should only have to do this once and then it will work straight away every time. Available on both Android and iOS is TouchOSC, using the Open Sound Control (OSC) protocol to talk to your computer. It is similar to TouchDAW in setup and usage, but is more widely used, and you might have more success in finding help online to set it up for your system.

If you're willing to shell out the big bucks, Lemur for iPad is an incredibly feature-rich alternative to the above. It has a much larger range of controls, including ones that aren't just faders and knobs - controls that were built with the new paradigms of touch screen devices in mind. The page also claims that users of the app include Daft Punk, Bjork, and Nine Inch Nails.

Written by Jake Pember

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Tintenbar Upfront

A couple of weeks ago, a friend and I drove to Tintenbar Community Hall, less than half an hour out of Lismore, to enjoy the music and hospitality of the area at an Open Mic Night that I recently heard about, named “Tintenbar Upfront”.

I arrived just before 7:30. By the candlelight of the candelabra onstage I could see about fifty friendly-faced locals, seated and gossiping over their poison of choice. I placed the concession-price admission fee of $3 onto a small plate at the front door and headed straight over to a table filled with coffee and cakes. I highly recommend the orange cake. The coffee was instant, but free. The ceiling was high and arched and the floorboards were worn. There was a curtained stage at the end of the hall, but the stage for the night was intimately set up on the floor. It was a cold night outside but the hall was comfortably warm.

The music started off with the organisers singing a heart-warming theme song that welcomed newcomers and hushed the crowd. Stephanie Rogers started off the night, accompanied by Ben Bamborough on acoustic guitar.

  The songwriting and performing standards soared and swooped throughout the night, but that’s just the charm of a small town Open Mic Night. An old man recited some bush poetry and a young lad nailed “Somewhere Over The Rainbow” despite a faulty sustain pedal on his keyboard. 

The crowd was silent, polite and attentive during performances and enthusiastic in their appreciation between songs. There was a sing along and a man with a harmonica spontaneously accompanied some performers from the back of the room.

The acoustics of the hall were great. The sound of the space was lush but I was still able to hear every word of the in-depth stories each performer told between their songs. A small PA was supplied and used very sparingly.

“Tintenbar Upfront” is on the second Friday of each month. Performers can book a spot on the website. The night is $3 for concession. It’s BYO, with homemade cakes available for a gold coin donation and Thai dinner for $10.

You can see the full lineup and more information at http://www.tintenbarupfront.com/

  Photography and review by Kwinton Trembath

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Small Cast, Big Show - Born To Sing! An Interview With Lachlan Copeland

  Can you tell us a bit about ‘Born to Sing’? What exactly is it and who is involved?

Born to Sing comprises of 5 male vocalists with the addition of 2 female singers and 3 dancers; together they perform an array of songs, which include Jazz, Musical Theatre, Pop and yes, there was a Country tune. The 5-piece vocal group is made up of people who had previously met at a regional theatre.

How did you get involved in Born to Sing?

The director, Jenny Southon, knew my vocal and performance abilities from my numerous performances at Ballina Players Theatre. Also she had a mutual acquaintance, my vocal instructor, Mrs Katie Rutledge.

  How many hours of rehearsal were needed before the first performance? Can you explain what you did in the rehearsal?

Many, many hours. For the first show we rehearsed for 5 or so months and for the second show we rehearsed for around 2 months. Rehearsals initially comprised of learning vocals and harmonies for the group pieces and then learning the movement. I also needed to learn my solo pieces so I enlisted the help of Katie Rutledge.  Later rehearsals involved combining movement with the vocals, which was fun to memorise as a whole.

  You have done a couple of ‘Born to Sing’ shows now and we’ve heard that they’ve been a big success. Can you describe how the shows went? Do you have any funny stories to share with us?

With the first run of shows, unfortunately, the weather was so bad a larger proportion of the audience was unable to make the show, but they returned on clearer weather. The first show was good to hear the general public’s opinions as many said they would return, and so they did for the second show months later. No funny stories, however, one night a cast member took off his microphone belt and forgot to put it back on, so between songs where we remained onstage he walked on just in time for his part.

  What have you and the other performers learned from these performances and being a part of ‘Born to Sing’?

I learned that there is a great difference between performing on stage for a musical, on stage in a band and within a vocal group with movement. Each has little nuances, such as how big to make gestures, pre-show nerves and the focus placed on vocals.

  What advice would you give to anyone who is wanting to get into the theatre and performing arts scene?

Show up willing to adapt, learn, and take criticism in a positive way, however, keep true to who you are. Get involved! Lighting, sound, stage crew, costume etc. - they make you look good, make them your friends! Last but not least, enjoy the ride, from meeting new people, learning new songs, struggles of the show, last minute changes, production week, costume runs, opening night buzz, and finally when the curtain goes down closing night.

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OPUS Tech Talks with Jake Pember - The QuNexus Keyboard Controller

The world of digital musical instruments has been getting larger at an exponential rate ever since the early days of MIDI. These days, it is more common to see the newest and most innovative musical products and interfaces released as software, in the form of smartphone and tablet applications or plugins for various digital audio workstations. While MIDI keyboard controllers have been around for many years, and have taken many different and innovative forms, a newly available product seeks to take this a step further, combining a physical hardware keyboard with the smart sensor-based expression that is so readily available in touchscreen devices.

The QuNexus, created by Keith McMillen and funded through a successful Kickstarter campaign in the latter half of 2012, is an extremely portable USB-MIDI keyboard interface, featuring 25 light-up, touch-sensitive keys that respond to the player's touch in a natural, expressive, and musical way. Because each of the keys have an LED light behind them, the keyboard provides a very direct visual feedback every time a note is played. What's more, it can be used as a step-sequencer for synthesisers or drum machines with the light-up keys providing the 'grid' of steps.

The killer feature of the QuNexus, however, is that it is able to output CV (control voltage) messages through 4 separate channels. This makes the tiny device compatible with even the most obscure vintage synthesisers. Control voltage is an analog alternative to the digital MIDI that has been so prevalent in the music industry since the 1980s, sending a continuous AC voltage to let the synth know which notes to play and when to play them, as well as controlling other aspects of the sound such as filters, LFOs, modulation, pitch bend, etc. Since the QuNexus is compatible with this old standard of technology, it provides an opportunity to fill an incredible niche in many studios that still use vintage synthesisers, as well as modern hardware and software synths.

The QuNexus is plug-and-play compatible with Mac OSX, Windows, Android, and iOS.

For more info, check out the QuNexus on Keith McMillen's website:  http://www.keithmcmillen.com/qunexus/

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Learn About Eco-Fashion with Eco Bird

What is eco-fashion? If you answered ‘edible clothing’ don’t worry, you’re not alone! For Eco Bird founder, Danielle Smith, eco-fashion is a term she needs to define more often than not. Eco-fashion is ethical and sustainable fashion.

Eco Bird formed as Danielle’s major assessment for FBI Fashion College. Although she has always been conscious of the negative repercussions the fashion industry creates, it wasn’t until this final assessment that Danielle realised this is what she was meant to do. After doing her own extensive research and drawing a blank each time, Danielle decided Australia needed more accessible outlets to fill the void.

Eco Bird is a combination of Danielle’s love and admiration for the environment, and the creative side of her personality. As Danielle studied at FBI Fashion College she started to feel herself become torn – “There was always this niggling thought in the back of my mind thinking ‘I wonder how many chemicals were leaked out into soils, waterways and oceans to create this?’ or ‘How could they afford to make this product and then sell it for so cheap and STILL make a profit? Who really paid for it?’”

Danielle says she has always had a love and appreciation for the environment and she has always felt deeply saddened when people are fine with polluting it. “As I spent more time working and studying in the fashion industry, I started to ask myself more questions and when I found the answers I was so horrified and shocked – It was worse than I thought!”

Changing the way in which we consume products is where we can make the biggest and most effective impact – “I find a lot of people don’t believe they have the power to change the world, so they just don’t bother!”

If there is one main message that Danielle hopes to send through to her customers, it is that once we all step back from it all and realise just how much positive action we can create, through a simple change in our shopping patterns, we can make a difference. We can still enjoy fashion and express ourselves creatively but it doesn’t need to be so destructive. There are so many people struggling on or below the poverty line, and by changing our shopping habits we can start making a difference.

You can check out Eco Bird at www.ecobird.net and www.facebook.com/ecobirdfashion

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A Night With The Perch Creek Family Jugband!

  I walked into the hall with music already underway. The tables were filled with warm bodies, indoors from the brisk wet night, floor space the only place left to reside. A fresh-faced teen stood centre stage, addressing the crowd from underneath an obvious illness, her cold cracking her voice as she spoke. 

Tullara, one half of the sister duo Siskin River, begins the piece with harmonics ringing through on her acoustic guitar, sporting feminine floral inlays, forming the scaffold for the first tune I caught, it was a pleasant rendition of Justin Timberlake’s “Cry Me A River”. She transformed this pop tune into a folky/blues style ballad, making use of a loop pedal underfoot. Her long, wavy, mousy blonde hair falls over her face as she gets lost in her interpretation, obstructing her vision, as the crowd joins in unison of applause. She apologised for going overtime, however, not one person in the room was worried. Her raw, honest and strong voice captivated the room moments earlier to complete silence.

The tablecloth hung behind her caught my eye and reminded me of lunchtime at Grandma’s house; with sandwiches cut into fours and far too weak fruit flavoured cordial in vintage glasses in the summer time.

Her original music spoke with authentic self-reflection under catchy blues hooks; her husky voice spoke of love, loss and the endurance of relationships. Tullara closed with and instrumental piece, John Butler’s “Ocean”. The delicate balance of grace and the boisterous masculinity required to play guitar in such a manner enchanted the room. Once again, silence. Every eyeball was locked on Tullara, everyone was in awe of this little lady owning the stage in this hall in little Bangalow.

The next act to grace the stage was Andrew Morris (of the Wilson Pickers). Gentle fingerpicking and a smooth but raspy voice entertained the audience as the lights dimmed to the ever-swelling room. I am forced forward onto the wooden floorboards to make space for more eager bodies. The voice of this heavily bearded, checked shirt gentleman self describes his music to be “folk-rock”, over interactions with the family-friendly crowd; a child yells at him for being too loud.

Andrew applied a one-man band approach with the backing of a harmonica around his neck and a tambouring underfoot. His tales are of lasting friendships alongside whiskey drinking. His equipment has a moment of malfunction, the harmonica slips from its perch on his chest, giving this showman the opportunity to curse his imaginary band for their “poor timing” in a humorous, off-the-cuff manner, making light of this misadventure. This man, no stranger to the spotlight, stands strong in address to the room as he floats in and out of his well-polished repertoire and conducts conversation as if amongst good friends. 

  Next, five band members take the stage as the lights come up, all of similar height and stature, their like faces and mirroring smiles define this group. They face a crowd that has not been able to stand still from the very first moment this eccentric genre defying music began. Is it ragtime? Is it country? Is it folk? Either way you look at it, it is mesmerising. I am transported to a different time, a time where I would jump steam train carriages whilst swindling moonshine from my bathtub. The audience hit with a wall of sound consisting of perfect five part harmonies, this blend only achievable by shared genes and anatomy, accompanied by an array of intriguing instruments.

  Camilla plays her $5 Riviera keyboard, which she rescued from the local tip, switching to her frailing five-string banjo, melodica and offering up her vocals along side the direction of the band. She provoked gentle sibling banter, ripping on her “handsome and yes ladies, single” younger brother, poking fun at her attention seeking, talented sister, also explaining stories behind songs. Camilla acted as the front woman, interacting with the room between songs, finding any moment she could to include her train whistle.

  Next along, “Ladies Love” Lear, the older of the two male Hodgkins members, stood with his afro catching the stage lights in glow. He stood behind a very minimalistic drum kit, sporting a snare, cymbals and a cow bell, played with brushes and bottle cap washboard gloves alternating rhythms played on the front mounted board and his kit. He kept the room waiting in anticipation all evening bringing out the jug for one tune, only toward the end of the show. In between keeping this energetic and irresistibly toe-tapping rhythm, he sung, supporting his sisters’ voices with a deep, rich tone.

  “Coke bottle” glasses wearing Eileen, in her cowgirl boot and eye-catching red frock stood centre stage, and rightly so. This guitar and ukulele-playing sister sure can hold a tune, her voice rising above the rest of the group; she often stepped back from the microphone while she sung her little heart out. Her energetic shoe shuffling was just the beginning. I was caught completely off-guard as she stepped off the stage; bodies parted forming a circle around her as she took off, tap dancing to another wonderful Perch Creek tune, the punters went wild with excitement.

  Rumor has it that Christi traded his leg to the devil for his brilliant musical talent. This tale made believable upon discovery that he is merely 17 years of age. Christi offered up his phenomenal harmonic abilities amongst the equally impressive kazoo, trombone and saw-playing soirée. This slightly junior member of the group remained relatively silent between tunes, adopting a slightly shy and gentle façade, all of which disappeared when he belted out tune after tune. Needless to say there were hearts broken that night amongst the many teenage ladies gazing up adoringly.

  Lastly the in-law, Jimmy, held the rather beautiful double bass at the opposite end of the stage. He, too, offered his voice to the vocal harmonies, holding his own amongst those who share the same bloodline, raging with genetically natural entertaining inclinations.

  A special guest was welcomed, the baby Hodgkins family member, this young brother, again with that distinctive family smile, sung “Oh Susanna” as if in training for this pre-determined path toward a life on the road entertaining full rooms.  Like his brothers and sisters he too seems to have been blessed with the Hodgkins’ musical ability. This junior nailing the tune as proud faces supported him through the piece effortlessly.   

  I attended the evening blind, with no understanding of what I was getting myself into. What a wonderful surprise it was to have the pleasure to have spent the evening dancing to music with such much love surrounding it. The Perch Creek Family Jugband is an experience that no man, woman, child, dog or goldfish should travel through this life without encountering. They will captivate you, transport you to a yesteryear where things are still simple, they will make you dance, especially if you “don’t dance”. They will take away your worries and replace them with joy, and most of all, remind us of the important and most integral parts of life – Family, community and music!   

     Article and photography by Kate  

 Edited by Kirstin 

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The Sunflower

Earlier this year we spoke with Dr. Barry Hill about Southern Cross University's solar powered generator, The Sunflower. Since we last met with him it has performed during SCU Orientation Week and powered a SCU stage at Byron Bay Bluesfest, with more dates booked in the near future. We thought we would touch base with him to see how this organic power fared. We also spoke to Kwinton Trembath, stage manager of the Lotus Palace (Byron Bay Bluesfest), and with Ryan Beveridge a local artist who performed on the stage.  

  In your opinion how do you feel the sunflower performed at Bluesfest? 

Barry: It went really well. There were a few small teething problems with the solar generator settings, but it lasted for practically the entire time.

Did it meet your expectations?

B: Yes it did and it exceeded them!

What were the problems faced?

B: Punters kicking out the power lead! The battery bank got out of balance in the end and tripped the system earlier than we expected.

What was the reception from festival goers? 

B: In a word, amazing, everyone was astounded to know that the entire stage, the lights and screens, were running on less power than a toaster. 

What changes will you be making the next time you use it?

B: We’re going to tweak the settings on the power generator and allow a bit more time to tweak the sound in the venue.

Has the process from vision to fruition met your expectations? 

B: It certainly has. It’s an amazing feeling to see a crazy idea become an amazing reality.

Where can we see the Sunflower next?

B: The next gig is the Tekstar Symposium at the Byron Bay Lighthouse on June 23, hopefully at Splendour in the Grass, too!

Photography: Kate Stroud

  Explain your Bluesfest experience in 5 words.

Kwinton: Really long days but rewarding.

Ryan: It rocked and it rained.

How did the sunflower fare from your perspective?

Kwinton: Really well. It was running from morning to night each day of the festival, powering the entire PA system for some really amazing performances. It ran really smoothly with minimal downtime and impressed us all.

Ryan: Besides a few technical glitches (I believe the power cut out a few times over the weekend), I'd say it performed pretty well!

Would you have known the difference between this or a normal 'on the grid' powered stage?

Kwinton: Not at all. The system didn’t hold back one bit.

Ryan: Not at all.

Do you believe it is a worthwhile project or just a hippy gimmick?

Kwinton: Definitely worthwhile. Not only did it prove that you can run a festival stage on solar power, it really is an inspiring catalyst for other sustainable ideas.

Ryan: I think it's completely worthwhile. Cheap, renewable energy which outperforms the standard, it's almost ludicrous that it's not already used everywhere else.

How did you feel the whole operation was run within this festival setting?

Kwinton: Quite professionally. There were a few media interviews regarding The Sunflower, everyone seemed to be quite interested in The Sunflower and impressed by its success.

Ryan: I think the SCU team did a great job of getting things underway. It looked like a pretty stressful job at times, with tight changeovers and a lot of pressure to be professional and make all of the bands sound good, but they delivered.

Is it something that you would like to be involved in again?

Kwinton: Sure. I really like the idea of it evolving exponentially into something that not only changes the way festivals run, but the whole music industry completely. It has a lot of potential and it’s very smart and feel-good.

Ryan: Give me a stage and a guitar and I'm there.

How did the punters react to The Sunflower? Were they aware of what was going on?

Kwinton: The sunflower was very obvious, on the outside of the Lotus Palace, visible as soon as punters walked through the gate. I noticed a lot of people pointing at it and reading the information regarding it. 

Dr. Barry Hill also introduced a few of the acts, mentioning that the stage was run by The Sunflower. People really seemed to dig the immediacy of seeing a band in action (powered by the sun) straight after hearing the idea. Sometimes sustainable energy sounds like a pipe dream or something far off in the future, this helped make it seem very real, present and doable.

Ryan: They were made aware with Barry's introduction to the stage; I think it built a lot of hype too. We had a fair amount of people come in to watch by the end.

8. Do you have any other comments to add?

Ryan: I'm very lucky to have been given the opportunity to play at Bluesfest. Maybe one day I can look back and say I helped pioneer a solar revolution.

Photography: Kate Stroud

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Practice Interview #5 of 5. Kristy Turner, Vocals.

 Photography: Rani Lindquist

Do you have a practice routine and if so, what is it? What do you think is a productive and efficient practice routine?

I do. My practice routine consists of approximately 2 hours a day, 5 days a week. I book the vocal room at university, and commence with a 45 minute warm up. 15 minutes of muscle stretching (ranging from tongue to neck, down to the rest of my body), and 30 minutes of vocal warms ups. The next hour is spent working on repertoire. During this hour I will work on scales (modal, world music etc.), repertoire selection and exam song practice. I spend time looking at sections that I have difficulty with, breaking them down to their simplest form (which might be at a slower tempo or in a lower key) and spending time on them. I then finish up with 15 minutes of warming down. I try not to stick too rigidly to just doing an hour on repertoire, as sometimes more time is required on the set work, so this outline is a bare minimum. I think that a productive and efficient practice routine is one that is deliberate and prepared. So, set a goal, set a plan to achieve that goal, reflect afterwards on how you could have done it better and implement that next time around.

What do you find the hardest when practising and how do you go about overcoming this?

Technique can sometimes be the hardest to work on on your own, as your teacher is not around to correct you. To overcome this, I ordinarily would record the session, whether it is voice recorded, or video taped, and look back on it progressively. Alternatively, doing a practice session with someone who is doing well in the area you are struggling with can also be an effective way to address any difficulties you are having. If you are practising a song and you know your posture isn’t the greatest, get in front of a full-length mirror and critique and correct yourself straight away. Also, remove all distractions! Don’t be tempted to watch the latest episode of Game of Thrones, at the expense of a well needed practice session. Surprisingly enough, Facebook will still be there when you finish too! Sometimes a change in surroundings can also be good. Go to a park or utilise the university practice rooms instead of practising at home.

What do you enjoy practising the most, and why?

I enjoy practising the art of improvisation. I find regularly taking a newly learned scale and improvising on it can be quite rewarding. I know improvisation is an “on the spot” kind of thing, I am not saying write the solo you are going to sing at your performance, I am saying to get into the habit of knowing your way around many scales comfortably, so that when that time comes when someone says “Ok, it’s your turn to do a solo”, you can improvise confidently, and accurately. I think this goes far in improving your confidence as a musician/vocalist, and also can bring about a certain level of spontaneity in your performances that will leave audiences remembering you as an artist.

Do you like practising with other people? Can you describe the pros and cons of doing this?

If there is someone who is very good at something I struggle with, I will quite happily ask them to do a session with me. It is usually either me simply observing them, or sometimes can be them guiding me through what I am struggling with. This can be great as you get a new set of eyes (and ears), plenty of constructive feedback and new approaches to addressing struggles in the future. On the flipside however, sometimes practice buddies can work at differing speeds; what might take you 10 minutes to achieve could take someone else 30 minutes, and that is 20 minutes of your practice time that hasn’t been used as effectively as it could have been. Also, I have had practice sessions that have turned into completely unrelated counselling sessions. To combat these ‘cons’, it’s a good idea to set a goal to achieve together, set timeframes in achieving this, monitor it as you go along, and above all be honest with your practice buddy.

A lot of people find studying for university either motivating or frustrating. Can you explain how you feel when practising for university and when practising for yourself? Is there an emotional and practical difference?

It’s quite bittersweet like that. I find studying cuts both ways, some days I am completely motivated, yet other days I am frustrated to the point of giving up. At the end of the day, you take it how it comes. Some things are going to be much easier than others. When I practice for university, it is very deliberate and almost regimented. It’s very practical, I know what I want to achieve and I don’t stop until I have achieved it. I try to research songs and set genres and understand them so that when it comes to a performance I’m not feigning enthusiasm for something that I am otherwise indifferent towards. You develop a new level of appreciation when you actually understand it. However, when I am practising for myself, it’s less strict and it’s a much more emotional experience. I am able to sing in genres that I am drawn to, and passionate about. I am much less harsh on myself, and am inclined to lose myself in melodies and lyrics a lot more naturally. I believe that if you can find a good balance between the emotional and the practical, then you can develop an effective and successful study/practice routine for what you want to achieve. If anyone has that exact balance, could you please let me know…

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Practice Interview #4 of 5. Georgia Quinn, Keys.

Photography: Kate Stroud.

  Do you have a practice routine?

I like to think so. I generally practise for an hour as soon as I get up in the morning and an hour before I go to sleep. If that doesn't go to plan the result is usually two hours in the evening.

  What do you find the hardest when practising?

  Scales, scales are definitely not my friend. I practise these in different styles (swung vs. straight/ staccato vs. legato) in order to make things interesting. I find that playing them in the context of a solo, or piece helps me get around things.

  What do you enjoy practising most?

  Anything with a funky sound about it. I probably enjoy playing and practising ragtime the most. I also love practising improvisation, as I'm not the greatest at this yet, but I know that the more practising I do, the more I'm constantly improving.

  Do you like practising with other people? What are the pros and cons of this?

  Being brought up with a classical background, it wasn't until I came to university that I really got to experience playing with others in genres other than classical. Since then, I've found group practice sessions extremely helpful. It highlights whereabouts I have personal errors, in relation to what everyone else is playing; these are more likely things I wouldn't have picked up on alone. A con to this is that it's sometimes not as productive as personal practice sessions and parts can get lost in the mix.

  A lot of people find studying for university either motivating or frustrating. Can you explain the difference in how you feel when you are practising for university and when you are practising for yourself? Is there an emotional and practical difference?

Practising for university is inspiring. I know it’s helping me become a better musician and to develop skills which I have not previously touched. I like the idea of breaching out from my own bubble to areas that I would not have thought to even go about previously. This is why I'm inspired and motivated to practise. Practising for myself is different; I find it as more of a mental release and a place I can go to clear my head, this being the emotional difference. I practise genres other than what is covered at university and learn pieces that I have a personal interest in, rather than something that is study focused. 

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Practice Interview #3 of 5. Jack Towers, Drums.

Photography: Kate Stroud

Do you have a practice routine? If so, what is it?

I try and vary my practise as much as possible. I’m still trying to find the perfect routine for me. At the moment, it’s writing down a list of things I want to achieve in the session. I’m really into maximising efficiency in the practice room with as little wasted time as possible. I mix between technical exercises, playing along with records and counting out loud. All of those aspects are really important to me in my regime.

I also spend a fair amount of time just playing the drums and listening to their sound, trying to keep it consistent. If I hit a drum on way, I try and make that sound the same every time I hit it, not only pitch wise, but dynamically as well.

I think it’s very important to spend time away from the kit, figuring out how best to approach a session, so you’re not sitting there wondering what to cover next.

  What do you think is a productive and efficient practice routine?

Staying focused is extremely important for a meaningful practice session. You have to keep it interesting for the entire period of time. I can’t just sit there and mindlessly read notes on a page all day, it has to be varied and I have to be challenged.

At the moment I’ll do one technical exercise, and then playing along to a track on a record, and keep repeating between the two. It makes practise more musical than just doing technical exercise after technical exercise. 

Setting long and short-term goals is very important, too. I make sure I go into a practice session knowing what I want to accomplish.

  What are you currently having the most trouble with in your practise? How do you go about overcoming this?

Keeping focused is really hard at times. It’s very easy to get frustrated with something I’m working on if it’s not working for me, and I just slack off and start improvising.

You just have to put your head down and keep working at it. There aren’t any short cuts and there’s no substitute to hard work. If you keep at something long enough, you’ll eventually get it.

  What do you enjoy practising the most, and why? 

I really enjoy a technical challenge. I also like watching other drummers play their chops and copying them, and then putting it into a musical situation.

I recently checked out a drummer, Thomas Pridgen, and copied one of his fill ideas; it was highly technical. I started playing along to songs and every fill figure I would do what he did. Sometimes it would fit, sometimes it didn’t, but it helped me understand the musical application and limitation of that particular figure.

Playing along to records is always fun and extremely important for groove.

  Do you practise with other people? If so, can you describe the pros and cons of doing this?

Jamming with other musicians is great! I would say probably 90% of my practising is in the woodshed, headphones on and playing to a click, but playing with a band is a whole other thing.

Having a jam with another drummer is eye opening, too. Everyone has their own sound, own style and own influences. These jams can go anywhere, through many different feels and grooves, and it’s great to see how someone else plays the same groove as you, just interpreted completely different. I’ve learned a lot about a drummer and my own playing by doing this.One of the biggest challenges of playing with a band is to not overplay. You’ve got to play for the music, not for yourself. It’s a great exercise in listening and cooperating.

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Gracie Hughes: Lismore’s Young Songwriter Of The Year, 2013.

Photography: David Andreas

Can you explain your songwriting process? How did this song come together?

Late last year, I was just sitting at my piano with no intention to write a song. I usually write music first, not the lyrics or the melody, so I can suit the song to what I can hear and feel. I found a descending riff that I really liked, and based the song around that. What I usually do is turn my iPod on record and just improvise. I hear lines I like, and that is what starts the lyrical and melodic process. From this I write a draft of the song and play around and figure out the structure. Once it is complete I keep playing it so there is no way I can forget it.

  Are you happy with the song? Are there things you think you could have done better? 

Yes, I am really happy with the song. It seems to make some people emotional which is always great. The piano part for this song is relatively simple, so I wish I had made it a bit more complex, however, that may detract from the song.

  When did you start songwriting? Explain the evolution of this process.

I started writing songs about 6 years ago and I have been working with Scarlett Affection (The Scarlett School) for the last 4 years. My first song was called Baby and after I wrote that song I was really passionate about songwriting. I have written 30 plus songs and I think, as I am getting older, my songwriting is evolving. My songs usually revolve around stories I have heard, love, and my travels, plus normal life issues.

  How close was the end result to your initial vision? What is your idea behind songwriting, what does it mean to you? 

I didn’t really have an initial expectation, the song just evolved. I love songwriting. I can tell a story and send a message through a song, and then express this to people by performing; I love performing and being on stage. I find songwriting really great but it’s also an outlet to express how I feel about an issue.

  Have you recorded any of your material? If so, where can we listen? 

I have a YouTube channel under Gracieahughes (which would be amazing if you could check it out). Also, my prize from winning the competition is a day of recording at Love Street Studios, which I am really looking forward to.

  Where do you see yourself in 5 years?

In 5 years, I see myself at university and still passionate about performing my music.

You can view and listen to Gracie’s music here:

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Practice Interview #2 of 5. Chris Tierney, Bass.

Photography: Alyssa Jane 

Do you have a practice routine? If so, what is it?

My practice routine varies day-to-day, depending on the amount of rehearsals, gigs or Uni work I have to complete for the following day/week. But typically, my practice routine involves twenty minutes of sight reading, twenty minutes of individual bass material that I have to work on for class, about forty-five minutes to an hour of practicing songs that other people have asked me to learn or for gigs, and about ten to twenty minutes of any kind of practise that I think is fun or that I enjoy, whether that be playing a song that I like or learning a new technique.

What do you think is a productive and efficient practice routine?

A productive and efficient routine for me doesn’t involve sitting and playing one thing for an hour at a time, but rather shorter increments of practising, otherwise you get stuck in a loop and it gets very boring very quickly.

People say ‘practice makes perfect’ but that’s not true; perfect practice makes perfect. If you’re not getting something right every time and are tripping over yourself at the same spot, work on that one area that troubles you, don’t just bypass it think “I’ll work on it later” - if it needs attention, give it some.

It’s also important to have fun while you’re practising, otherwise everything you do with your instrument soon becomes a task or a chore that you don’t want to do, which I’m sure is not why you play music in the first place.

What are you currently having the most trouble with in your practise, and how do you go about overcoming this?

Right now my main problem is reading music. When I was younger, I used to play the piano and be able to read music decently, but I didn’t keep that up and it’s set me back quite a way. Really the only way for me to overcome this is simply just repetition and practice. Usually I get up an hour or so earlier than I normally would and get out any bass book that I have and just read the notes, clap them out and try to play what is written in about twenty minutes or so. Again perfect practice makes perfect.

However, I also have time management problems because I have committed to a lot of people at once and it’s hard to find time for everyone with Uni, work and just things that I want to do.

What do you enjoy practising the most, and why?

I think I find practising most enjoyable is when it’s with other people. Being by yourself and working with a metronome or reading from a book gets tiresome and you get over it very quickly, that’s why I set myself twenty minute goals for each specific area. But, when you’re practising with other people it can last for a few hours and you can almost (not entirely) relax, just enjoy playing with your friends and have a good time.

Can you describe the pros and cons of doing this?

I am limited to the amount of people that I do practise with though, usually I need two or more other instruments to play with so sometimes it can get frustrating when you don’t have the numbers to play a certain song.

People can also have a tendency to wander off on tangents, whether it be talking or jamming out. So it’s important to set goals and make sure you complete them within the session you organised, and if you finish those goals then sure, go ahead and jam and talk about whatever you want.

Practising with other people can help expose your weaker points, if something isn’t clicking with a band and a song, usually it sticks out pretty obviously what the problem is, and it could be you or it could be someone else, either way you need to work on that area as a group and an individual.

Helping other people out with something is pretty crucial as well. If someone doesn’t understand something or can’t play something for one reason or another, there’s a massive chance that they will play it wrong to everyone else, so it’s beneficial to help others as much as possible.

Playing with people who also play your instrument is beneficial as well. Playing in a room with more than one or two bass players can get overwhelming and messy pretty quickly but it’s helpful to work on your improvisation or melody skills if someone can hold down a tight line and you improvise over the top and vice versa.

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LISA CAMERON PLAYS THE CELLO.

  Photography: Alisha Todd. 

You have been busy working away on your Arts Project for the Bachelor of Contemporary Music course. Can you describe your Arts Project to us?

  My Arts Project is based on the idea of creating a series of compositions for a cello ensemble. My intention was to write music that would be accessible to complete beginners, beginners and intermediate players. When I say complete beginners I mean people who have only had a couple of lessons but are able to pluck the open strings of the cello and create a simple bass line to accompany the other parts. It is part of my concept to engage students in ensemble work as early as possible, as I believe this really extends the experience of learning an instrument. The pieces I have composed incorporate many technical aspects of playing a stringed instrument, but these are embedded within pieces that are not only easy to play but enjoyable to listen to. I have ordered my compositions in a series which progresses in terms of melodic and rhythmic complexity, with the intention of marketing my work as an educational resource. Part of my project was to produce recordings of the pieces to up-load to the Internet, so I asked 4 other players of varying levels of competency to join me for a performance at the D-Block Concert. We rehearsed the 9 pieces for all of an hour and a half prior to the concert, which gives some indication as to the accessibility of the work. Was there anything that inspired or influenced this Arts Project?

My work as a cello teacher was the initial inspiration for the project. I decided to start a cello ensemble so my students could benefit from the experience of playing together, and soon discovered that there was really no repertoire available that was accessible to my students, many of whom were beginners, so I decided to write the music myself. The work with my ensemble on the compositions informed my writing further; I found that I began to simplify more and more so that the compositions would flow quickly and be not only achievable but also relaxing to play.  I am passionate about simplicity and creating music that is accessible to as many people as possible. As a teenager I felt the only future as a cellist was to become a virtuoso who practised for 8 hours a day, and that was not my path; my interests have always been too diverse to dedicate myself to one thing. So I stopped playing for a number of years, before returning to the instrument on my own terms. Now I see so many opportunities to engage with music and I wish to cater for a broad public, so that as many young string players as possible can be encouraged to persevere long enough to become accomplished players, not necessarily with the intention of embarking upon a career as a musician, but simply for the joy of music.

You have composed quite a few pieces so far, for the project. Do you have a method for composing, or perhaps any helpful hints for those wanting to compose?

I took a unit last year, Music Composition Techniques, which gave me a good grounding in the basics of composition and I discovered that I really loved composing. Outside of the course work I started working on cello quartet compositions and gained a lot of insight through working with Sibelius and simply hearing what worked and what didn't. Peter Martin was really helpful in pointing out areas that could be strengthened. Theory I and II were also essential for the understanding of harmony. There is a great book, "Music Composition Toolbox” which is a valuable resource for anyone interested in composition. I am a great believer in learning by doing, so the more you do, the more you discover. And the ears - how does it sound? The ears are fabulous informers now we have the luxury of being able to playback work in programs such as Sibelius. Helpful mentors along the way will certainly also support the process.

 Do you have a favourite composition yet? Is there a story behind it, or them, that you can tell us?

I would have to say that "Swell" is my favourite composition at present. I wrote this while on holiday in India earlier this year. The place I stayed at was right on the coast and the sound of the waves constantly breaking inspired the meditative repetition of the piece. The visual shape of the piece is like a wave, building and then subsiding. I wasn't particularly intending to write while I was away, but during breakfast one morning the 8th note rhythm and progression of the bass line would not leave me in peace, so I spent a morning writing it out and developing the piece. "Hope" is also a favourite. It took a while for me to title this composition, but the beginning was similar to "Swell". I was weeding in my veggie patch and the melodic line kept looping through my head, and the cello dialogue became so pronounced that I went inside to capture it. And then one day in the midst of a really intense period of life experiences, it suddenly had a name. In some ways the uplifting flow of this piece, and the steadiness of the bass parts, made it a really soothing piece to play and listen to and was very much a counterbalance of what was going on in my life at the time.

Do you feel that your Arts Project has gone the way that you initially envisioned it to? Do you feel like it has been a worthwhile project and would you recommend other students to do an Arts Project?

  Arts Project is a great way to explore your individual passions with the guidance of your chosen supervisor. I would recommend spending the time to reflect on what it is you want to engage with and finding out just who will best meet your individual needs as a supervisor. You may need to meet with a few staff members to find out who is right for you. Personally, I am happy with what I have achieved, particularly as the compositions I have written are applicable to my work as a cello teacher and there is a great deal of satisfaction in creating something which can be used as an educational resource both for myself and other teachers. Response from my colleagues has been positive and I am looking at expanding the idea and transposing this work and further work to cater for violin ensembles, string quartets and possibly other instrumentation.

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Practice Interview #1 of 5. Sam Besmehn-Burt, Guitar.

Photography: Alisha Todd. 

  Do you have a practice routine? If so, what is it?

I don’t necessarily have a set practice routine, it's constantly changing to suit my goals or upcoming gigs at the time. I do try and get a bunch of shorter and specific times to practise in throughout the day, focusing on a routine I’ve created to concentrate on an area of my playing. I figure this way your muscle memory and brain have a chance to process the little clusters of practise you’ve been working on. Sometimes you can fall down the rabbit hole of analysing one specific part of what you're practising, I recommend going with it. It’s hard to find those moments of deep concentration, so make sure you write everything you think of down, regardless of how nonsense it might sound. This will spark more ideas later on.

What do you think is a productive and efficient practice routine?

Maximising efficiency is key to productive study, especially when you don’t have a lot of time. So figuring out ways to practise multiple areas of your instrument in one routine is a great way to ‘kill many birds with one large stone’ or ‘one big bird with many small stones’… I think Gandhi said that somewhere along his… journey…

For example:

• Playing chord melodies through a standard

and learning:

• Chord voicings, through working chords around your melody

• Melody line, solidifies your scale and/or arpeggio knowledge around chord grips

• Rhythm comping, comping focuses around melody and strong pulse

• Timing, practise with metronome as well as having your foot tapping, focus on chord/melody/bass position while you're comping

• Sight reading

• Learning a song for your repertoire

What are you currently having the most trouble with in your practise, and how do you go about overcoming this?

My main problem with practising is sitting down and concentrating solely on the task at hand. I constantly wander off and noodle while I practise, noodling isn’t practising. You have to have a goal that you’re aiming for. I find writing down daily and weekly goals is really effective. No matter how big or small, crossing that off a list is a good way to stay motivated and follow your progress.

The other really difficult thing is recording yourself. Recording is like shining a spotlight on your playing, all mistakes, subtle dynamic differences, technique and sloppiness shows up instantly. Listening back to this is wonderful/horrible because you can immediately pinpoint the holes in your playing. However, critiquing, not criticising, is the most difficult part of the listening. Accept your natural inclination to cringe at all your mistakes, and get over it and fix it.

What do you enjoy practising the most and why?

I enjoy jamming with people. I’ve learnt most of my useable skills from playing with mates. It’s great for trying your new ideas that you’ve been practising and working on the communication between musicians. Not knowing where an idea may go and having it be directed from a bunch of different musicians is pretty exciting. I think by far the most important thing to practise is listening to where you're sitting in the mix. Sounds simple enough, but if you can shape your own playing to compliment the other parts in an ensemble, then you’ve done your job. Listen for tone, timbre, rhythm and register, these key things help you find a spot to sit. Try and play the opposite of these points as a test to see where you fall. Timbre: Dull – bright, rhythm: syncopated – keep a solid pulse, register: high – low etc.

Do you practise with other people? Can you describe the pros and cons of doing this?

It’s always good playing with other musicians and different ensemble groups. I try and range my playing from 8 piece bands to just guitar and vocals or guitar and drums. Each person you play with will have an idea that you can work into your own playing. Also, practising with someone who plays the same instrument has a bunch of benefits. Someone always has another perspective on what you’ve been learning or playing. So the more angles you can approach an idea, the better understanding you have of it.

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    We will be uploading a practice interview every Friday for the month of May. 

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Interview with Renee Simone.

  You appear to be an independent woman within the music world. Can you tell us a bit about how your musical journey started? How long has music been a part of your life?

I’ve always sung and I’ve had many different chapters to my singing journey. I started out in classical music and then I became a freestyle MC, then a backing singer in a reggae band, then a funk band, then a Hawaiian band, then an island trio, and now I’m finally being me.

  How has performing at big name festivals and TV shows, such as Splendour in the Grass, Bluesfest, Mullumbimby Music Festival and Australia’s Got Talent affected your musical career?

They made me very grateful for the honour of being chosen.

  You have just recently released a new album, Roar. Is there a story behind this album, or the songs within it, that you would like to share with us?

It was written based on stories from women who I was meeting with to teach vocals and ukulele. The stories they told about their journeys inspired me to ask more and more women from around the world, via Facebook. Some of the lines in the songs are direct quotes from women around the world, ranging from women in war zones to luxury villas, elderly women to teenage girls. I think it’s an honour to be in a position where we can use music to share stories and pass on knowledge and wisdom to the younger generations, it’s something that is desperately missing from our culture.

  Here’s a more spontaneous question – What’s the strangest or funniest experience you have had at a gig?

When a drunken bride was trying to pash me on her wedding night.

Do you feel that being a female musician affects your musical career in any way? Do you face any problems because of this?

Not that I’m aware of.

  Where would you like to see your music head in the future?

Lush, plush, intimate venues around the world, with fine wine and a sophisticated crowd of music lovers forevermore!

  Musicians seem to have a guru or someone who inspires them, who’s your guru?

My (ex) Mother-in-law has always held the vision for me. She’s like a pushy mum but she’s always right in the end.

  Do you have any pieces of advice for all the aspiring musicians out there?

Being a musician is a journey, not a destination.

interviewer: Kate

edited: Kirstin