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