If chocolate was a sound, what music would it make?
It dawned on me a few years ago, that when I teach almost all my metaphors are food-based. Food is one of my great weaknesses. Might have something to do with growing up in Malaysia, a society well-known for being food-obsessed. We talk a lot about food, eating, flavours, cooking, and cuisines!
Food is something we all need and have experienced all our lives. So whether you enjoy it or not, flavours and textures of food are something our senses understand.
Last week, I was searching for a way to help a piano student who was struggling to interpret and make sense of musical dynamics in particular piece of music. Two sections were clearly marked ‘quiet’ and ‘loud’ but all he was able to do was to mechanically produce two different volumes without understanding WHY the music demanded it.
I suggested that he played the sections again and asked “What food do these sections of music make you think of?”. Instantly, the light bulb went off. He pointed to the section which had a prominent bass tune and said “Lamb curry….maybe mutton. Something rich with gravy”. The other section with all tunes high up in the treble was ” Light and bubbly…like lemon sherbet or champagne?”
And just like that, he wanted to show off a light sparkly sound in the ‘quiet’ section and the ‘loud’ section took on a full-bodied tone.
So…. back to my original question. If chocolate was a sound what music would it make? I think of cellos and French horns as ‘chocolatey’ sounds. Coffee is Latin American music: wakes me up and makes me happy.
If you have a young child and want top-quality musical experiences for them, then let me introduce you to B’Opera.
Rhythm Circle was invited to the press preview of their latest production Alice and the Library Tree . So…. son and spouse in tow, I went along last Saturday 8 June 2019 to Sutton Library where the event was being held . after-hours.
I had not come across B’Opera
before and was deeply curious about their work on a couple of levels. Firstly, as
a mum to a rumbunctious 3 year old I was keen to find good quality music / theatre
experiences which were produced by people who understood how to work with very
young children. There is a distinct lack of top-rate musical/theatrical/art
experiences by actual music/theatre/art specialists who understand how to
deliver the best possible experience to very young children. Secondly, as a
professional musician, I wanted to see what other people in my industry were actually
doing to fill this niche.
Well…. I loved the whole
production, from choice of music (Handel, Mozart, Beethoven, and Wagner amongst others) to length of show
(perfect length for a restless toddler), inventive costumes and set (loved the Zimmer frame tortoise, and
the tree). It was a bespoke mini-opera for little ones and the
whole experience was simply wonderful!
As a mum:
My 3 year old son really enjoyed it. He was really tired due to the late hour (it finished at 6pm when he usually has dinner and bedtime) but he just kept on being caught up in the show. The children were invited to join in at various points throughout the show, but could opt-out if they didn’t feel like it. Now this is a REALLY important thing for my deeply-suspicious son. He watched the sing-along from the safety of Daddy’s arms, regretted not joining in, and straightaway jumped in the next time the audience were invited to participate. There were themes and ideas which he could follow, emotions he could identify with, and each segment was perfectly timed in terms of length. The whole family had a great time and I would definitely look out and go for the next B’Opera show.
As a musician:
It was so satisfying to see a musical production that was specially created for very young children. We had real musicians performing, and as a trained musician I am happy to vouch for the quality of prep and performance. B’Opera prepared the whole thing as they would normally have done for an opera onstage. Serious musical expertise was on display here, folks! This was bespoke art with a capital B. It all looked so simple, but the musical score could not have been put together by anyone other than seriously experienced musicians with good taste and artistry. The songs could not have been sung by anyone other than experienced singers with good technique, great communication, and stage presence. Not forgetting all the supporting people who made the magic happened, like costume and set designers (apologies to anyone at B’Opera whom I missed out)