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From the beginning. Total enunciation. | 0:00:02 | 0:00:03 | |
# I work all night | 0:00:03 | 0:00:05 | |
# I work all day to pay the bills... # | 0:00:05 | 0:00:06 | |
Yeah! Lovely! Smash it! | 0:00:06 | 0:00:08 | |
# Ain't it sad... # | 0:00:08 | 0:00:10 | |
Choirs are my passion. | 0:00:10 | 0:00:11 | |
# ..they never seem to be... # | 0:00:11 | 0:00:14 | |
And have been all my life. | 0:00:14 | 0:00:17 | |
# That's too bad... # | 0:00:17 | 0:00:18 | |
For me, they're the ultimate instrument, | 0:00:18 | 0:00:22 | |
capable of incredible subtlety. | 0:00:22 | 0:00:25 | |
Lovely. Really, lovely. | 0:00:25 | 0:00:27 | |
Huge complexity. | 0:00:27 | 0:00:29 | |
It needs to be blended. | 0:00:29 | 0:00:30 | |
And powerful emotion. | 0:00:30 | 0:00:34 | |
# Oooh-oooh | 0:00:34 | 0:00:37 | |
# Oooh-oooh | 0:00:37 | 0:00:39 | |
# Ooh, yeah, ooh, yeah... # | 0:00:39 | 0:00:42 | |
I could do that all day. | 0:00:42 | 0:00:44 | |
But there are secrets that lie behind a fantastic choral sound | 0:00:44 | 0:00:49 | |
that reveal how a choir works. | 0:00:49 | 0:00:51 | |
I want to show you what those secrets are. | 0:00:51 | 0:00:56 | |
# ..wind blows... # | 0:00:56 | 0:01:05 | |
One, two, three and... | 0:01:12 | 0:01:13 | |
# Stand by... | 0:01:13 | 0:01:16 | |
My name's Gareth Malone and I've been obsessed with singing since | 0:01:16 | 0:01:19 | |
I was a child. | 0:01:19 | 0:01:21 | |
One more time. One, two, three and... | 0:01:21 | 0:01:24 | |
I joined my first choir when I was just nine | 0:01:24 | 0:01:26 | |
and I went on to study at the Royal Academy of Music. | 0:01:26 | 0:01:30 | |
And... | 0:01:30 | 0:01:31 | |
CHOIR SINGS | 0:01:31 | 0:01:33 | |
As a conductor in schools and communities, | 0:01:33 | 0:01:35 | |
I try to spread my love for choral music to as many people as possible. | 0:01:35 | 0:01:40 | |
It's really got the rhythm, guys! | 0:01:40 | 0:01:42 | |
CHORAL MUSIC | 0:01:42 | 0:01:46 | |
Today, my mission continues. | 0:01:48 | 0:01:50 | |
-Morning. -Morning. -I'm here to work with BBC singers. | 0:01:53 | 0:01:56 | |
I'm going to explore some of my favourite pieces with one of | 0:01:59 | 0:02:02 | |
my favourite choirs - the BBC singers. | 0:02:02 | 0:02:05 | |
It's 10.15am and it's Maida Vale, Studio 2. A beautiful room. | 0:02:08 | 0:02:12 | |
HE PLAYS THE PIANO | 0:02:12 | 0:02:15 | |
I want to look at all the different aspects of choirs. | 0:02:15 | 0:02:18 | |
It's hard to separate things out but | 0:02:18 | 0:02:20 | |
there's harmony and polyphony and volume | 0:02:20 | 0:02:24 | |
and the different parts of the choir. | 0:02:24 | 0:02:26 | |
I want to take each one and rip it apart and put it back together again | 0:02:26 | 0:02:30 | |
so that people can understand how complicated choirs actually are. | 0:02:30 | 0:02:35 | |
They are simple when you listen to it. | 0:02:35 | 0:02:38 | |
It can sound like the sound just came together. | 0:02:38 | 0:02:40 | |
But there is a lot of detail and a lot of time put into making | 0:02:40 | 0:02:45 | |
these sounds blend together. | 0:02:45 | 0:02:47 | |
Good morning. | 0:02:47 | 0:02:49 | |
Hello. Good morning. | 0:02:49 | 0:02:52 | |
Good morning! | 0:02:52 | 0:02:53 | |
The idea of today is to lift the bonnet of the choir | 0:02:53 | 0:02:58 | |
and look at the engine and see how it works. | 0:02:58 | 0:03:00 | |
# Goldfinger | 0:03:00 | 0:03:02 | |
# Ba-ba, ba | 0:03:02 | 0:03:04 | |
# Da-da, da-da, da | 0:03:04 | 0:03:05 | |
# He's the man... # | 0:03:05 | 0:03:06 | |
I want to start with the basics. | 0:03:06 | 0:03:08 | |
Fundamental to all great choirs is the range and variety | 0:03:08 | 0:03:12 | |
of the human voice. | 0:03:12 | 0:03:14 | |
# Only gold | 0:03:14 | 0:03:18 | |
# He loves go-o-o-old. # | 0:03:18 | 0:03:24 | |
CHEERING AND APPLAUSE | 0:03:24 | 0:03:26 | |
CHOIR SINGS | 0:03:26 | 0:03:31 | |
With these singers, you have 24 virtuoso voices joining together | 0:03:35 | 0:03:40 | |
to make a magnificent sound. | 0:03:40 | 0:03:42 | |
# Amen | 0:03:42 | 0:03:44 | |
# Ah-h-h-h... # | 0:03:44 | 0:03:47 | |
It all looks so easy. | 0:03:47 | 0:03:49 | |
# Amen. # | 0:03:49 | 0:03:54 | |
Right. You can't make the sort of sound that you all make | 0:03:54 | 0:03:59 | |
without an element of training. | 0:03:59 | 0:04:00 | |
I thought it would be really good to demonstrate this to ask... | 0:04:00 | 0:04:04 | |
We're gonna have a competition. | 0:04:04 | 0:04:06 | |
To get an idea of what the voice can do, | 0:04:06 | 0:04:09 | |
I've recruited a member of the production team. | 0:04:09 | 0:04:12 | |
-Have you ever had a singing lesson? -No. | 0:04:12 | 0:04:14 | |
Completely new to this. | 0:04:14 | 0:04:15 | |
OK. Freddie, without doing anything painful, or damaging yourself, | 0:04:15 | 0:04:21 | |
would you like to give us a large note without... | 0:04:21 | 0:04:24 | |
Don't shout but let's hear what you've got. | 0:04:24 | 0:04:26 | |
# Aaahhhhhhh. # | 0:04:26 | 0:04:29 | |
That's pretty good. | 0:04:30 | 0:04:31 | |
There's a voice there. | 0:04:31 | 0:04:33 | |
Can I have... I think, probably, a bass? | 0:04:33 | 0:04:36 | |
Would you stand next to him? | 0:04:36 | 0:04:37 | |
-Would you like to see if you could match that volume? -Yes. | 0:04:37 | 0:04:42 | |
# Aaaahhhhh. # | 0:04:42 | 0:04:44 | |
Do you think you can go a notch higher than that? | 0:04:44 | 0:04:48 | |
# Aaahhhhh. # | 0:04:48 | 0:04:51 | |
# Aahhhhhhhhh. # | 0:04:52 | 0:04:55 | |
Can you go any louder? | 0:04:57 | 0:04:58 | |
HE FAILS TO HIT THE NOTE | 0:04:58 | 0:05:00 | |
Ow! That sounded pretty... Was that painful? | 0:05:00 | 0:05:04 | |
THEY SING IN THEIR NATIVE TONGUE | 0:05:04 | 0:05:08 | |
The thing about most choirs is | 0:05:08 | 0:05:11 | |
they sing without amplification. | 0:05:11 | 0:05:13 | |
The type of singing required, | 0:05:13 | 0:05:16 | |
is a kind of singing that's very connected to the body | 0:05:16 | 0:05:21 | |
and connected to the ground. | 0:05:21 | 0:05:22 | |
THEY SING IN THEIR NATIVE TONGUE | 0:05:22 | 0:05:26 | |
With volume, we sometimes make the mistake of thinking, | 0:05:30 | 0:05:33 | |
"I'm just gonna smash it." | 0:05:33 | 0:05:35 | |
It doesn't work like that. | 0:05:35 | 0:05:36 | |
You've got to be relaxed and... HE BREATHES IN | 0:05:36 | 0:05:40 | |
..let more space come and have the right sort of vocal cavity | 0:05:40 | 0:05:44 | |
and have all these muscles engaged. | 0:05:44 | 0:05:47 | |
If you're super-tense and gritting, you try and make | 0:05:47 | 0:05:51 | |
a big sound but not a loud sound. | 0:05:51 | 0:05:53 | |
Let's have that G again. | 0:05:53 | 0:05:55 | |
PIANIST PLAYS G | 0:05:55 | 0:05:56 | |
# Aaaaaaahhh. # | 0:05:56 | 0:05:57 | |
# Aaaaaahhhhhh. # | 0:05:57 | 0:06:01 | |
Much better. | 0:06:01 | 0:06:03 | |
Already better. Try and do it again with more of a yawn. | 0:06:03 | 0:06:06 | |
HE YAWNS | 0:06:06 | 0:06:07 | |
# Aaaaaahhhhh. # | 0:06:07 | 0:06:10 | |
Yeah. That's good! | 0:06:10 | 0:06:12 | |
There's a bit of push in there, isn't there? | 0:06:12 | 0:06:15 | |
Yeah. It's much better. You opened your mouth wider as well | 0:06:15 | 0:06:20 | |
-and relaxed your jaw, which also helps. -It made a difference. -Yeah. | 0:06:20 | 0:06:24 | |
CHOIR SINGS | 0:06:24 | 0:06:28 | |
The range of the human voice is what makes choirs so versatile. | 0:06:31 | 0:06:35 | |
When it comes to the power of choral voices, | 0:06:35 | 0:06:39 | |
one piece in particular never ceases to impress me. | 0:06:39 | 0:06:43 | |
Mahler's Second Symphony, the Resurrection Symphony. Erm... | 0:06:50 | 0:06:54 | |
I've chosen this piece because it shows, | 0:06:54 | 0:06:56 | |
demonstrates clearly the huge range of volume | 0:06:56 | 0:07:00 | |
that a choir is capable of producing. | 0:07:00 | 0:07:02 | |
The great thing about Mahler Two is that you wait | 0:07:09 | 0:07:12 | |
for the choir to come in at the end. | 0:07:12 | 0:07:14 | |
They get nervous waiting because they've got to come in quietly. | 0:07:14 | 0:07:18 | |
It's a wonderful moment because they come in | 0:07:18 | 0:07:21 | |
on this D-flat major chord | 0:07:21 | 0:07:23 | |
very quietly indeed. | 0:07:23 | 0:07:25 | |
CHOIR SINGS | 0:07:25 | 0:07:29 | |
HE MOUTHS | 0:07:38 | 0:07:42 | |
All the great choirs will be able to sing | 0:07:43 | 0:07:45 | |
really quietly and really loudly. | 0:07:45 | 0:07:48 | |
Those are different things, which need | 0:07:48 | 0:07:51 | |
different things from the singers. | 0:07:51 | 0:07:53 | |
Even though you're singing quietly, it's still about being focussed. | 0:07:53 | 0:07:57 | |
You have to be able to sing the right pitch, | 0:07:57 | 0:08:00 | |
and have a focus and projection. | 0:08:00 | 0:08:02 | |
CHOIR SINGS | 0:08:02 | 0:08:05 | |
It's a bit like taking a fine car | 0:08:30 | 0:08:32 | |
and putting your foot down on the accelerator. | 0:08:32 | 0:08:35 | |
You think, "This car is purring along nicely. Now see what it can do | 0:08:35 | 0:08:38 | |
"when I really want to make a point." | 0:08:38 | 0:08:41 | |
The accelerator just goes and goes. | 0:08:41 | 0:08:43 | |
That's when you feel the impressive nature of this music. | 0:08:43 | 0:08:47 | |
CHOIR SINGS | 0:08:47 | 0:08:51 | |
You say to a chorus I want you to feel you're shouting that. | 0:09:17 | 0:09:21 | |
They'll produce a certain colour. | 0:09:21 | 0:09:22 | |
That's a great feature, particularly about the end of | 0:09:22 | 0:09:25 | |
the Resurrection Symphony where they're almost shouting out | 0:09:25 | 0:09:28 | |
to the audience, to God, himself. | 0:09:28 | 0:09:30 | |
CHOIR SINGS | 0:09:30 | 0:09:34 | |
A friend of mine played me Mahler's Second Symphony | 0:09:43 | 0:09:46 | |
when I was quite young and I was bowled over by it. | 0:09:46 | 0:09:49 | |
It's so dramatic. | 0:09:49 | 0:09:53 | |
CHOIR SINGS | 0:09:53 | 0:09:56 | |
For me, Mahler is like watching a whole load of different films. | 0:10:00 | 0:10:04 | |
One minute it's like Star Wars, the next it's like Lawrence Of Arabia. | 0:10:04 | 0:10:08 | |
The next minute it's like some great big religious epic. | 0:10:08 | 0:10:12 | |
And then, finally, it's like the triumph of the hero, | 0:10:12 | 0:10:16 | |
the end of the story and the choir are singing | 0:10:16 | 0:10:18 | |
and all of the heavens are ablaze. It's incredible. | 0:10:18 | 0:10:22 | |
Have a seat. | 0:10:34 | 0:10:37 | |
Wow! | 0:10:37 | 0:10:38 | |
I wasn't singing and I'm going to have a glass of water. Really good. Well done. | 0:10:38 | 0:10:42 | |
THEY IMPROVISE | 0:10:42 | 0:10:45 | |
For me, the human voice is the greatest instrument. | 0:10:47 | 0:10:50 | |
As well as having an incredible range of notes and being able to sing really loudly or softly | 0:10:50 | 0:10:57 | |
it also can make such a vast array of sounds that other instruments simply can't do. | 0:10:57 | 0:11:02 | |
And some of these sounds are not what most people would think of as singing. | 0:11:02 | 0:11:07 | |
I have chosen The Tiger by Giles Swayne, which I think is gonna be really fun. | 0:11:07 | 0:11:12 | |
What's great about this piece is that he manages to use just vocal sounds | 0:11:12 | 0:11:16 | |
to create a sense of atmosphere and place, | 0:11:16 | 0:11:19 | |
just using simple things like, "Teh-teh-teh". | 0:11:19 | 0:11:22 | |
On their own they're not particularly impressive, they don't sound choral, | 0:11:22 | 0:11:26 | |
but when you start to put them together how he does, | 0:11:26 | 0:11:29 | |
you get something that's incredibly evocative. | 0:11:29 | 0:11:32 | |
To-ko-ta-ko-ta. Can we all try that? | 0:11:32 | 0:11:35 | |
-# To-ko-ta-ko-ta. # -Hmm. | 0:11:35 | 0:11:37 | |
Let's do it slowly. To-ko-ta-ko-ta. | 0:11:37 | 0:11:40 | |
-JUMBLED: -To-ko-ta-ko-ta. | 0:11:40 | 0:11:43 | |
To-ko-ta-ko-ta. | 0:11:43 | 0:11:44 | |
-To-ko-ta-ko-ta. -That's good. | 0:11:44 | 0:11:45 | |
Now with the pitch. And... | 0:11:45 | 0:11:48 | |
# To-ko-ta-ko-ta! # | 0:11:48 | 0:11:49 | |
Yeah. I'm starting to like it. | 0:11:49 | 0:11:51 | |
Can we put underneath that the "Brrrr-rap!" | 0:11:51 | 0:11:54 | |
Brrrr-rap! Hummm! | 0:11:54 | 0:11:57 | |
Brrrr-rap! | 0:11:57 | 0:11:59 | |
Hummm! | 0:11:59 | 0:12:01 | |
Can we do the whole thing standing up? Let's go. | 0:12:01 | 0:12:04 | |
Ha! | 0:12:06 | 0:12:08 | |
# Teh-teh-teh-teh-teh-teh | 0:12:08 | 0:12:11 | |
# Oooh-ah | 0:12:11 | 0:12:14 | |
# Oooh-ah! # | 0:12:14 | 0:12:18 | |
We're still exploring the different things the human voice can do. | 0:12:18 | 0:12:23 | |
Some of our contemporary composers have been brilliant in doing that, | 0:12:23 | 0:12:28 | |
Giles Swayne, for example. | 0:12:28 | 0:12:30 | |
At being able to use the human voice, without text | 0:12:30 | 0:12:32 | |
to create effect. | 0:12:32 | 0:12:33 | |
To-ko-ta-ko-ta! Tiger. | 0:12:33 | 0:12:35 | |
Tiger. | 0:12:35 | 0:12:36 | |
Tiger! | 0:12:36 | 0:12:38 | |
Tiger! | 0:12:38 | 0:12:39 | |
Tiger! Tiger! | 0:12:39 | 0:12:41 | |
It's so exciting when you come across a new piece of music | 0:12:41 | 0:12:45 | |
that has used the human voice in a way you never even thought possible. | 0:12:45 | 0:12:48 | |
# Oh Lord | 0:12:48 | 0:12:50 | |
# Oh Lord | 0:12:50 | 0:12:51 | |
# Doong-doong | 0:12:51 | 0:12:52 | |
# Doong-doong. # | 0:12:52 | 0:12:55 | |
HE IMITATES DRUMS | 0:12:55 | 0:12:57 | |
There's an extraordinary American group and if you hear them... | 0:12:57 | 0:13:03 | |
I've been so often deceived into thinking I'm listening to instruments | 0:13:03 | 0:13:07 | |
and I'm not, I'm listening to voices. | 0:13:07 | 0:13:09 | |
They can produce any instrument in their voice. | 0:13:09 | 0:13:11 | |
# For all my life | 0:13:11 | 0:13:14 | |
# Oh, Lord... # | 0:13:14 | 0:13:16 | |
They can mimic electric guitars, bass guitar, | 0:13:16 | 0:13:20 | |
saxophones... | 0:13:20 | 0:13:22 | |
Absolutely stunning how they can work together. It sounds like a band on stage, | 0:13:22 | 0:13:27 | |
but it's just voices. | 0:13:27 | 0:13:29 | |
# Oh-oh-oh | 0:13:29 | 0:13:31 | |
# Oh-oh-oh. # | 0:13:31 | 0:13:33 | |
HE IMITATES DRUMS | 0:13:33 | 0:13:36 | |
We sometimes say, "Clever old voice for being an instrument." But I think it's the other way round. | 0:13:36 | 0:13:41 | |
Clever old instrument for so being so close to the voice. | 0:13:41 | 0:13:45 | |
# I don't know what there is to see | 0:13:45 | 0:13:46 | |
# But I know it's time for you to leave | 0:13:47 | 0:13:49 | |
-# Ah-ah -# We're all just pushing along. # | 0:13:49 | 0:13:52 | |
Most choirs have four different voice sections | 0:13:52 | 0:13:55 | |
# All your anticipation... # | 0:13:55 | 0:13:58 | |
There are two groups of high voices, usually sung by women. | 0:13:58 | 0:14:02 | |
And two of low voices sung by men. | 0:14:04 | 0:14:07 | |
Put together, these parts give a choir an amazing range | 0:14:07 | 0:14:13 | |
of pitch and tone. | 0:14:13 | 0:14:15 | |
# So come on see the light on your face let it shine | 0:14:15 | 0:14:19 | |
# Just let it shine. # | 0:14:19 | 0:14:22 | |
Handel's Messiah. | 0:14:22 | 0:14:24 | |
'Handel's Messiah is one of the most popular choral pieces of all time | 0:14:24 | 0:14:30 | |
'and one of the first I ever performed. | 0:14:30 | 0:14:32 | |
'Written almost 300 years ago, it's a perfect example of how the four sections combine.' | 0:14:32 | 0:14:38 | |
For me, the wonderful thing about a choir is the different colours, | 0:14:38 | 0:14:42 | |
different sounds that each voice section bring to it. | 0:14:42 | 0:14:46 | |
So that's the basses - the lowest part. The tenors, slightly higher, | 0:14:46 | 0:14:49 | |
the altos and then the sopranos. These four sections are the backbone of the choir. | 0:14:49 | 0:14:54 | |
I'd like to start by just hearing the basses on their own | 0:14:54 | 0:14:57 | |
cos, you guys, are the foundation, you're the underpinning | 0:14:57 | 0:15:00 | |
of all the harmony that'll come later when we put the tenors, sopranos and altos on top of it. | 0:15:00 | 0:15:05 | |
I'm marked "forte" for this, so let's try. | 0:15:05 | 0:15:08 | |
# Worthy is the Lamb that was slain. # | 0:15:10 | 0:15:20 | |
Probably the most important part of the lot is the bass. | 0:15:20 | 0:15:23 | |
It's everything the sound sits on. | 0:15:23 | 0:15:26 | |
The bass sets up the fundamental of the sound | 0:15:26 | 0:15:31 | |
and then the tenor, the alto and the soprano, they build on top of that like bricks. | 0:15:31 | 0:15:38 | |
Lovely though it was, it sounds rather bald without the rest of the harmonies. | 0:15:38 | 0:15:43 | |
LAUGHTER I'm hoping we can put some hair on it. | 0:15:43 | 0:15:46 | |
Worthy Is The Lamb. | 0:15:46 | 0:15:48 | |
-ROUNDED QUALITY: -# Worthy is the Lamb that was slain... # | 0:15:51 | 0:16:02 | |
Every section has their own character. | 0:16:05 | 0:16:07 | |
That's part of what makes the choral sound exciting | 0:16:07 | 0:16:10 | |
because it's these individual characters, | 0:16:10 | 0:16:13 | |
which come together, to pull in the same direction. | 0:16:13 | 0:16:16 | |
Just like in an orchestra, I always think the woodwinds have a certain character | 0:16:16 | 0:16:22 | |
and so does the violins. | 0:16:22 | 0:16:23 | |
I think the different sections of a choir also have character. | 0:16:23 | 0:16:26 | |
You get the beefy bass-sounding people | 0:16:26 | 0:16:29 | |
who I usually connect to the brass players. | 0:16:29 | 0:16:34 | |
They like a bit of a laugh. | 0:16:34 | 0:16:36 | |
I could get told off for this terribly by my singing colleagues, but sopranos can be the divas. | 0:16:36 | 0:16:42 | |
They're the people who like to stand in the front and they get a lot of the limelight. | 0:16:42 | 0:16:46 | |
Tenors are very heroic. The altos I find quite easy, quite laid back. | 0:16:48 | 0:16:54 | |
Just like the jam in the sandwich, quite happy. | 0:16:54 | 0:16:56 | |
# Him that sitteth upon the throne | 0:16:56 | 0:17:00 | |
# And unto the Lamb. # | 0:17:00 | 0:17:02 | |
Good, and well there's our choir. | 0:17:02 | 0:17:05 | |
Thank you very much. Pass your Handels to the side. | 0:17:05 | 0:17:08 | |
In addition to the standard four parts - | 0:17:08 | 0:17:13 | |
soprano, alto, tenor, bass, | 0:17:13 | 0:17:14 | |
you can also have mutations of that. | 0:17:14 | 0:17:17 | |
You could have a big 6ft 6 chap | 0:17:17 | 0:17:22 | |
who can sing soprano. | 0:17:22 | 0:17:24 | |
But it's likely that his | 0:17:27 | 0:17:28 | |
soprano will have a completely different colour. | 0:17:28 | 0:17:31 | |
HE SINGS SOPRANO | 0:17:31 | 0:17:33 | |
That's an added element | 0:17:37 | 0:17:39 | |
to the scope that one has to create these variants of tone, colour | 0:17:39 | 0:17:45 | |
and texture. | 0:17:45 | 0:17:47 | |
Andreas Scholl, who's an alto. | 0:17:52 | 0:17:54 | |
He can sing very, very high. It's a distinctive, but very pure sound. | 0:17:54 | 0:17:58 | |
# She bid me take love easy | 0:17:58 | 0:18:05 | |
# As the leaves grow... # | 0:18:05 | 0:18:08 | |
He sings with a beautiful, rich tone | 0:18:08 | 0:18:10 | |
you wouldn't really think if you saw a guy, you wouldn't think it's the sort of sound he could make, | 0:18:10 | 0:18:15 | |
but he makes it extremely well. It's beautiful. | 0:18:15 | 0:18:18 | |
We think of choirs having four parts but we depart from that all over the place. | 0:18:28 | 0:18:33 | |
A glorious example is Thomas Tallis, | 0:18:33 | 0:18:37 | |
who wrote his 40-part notette. | 0:18:37 | 0:18:40 | |
We're told it was for Queen Elizabeth's 40th birthday. | 0:18:41 | 0:18:45 | |
That he was paid £40 for it. | 0:18:45 | 0:18:47 | |
He wrote it in 40 parts. There are eight different choirs, | 0:18:47 | 0:18:52 | |
each of five parts. | 0:18:52 | 0:18:54 | |
MUSIC: "Spem In Alium" by Tallis | 0:18:54 | 0:18:57 | |
You have eight five-part choirs who talk sometimes against each other | 0:19:02 | 0:19:06 | |
and sometimes with each other. It gives a whole sense of drama. | 0:19:06 | 0:19:10 | |
The experience of hearing this wall of sound... | 0:19:12 | 0:19:16 | |
is extraordinary. | 0:19:16 | 0:19:18 | |
It's unlike anything else. | 0:19:18 | 0:19:20 | |
It's unique. | 0:19:20 | 0:19:21 | |
You're just engulfed. | 0:19:21 | 0:19:25 | |
It's thrilling. It really is very, very thrilling. | 0:19:25 | 0:19:28 | |
I have sung Spem In Alium a couple of times. | 0:19:29 | 0:19:32 | |
It's an absolutely incredible piece. | 0:19:32 | 0:19:34 | |
What's wonderful about it is the way the harmony moves. | 0:19:34 | 0:19:37 | |
There's overlapping textures, like an enormous tapestry of sound. | 0:19:37 | 0:19:43 | |
If you're in the middle of it, listening with all the parts moving, | 0:19:43 | 0:19:46 | |
the sounds changing around you, it's incredible. It's like no other choir piece. | 0:19:46 | 0:19:51 | |
PIECE ENDS | 0:19:51 | 0:19:53 | |
APPLAUSE | 0:19:56 | 0:19:58 | |
# Ooh-ooh ooh | 0:20:00 | 0:20:03 | |
# You and I must make a pact... # | 0:20:03 | 0:20:08 | |
'From the moment I sang with my school choir, I was hooked. | 0:20:08 | 0:20:12 | |
'But it wasn't a particular song that grabbed me. It was the sound - | 0:20:12 | 0:20:17 | |
'a sound that's the hallmark of choral music.' | 0:20:17 | 0:20:19 | |
-# I'll be there -I'll be there... # | 0:20:19 | 0:20:25 | |
Right, I want to think about harmony, | 0:20:25 | 0:20:29 | |
and, for me, that's the great joy of being in a choir and listening to a choir, is hearing harmony. | 0:20:29 | 0:20:34 | |
There are so many possibilities with harmony that add colour and texture | 0:20:34 | 0:20:40 | |
and richness to the sound world. | 0:20:40 | 0:20:43 | |
SINGLE VOICE SINGS PLAIN CHANT | 0:20:45 | 0:20:48 | |
Many years ago, we started with chant. | 0:20:49 | 0:20:54 | |
In monasteries, usually, and usually not written down. | 0:20:54 | 0:20:57 | |
Then, gradually, people started singing in harmony, putting them together. | 0:20:57 | 0:21:03 | |
SEVERAL VOICES SING IN HARMONY | 0:21:03 | 0:21:06 | |
'The sound of harmony is incredibly effective, | 0:21:10 | 0:21:13 | |
'but it's based on a very simple principle.' | 0:21:13 | 0:21:18 | |
Which notes most closely go with this? | 0:21:18 | 0:21:22 | |
HE PLAYS SINGLE NOTE | 0:21:22 | 0:21:24 | |
The next closest is... | 0:21:24 | 0:21:26 | |
HE ADDS NOTE AN OCTAVE HIGHER | 0:21:26 | 0:21:28 | |
The next closest after that is... | 0:21:28 | 0:21:31 | |
HE ADDS FIFTH NOTE ABOVE FIRST NOTE | 0:21:31 | 0:21:33 | |
And the next... | 0:21:33 | 0:21:35 | |
HE ADDS THIRD NOTE ABOVE FIRST NOTE | 0:21:35 | 0:21:37 | |
-And those three form what we call a triad. -HE PLAYS LOWER THREE NOTES | 0:21:37 | 0:21:41 | |
'That is the basis of all harmony.' | 0:21:41 | 0:21:44 | |
'So these triads, or chords, can be used to create | 0:21:44 | 0:21:48 | |
'the most beautiful harmonies.' | 0:21:48 | 0:21:50 | |
Let's do a...C major chord, right. | 0:21:50 | 0:21:53 | |
Can I have the first note, from the basses? | 0:21:53 | 0:21:57 | |
BASSES SING C | 0:21:57 | 0:21:59 | |
Can I have a fifth, the G? | 0:21:59 | 0:22:00 | |
TENORS SING G | 0:22:00 | 0:22:02 | |
An E, the third... | 0:22:02 | 0:22:03 | |
ALTOS SING E | 0:22:03 | 0:22:05 | |
And another C. | 0:22:05 | 0:22:06 | |
SOPRANOS SING HIGHER C | 0:22:06 | 0:22:08 | |
The human voice - when that comes together, in harmony, | 0:22:08 | 0:22:12 | |
there's not a man-made instrument that can touch it. | 0:22:12 | 0:22:15 | |
Beautifully blended, if I may say. Very nice. | 0:22:15 | 0:22:19 | |
Hundreds of years ago we just had those simple chords. | 0:22:19 | 0:22:21 | |
Now we have much more advanced harmony available to us - | 0:22:21 | 0:22:24 | |
there are sevenths and ninths, and different notes you can add in | 0:22:24 | 0:22:28 | |
that bring different colours, different textures, | 0:22:28 | 0:22:32 | |
and make the sound world of contemporary music | 0:22:32 | 0:22:35 | |
and contemporary classical music much more colourful. | 0:22:35 | 0:22:39 | |
So let's try that. | 0:22:39 | 0:22:40 | |
Can I have a C again? | 0:22:40 | 0:22:43 | |
BASSES SING C | 0:22:43 | 0:22:45 | |
And let's have the fifth, and a second, a D... | 0:22:45 | 0:22:48 | |
ALTOS SING D | 0:22:48 | 0:22:50 | |
..and a seventh. | 0:22:50 | 0:22:52 | |
SOPRANOS SING B | 0:22:54 | 0:22:56 | |
I literally could stand here and do that all day. | 0:22:56 | 0:22:58 | |
It's really good! You might get bored... THEY LAUGH | 0:22:58 | 0:23:02 | |
'What I really love about choral harmony | 0:23:02 | 0:23:05 | |
'is how its influence has spread far beyond classical music.' | 0:23:05 | 0:23:08 | |
MUSIC: "Good Vibrations" by The Beach Boys | 0:23:08 | 0:23:13 | |
I remember, very clearly, hearing the Beach Boys singing unaccompanied. | 0:23:13 | 0:23:18 | |
And that really impressed me - the way they used harmony, the way they sing, | 0:23:18 | 0:23:22 | |
the way they listen to each other, the way they're absolutely together. Feels like a choir. | 0:23:22 | 0:23:26 | |
-# Ooh, ba-ba, good vibrations -I'm pickin' up good vibrations | 0:23:26 | 0:23:30 | |
-# Ooh, ba-ba, excitations -She's givin' me excitations... # | 0:23:30 | 0:23:33 | |
The sound that the Beach Boys make, with those harmonies, | 0:23:33 | 0:23:37 | |
is the culmination of a language which has grown up over centuries. | 0:23:37 | 0:23:41 | |
-# ..good vibrations... -She's givin' me excitations | 0:23:41 | 0:23:45 | |
# Close my eyes She's somehow closer now... | 0:23:45 | 0:23:51 | |
# Softly smile... # | 0:23:53 | 0:23:54 | |
The Beach Boys' harmonies are usually in four parts | 0:23:54 | 0:23:58 | |
and it's very clean, accessible harmony. | 0:23:58 | 0:24:01 | |
All the parts are more or less equal | 0:24:01 | 0:24:03 | |
so you don't just have one lead singer and the backing harmonies. | 0:24:03 | 0:24:07 | |
Very recognisable, so within a few chords you know it's the Beach Boys. They've created their own language. | 0:24:07 | 0:24:13 | |
-# Do do do doo, do do do doo -Oooh, ooh-ooh | 0:24:13 | 0:24:17 | |
-# Do do do doo, do do do doo -Oooh, ooh | 0:24:17 | 0:24:21 | |
-# Do do do doo, do do do doo -Ooh, oh-ooh, ooh ooh... # | 0:24:21 | 0:24:27 | |
'You take a sad tune, you add some harmonies to it, it makes it more sad.' | 0:24:27 | 0:24:31 | |
Take a happy tune, add some harmonies to it, a bit of rhythm, it makes it more happy. | 0:24:31 | 0:24:34 | |
# I may not always love you But long as there are... # | 0:24:34 | 0:24:40 | |
'Harmony gives musicians the potential to be fully expressive.' | 0:24:40 | 0:24:46 | |
That's not to say that a unison line with absolutely no harmonic background | 0:24:46 | 0:24:51 | |
is not beautiful and expressive. | 0:24:51 | 0:24:54 | |
But harmonies can create immediate and deep-felt effect. | 0:24:54 | 0:25:00 | |
# If you should ever leave me | 0:25:00 | 0:25:03 | |
# My life would still go on believe me | 0:25:03 | 0:25:08 | |
# The world would show nothing to me | 0:25:08 | 0:25:12 | |
# So what good would living do me | 0:25:12 | 0:25:17 | |
# God only knows... # | 0:25:17 | 0:25:19 | |
What I like about God Only Knows is that it has a real simplicity, a buoyant nature, | 0:25:19 | 0:25:23 | |
and the harmony's very simple - HE HUMS MAIN TUNE | 0:25:23 | 0:25:27 | |
and it kind of ebbs and flows. | 0:25:27 | 0:25:29 | |
# God only knows what I'd be without you-ou-ou-ou | 0:25:29 | 0:25:37 | |
# With...out...you. # | 0:25:39 | 0:25:45 | |
'The Beach Boys brilliantly repackaged harmonies for a modern audience.' | 0:25:45 | 0:25:49 | |
APPLAUSE AND CHEERING | 0:25:49 | 0:25:52 | |
Thank you! Thank you, and good evening everybody! | 0:25:53 | 0:25:57 | |
'But, for me, the most astonishing harmonies in choral pop music | 0:25:57 | 0:26:01 | |
'can be found in a song by Queen.' | 0:26:01 | 0:26:04 | |
We're going to start off with a little segment from a number | 0:26:04 | 0:26:08 | |
called Bohemian Rhapsody. | 0:26:08 | 0:26:10 | |
'I really love Bohemian Rhapsody, because of the range of emotion and musical style' | 0:26:10 | 0:26:15 | |
contained within it. It's a sort of miniature, a choral miniature. | 0:26:15 | 0:26:19 | |
# Mama, just killed a man | 0:26:19 | 0:26:23 | |
# Put a gun against his head Pulled my trigger... # | 0:26:23 | 0:26:28 | |
'Bohemian Rhapsody's amazing. I remember the first time I saw it. | 0:26:28 | 0:26:31 | |
'It's an incredible song. | 0:26:31 | 0:26:33 | |
'What's compelling about that piece is it's pushing all the boundaries.' | 0:26:33 | 0:26:37 | |
There's very good harmony, very complicated harmony, harmonic singing. | 0:26:37 | 0:26:42 | |
-# Mama, ooh-oo-oo-ooh -Anywhere the wind blows | 0:26:42 | 0:26:49 | |
# I don't want to die | 0:26:49 | 0:26:52 | |
# I sometimes wish I'd never been born... # | 0:26:52 | 0:26:55 | |
It uses a lot of choral effects, it's long, it's in lots of different sections, | 0:26:55 | 0:27:00 | |
and it's high and low, fast and slow. | 0:27:00 | 0:27:02 | |
# Mamma mia, mamma mia Mamma mia let me go | 0:27:02 | 0:27:05 | |
# Beelzebub has a devil put aside for me | 0:27:05 | 0:27:09 | |
# For me, for me... # | 0:27:09 | 0:27:15 | |
It's just an amazing piece. | 0:27:15 | 0:27:17 | |
Yeah! | 0:27:17 | 0:27:19 | |
You're just dazzled, as a listener. | 0:27:22 | 0:27:23 | |
# So you think you can stone me And spit in my eye | 0:27:23 | 0:27:29 | |
# So you think you can love me And leave me to die... # | 0:27:29 | 0:27:32 | |
The choral ability that they have in those pieces is significant. | 0:27:32 | 0:27:36 | |
Bohemian Rhapsody made a big impact, and, for a lot of people, | 0:27:36 | 0:27:39 | |
that kind of represents what choral music is. | 0:27:39 | 0:27:43 | |
# Any way the wind | 0:27:48 | 0:27:52 | |
# Blo-o-o-ows. # | 0:27:52 | 0:27:59 | |
# I'm quick on the trigger With targets not much bigger | 0:28:01 | 0:28:05 | |
# Than a pinpoint, I'm number one | 0:28:05 | 0:28:07 | |
# I'm number one | 0:28:07 | 0:28:08 | |
# But my score with a fella... # | 0:28:08 | 0:28:10 | |
'As a choral novice, I thought choirs were all about the singers... | 0:28:10 | 0:28:15 | |
'and the conductor.' | 0:28:15 | 0:28:17 | |
Has everyone got a copy? | 0:28:18 | 0:28:20 | |
'But choral composers are a vital part of the mix, | 0:28:20 | 0:28:24 | |
'and they're responsible for a style that gives a choir its true depth and intricacy.' | 0:28:24 | 0:28:29 | |
OK, ladies and gents, we looked at homophonic music, | 0:28:29 | 0:28:34 | |
which is music with big blocks, big block harmony, | 0:28:34 | 0:28:36 | |
some very scrunchy harmonies as well, | 0:28:36 | 0:28:38 | |
and now I want to look at music where it's polyphonic. | 0:28:38 | 0:28:43 | |
Polyphony is music where individual parts move separately. | 0:28:43 | 0:28:46 | |
'One favourite of mine is by a 16th-century Englishman | 0:28:46 | 0:28:50 | |
'who was a master of beautiful sacred music.' | 0:28:50 | 0:28:54 | |
To really get a good example of polyphony, | 0:28:54 | 0:28:57 | |
I think you can't get much better than Byrd, | 0:28:57 | 0:29:00 | |
a wonderful, wonderful English composer. | 0:29:00 | 0:29:02 | |
And, in this piece, the altos start | 0:29:02 | 0:29:04 | |
and then the tenors go at a different time, | 0:29:04 | 0:29:07 | |
then the basses go at a different time, | 0:29:07 | 0:29:09 | |
and they all seem to take different routes before finally arriving at their destination. | 0:29:09 | 0:29:13 | |
And that's the essence of polyphony. | 0:29:13 | 0:29:15 | |
To make this really clear, I'm going to ask a smaller selection - three to a part. | 0:29:15 | 0:29:19 | |
Would you like to come and stand forward? | 0:29:19 | 0:29:22 | |
And I'm going to show very clearly | 0:29:22 | 0:29:24 | |
where each part sets off on its own particular journey | 0:29:24 | 0:29:27 | |
before arriving at the home key of E flat. | 0:29:27 | 0:29:30 | |
-# -Sa... | 0:29:31 | 0:29:41 | |
Sa... | 0:29:33 | 0:29:41 | |
Sa... | 0:29:35 | 0:29:41 | |
-ALL: # -..nctus. | 0:29:41 | 0:29:43 | |
-# -Sa... | 0:29:44 | 0:29:48 | |
-Sa... -# | 0:29:46 | 0:29:48 | |
Polyphony, the word, is "several" "sounds". | 0:29:48 | 0:29:51 | |
Poly-phony. | 0:29:51 | 0:29:52 | |
It may be the same tune worked differently. | 0:29:54 | 0:29:57 | |
It may be a completely different tune. | 0:29:57 | 0:30:00 | |
But it's lines of sound that occur together. | 0:30:00 | 0:30:03 | |
And so your ear is being passed from part to part. | 0:30:03 | 0:30:08 | |
THEY SING | 0:30:08 | 0:30:15 | |
If you and I were to sing two songs at the same time, | 0:30:15 | 0:30:19 | |
the result would not be pleasant. | 0:30:19 | 0:30:21 | |
Unless we organised it, unless we worked it out. | 0:30:21 | 0:30:24 | |
And the genius of a composer of polyphony | 0:30:24 | 0:30:29 | |
is that they manage to get these several tunes working at the same time | 0:30:29 | 0:30:35 | |
and that at any one moment they are working in harmony. | 0:30:35 | 0:30:39 | |
So this special thing which we call harmony happens, | 0:30:39 | 0:30:43 | |
at all moments. | 0:30:43 | 0:30:45 | |
And there's no moment when it is just fog. | 0:30:45 | 0:30:48 | |
So it's all bright light. | 0:30:48 | 0:30:50 | |
THEY SING | 0:30:50 | 0:30:55 | |
I think Byrd's three-part mass is so beautiful, | 0:30:55 | 0:31:01 | |
that it works from a technical point of view, | 0:31:01 | 0:31:03 | |
but emotionally as well, it's spiritually uplifting. | 0:31:03 | 0:31:06 | |
Byrd's three-part mass was probably written in the 1590s sometime, | 0:31:06 | 0:31:11 | |
when we know that Byrd was away from London working in a very small, recusant Catholic household, | 0:31:11 | 0:31:16 | |
so a Catholic household where they were celebrating mass privately for fear of being discovered. | 0:31:16 | 0:31:21 | |
He writes music which is slightly secretive, rather mystical, | 0:31:21 | 0:31:25 | |
and it's a little bit like a quiet conversation. | 0:31:25 | 0:31:27 | |
Using our polyphonic rule, each of the three voices is as important as the other. | 0:31:33 | 0:31:37 | |
No one part is recessed in any way. | 0:31:37 | 0:31:40 | |
They've all got to be equally strong or equally quiet, | 0:31:40 | 0:31:43 | |
but there's an intimacy about it, | 0:31:43 | 0:31:45 | |
and there's even a playfulness. | 0:31:45 | 0:31:48 | |
And it gives you this wonderfully engaging music. | 0:31:48 | 0:31:51 | |
Of course, it's only three voices, which is not unusual in that period, | 0:31:54 | 0:31:58 | |
but the fact that it's three voices means that it's even more important to get the tuning | 0:31:58 | 0:32:03 | |
and the blend and the ensemble absolutely right. | 0:32:03 | 0:32:05 | |
In order to sing polyphony, one has to be quite sophisticated musically | 0:32:17 | 0:32:22 | |
in terms of one's musical approach. | 0:32:22 | 0:32:25 | |
So, in a sense, polyphony is the highest art in choir singing. | 0:32:25 | 0:32:32 | |
I love all Bach's music, | 0:32:39 | 0:32:41 | |
but in particular the Mass In B Minor. | 0:32:41 | 0:32:43 | |
Just take, for example, the opening chorus. | 0:32:43 | 0:32:45 | |
I mean, this is a great example of polyphonic writing at the beginning. | 0:32:45 | 0:32:49 | |
It's a great example of the mastery that Bach has over writing for orchestra and choir. | 0:32:54 | 0:33:00 | |
In terms of polyphony, you don't need to look much further than Bach, | 0:33:09 | 0:33:14 | |
because Bach had a way of being able to take a tune and say, "That will work." | 0:33:14 | 0:33:20 | |
One wonderful example, Dona Nobis Pacem, | 0:33:32 | 0:33:35 | |
from the end of the B Minor Mass. | 0:33:35 | 0:33:37 | |
That little tune works with the other parts coming in, one after the other, perfectly. | 0:33:43 | 0:33:49 | |
And forms the wonderful, wonderful harmonies. | 0:33:49 | 0:33:51 | |
And it's such a clear construction, we can all hear that one part comes in after the other. | 0:33:51 | 0:33:58 | |
THEY SING | 0:33:58 | 0:34:05 | |
What he's doing, Bach, is he's exploring the absolute extremities of what he's inherited, | 0:34:05 | 0:34:12 | |
in terms of harmonic language, | 0:34:12 | 0:34:16 | |
and working with patterns. | 0:34:16 | 0:34:18 | |
And he was an unsurpassed genius. | 0:34:18 | 0:34:22 | |
Then it reaches the most wonderful musical conclusion | 0:34:29 | 0:34:32 | |
with drums and trumpets coming in as well. | 0:34:32 | 0:34:34 | |
And the great, unanswered question is, how did he manage | 0:34:51 | 0:34:57 | |
to create work of such awesome transcendental beauty, | 0:34:57 | 0:35:01 | |
which you know is divinely inspired? | 0:35:01 | 0:35:04 | |
Somehow you feel that music like this cannot exist out of just one human being. | 0:35:04 | 0:35:10 | |
There has to be the hand of God in there, somehow. | 0:35:10 | 0:35:13 | |
Location can be the making and the breaking of a choir's performance. | 0:35:20 | 0:35:26 | |
I could spend six months rehearsing with a choir, | 0:35:26 | 0:35:29 | |
perfecting their polyphony and creating beautiful harmonies, | 0:35:29 | 0:35:32 | |
but a key part of the success of their performance will be where they sing. | 0:35:32 | 0:35:36 | |
OK, so, here we are in what is quite a small space, | 0:35:41 | 0:35:45 | |
a studio space. | 0:35:45 | 0:35:46 | |
It has a very particular acoustic. | 0:35:46 | 0:35:48 | |
If we put the same sound in a huge cathedral | 0:35:48 | 0:35:50 | |
it would sound completely different | 0:35:50 | 0:35:52 | |
and your relationship with the volume is completely different. | 0:35:52 | 0:35:55 | |
I'd like to do a scientific experiment. | 0:35:55 | 0:35:58 | |
I would like four volunteers, one from each sections, | 0:35:58 | 0:36:00 | |
to come with me around the building | 0:36:00 | 0:36:02 | |
and we will try singing in different spaces, | 0:36:02 | 0:36:05 | |
to see what effect that has on the volume and on the sound that you make. | 0:36:05 | 0:36:10 | |
Slightly bigger. | 0:36:12 | 0:36:14 | |
-Shall we sing at the space? -OK. | 0:36:14 | 0:36:16 | |
So if we turn around there and bounce it off the back wall. | 0:36:16 | 0:36:20 | |
THEY SING | 0:36:20 | 0:36:25 | |
Lovely. Really makes a difference. You... HEY! | 0:36:35 | 0:36:37 | |
ECHOES | 0:36:37 | 0:36:38 | |
HEY! | 0:36:38 | 0:36:40 | |
Is it easier, do you think, to sing in a space like this? | 0:36:40 | 0:36:42 | |
-Much easier. -Yes. | 0:36:42 | 0:36:44 | |
Why is that? | 0:36:44 | 0:36:45 | |
You don't really feel you have to make an enormous effort. | 0:36:45 | 0:36:48 | |
You get something back. | 0:36:48 | 0:36:50 | |
THEY SING | 0:36:50 | 0:36:55 | |
Yeah, that's great. | 0:36:55 | 0:36:57 | |
I was once singing in the Royal Albert Hall Berlioz's Te Deum. | 0:37:01 | 0:37:04 | |
It's a huge round, | 0:37:04 | 0:37:06 | |
oval-shaped building, | 0:37:06 | 0:37:08 | |
and the choir stands at one end and sings out. | 0:37:08 | 0:37:10 | |
And because of the hugeness, the vastness of the space, | 0:37:10 | 0:37:15 | |
I felt that I was singing on my own. | 0:37:15 | 0:37:17 | |
I couldn't hear anyone beside me. | 0:37:17 | 0:37:20 | |
The sound just went like this, and then around. | 0:37:20 | 0:37:23 | |
It didn't come back to me at all. | 0:37:23 | 0:37:25 | |
In concert halls your sound usually reflects off surfaces and comes back to you. | 0:37:25 | 0:37:29 | |
In that particular hall it didn't, and it felt very, very frightening. | 0:37:29 | 0:37:33 | |
This space is perfect. It's perfect for a medium-sized choir. | 0:37:33 | 0:37:37 | |
Especially when it's got a few people in it. | 0:37:37 | 0:37:40 | |
It's got lots of wood, | 0:37:40 | 0:37:41 | |
you can hear from my speaking voice that there's a lovely echo. | 0:37:41 | 0:37:46 | |
# Hear my prayer. # | 0:37:46 | 0:37:49 | |
ECHOES | 0:37:49 | 0:37:50 | |
That really lasted in the space. | 0:37:51 | 0:37:54 | |
So, the sound leaves a legacy behind it. | 0:37:54 | 0:37:58 | |
But not too much. | 0:37:58 | 0:37:59 | |
I mean, if it went on echoing for five or six seconds | 0:37:59 | 0:38:03 | |
it's very, very difficult to have clarity in the sound. | 0:38:03 | 0:38:07 | |
Here at St Paul's we have an eight-second echo. | 0:38:13 | 0:38:15 | |
So that makes our life quite difficult sometimes. | 0:38:15 | 0:38:18 | |
If we're doing Bach, for example, fast Bach, | 0:38:18 | 0:38:21 | |
then it's very difficult for | 0:38:21 | 0:38:23 | |
the congregation to hear exactly what we're doing. | 0:38:23 | 0:38:26 | |
Conversely, if you go into a very dry acoustic, | 0:38:30 | 0:38:33 | |
where there is no echo whatsoever, that can have the opposite effect. | 0:38:33 | 0:38:37 | |
THEY SING | 0:38:37 | 0:38:40 | |
Yeah, just doesn't go anywhere. | 0:38:40 | 0:38:43 | |
It stops, doesn't it? | 0:38:43 | 0:38:44 | |
Yeah, splat. | 0:38:44 | 0:38:46 | |
Which I suppose could make you feel a bit insecure. | 0:38:46 | 0:38:49 | |
A good practice room though, you've got the worst possible acoustic. | 0:38:49 | 0:38:52 | |
You're always going to sound better in real life. | 0:38:52 | 0:38:55 | |
-So true though. -Best way to practise. | 0:38:55 | 0:38:57 | |
A lot of singers practise singing into a corner or something, | 0:38:57 | 0:39:00 | |
so they get nothing back, you know? Rather than singing out into a room. | 0:39:00 | 0:39:04 | |
One venue, more than any other, has influenced choral music. | 0:39:07 | 0:39:12 | |
The shape of Saint Mark's Basilica in Venice was a major inspiration for composers of polyphony. | 0:39:12 | 0:39:17 | |
Everybody started writing for different choirs, | 0:39:17 | 0:39:20 | |
singing from different parts of the building. | 0:39:20 | 0:39:22 | |
There are balconies, different little chapels, different spaces, all over. | 0:39:22 | 0:39:27 | |
Together with a beautiful acoustic as well. | 0:39:27 | 0:39:30 | |
And you just have to go in there to think, | 0:39:30 | 0:39:32 | |
"Right, we could put a choir up there and a choir up there, | 0:39:32 | 0:39:35 | |
"and a soloist there, and a lute here." | 0:39:35 | 0:39:37 | |
The choirs would talk to each other and this gives you | 0:39:40 | 0:39:43 | |
a good sense of theatricality because there's distance. | 0:39:43 | 0:39:46 | |
It's a bit like a tennis match, you have to look at one side, | 0:39:46 | 0:39:49 | |
then you look at the other side as the ball travels across. | 0:39:49 | 0:39:52 | |
It's exactly the same in the music, | 0:39:52 | 0:39:55 | |
so you get some sense of stage, almost. | 0:39:55 | 0:39:57 | |
It became very, very exciting for composers to experiment | 0:40:00 | 0:40:04 | |
with creating effect, | 0:40:04 | 0:40:05 | |
which had to really mesmerise the public. | 0:40:05 | 0:40:09 | |
T: "Jerusalem" | 0:40:22 | 0:40:26 | |
There's one thing in particular that makes choirs special. | 0:40:29 | 0:40:34 | |
Which enables them to reach beyond music | 0:40:36 | 0:40:39 | |
and touch your soul. | 0:40:39 | 0:40:41 | |
As you know, I spend a lot of my time dealing with people | 0:41:00 | 0:41:03 | |
who haven't sung in choirs before. | 0:41:03 | 0:41:05 | |
And above all, the thing that they struggle most with | 0:41:05 | 0:41:09 | |
is understanding the technique necessary to communicate words. | 0:41:09 | 0:41:12 | |
it's such a difficult thing to get across to people. | 0:41:12 | 0:41:16 | |
Because you think, "Well, I'm saying the word clearly, | 0:41:16 | 0:41:19 | |
"I can hear it, can feel it in my mouth, | 0:41:19 | 0:41:21 | |
"it feels clear to me." | 0:41:21 | 0:41:23 | |
But of course, when you're singing, it's so different, isn't it? | 0:41:23 | 0:41:26 | |
It's that sense of having to project the words, every single syllable | 0:41:26 | 0:41:30 | |
and consonant and vowel has to be clear as crystal. | 0:41:30 | 0:41:34 | |
So I wanted to have a look at Jerusalem | 0:41:34 | 0:41:36 | |
because it's all in unison, so something everybody knows. | 0:41:36 | 0:41:40 | |
But really, focus in on the text, and how we communicate that text. | 0:41:40 | 0:41:44 | |
We'll just start by just speaking the words. | 0:41:44 | 0:41:46 | |
Can we do it all together? | 0:41:46 | 0:41:48 | |
ALL: And did those feet in ancient time | 0:41:49 | 0:41:53 | |
Walk upon England's mountains green? | 0:41:53 | 0:41:57 | |
It's of utmost importance that the choir sings with incredible care | 0:41:57 | 0:42:02 | |
because the word needs to be understood. | 0:42:02 | 0:42:05 | |
And for the word to be understood it needs a good start, | 0:42:05 | 0:42:07 | |
it needs a good middle, | 0:42:07 | 0:42:09 | |
and it needs a good end. | 0:42:09 | 0:42:10 | |
But not only that, it needs everyone to do it at the same time | 0:42:10 | 0:42:13 | |
and in the same way. | 0:42:13 | 0:42:14 | |
..and was Jerusalem builded here | 0:42:14 | 0:42:17 | |
Among those dark Satanic mills? | 0:42:17 | 0:42:20 | |
That's really interesting. Even though you're just speaking | 0:42:20 | 0:42:23 | |
I can hear variations, that somebody wants to say, "And did those FEET in ancient times..." | 0:42:23 | 0:42:28 | |
And somebody else wants to say, "And did those feet in ANCIENT times..." | 0:42:28 | 0:42:32 | |
There's all these subtle variations | 0:42:32 | 0:42:34 | |
and I suppose in a choir you can't really have that, we've got to | 0:42:34 | 0:42:37 | |
tie it down a bit. | 0:42:37 | 0:42:38 | |
Say for me that first phrase | 0:42:38 | 0:42:40 | |
and see if we can absolutely get "ancient" as the main word. Say it again. | 0:42:40 | 0:42:44 | |
ALL: And did those feet in ANCIENT time. | 0:42:44 | 0:42:48 | |
Already, just because I've asked you to think about it, | 0:42:48 | 0:42:51 | |
suddenly it makes more sense. | 0:42:51 | 0:42:53 | |
Shall we sing it now? Shall we stand? | 0:42:53 | 0:42:55 | |
I would like you to imagine it's somewhere where people really can't hear the words. | 0:42:56 | 0:43:01 | |
"And did those feet..." From the beginning, | 0:43:01 | 0:43:03 | |
TOTAL enunciation on every single syllable. | 0:43:03 | 0:43:07 | |
Here we go, straight in. | 0:43:07 | 0:43:08 | |
One...two... | 0:43:08 | 0:43:10 | |
# And did those feet | 0:43:10 | 0:43:14 | |
# In ancient time | 0:43:14 | 0:43:17 | |
# Walk up on England's mountains green? | 0:43:17 | 0:43:24 | |
# And was the... # | 0:43:24 | 0:43:26 | |
Pronunciation of words in choirs is on two levels. | 0:43:26 | 0:43:29 | |
One the one hand you want it to be clear | 0:43:29 | 0:43:32 | |
so you can hear what the words mean and be bound up in the emotion. | 0:43:32 | 0:43:35 | |
But also, you want the sounds to be beautiful. | 0:43:35 | 0:43:39 | |
The consonants give you the sense and give you the communication. | 0:43:39 | 0:43:42 | |
But the hard of a word is the vowel, | 0:43:42 | 0:43:45 | |
and the vowel is what helps to communicate the melody | 0:43:45 | 0:43:48 | |
and really carry the heart of the sound across to the audience. | 0:43:48 | 0:43:52 | |
Let's hear the vowels on their own, shall we? | 0:43:52 | 0:43:54 | |
# A-e-o-e. # | 0:43:54 | 0:43:56 | |
Ready? One... | 0:43:56 | 0:43:57 | |
# Ah-ey-aaw-eeeh | 0:43:57 | 0:44:01 | |
# Eeh-ay-oh-aaah | 0:44:01 | 0:44:04 | |
# Oh-oh-eeh-oh-aah-eh-eeh... # | 0:44:04 | 0:44:10 | |
Singing is all about the vowel and the breath. | 0:44:10 | 0:44:14 | |
How the vowel travels on the breath. | 0:44:14 | 0:44:17 | |
And that will determine the quality of sound. | 0:44:17 | 0:44:19 | |
# ..eh-oh-aaah-ah-eeh | 0:44:19 | 0:44:23 | |
# Aah-eeh-oh-aah... # | 0:44:25 | 0:44:28 | |
I teach people, I give people the sound of the vowel I want to hear. | 0:44:28 | 0:44:32 | |
When vocalising, | 0:44:32 | 0:44:33 | |
having the same shape of vowel is what, certainly, | 0:44:33 | 0:44:38 | |
enables the choir to create the sound that's needed, | 0:44:38 | 0:44:41 | |
and gives the blend, the harmony, the richness of the harmony, | 0:44:41 | 0:44:45 | |
and that is how we're able to achieve it. | 0:44:45 | 0:44:48 | |
# ..aay-oh-aah-ay... # | 0:44:48 | 0:44:50 | |
Singing words with clarity and precision | 0:44:50 | 0:44:53 | |
is essential when creating a great choral sound. | 0:44:53 | 0:44:56 | |
But it's the meaning of the words that really matters. | 0:44:58 | 0:45:01 | |
Words are so important in choral music. | 0:45:04 | 0:45:06 | |
If you think about it, they're trying to tell a story | 0:45:06 | 0:45:09 | |
or show an emotion. | 0:45:09 | 0:45:11 | |
All the great composers really knew how to word paint. | 0:45:11 | 0:45:14 | |
The text is behind everything. | 0:45:14 | 0:45:17 | |
It's the underlying common thread. | 0:45:17 | 0:45:20 | |
The song I'd like to look at is a beautiful hymn, Abide With Me. | 0:45:22 | 0:45:25 | |
What's wonderful, for me, about Abide With Me | 0:45:25 | 0:45:28 | |
is that it's a song we all know really well. | 0:45:28 | 0:45:31 | |
It has roots right to the back of our minds, | 0:45:31 | 0:45:35 | |
right into our childhoods. | 0:45:35 | 0:45:36 | |
It's desolate, but also hopeful, isn't it? | 0:45:36 | 0:45:39 | |
Maybe something about the harmonies, it has that stirring, like, | 0:45:39 | 0:45:42 | |
"Actually, it's going to be all right, I'll be there, | 0:45:42 | 0:45:45 | |
"I'll hold your hand", sort of feeling. | 0:45:45 | 0:45:47 | |
Can we have a chord? Let's sing unaccompanied. | 0:45:47 | 0:45:50 | |
SINGLE CHORD ON PIANO In full. | 0:45:50 | 0:45:53 | |
# Abide with me | 0:45:54 | 0:46:00 | |
# Fast falls the eventide... # | 0:46:00 | 0:46:06 | |
It's a beautiful hymn and certainly, | 0:46:06 | 0:46:09 | |
it also touches on the religious element, | 0:46:09 | 0:46:11 | |
the religious side of the lyrics, the words of the song. | 0:46:11 | 0:46:15 | |
"Abide with me, fast falls the eventide | 0:46:15 | 0:46:18 | |
"The evening deepens, Lord, | 0:46:18 | 0:46:20 | |
"With me abide." Remain with me, stay with me. | 0:46:20 | 0:46:23 | |
They're beautiful words. Again, words. | 0:46:23 | 0:46:26 | |
# ..and darkness deepens | 0:46:26 | 0:46:32 | |
# Lord, with me abide... # | 0:46:32 | 0:46:35 | |
The line that I always find really terribly moving in that hymn is, | 0:46:35 | 0:46:39 | |
"Help of the helpless." | 0:46:39 | 0:46:40 | |
Erm...which is such a beautifully simple way of articulating | 0:46:40 | 0:46:45 | |
that everybody needs comfort, | 0:46:45 | 0:46:48 | |
and that there are times with everyone feels helpless, | 0:46:48 | 0:46:51 | |
and I find, at those times, what I want to hear is music. | 0:46:51 | 0:46:54 | |
Cos music is what puts me back together. | 0:46:54 | 0:46:56 | |
# Help of the helpless | 0:46:56 | 0:47:02 | |
# O, abide with me. # | 0:47:04 | 0:47:11 | |
Lovely! Really, really lovely. | 0:47:14 | 0:47:16 | |
It's something inexplicable, isn't it, about a choir? | 0:47:16 | 0:47:19 | |
How everyone just senses this is the piece, this is the mood, | 0:47:19 | 0:47:23 | |
and you all just embody it, you all just become it, just feel it. | 0:47:23 | 0:47:28 | |
And it's wonderful. And the whole atmosphere of the room changes, | 0:47:28 | 0:47:32 | |
and it's almost... It gets into the carpet, it's incredible. | 0:47:32 | 0:47:36 | |
CHEERING AND APPLAUSE | 0:47:36 | 0:47:41 | |
There's one member of a choir | 0:47:46 | 0:47:48 | |
who doesn't have to worry about their voice. | 0:47:48 | 0:47:51 | |
They just need to worry about everybody else's. | 0:47:53 | 0:47:56 | |
The conductor just seems to take the choir on to another level. | 0:47:57 | 0:48:02 | |
It's like a football team, for example. | 0:48:02 | 0:48:04 | |
There's the key player, and if that player is on point on a particular game | 0:48:04 | 0:48:08 | |
the team fires. | 0:48:08 | 0:48:10 | |
I'm delighted to announce that the next thing we're going to do | 0:48:19 | 0:48:23 | |
is all about me! | 0:48:23 | 0:48:24 | |
Erm, well, it's about conductors! | 0:48:24 | 0:48:26 | |
And what the conductor can and can't affect. | 0:48:26 | 0:48:29 | |
When I was a kid, I imagined that the conductor was like, just making the music up. | 0:48:29 | 0:48:33 | |
And I couldn't understand what their role was. | 0:48:33 | 0:48:36 | |
Essentially, a conductor's job is to make decisions | 0:48:36 | 0:48:39 | |
about how fast, how loud, sometimes they are following the score, | 0:48:39 | 0:48:43 | |
but sometimes following their own intuition, thinking, "No, I want this a bit louder." | 0:48:43 | 0:48:47 | |
And they might do that just through gesture | 0:48:47 | 0:48:49 | |
because it's a lot quicker than saying, "Can I have it louder here?" | 0:48:49 | 0:48:52 | |
But I think everyone understands that you start, | 0:48:52 | 0:48:55 | |
you go... INHALES SHARPLY | 0:48:55 | 0:48:57 | |
"Du-nuh!" You know? That's quite clear. Let's try that. Ready...and! | 0:48:57 | 0:49:00 | |
PIANO PLAYS | 0:49:00 | 0:49:01 | |
Yeah. Thank you! | 0:49:01 | 0:49:03 | |
Just a short burst, good! | 0:49:03 | 0:49:04 | |
I'm just gonna alter my gesture, | 0:49:04 | 0:49:06 | |
uh, ridiculously, to really demonstrate this. | 0:49:06 | 0:49:08 | |
So I want you to just really respond to the size of my beat. OK? | 0:49:08 | 0:49:12 | |
SOFTLY: # I work all night, I work all day | 0:49:24 | 0:49:26 | |
LOUD: # Pay the bills I have to pay | 0:49:26 | 0:49:28 | |
SOFTLY: # Ain't it sad? | 0:49:28 | 0:49:31 | |
LOUD: # And still there never seems to be | 0:49:32 | 0:49:34 | |
# A single penny left for me | 0:49:34 | 0:49:36 | |
# That's too bad | 0:49:36 | 0:49:39 | |
# So in my dreams I have a plan | 0:49:39 | 0:49:44 | |
VOLUME FADING: # If I got me a wealthy man | 0:49:44 | 0:49:48 | |
VOLUME BUILDS: # I wouldn't have to work at all | 0:49:48 | 0:49:50 | |
# I'd fool around and have a ball | 0:49:50 | 0:49:55 | |
# Badah-badah-badah-bah | 0:49:55 | 0:49:56 | |
# Badah-badah-badah-bah | 0:49:56 | 0:49:58 | |
# Money, money, money... # | 0:49:58 | 0:50:00 | |
A choirmaster has a whole host of things that he or she needs to do. | 0:50:00 | 0:50:05 | |
You've got to maybe massage the sound, you want to get one section perhaps singing a certain colour. | 0:50:05 | 0:50:10 | |
One section that you want more powerful. | 0:50:10 | 0:50:13 | |
# La-ba-da-da-da | 0:50:14 | 0:50:16 | |
# Money, money, money... # | 0:50:16 | 0:50:18 | |
You're keeping and setting the tempo. You're holding back the climax until the right moment. | 0:50:18 | 0:50:23 | |
You're giving all the leads. You are encouraging. | 0:50:25 | 0:50:29 | |
You're building. | 0:50:29 | 0:50:30 | |
# ..If I had a little money | 0:50:30 | 0:50:34 | |
# It's a... # | 0:50:34 | 0:50:35 | |
It's like knobs on a radio set. | 0:50:35 | 0:50:37 | |
You're constantly controlling, manipulating. | 0:50:37 | 0:50:41 | |
# ..If I had a little money | 0:50:41 | 0:50:43 | |
# It's a rich man's world. # | 0:50:43 | 0:50:45 | |
Good! OK, thank you. | 0:50:46 | 0:50:47 | |
People might argue my conducting's like that normally. | 0:50:47 | 0:50:50 | |
LAUGHTER | 0:50:52 | 0:50:54 | |
You get all kinds of characters, you get some... | 0:50:56 | 0:50:59 | |
slightly unhinged people. | 0:50:59 | 0:51:01 | |
You get some very, very calm people. | 0:51:01 | 0:51:03 | |
You get some very, very showy, very charismatic people. | 0:51:03 | 0:51:06 | |
MUSIC: "Symphony No. 5" by Beethoven | 0:51:06 | 0:51:08 | |
Some maybe have big hair. | 0:51:09 | 0:51:11 | |
Some perhaps have very, very small beats. | 0:51:11 | 0:51:14 | |
You can always tell a bad choirmaster and a good choirmaster actually. | 0:51:23 | 0:51:27 | |
Some people think that you can breeze through it | 0:51:27 | 0:51:30 | |
and, you know, you can kind of pretend that you're conducting. | 0:51:30 | 0:51:33 | |
But actually, I think a good choir will know as soon as the person | 0:51:33 | 0:51:38 | |
starts an upbeat whether or not they are very good or very bad. | 0:51:38 | 0:51:43 | |
# ..Yeah, yeah, yeah! # | 0:51:55 | 0:51:57 | |
It isn't just a conductor's choral knowledge and technique | 0:51:57 | 0:52:00 | |
that can shape the sound of a choir. | 0:52:00 | 0:52:03 | |
Just as influential is their personality. | 0:52:03 | 0:52:07 | |
I remember about 15 years ago, I came into the choir here, Eton Chapel Choir. | 0:52:07 | 0:52:12 | |
And I started a practice | 0:52:12 | 0:52:15 | |
and it was excellent, the sound was really vibrant. | 0:52:15 | 0:52:20 | |
Normally I think I've got to work on that but it was really vibrant. | 0:52:20 | 0:52:25 | |
And I said, "How come you've just suddenly made a good sound like that?" | 0:52:25 | 0:52:29 | |
And the little boy said to me, | 0:52:29 | 0:52:31 | |
"Cos you're in such a good mood, sir." | 0:52:31 | 0:52:33 | |
And he absolutely put his finger on it - I was in a good mood. | 0:52:33 | 0:52:37 | |
If you're in a good mood, standing in front of a lot of singers, | 0:52:37 | 0:52:41 | |
that rubs off on them. | 0:52:41 | 0:52:43 | |
When we smile at people, they smile back. | 0:52:43 | 0:52:45 | |
# Swing low | 0:52:45 | 0:52:47 | |
# Sweet chariot | 0:52:47 | 0:52:49 | |
-# Coming for to carry me... # -One more time! | 0:52:49 | 0:52:54 | |
You've got to want to be in front of people. | 0:52:54 | 0:52:56 | |
And I'm not going to... I would love to say that all conductors | 0:52:56 | 0:52:59 | |
are self-effacing and charming and modest and lovely. Some are and some are different. | 0:52:59 | 0:53:04 | |
I think in order to want to be in front of people, leading them, | 0:53:04 | 0:53:07 | |
you have to have almost a certain degree of arrogance | 0:53:07 | 0:53:11 | |
and I'm not being rude by saying that. | 0:53:11 | 0:53:13 | |
It's a tiny, tiny amount of it. You've got to be able to say, | 0:53:13 | 0:53:16 | |
"I feel like this about this piece and I would like you to as well." | 0:53:16 | 0:53:20 | |
# Fast falls the eventide... # | 0:53:20 | 0:53:27 | |
I think my personality as a conductor is very... | 0:53:27 | 0:53:32 | |
I think I'm very inspiring. | 0:53:32 | 0:53:33 | |
Ah, definitely I use a lot of spontaneity when I'm in front of a choir | 0:53:33 | 0:53:38 | |
so a choir has to be attentive, my choir has to pay attention when I'm in front of them | 0:53:38 | 0:53:43 | |
because they may not know what I might lead them in to. | 0:53:43 | 0:53:46 | |
And I find when I am... the more animated I am | 0:53:49 | 0:53:53 | |
it's the better performance of the choir. And they certainly project a wonderful, joyful... | 0:53:53 | 0:54:00 | |
umm, spirit and attitude to the audience. | 0:54:00 | 0:54:03 | |
So the performance as a whole is much better as a result. | 0:54:03 | 0:54:06 | |
# Abide | 0:54:06 | 0:54:09 | |
# With me. # | 0:54:09 | 0:54:16 | |
CHEERING AND APPLAUSE | 0:54:16 | 0:54:18 | |
So, we feel like we've covered all sorts of things that are important in choirs | 0:54:21 | 0:54:26 | |
but, above all, the most important thing about listening to a choir for me | 0:54:26 | 0:54:31 | |
is the sort of heart and the emotion. | 0:54:31 | 0:54:34 | |
The experience of listening to a choir is incredibly powerful. | 0:54:34 | 0:54:38 | |
THEY SING IN THEIR NATIVE TONGUE | 0:54:42 | 0:54:44 | |
For me, the South African anti-apartheid anthem Nkosi Sikeleli Africa | 0:54:54 | 0:55:00 | |
embodies all that's powerful about choral music. | 0:55:00 | 0:55:04 | |
What I find moving about choirs is when it's a large group of people | 0:55:12 | 0:55:17 | |
all coming together with one voice | 0:55:17 | 0:55:19 | |
and everyone's singing together in harmony, at the same time, | 0:55:19 | 0:55:23 | |
making a unified sound with one sense of purpose. | 0:55:23 | 0:55:26 | |
I find that incredible because it's so.. | 0:55:26 | 0:55:29 | |
It's like nothing else that human beings do. | 0:55:29 | 0:55:32 | |
# Nkosi sikeleli Africa. # | 0:55:36 | 0:55:41 | |
I think the fact that it's got Africa in it | 0:55:41 | 0:55:43 | |
immediately, you can hear in your head, can't you, massed voices. | 0:55:43 | 0:55:49 | |
And you don't think of it as a solo line. | 0:55:49 | 0:55:53 | |
You think of it as massed voices singing in harmony. | 0:55:53 | 0:55:56 | |
For a piece of music, vocal music, | 0:56:09 | 0:56:12 | |
that united a whole community. It represented their flag. | 0:56:12 | 0:56:18 | |
It represented their strength | 0:56:18 | 0:56:21 | |
and the sense of community and oneness. | 0:56:21 | 0:56:24 | |
All their hopes and aspirations were in that piece. | 0:56:24 | 0:56:27 | |
When you're joining a group of people and you're really singing together, | 0:56:32 | 0:56:36 | |
it's a real community spirit. | 0:56:36 | 0:56:39 | |
It's something that you can't describe in words, | 0:56:39 | 0:56:42 | |
it's a feeling that you're all there with a common purpose | 0:56:42 | 0:56:45 | |
and you're all expressing something that goes beyond words. | 0:56:45 | 0:56:49 | |
It will become often a shared view of the world or a shared view of love, | 0:56:53 | 0:57:01 | |
a shared view of something beautiful, | 0:57:01 | 0:57:04 | |
a shared view of something terrible. | 0:57:04 | 0:57:06 | |
A shared view of a great drama. | 0:57:06 | 0:57:09 | |
And we will have all shared that together and that is extremely important. | 0:57:09 | 0:57:14 | |
It's become synonymous with victory | 0:57:29 | 0:57:33 | |
at the end of painful, painful struggle. | 0:57:33 | 0:57:37 | |
And nothing else but a song sung by massed choirs | 0:57:39 | 0:57:43 | |
can express that. | 0:57:43 | 0:57:44 | |
CHEERING AND APPLAUSE | 0:58:09 | 0:58:11 | |
Thank you, it's lovely, really lovely. | 0:58:18 | 0:58:21 | |
Wow, what a treat. | 0:58:22 | 0:58:24 | |
Thank you all, it's great. Thank you very much. | 0:58:28 | 0:58:30 | |
You sound really good. | 0:58:37 | 0:58:38 | |
Subtitles by Red Bee Media Ltd | 0:58:39 | 0:58:43 | |
E-mail [email protected] | 0:58:43 | 0:58:46 |