From small groups and stories to large-scale ensemble
This week saw the second instalment of the City Beats project, a music program from students from schools with high levels of ESL and financial disadvantage. I’ve been working with four different groups of students aged 8 to 12, from four different schools. In their first visit, they wrote a short, three-part story and composed music to depict those stories, organised into three sections (you can read about that first set of projects here). This week’s visit was their second to the City Beats project, and the focus was now on building up their compositions for percussion instruments, section by section, into whole-ensemble pieces, with strong structural coherence and a student-composed part for each child.
It was an intense and noisy couple of days! I realised at the end of the first day that we were asking them to do something far more challenging than we had the first time round. No more break-out groups. Fewer opportunities for lots of individual attention. Instead, the focus was on arranging, and working together as a large ensemble of players, learning your part, only playing when you need to, and so on. Sure, there was still room for surprises and further creative additions to the music, and some new ideas and developments definitely came forward. But mostly, this second workshop was about being part of a group, and playing your part.
Some of the groups found this pretty challenging. This is an exciting project for them, and they come in ready to PLAY! The process sounded confusing to them when I first explained it, I suspect. They needed to experience just how we would put the pieces together in order to understand the process. And the process works. By the end of each session, we had completed a five-minute arrangement of one of their compositions, some with quite complex structures and section transitions, in which everyone had an instrument and a part to play.
It was particularly satisfying seeing the students start to ‘get it’. One grade 5 boy caught my attention in the final workshop of the two days. He hadn’t seemed that engaged, and, along with his group of friends, had to be reminded to stay on task. However, by the end of the workshop, as we started to put all the layers of music together, his demeanour completely changed. Suddenly, he could make sense of what we were planning to do with all this music, all these riffs. He understood how it all fitted together now. From then on, he was the first to respond when I raised my hand for quiet. He gestured sternly to people in his section when they started playing their part at the wrong time. He kept his eyes glued to me – absolutely glued. A transformation of understanding and meaning had taken place for him in the two hours we worked together.
There were others like him, in each group. And at the end of their two hours, despite having worked incredibly hard, and with considerable focus required of them, the buzz from the groups was that they didn’t want to leave! I imagine that, when we see them again in Term 3, ready to arrange another section of music from their Term 1 compositions, they will have a much clearer understanding of the creative and collaborative process that we’re using.