0:00:04 > 0:00:05I'm Fazer.
0:00:05 > 0:00:08I'm a rapper, musician and music producer.
0:00:08 > 0:00:09I'm best known as an urban artist,
0:00:09 > 0:00:13but last year I got to play a set with the world renowned
0:00:13 > 0:00:14BBC Symphony Orchestra
0:00:14 > 0:00:17and ever since, I've been a huge fan of classical music.
0:00:19 > 0:00:23It was like the most overwhelming experience in music that I've had
0:00:23 > 0:00:26cos it was like, "Wow, it's all live instruments
0:00:26 > 0:00:31"and real musicians, like 3D music, music in high definition."
0:00:31 > 0:00:34It's like, "You ain't getting no music like this through a computer,
0:00:34 > 0:00:36"I'll tell you that much."
0:00:36 > 0:00:39I was lucky to have such an amazing opportunity.
0:00:39 > 0:00:41It really opened my eyes to a new genre of music,
0:00:41 > 0:00:45but I'm aware that most young people still think classical
0:00:45 > 0:00:46is stuffy and boring.
0:00:46 > 0:00:49What kind of people do you think listen to classical music?
0:00:49 > 0:00:50Posh people.
0:00:50 > 0:00:51Posh people! Yas, yas!
0:00:51 > 0:00:53- Rich people.- Old people.
0:00:53 > 0:00:54Old people!
0:00:54 > 0:00:56With opinions like these,
0:00:56 > 0:00:59I think a lot of youngsters are missing out on something special...
0:00:59 > 0:01:00and I'm worried about where
0:01:00 > 0:01:02the classical audience of tomorrow will come from.
0:01:02 > 0:01:05To see if other people can be converted to classical
0:01:05 > 0:01:08as easily as I was, I'm taking a group of young musicians
0:01:08 > 0:01:10who prefer beats to Beethoven
0:01:10 > 0:01:12and setting them a mind-blowing challenge.
0:01:12 > 0:01:16In under two months we're going to be playing at this year's BBC Proms
0:01:16 > 0:01:18at the world renowned Royal Albert Hall.
0:01:25 > 0:01:27My crew is called The 7 Chapters
0:01:27 > 0:01:30and every member has been picked for their raw musical talent...
0:01:30 > 0:01:34be it rapping, singing or playing an instrument.
0:01:44 > 0:01:47One member of my troop is 17-year-old rapper Curtis.
0:01:50 > 0:01:52My name's Curtis McCalla, I'm from Harlesden,
0:01:52 > 0:01:56also known as Harlem, northwest London.
0:01:57 > 0:01:59We call it Harlem because it's full of hustlers,
0:01:59 > 0:02:02it's the same thing in Harlem in New York.
0:02:02 > 0:02:04There's people that have been standing on the same corner
0:02:04 > 0:02:06for five years doing the same thing.
0:02:06 > 0:02:09Everyone's just trying to be the biggest and baddest man.
0:02:10 > 0:02:14To help turn his back on a life of gang culture and crime,
0:02:14 > 0:02:18Curtis needed a new focus - and that lifeline was rap music.
0:02:18 > 0:02:20HE RAPS
0:02:21 > 0:02:24I don't want to be still on the block when I'm 40.
0:02:24 > 0:02:26I've got to make something happen.
0:02:26 > 0:02:28And music was the only thing I was good at.
0:02:30 > 0:02:33I'm convinced that Curtis has the raw talent to make it big.
0:02:33 > 0:02:36But right now, he's struggling for inspiration.
0:02:38 > 0:02:42My rhyme scheme right now is sounding pretty basic.
0:02:42 > 0:02:44And I'm not in primary school no more,
0:02:44 > 0:02:47so I shouldn't be doing basic rhymes.
0:02:57 > 0:02:58To help him find his groove again,
0:02:58 > 0:03:01I've arranged for Curtis to have a rap masterclass with
0:03:01 > 0:03:02George The Poet.
0:03:04 > 0:03:05Using social media websites,
0:03:05 > 0:03:08the 21-year-old Cambridge University student
0:03:08 > 0:03:10has brought poetry to a new generation
0:03:10 > 0:03:14and has even toured with top MC Wretch 32.
0:03:14 > 0:03:15But just like Curtis,
0:03:15 > 0:03:18he started off as a rapper on the gritty streets of northwest London.
0:03:20 > 0:03:22With such similar backgrounds,
0:03:22 > 0:03:24I'm hoping George will be a real inspiration.
0:03:24 > 0:03:28The way I write, I'm led by whatever I want to talk about,
0:03:28 > 0:03:30so I organise my thoughts in a certain way.
0:03:30 > 0:03:32So I get a first line down
0:03:32 > 0:03:37and then I start brainstorming things that rhyme with that,
0:03:37 > 0:03:39and the more you brainstorm,
0:03:39 > 0:03:42your brain becomes better at picking out rhymes.
0:03:42 > 0:03:44So like even when you're just chilling
0:03:44 > 0:03:48and you're not even trying to write, you just notice how things link up.
0:03:48 > 0:03:51And I think my advice to you
0:03:51 > 0:03:54would be just try and pay as much attention to language as you can.
0:03:54 > 0:03:58The different use of language, whether it's written or spoken.
0:03:58 > 0:04:01When someone talks a bit different from you, pay attention
0:04:01 > 0:04:04because they're showing you different ways to use language
0:04:04 > 0:04:07which you could use in your rhymes.
0:04:07 > 0:04:10George writes from the heart and keeps his subjects real.
0:04:10 > 0:04:13So will he be impressed with the rap that Curtis has prepared?
0:04:13 > 0:04:14It's time to find out.
0:04:14 > 0:04:17Slowly turning my dreams into reality,
0:04:17 > 0:04:19I guess that's why certain man are mad at me.
0:04:19 > 0:04:21I was raised by the roadside, witnessed many cold nights,
0:04:21 > 0:04:23even had somebody close die.
0:04:23 > 0:04:25RIP to Big T, I know you're watching over me.
0:04:25 > 0:04:26You got to understand to oversee,
0:04:26 > 0:04:29so hopefully one day I'll take my talent overseas.
0:04:29 > 0:04:30Chasing my dreams, I got to make it.
0:04:30 > 0:04:33The best things tend to come from the worst places.
0:04:33 > 0:04:35Now what do you think of it?
0:04:35 > 0:04:39I think it's perfect in terms of the bars, what you're saying is real,
0:04:39 > 0:04:42the only thing I think about is your delivery.
0:04:42 > 0:04:45Some people will say you should project your voice more.
0:04:45 > 0:04:47I don't think you need to project your voice.
0:04:47 > 0:04:49You're going to have a mic on your performance.
0:04:49 > 0:04:52I think you can say it as calm as you want,
0:04:52 > 0:04:55but you just need to pace your words so you don't fumble them.
0:04:55 > 0:04:57Make sure that you pronounce your words with purpose
0:04:57 > 0:04:59so they take you seriously.
0:04:59 > 0:05:01They don't just think "Oh, he's rapping,
0:05:01 > 0:05:05"I'm not going to be able to follow it so I'll just vibe to the flow
0:05:05 > 0:05:10"and when he's done I'll catch the chorus again."
0:05:10 > 0:05:13And don't be scared to lose words cos words work for you.
0:05:13 > 0:05:14You don't work for words.
0:05:14 > 0:05:17You make them do what you want to get your message out.
0:05:18 > 0:05:22Sometimes you're trying to express that certain idea,
0:05:22 > 0:05:24but it doesn't have to be said how you're saying it.
0:05:24 > 0:05:25The last line you say,
0:05:25 > 0:05:28"The best things tend to come from the worst places."
0:05:28 > 0:05:33That's real, but I know that the words "tend to"
0:05:33 > 0:05:37those two words can be substituted for "can,"
0:05:37 > 0:05:40and if they are, they're less likely to trip you up.
0:05:40 > 0:05:43If you slow down "The best things," it doesn't have to be rushed.
0:05:43 > 0:05:46The best things can come from the worst places.
0:05:46 > 0:05:49You could stretch that out. You see what I'm saying?
0:05:50 > 0:05:53Music puts me at ease, ain't nothing else that I need.
0:05:53 > 0:05:55Chasing my dreams, I got to make it.
0:05:55 > 0:05:58The best things can come from the worst.
0:05:58 > 0:06:00You see what I did? You see that?
0:06:00 > 0:06:02Yeah, I see that! I see that! I see that!
0:06:02 > 0:06:04He's been in the game for a very long time,
0:06:04 > 0:06:06so he's got a lot of knowledge and stuff
0:06:06 > 0:06:09and like and obviously he's been doing it for so long
0:06:09 > 0:06:11he knows different flow patterns,
0:06:11 > 0:06:13different ways of putting things across,
0:06:13 > 0:06:16so I definitely learnt a lot from him.
0:06:18 > 0:06:21And George is keen to stress that it's not just the words you say
0:06:21 > 0:06:24that make a rap work well, it's how you say them.
0:06:24 > 0:06:27Anything that sounds rushed makes you sound like a amateur
0:06:27 > 0:06:30cos unnecessary breaths can be like unnecessary words,
0:06:30 > 0:06:34they can just mess up the flow later on,
0:06:34 > 0:06:37so later on you're rushing to make the bar fit.
0:06:37 > 0:06:39You see what I'm saying?
0:06:39 > 0:06:41Try it out from, "I think out the box."
0:06:41 > 0:06:42Me, I think out of the box,
0:06:42 > 0:06:45I ain't trying to go back to supplying them rocks,
0:06:45 > 0:06:48look, I had a dream like MLK, he told everything will be OK.
0:06:48 > 0:06:51One day I'm sure I'll make it out of this god forsaken place.
0:06:51 > 0:06:55Boom. Perfect! You see what I'm saying?
0:06:57 > 0:07:02George has stressed the importance of clear pronunciation
0:07:02 > 0:07:05and he's helped Curtis by simplifying his rhyme structures
0:07:05 > 0:07:06and finessing his timing.
0:07:07 > 0:07:11George broke it down to me and made me see it totally differently,
0:07:11 > 0:07:12totally differently.
0:07:12 > 0:07:14Me, I think out of the box,
0:07:14 > 0:07:16I ain't trying to go back to supplying them rocks,
0:07:16 > 0:07:19look, I had a dream like MLK, he told me everything will be OK.
0:07:19 > 0:07:22One day I'm sure I'll make it out of this god forsaken place.
0:07:22 > 0:07:26He basically broke down my verse and showed me little things like,
0:07:26 > 0:07:30where I can take a breather, where I can change two words
0:07:30 > 0:07:32and put one word so it flows better.
0:07:32 > 0:07:35But Lord knows I ain't trying to catch another case.
0:07:35 > 0:07:38I know the feeling's mutual, T, I'm sorry I missed your funeral.
0:07:38 > 0:07:40He showed me a lot
0:07:40 > 0:07:44and I'll still be using the tips he gave me 20, 30 years down the line
0:07:44 > 0:07:45if I'm still rapping.
0:07:45 > 0:07:50The best things can come from the worst places. Bang!
0:07:51 > 0:07:54He is me. I am him. I'm what he could be.
0:07:54 > 0:07:55He is what I could have been.
0:07:55 > 0:08:01I wish there was some way I could just like coach him for ever,
0:08:01 > 0:08:03so that I could always make sure that
0:08:03 > 0:08:05the world gets the best out of Curtis.
0:08:05 > 0:08:06Straight!
0:08:14 > 0:08:19The next member of my team is Sam, a 22-year-old rapper and beatboxer.
0:08:19 > 0:08:23My name is Samantha Pedley, aka Soul-list. I'm 22 years old.
0:08:23 > 0:08:24I'm from Manchester.
0:08:24 > 0:08:28When she was growing up, Sam lived in a relatively affluent area,
0:08:28 > 0:08:30but her parents weren't high earners
0:08:30 > 0:08:32and she often felt that she didn't belong.
0:08:32 > 0:08:34I would go round to friends' houses
0:08:34 > 0:08:37and I couldn't relate to the whole detached house
0:08:37 > 0:08:41and you have two cars parked outside, you have a gardener you have a cleaner.
0:08:41 > 0:08:43I didn't feel I fitted in.
0:08:43 > 0:08:45SHE RAPS
0:08:45 > 0:08:48I already had my first Eminem album from the age of seven.
0:08:50 > 0:08:53By 11, I already had my Wu Tang album, Cypress Hill album,
0:08:53 > 0:08:55Tupac album, Biggie album.
0:08:57 > 0:09:00Round my area, if you were to come to someone and say, "Oh, yeah, I rap",
0:09:00 > 0:09:02it's not going to be taken seriously.
0:09:02 > 0:09:05It's just socially not acceptable.
0:09:07 > 0:09:09For her part in the proms performance,
0:09:09 > 0:09:12I want Sam to combine her urban street music with something
0:09:12 > 0:09:13a bit more classical,
0:09:13 > 0:09:16but it's an area she's not familiar with.
0:09:16 > 0:09:18I think the barriers that exist within classical music,
0:09:18 > 0:09:20first and foremost, is money.
0:09:20 > 0:09:22I think if you have the money,
0:09:22 > 0:09:25then you have the resources to have private lessons
0:09:25 > 0:09:28in however many instruments you want from a young age.
0:09:30 > 0:09:32Secondly, your exposure to it.
0:09:32 > 0:09:35Did I grow up listening to classical music? No.
0:09:35 > 0:09:38So how can I do something I don't know?
0:09:38 > 0:09:42Turning Sam on to classical music is going to be a big challenge for me,
0:09:42 > 0:09:44but first, she needs to work on her beatboxing skills.
0:09:47 > 0:09:48To give her a few tips,
0:09:48 > 0:09:52I've hooked her up with two times UK champion Grace Savage.
0:09:54 > 0:09:56Hey, how are you?
0:09:56 > 0:09:57I'm all right, thank you.
0:09:57 > 0:10:00Let's see where you're at. Do you want to just do some?
0:10:00 > 0:10:03- I've put you on the spot completely, but...- Yeah, why not?
0:10:05 > 0:10:08Let's do it together. Let's have a jam.
0:10:08 > 0:10:10One, two, three, four.
0:10:14 > 0:10:17Until now, self-taught Sam has taken her beats for granted,
0:10:17 > 0:10:19she's all about freestyling,
0:10:19 > 0:10:23and she's never given much thought to structure and vocal technique.
0:10:25 > 0:10:27Yeah! Nice!
0:10:27 > 0:10:31I'm hoping that having a technical masterclass from a UK champ
0:10:31 > 0:10:33will help take her talent to the next level.
0:10:33 > 0:10:37It sounds like you've got the rhythms and stuff like perfect,
0:10:37 > 0:10:39but let's rewind and go straight back to basics.
0:10:39 > 0:10:43So, kick drum is...
0:10:43 > 0:10:46I always struggle whether to describe this as a B or a P sound,
0:10:46 > 0:10:50but I think I've nailed it as a SP.
0:10:50 > 0:10:54- You know when you say words like special. Special. SP.- SP.
0:10:54 > 0:10:57Notice where your lips are when you're doing that. SP. SP.
0:10:57 > 0:10:59And make the P really obvious.
0:10:59 > 0:11:02- SP. - SP.- SP.
0:11:02 > 0:11:04And take away any voice. SPPP.
0:11:04 > 0:11:06- SPPP.- SPPP.- These sounds aren't new to Sam,
0:11:06 > 0:11:09but thinking about how they're actually made
0:11:09 > 0:11:11will definitely help her to improve her technique.
0:11:11 > 0:11:13Yeah, so I can see you going...
0:11:13 > 0:11:15and then your lips are going up afterwards,
0:11:15 > 0:11:19which is more of a snare thing.
0:11:19 > 0:11:22With a kick drum, if you put on a sad face, like that,
0:11:22 > 0:11:27so your top lip should be on top of your bottom lip, like that.
0:11:28 > 0:11:30Can you see?
0:11:30 > 0:11:33Top lip on top of bottom lip.
0:11:34 > 0:11:36And you should get a bit of a ripple effect.
0:11:38 > 0:11:39Yeah, perfect.
0:11:39 > 0:11:40So next noise. High hat.
0:11:44 > 0:11:47And there are loads of different ways you can do that.
0:11:49 > 0:11:51If you feel that under my chin.
0:11:53 > 0:11:55- Air.- All that air.
0:11:56 > 0:11:59So, scratching is going to your very, very, very highest
0:11:59 > 0:12:04and lowest points and manipulating it, in between with rhythms.
0:12:09 > 0:12:11It's a really annoying sort of, "Hi, guys."
0:12:11 > 0:12:13"Hi, guys."
0:12:13 > 0:12:15You do a beat and I'll scratch over the top.
0:12:15 > 0:12:18THEY BEATBOX
0:12:39 > 0:12:40Yeah! Cool.
0:12:42 > 0:12:46Beatboxing is a lot like learning to play an instrument.
0:12:46 > 0:12:49You need to master timing and breathing
0:12:49 > 0:12:52and if you want to be any good, it takes a lot of practice.
0:12:55 > 0:12:57Sam's lesson is almost over,
0:12:57 > 0:12:59but there's no way she's going to pass up the opportunity
0:12:59 > 0:13:03to do a bit of freestyling with Grace.
0:13:03 > 0:13:04THEY FREESTYLE TOGETHER
0:13:07 > 0:13:09The session was sick. The session was good.
0:13:09 > 0:13:12It was definitely something useful and it was an experience
0:13:12 > 0:13:16and I feel privileged to have met someone who was in
0:13:16 > 0:13:21the UK Beatbox Championship. I learnt a lot. I learnt a lot.
0:13:21 > 0:13:25She's really talented, but I don't think she knows it enough.
0:13:25 > 0:13:27She just needs a bit of a confidence boost.
0:13:29 > 0:13:33I'm a bit clearer about myself in regards to my beatboxing.
0:13:33 > 0:13:38I think it's another step closer towards finding myself as an artist
0:13:38 > 0:13:41and I'm definitely more confident about performing at
0:13:41 > 0:13:43the Royal Albert Hall.
0:13:45 > 0:13:46That sounds wicked!
0:13:53 > 0:13:55Another member of my team is Vic,
0:13:55 > 0:13:58a talented 21-year-old who lives for his guitar.
0:13:59 > 0:14:03My name's Vic Jamieson, I'm based in London,
0:14:03 > 0:14:05but I'm originally from Portsmouth.
0:14:09 > 0:14:11At school, head boy Vic
0:14:11 > 0:14:13was a high flyer in subjects like maths and physics.
0:14:13 > 0:14:17But at the age of 16 he made a life-changing decision.
0:14:17 > 0:14:21He turned his back on science and opted to become a musician.
0:14:21 > 0:14:23Performing is the greatest feeling.
0:14:25 > 0:14:31I get a huge, huge buzz making other people enjoy the music.
0:14:31 > 0:14:35If I make their night, if I give them a good experience,
0:14:35 > 0:14:38I get a huge buzz from that, like enormous.
0:14:43 > 0:14:46Guitar mad Vic may be a lover of live music,
0:14:46 > 0:14:49but classical doesn't do a lot for him.
0:14:49 > 0:14:54Classical music is old, it's prestigious,
0:14:54 > 0:14:57it's never connected with me.
0:14:57 > 0:15:00It's just really like prancing around,
0:15:00 > 0:15:05it sounds like medieval jesters dancing in a courtyard.
0:15:05 > 0:15:08Vic might not like classical music,
0:15:08 > 0:15:10but I think if he learns to understand it,
0:15:10 > 0:15:12it will really help him develop as a musician.
0:15:14 > 0:15:15In a bid to broaden his horizons,
0:15:15 > 0:15:19I've arranged for him to spend some time with a classical guitarist.
0:15:22 > 0:15:26Robin Hill has been playing for over 30 years
0:15:26 > 0:15:28and can turn his hand to almost any style of music,
0:15:28 > 0:15:31so I'm hoping he'll be able to teach Vic a thing or two.
0:15:32 > 0:15:37I've had guitar lessons in the past when I was like, 11 or something,
0:15:37 > 0:15:39but I really hated it.
0:15:39 > 0:15:41It almost made me quit actually.
0:15:43 > 0:15:46Classical guitar for me kind of lacks a bit of soul.
0:15:48 > 0:15:52I like electric guitar because you can kind of almost like scream
0:15:52 > 0:15:54through the guitar, sort of thing.
0:15:54 > 0:15:56Vic and Robin are clearly miles apart
0:15:56 > 0:15:59when it comes to classical music, so this could be interesting!
0:16:03 > 0:16:05- Hello, Vic.- Hello. - For the time being,
0:16:05 > 0:16:08Vic's beloved electric guitar will be staying locked in its case.
0:16:08 > 0:16:10Right now,
0:16:10 > 0:16:12he needs to show Robin what he can do with an acoustic model.
0:16:31 > 0:16:33Great. Beautiful.
0:16:33 > 0:16:37And it's really using the guitar in an imaginative way.
0:16:38 > 0:16:41Robin's clearly impressed with Vic's preferred style of music,
0:16:41 > 0:16:44but he's about to discover that the feeling ain't mutual.
0:16:44 > 0:16:48I've found in my exposure to classical that,
0:16:48 > 0:16:51and I'm pretty sure that this is wrong,
0:16:51 > 0:16:53but I feel as it's quite like...
0:16:53 > 0:16:55sort of jolly
0:16:55 > 0:16:58and kind of one dimensional a bit,
0:16:58 > 0:17:00please prove me wrong.
0:17:00 > 0:17:05It's a bit like polarising rock music
0:17:05 > 0:17:07and saying it's a load of noise.
0:17:07 > 0:17:10You know, I play a lot of electric guitar myself
0:17:10 > 0:17:16and I've played with members of Deep Purple and Jethro Tull
0:17:16 > 0:17:19and people like that and I've done a lot of session work.
0:17:19 > 0:17:22I've backed Pavarotti and people like that,
0:17:22 > 0:17:27so I know the guitar in lots of different guises.
0:17:27 > 0:17:30Although I've sort of specialised in classical guitar
0:17:30 > 0:17:33because I find it by far the most demanding,
0:17:33 > 0:17:37I really love to let my hair down, what's left of it,
0:17:37 > 0:17:39and play the electric.
0:17:41 > 0:17:45What I think you can take from the classical as an electric player
0:17:45 > 0:17:50is a sort of more disciplined approach to technique
0:17:50 > 0:17:54and it can really improve your electric playing.
0:17:56 > 0:17:58Vic doesn't realise it,
0:17:58 > 0:18:01but classical music has already had a big influence on his own
0:18:01 > 0:18:03contemporary style of playing.
0:18:03 > 0:18:07You must have heard Asturias which was first used by The Doors
0:18:07 > 0:18:09on a record called Spanish Caravan.
0:18:09 > 0:18:12And I heard that and I thought "Wow, that's good."
0:18:12 > 0:18:15And it was John Peel on a Sunday afternoon
0:18:15 > 0:18:16who played this and he said
0:18:16 > 0:18:19"Now, if you want to hear where they got that from,
0:18:19 > 0:18:21"here's Andres Segovia playing Asturias."
0:18:28 > 0:18:31Lots of modern music borrows ideas from traditional pieces,
0:18:31 > 0:18:33so a solid grasp of classical playing methods
0:18:33 > 0:18:35can only be a good thing.
0:18:38 > 0:18:43When I started really seriously studying the classical guitar,
0:18:43 > 0:18:46and then hadn't played the electric for maybe a year
0:18:46 > 0:18:50and then went back to it, it felt so easy I couldn't believe it.
0:18:50 > 0:18:55What strikes me about your playing immediately is...
0:18:55 > 0:18:59how much feel and dynamic there is.
0:18:59 > 0:19:01You get into the zone, don't you?
0:19:01 > 0:19:03You go to a different place to play.
0:19:05 > 0:19:08I always play with my eyes closed, and I think you do as well.
0:19:11 > 0:19:14The guitar is sort of incidental.
0:19:14 > 0:19:18It's just a sort of vessel we use to express ourselves.
0:19:18 > 0:19:22Hopefully this has changed the way Vic looks at classical compositions.
0:19:22 > 0:19:26But that's not going to stop him from getting his electric guitar out
0:19:26 > 0:19:28and joining Robin in a bit of a jam.
0:19:36 > 0:19:39If I'd met someone like him early on,
0:19:39 > 0:19:41it would have totally inspired me
0:19:41 > 0:19:43and I would have stuck with it a lot more.
0:19:43 > 0:19:46I think with him, he probably would have identified what
0:19:46 > 0:19:51I like in guitar as opposed to like, "play this piece."
0:19:54 > 0:19:57I definitely saw stuff today that
0:19:57 > 0:20:00I will look to incorporate into my own playing,
0:20:00 > 0:20:02some of the techniques he does with his fingers.
0:20:02 > 0:20:05If you can have the range of techniques from all the genres
0:20:05 > 0:20:11and then apply it to a certain one, then that gives you the edge.
0:20:15 > 0:20:17Oh, yeah, that was well fun!
0:20:25 > 0:20:28Next up is 19-year-old singer Shevelle.
0:20:30 > 0:20:34My name is Shevelle Anderson and I'm from Tottenham.
0:20:36 > 0:20:41I got into music at a young age through gospel
0:20:41 > 0:20:44because my mum would go to church and she'd bring me along with her.
0:20:46 > 0:20:47Shevelle may love her music,
0:20:47 > 0:20:50but one thing she doesn't like is being in the spotlight.
0:20:52 > 0:20:55Despite her obvious talent, she shies away from taking lead vocals
0:20:55 > 0:20:57and prefers to blend into the background.
0:21:00 > 0:21:05Doing backing for other people, it's easier because you're not seen.
0:21:05 > 0:21:09I have a problem with being seen. I have a problem with being judged.
0:21:09 > 0:21:10It goes back to my weight.
0:21:10 > 0:21:14I've always been a chubby child and I did get bullied for it.
0:21:14 > 0:21:17You tend to hide, cos you just don't want to be the target.
0:21:17 > 0:21:21That's it. You don't want to be the target, so you hide.
0:21:24 > 0:21:27As well as having personal confidence issues,
0:21:27 > 0:21:29I'm worried that Shevelle's development has been held back,
0:21:29 > 0:21:32because she's too scared to try new styles of music.
0:21:32 > 0:21:35I don't really have an opinion about classical music
0:21:35 > 0:21:40because I don't listen to it, so how am I going to have an opinion
0:21:40 > 0:21:41about something I don't listen to?
0:21:47 > 0:21:50In a bid to broaden her horizons and boost her self-confidence,
0:21:50 > 0:21:53I've arranged for Shevelle to have her first ever singing lesson
0:21:53 > 0:21:56with professional soprano Rebecca Lodge.
0:21:57 > 0:22:00I don't know anything about classical training.
0:22:00 > 0:22:03I've never been taught about it, so I don't know what to expect.
0:22:03 > 0:22:07I just hope I can take away something that can help.
0:22:12 > 0:22:15Hopefully I can just learn how to expand my voice
0:22:15 > 0:22:18and I can go home and start working on stuff.
0:22:18 > 0:22:20I'm really looking forward to meeting Shevelle.
0:22:20 > 0:22:23I'm looking forward to hearing her sing something a bit more classical,
0:22:23 > 0:22:27just to see how her voice sounds when she's singing more like that
0:22:27 > 0:22:28and seeing what we come up with.
0:22:28 > 0:22:31Hi. I'm Rebecca.
0:22:31 > 0:22:33- My name's Shevelle.- Lovely to meet you.- Nice to meet you.
0:22:33 > 0:22:37So the first thing we're going to do is do some warming up.
0:22:37 > 0:22:39I think it doesn't matter what kind of music you sing,
0:22:39 > 0:22:41you really do need to warm up
0:22:41 > 0:22:43and get into the habit of doing it every day
0:22:43 > 0:22:44cos if you were going for a run,
0:22:44 > 0:22:47you wouldn't just go out the door and go "I'm going to run now."
0:22:47 > 0:22:49You'd do some bends and stretches or something like that -
0:22:49 > 0:22:51and that's just what warming up is.
0:22:51 > 0:22:54It's a really good way of getting your mind in the zone
0:22:54 > 0:22:56so you're really focused on what you're going to be doing
0:22:56 > 0:22:58and getting your body ready for singing
0:22:58 > 0:23:00cos singing is a really physical exercise.
0:23:00 > 0:23:03People who don't sing, they think you just open your mouth.
0:23:03 > 0:23:05Can you do me some nice circles with your shoulders
0:23:05 > 0:23:07because if the shoulders are relaxed,
0:23:07 > 0:23:10then there's relaxation here, whereas if they're tight,
0:23:10 > 0:23:14if you just lift your shoulders up it makes your neck feel tight,
0:23:14 > 0:23:16and if your neck's tight then the muscles that support your larynx
0:23:16 > 0:23:18and your vocal cords are tight.
0:23:18 > 0:23:21So it's really important to have that relaxation.
0:23:21 > 0:23:24Really try and get a big circle going with your head. That's it.
0:23:24 > 0:23:28Really enjoy the stretch. Can you feel the stretch? Cool.
0:23:28 > 0:23:32With the warm-up complete, it's time to hear Shevelle in action,
0:23:32 > 0:23:36so Rebecca starts her off with some basic scales.
0:23:36 > 0:23:38One, two, three, four...
0:23:38 > 0:23:40SHE SINGS SCALES
0:23:42 > 0:23:44# Eee, eee, eee, eee, eee, eee
0:23:44 > 0:23:47Change the eee to eh. Eh. #Ehhhh. #
0:23:47 > 0:23:51- Siiiick! - Like you're singing egg.
0:23:51 > 0:23:53- OK.- Ehhhh.
0:23:53 > 0:23:54One, two, three, four...
0:23:54 > 0:23:56SHE SINGS
0:23:56 > 0:23:58Yay, good, another one!
0:24:02 > 0:24:05This is the first time Shevelle has performed traditional scales
0:24:05 > 0:24:08and she seems to be hitting all the right notes.
0:24:08 > 0:24:10Rebecca still thinks there's room for improvement though.
0:24:10 > 0:24:13What I want you to do, and this is going to feel a bit funny,
0:24:13 > 0:24:16when you're doing it can you just put your hand on your jaw,
0:24:16 > 0:24:18not to hold it, but just to realise what you're doing
0:24:18 > 0:24:20because you're going... I'm going to exaggerate.
0:24:20 > 0:24:22# Awwwww... #
0:24:22 > 0:24:25- And we're getting a bit of jaw. - Oh, yeah, I hate that!
0:24:25 > 0:24:26# Awwwww... #
0:24:26 > 0:24:28It works without you moving your jaw.
0:24:28 > 0:24:31And it's not to stop you, it's just so you can feel what you're doing.
0:24:31 > 0:24:34# Awwwww, awwwww, awwwww... #
0:24:34 > 0:24:36It works without you doing that.
0:24:38 > 0:24:41With a little bit of help from Rebecca, Shevelle has nailed it!
0:24:41 > 0:24:44SHE CONTINUES WITH THE SCALES
0:24:46 > 0:24:48You just sang a top C!
0:24:48 > 0:24:50SHE PLAYS A C
0:24:50 > 0:24:52Oh, my G, cuz!
0:24:52 > 0:24:53Did that feel like hard work?
0:24:53 > 0:24:55Or did your voice just keep climbing up?
0:24:55 > 0:24:57It just did it naturally.
0:24:57 > 0:24:59Rebecca is clearly impressed
0:24:59 > 0:25:03and decides it's time for Shevelle to tackle a classical song.
0:25:03 > 0:25:08What I've got here is Ave Maria by a guy called Gounod
0:25:08 > 0:25:10and I've got it in the medium key.
0:25:10 > 0:25:12We could have done it in the high key,
0:25:12 > 0:25:14but I think the medium key will be fine.
0:25:14 > 0:25:21# Ave Maria... #
0:25:21 > 0:25:23This is a song that Shevelle
0:25:23 > 0:25:26would never have dreamt of performing before.
0:25:26 > 0:25:30# Ave... #
0:25:30 > 0:25:33But it's clear that her voice can adapt to more styles of singing
0:25:33 > 0:25:34than she ever imagined.
0:25:36 > 0:25:38Well done!
0:25:38 > 0:25:41# Awwwww
0:25:41 > 0:25:45# Awwwww, awwwww... #
0:25:45 > 0:25:48It just needed someone like Rebecca to bring it out of her.
0:25:48 > 0:25:50So let nobody tell you that you can't sing classical music
0:25:50 > 0:25:52- because that's rubbish! - Oh, my G!
0:25:57 > 0:26:00I did not know my range was that large really,
0:26:00 > 0:26:02and then she was like, "You're hitting this
0:26:02 > 0:26:06"and you're hitting that top C and I was like, is that me, yeah?"
0:26:06 > 0:26:08I don't think she realises what she's got yet.
0:26:08 > 0:26:10I think it's beginning to dawn on her
0:26:10 > 0:26:12that she's got something quite special.
0:26:12 > 0:26:15And to be able to do all kinds of music
0:26:15 > 0:26:18isn't perhaps something that had occurred to her before today,
0:26:18 > 0:26:20but hopefully I've shown her that there are
0:26:20 > 0:26:23so many different styles she can sing in and she doesn't need to say
0:26:23 > 0:26:27"I only sing reggae, I only sing pop, I only sing R&B."
0:26:29 > 0:26:32She can do whatever she wants with a voice like that.
0:26:32 > 0:26:36And hopefully, Rebecca's masterclass will encourage Shevelle
0:26:36 > 0:26:38to explore a whole range of new musical styles.
0:26:38 > 0:26:41This has given me the confidence in a big way.
0:26:41 > 0:26:45It's never really occurred to me like, joining a classical choir.
0:26:47 > 0:26:53But now, I might just have to jump on that, you know what I mean like!
0:26:55 > 0:26:58My young musicians have all discovered a fresh new approach
0:26:58 > 0:27:01to their music. They've certainly learnt a lot,
0:27:01 > 0:27:02but have they got what it takes to
0:27:02 > 0:27:04pull off the performance of a lifetime?
0:27:06 > 0:27:08Well, we're going to find out.
0:27:08 > 0:27:11They're about to perform in front of six and a half thousand people
0:27:11 > 0:27:13at one of London's most prestigious venues.
0:27:17 > 0:27:21In just a few minute's time, my team will be taking to the stage.
0:27:21 > 0:27:24Get ready for 7 Chapters, Royal Albert Hall.
0:27:24 > 0:27:27As well as a live audience, there are millions watching
0:27:27 > 0:27:29and listening at home on the TV and the radio.
0:27:32 > 0:27:35After all these weeks we've been going through,
0:27:35 > 0:27:37this is what we've been leading up for.
0:27:37 > 0:27:41It's the crunch time, you know what I mean?
0:27:41 > 0:27:43So we're going to work hard now, we're going to go out there
0:27:43 > 0:27:46and show everyone in the Royal Albert Hall what we're made of.
0:27:46 > 0:27:49- Seriously. Ready yeah? - ALL: Yeah!
0:27:53 > 0:27:55On the count of three. 7 Chapters.
0:27:55 > 0:27:58- One, two, three. - ALL: 7 Chapters!
0:27:58 > 0:28:01All right, guys, you're up next.
0:28:03 > 0:28:07This is it, the moment of truth has arrived.
0:28:07 > 0:28:11# We are 7 Chapters We're turning the page
0:28:11 > 0:28:13# Slowly turning my dreams into reality
0:28:13 > 0:28:16# I guess that's why certain man are mad at me
0:28:16 > 0:28:18# I was raised by the roadside Witnessed many cold nights
0:28:18 > 0:28:19# Even had somebody close die
0:28:19 > 0:28:22# RIP to Big T, I know you're watching over me... #
0:28:22 > 0:28:24I'm blown away by how well the guys are doing.
0:28:29 > 0:28:31Just eight weeks ago,
0:28:31 > 0:28:33some of them had barely performed in public before
0:28:33 > 0:28:36and now they're smashing it with the BBC Symphony Orchestra.
0:28:41 > 0:28:43By embracing different styles and techniques,
0:28:43 > 0:28:46they've developed as artists and become confident performers.
0:28:48 > 0:28:50Over the last two months they've learnt so much
0:28:50 > 0:28:53and it's opened their minds to a whole new world of music.
0:29:06 > 0:29:11# Here are 7 Chapters Our journey is the stage
0:29:11 > 0:29:16# Here are 7 Chapters We're turning the page. #
0:29:40 > 0:29:43Subtitles by Red Bee Media Ltd