Introduction

Welcome to the Crescendo Music Education podcast- Episode 91, and today I get to chat with Clare Finlayson again. I loved the last episode with her, episode 90. If you missed it, you can pop back and listen to her bio and get a bit of background on her. In this episode, we’re jumping straight into talking about Instagram. She’s got a very useful Instagram page you might like to get in and follow. It’s called Choir with Clare. I’ll make sure the link is in the show notes. We’re going to talk about some of her favourite choral pieces and choral conductors, as well as her nuggets of fabulous and advocacy ideas. So enjoy my chat with Clare Finlayson.

This podcast is being recorded on the lands of the Turrbal people. I acknowledge them as the traditional owners of the land and pay my respects to elder’s past, present and emerging. They were the first music makers on this land.

About ‘Read the Episode’: Sometimes, we would rather skim visually than listen to a podcast! That’s a great way to learn too!
The transcript of episode 091 of The Crescendo Music Education Podcast is below.

Instagram and Canva as Tools for Choral Conductors

Debbie
And I would like to welcome again to the Crescendo Music Education Podcast Clare Finlayson. Hello, Clare.

Clare Finlayson
Hello, hello. Good to be back.

Debbie
I wanted to get you back. Mainly to talk about your Instagram page. It is quite wonderful and different, good different, you know, I will put the link in the show notes but it’s basically Choir with Clare. Sorry, choir.with.clare.

Clare Finlayson
Yeah. There’s no i.

Debbie
So if you do not have the show notes you can look up Choir with Clare, choir.with.clare (with no i). Okay. So tell us about it. I want to just say it’s really pretty.

Clare Finlayson
Thank you. And for anybody who has not discovered Canva please discover Canva it has changed my entire life. I love it. I love it. I choose to pay money to these people, because they earnt it. They have earnt my hard earnt cash. But you can also have a free account, which is where I started. And it’s amazing. Canva, do it, everyone, now.

Debbie
Very early on in the piece, I contacted Canva and said, Do you have an affiliate program? I want to blah, blah, blah, like you’re speaking to one of the biggest Canva fans in the world. And if you are a teacher, you can get an education account and you can get the most all the Pro features with that but seriously, yeah. If you’re not in Canva, just get there. So tell us about that. Yeah, I want to hear more about how you came up with the branding and all the colours and stuff too. So we need to talk content but I want to talk pretty too.

Clare Finlayson
Okay, deal. I’ll start with the concept, I have no formal choral conducting training. I have not done a university degree of any type. Sorry, I have done a university degree of any type. I have my Bachelor of Music and my Bachelor of Education.

Debbie
Okay, which is good, because you are teaching officially so it’s probably good that you have a qualification.

Clare Finlayson
It helps. Yeah, yeah, just a little bit. So I think in my undergraduate I had a semester of conducting so I had a conducting subject in my uni degree. But, you know, for anything on paper, there’s nothing direct. So everything that I’ve come across I’ve either done by trial and error, or I’ve been extraordinarily fortunate to have had just so many generous mentors and look, I’m going to name drop because they deserve to get a shout out.

Justine Favell, Julie Christiansen, Paul Holley and Peter Ingram have just all been massive rocks in my career and have been so generous and patient with their time and their knowledge and I’ve just been so grateful for having them in my life. So I’m very aware that my skills and my knowledge aren’t my own. You know, I haven’t made them up. I’m not anything revolutionary. I am a custodian of something that has then passed on to me. And so I feel the need, obligation is not the right word because it seems like it’s unwilling, the willing obligation to pass on this knowledge to others, because I have been gifted that myself, so I need to pass on the gift.

Then when I was sort of thinking about how how to do that, you know I’ve had student teachers, I have people that I’m helping with their conducting and I sing with them, but on a on a bigger scale social media was one that quickly came to mind. And I decided to go down that road, because I know how hard it is to get to PDs. And then for most choral conductors, at least in the school system, are classroom music teachers, and someone has turned around and said, “Hey, we have a choir. Can you do that?” Whether they have any vocal or choral training?

And of course, of course, most people jump in and say “Yeah, of course, I’d love to do that”. But then to try and get to us choral conducting specific PD is even harder than getting to music teaching or just a teaching PD, because sometimes the school doesn’t necessarily value those skills, and they would prefer you to do something that’s part of your classroom work.

So I thought if I can make this as passively easy to just absorb like a sponge, then I want to try and do that for people. They have somewhere to go, that they can go right I have this problem. Is there anything on this page that might help and so that was kind of where it all began? And then the pretty? I like teal and aqua, they’re just colours that I like.

I think in the last episode, I mentioned that my sort of self metaphor is that I am the bowerbird of choral conductors. Because like I said, I have just picked up things from people and I’ll think Oh, I like that, I don’t like that. So I’ve just picked up lots of shiny things. So you’ll see lots of birds on my page and kind of different candy pop colours. And that’s sort of my love to my little bowerbird personality.

Debbie
Oh, I did not know that. That is wonderful. I’m splitting my screen here. I’m going to get up your Insta page Oh, so what is it? choir.with.clare (no i). See I mean, I have liked you so obviously I’m following you. Here we go choir.with.clare. There we go. Oh, oh, look, the birdies are so pretty. So what I’ve noticed about the page is not so much you’re talking about people can go in and think like, they might have an issue. And they’re thinking I wonder what I could do about this. Because what I had noticed about your page is just how useful the repertoire suggestions are.

Clare Finlayson
Yes, so I should apologise to anyone who is following me because I have somewhat fallen off the face of the earth with this over the past couple of months.

Debbie
What’s your excuse?

Clare Finlayson
I have this very small blonde child who is like this far away from walking, so my life is just “Oh don’t bump your head. Oh, don’t bump your head. Oh, don’t bump your head”. So I will get back to it but it’s just finding time.

Debbie
And you do now I was being sarcastic, I do think that of course new parenthood is obviously a fairly good excuse. All right. So I’m going to open one of these because I really like that you’ve got these, I’m going to open A Parcel of Care because that’s one of my favourites.

Clare Finlayson
It is, it makes me cry a bit that song, Katherine Ruhle, hitting the truth buttons and the emotions.

Debbie
Yeah. And so good. I don’t know if I mentioned that one particularly in my podcast chat with her but we now do that because she works at our school, every Anzac ceremony we sing this.

Clare Finlayson
Gorgeous.

Debbie
And it’s just so relevant for little people because it just hooks into something that they can connect with rather than soldiers dying in trenches, which I’m not saying we should hide from them.

Clare Finlayson
It’s a way to help them connect with it. Age appropriate for their type of processing.

Debbie
And for those of you who don’t know the song, and in case I didn’t talk about it with Kath many months ago, probably a year or more ago. It’s about the the parcel of care that the families would put together and post to their loved ones serving overseas. So, you know, and where Anzac biscuits apparently came from because they lasted a bit longer and they’d put in a photo and so it’s a song about creating this parcel. You’ve got several pages. So the first page is a beautiful title with the little just, it’s just a thing of beauty. I have to stop saying that, then you’ve got your summary, an age appropriate Anzac song that doesn’t undermine their intelligence. You realise I’ve not looked at this before? Is it bad to be talking about something I’ve not even looked at?

Clare Finlayson
It’s all good.

Debbie
Okay. Ooh I like over here Australian composure alert, okay, in the comments. Then this little table, it’s so clever. You’ve got voicing, length, mood, range, accompaniment and suitable for. Do you use those same headings? Or do they alter slightly?

Clare Finlayson
No. So every repertoire post that I’ve made has those exact same headings.

Debbie
So you’re thinking I’m looking for something? This is five to eight year olds, perfect for Anzac Day and you go, I actually wanted something for 15 year olds, this probably won’t do it.

Clare Finlayson
Yep, click move on to the next one. Exactly.

Debbie
So, so useful. Voice in unison? No, I’m after three parts, you know, whatever. So I think it’s so useful. So I’m scrolling across on the same post, by the way. And then you’ve got something about the subject matter and musical challenges. And then your nice choir.with.clare at the end. So if people are looking for repertoire that they might not have considered, they can just literally browse on your Insta page.

Clare Finlayson
Yeah and that was kind of the the point is, I mean, finding repertoire is a very time consuming job. So I kind of thought if I can give recommendations, like, I know that these pieces have worked for me, and even if it’s not a song that necessarily speaks to you, it might give you a door to a new composer, or a new website that has music on it. Yeah, it was just kind of trying to help take some of the time out of that process for people.

Music Repertoire For Children’s Choirs

Debbie
Because it is so time consuming. And when you’re doing classroom music teaching, it’s such a huge job. Choir is a tag on, an add on. And it shouldn’t be, but it sort of is, you know, I feel great guilt for my beautiful grade 1/2 choir, I think I should, I know you shouldn’t should on yourself. But I should spend so much more time searching for repertoire, preparing my rehearsal, you know, doing the warm ups to cater for the tricky bits. I know they’re gonna, I know, in theory, what to do, have sort of done it in the past, and I sort of do it, but I just don’t have the time to focus. And I think that’s the treat of having a job like yours. You get to do that.

Clare Finlayson
Oh, yeah.

Debbie
Because that’s your focus.

Clare Finlayson
Exactly, it’s my job.

Debbie
And the classroom teacher. It’s the add on?

Clare Finlayson
Exactly, you’ve got a full time job. And then there’s this extra appendage that you have to also prepare for and sometimes if you haven’t taken an ensemble yourself. You don’t know how much preparation has to go into a rehearsal or choosing repertoire. There’s no way to explain it to someone, you just have to experience it. So yes, it is a lot. It is a lot of time finding repertoire. Believe you me, I know. I know that it can just be quick what has worked before? Quick, just pull that one out of the filing cabinet. Let’s go. We’ve got enough photocopies of that one. We’ll do that one.

Debbie
Do that one. Yeah, exactly. So that’s why this Insta page of yours is wonderful. So what else can we find? What else have you got in there? Looks like you’ve got warm up, phrasing.

Clare Finlayson
Yeah, mostly it’s repertoire at the moment. I do intend on putting some videos of warmups up there. I’ve also got some time saving tips and hacks in the works and like vocal techniques stuff. And I think I’ve already posted, there’s one up there that talks about how long someone can breathe out because singing is breathing out, right. So how long someone who has no singing training can actually do that depending on their development.

So obviously a 6 year old is not going to be able to sing a phrase for as long as a 30 year old, but there’s an actual science there. And I know when I learnt this information, it just totally changed the way that I approached the breathing in my ensemble because I suddenly knew Oh, they physically cannot do that. I need to find another spot for them to take a breath. And good breathing equals good sound. So it was really just a quick, quick fix that was.

Debbie
Yeah, I found that. I found that, I’m going to read that one. Okay, good. I need to spend more time on your page. So look, I just I think that’s great. We’re looking forward to you having time to do that little bit more.

Clare Finlayson
Me too.

Australian Choral Music and Favourite Composers

Debbie
But what you’re doing is more important. Looking after that little one is much, much more important. But hopefully lots of other people will find that and connect with you and follow. And we we wait with bated breath for the next ones. So what would you say are your favourite choral pieces and favourite composers? Now? I’d like to think some of them are Australian. Our guys are unique, there’s just something, maybe I love it because I’m Australian. But there is a unique quality.

So before you answer, just my take on the Australian composers I love and I’ve chatted, do a few of them on my podcast. I’m really lucky. But a lot of them are good storytellers. I love the ones that tell stories like the one we were just talking about with Kath Ruhle telling the story of the little people sending their love to the soldiers overseas. Paul Jarman with the journey of Shackleton, just the story element is often unique with our Australian composers. That’s one of my little thoughts. What about yours for composers? Compositions?

Clare Finlayson
Yeah, it’s interesting you said that. I wonder what it is culturally? Because I absolutely agree that that a lot of Australian choral music is very story based, whereas perhaps like American choral music is more emotionally based, I would probably just off the top of my head, sort of say so I wonder what it is culturally that sort of makes that happen. I mean, when you say favourite composers, I mean, has Dan Walker ever written a song that wasn’t an absolute banger? I mean, every single piece that Dan Walker writes, I’m just like, well, this is my new favourite piece of music. And that’s like, there’s millions of them now. Absolutely, absolutely love Dan Walker.

Luke Byrne is another composer, an Australian composer that I’ve come across fairly recently and he is a great, great storyteller. Specifically, a piece that I’ve done of his recently performed, not conducted, was The Foundling. If you can find a recording of The Foundling by Luke Byrne, it’s just beautiful I’m pretty sure it’s from like a Grimms fairy tale that he’s used, but it’s just beautiful. He is currently studying or has just completed study in London for musical theatre composition. So a lot of his choral compositions have a little bit of a theatrical vibe to it and the stories are you know, very well told and yeah, I really really love his music. I mean for littlies, I love Katherine’s music for really young kids and Sherelle Eyles, I really love her music for young kids as well.

Debbie
Beautiful, yeah.

Clare Finlayson
I will go and yeah check out her pieces for I mean, I’m in high school setting and it’s an all girls school so finding treble music for high school girls can be a little tricky sometimes because a lot of treble music is written for primary school aged students. Sally Whitwell who’s another fantastic Australian composer website is just amazing. Love, love her music. Then because the other aspect of my life is Resonance of Birralee which is a university SATB choir.

Jake Runestad is a Canadian composer. I may have that wrong sorry. I’m pretty sure he’s Canadian. He’s just stunning. His music is just stunning and particularly a piece called Come to the Woods. If you can find Come to the Woods or my other favourite of his is Let My Love Be Heard.

I am not allowed to listen to Let My Love Be Heard anymore because I cry every single time, it is just so stunningly beautiful that my husband’s like right when you’re driving, you are not allowed to listen to that piece of music anymore. He’s worried that I can’t see with all the tears in my eyes. But yeah, Jake Runestad is a big favourite of mine for that SATV sound? Is that enough? I can keep going. This is like asking me to choose my favourite child. And I only have one child, so far.

Debbie
Yeah, there’s so many. And I’ve got to chase up some of these too.

Clare Finlayson
Oh, please, please do.

Nuggets of Fabulous

Debbie
Now, we didn’t talk about this in our previous episode. But I really do like to ask for nuggets of fabulous. So your favourite tips, tricks, ideas and stuff. Our last episode, you talked about the post it notes with the why, there was so many things that I reckon already are nuggets of fabulous. But I still like to give all of the people I chat to an opportunity to go, this is what I would like to share with you. So if you were doing a PD, here’s a few tips, tricks, favourite songs. Well see you’ve already shared that already. So if you had any nuggets of fabulous that you’d really like to share with us. Now’s the time.

Clare Finlayson
I have three.

Debbie
Three. Yeah. Three, let’s go.

Noting Down Repertoire For Future Performances

Clare Finlayson
Three time saving tips that I hope will help. Yes, please. So we were talking earlier about how long it takes to find repertoire, it takes forever. On my phone I have the Notes app and I have a list of rep. So when I’m searching for repertoire, if I come across a piece, and I go, “Oh, this, I love this piece”, but it’s not right for this ensemble, this concert or whatever it is. I write that piece down so that I can find it again. So I just have a list of music that I have found in other searches that wasn’t right for that time. So that when I have to find repertoire again, that I go to that list first and go right do any of these pieces fit? Past Clare has helped future Clare. It’s always like that.

Debbie
Oh, we love past Clare. We love past Clare.

Paul Holley Inspired ‘Warm Up Bible’

Clare Finlayson
Love past Clare when she is being proactive, (sings) “Being proactive”. Future Clare is really happy with proactive past Clare. So I would suggest everyone take this on, it has absolutely changed my working life just to have that list and you just type it on your phone name, composer, whatever voicing it might be. So I have that list. Another time saving tip that again, love a quick, easy change to my life, is and this is actually a Paul Holley one that I have stolen. I call it my warm up Bible. So it’s just a notepad. And anytime I’ve come across a warm up, I write it down and I take my notepad with me.

Debbie
Guess what, I have a warm up Bible too. I stole it from Paul too.

Post It Notes As Reminders For Improvements In Each Piece

Clare Finlayson
And it changes everything right? I mean, warm ups are the bane of my existence. I love them. I do them because they are important. But oh my gosh, I can’t keep all that information in my brain. And I’m supposed to be doing this at seven o’clock in the morning. No, warm up Bible. Take it out. Right, these are the warm ups that we’re doing today. Brilliant. I don’t have to think about it. I’m even specific to the point where I’m like, start this exercise on an F, to that point, where I don’t even have to think about what key I need to do it in. Because I don’t know how functional I’m going to be morning to morning.

So again, proactive past Clare, helping future Clare, we love it. So that’s number two. My third one is to help with, you said earlier before that you wish you had spent more time planning rehearsals and stuff like that. And it’s so true. I mean, even in my job where my whole entire life is dedicated to singing and choir, there are still absolutely days where I don’t think about that rehearsal until maybe the 15 minutes before that rehearsal starts. It happens to all of us.

Debbie
It’s called life.

Clare Finlayson
It’s called life. Right? And I know the best time to plan a rehearsal is immediately after the rehearsal you’ve just taken has stopped, right while everything’s still in your head and you go right we need to do this, this this we’ll work on this. Let’s try this. But when is that going to happen? Jerry wants to tell you about his cat and this kid’s got water polo and you get distracted. And then you’ve got 10 minutes to get to the loo and you’ve got to go to your next whatever it may be, class.

So I now in every single folder that I have, I am a post it note fiend, I have post it notes in every single folder. At the end of a piece when the kids are getting their new music out I will just quickly jot down things, take that post it note, stick it on the piece of music, tuck it in my folder. So the 10 minutes before my next rehearsal. I just get out the music and I go, Oh, that’s right. We need to start here. We need to do this. We need to do that. And then I can just shuffle it on my stand. Put it in order. Right. There’s my plan for today.

Debbie
So what you might write something like altos bar 29.

Clare Finlayson
Oh my God, yes.

Debbie
Is it that specific or something like tell the story, exclamation mark or anything that you think?

Clare Finlayson
Anything, whatever you think when you get to that end, and you go, we need to still work. Yeah, that’s right. Section B, we need to work on Section B. Tone with vowels. You know, sometimes I just have a big post it note that says vowels. Stick it on that piece of music. That’s what we need to do. So yeah, whatever it is you think you need to work on, because it’s freshest when you’re doing it, right?

When you’re making the music. That’s when all of that information is going through your head, jot it down, stick it on the piece of music, and then you know, it’s there for next week and you’re not having to try and recall what it is you did last week, because an entire week, which is you know, in teaching world is essentially an entire lifetime has happened between rehearsals. Right? So that has really helped my life as well. Just to take some of that mental load.

Debbie
That’s revolutionary, but it’s so logical.

Clare Finlayson
I take notes, man.

Debbie
Doesn’t that make sense?

Clare Finlayson
Yes and just make it easy on yourself? Yeah, post it notes in every folder. Don’t look for the post it notes have them there.

Debbie
I don’t know it makes me want to hit my own forehead really.

Clare Finlayson
This is my gift. This is my nugget, have my nugget. That’s not something I thought I’d say today.

Debbie
You’ve got a one year old.

Clare Finlayson
I do.

Debbie
That’s amazing. Sorry, I’m just a little floored because it’s just so logical and obvious and I never thought anything about it.

Clare Finlayson
This is what happens when this is your whole life. Right? I don’t have, you know, it’s not my full time job. I don’t have a full time job. And then this is an addition. I figure out ways to be lazy.

Debbie
No, no.

Clare Finlayson
Effective laziness, efficient.

Debbie
No it’s so that you can focus on being fabulous. You get this other stuff.

Clare Finlayson
That’s right, take the mental load out of the way.

Debbie
Yeah, exactly. It’s why I wear tie dye. It’s decision fatigue.

Clare Finlayson
It’s your uniform.

Debbie
I don’t have to go what am I wearing to school today? I’m wearing a tie dye tshirt. I mean, I know that that’s going a bit extreme.

Clare Finlayson
No, not at all.

Debbie
But all you’re doing is setting yourself up so you can be super effective next time. Bloody brilliant. Thank you for your nuggets of fabulous.

Clare Finlayson
No problem.

Advocating For Music Education

Debbie
All right, we need to talk before we go. We need to talk about advocacy. And then you get the chance to get on your soapbox at the end. But advocacy, anybody who knows me and my work and what I do know that advocacy is a huge part, whether it’s working for getting music educators in all our primary schools, or whether it’s through Together Sing, where we’re trying to promote how important singing together and making music and music education is.

It’s about telling people how important this is, for our humans that we’re responsible for. Our little humans, our medium sized humans. I think in your job, you’re actually in a position to be quite visible in your work, aren’t you? So that could be an advantage around advocacy. So what would you say to, not just choral conductors but music educators of all types? What advice would you give them around advocacy?

Clare Finlayson
It’s a complicated one, isn’t it? There are so many facets to it. And if it was a simple answer, if you want to get something done, ask a music teacher right? So if it was simple music teachers would have just done it and it would be not even a thought, so I always come back to community and that is a community of colleagues. That’s your community of students, your parental community have a really really strong and I’m thinking in a school setting I should say, your parents have a lot of say, and even the broader community, past students, the guy who owns the fish and chip shop down the road, it is hard to be dismissive of something that lots of people are enjoying and are a part of, and are visibly supporting you.

So any way that you can extend beyond the choir itself and bring people in to see it. I mean, sorry I’m just thinking of a past concert where we invited, not a concert a rehearsal, where we invited parents no, oh, my gosh, can you tell that I’ve not slept for a year? A past rehearsal where we invited teachers, it was an open rehearsal, where we invited teachers to come and sit in and have a sing if they were feeling brave enough. And the conversations after that experience and look it wasn’t a huge amount of teachers, because let’s face it, you’re a teacher who wants to get up at, you know, 6am, to get to a seven o’clock rehearsal, like I get it, but the teachers who did attend, those conversations that I’ve had with them after that, it’s just the appreciation for what they experienced.

And it’s different than going to a concert, when you sit and watch a concert, you you have, you know, a certain appreciation, but then when you are in with the students, and you’re singing, and you can see the process to get to that concert, that is a new level of appreciation. So any opportunity that you can bring people in to experience what your choristers are experiencing, is going to be really, really helpful.

I can’t remember what the speech was, it might have been a TED talk, I don’t know. I have this reoccurring tidbit in my head, after watching a speech that was talking about advertising and marketing of all things. And it was talking about why Apple has been so successful in their marketing. It was saying that Apple doesn’t sell the what, it sells the why and that has always resonated with me. All the research is there about how beneficial music is, how beneficial singing is, it’s all there. And it’s you know, thanks to Anita Collins it’s become really easy to find and to package up and, and show to management and all that kind of stuff. But sometimes I think if we go too strongly down that path, it becomes too much the what and not enough the why.

We don’t teach choir, just because it improves academic performance. That’s not the core purpose of singing in a choir. We sing in choir because it brings us joy. And joy is important. Connection is important, community is important. So yes, that is my very long winded advice for advocacy. I think the other thing too, if I’m just going to continue on, is just to remember, I know how tough it is, I have lots of friends who are music teachers, and I know how tough it is on them.

For those music teachers to remember that it’s not you, like it’s not that you’re not enough or that your teaching isn’t enough, or that the impact that you’re making isn’t a real impact. It’s all there, that these decisions, curriculum decisions and stuff are being made by someone who’s in a nice air conditioned office who possibly hasn’t been in a school for a long time. And while it does feel like a personal attack, it’s not. And you don’t have to hold on to the guilt. I know like my friends feel really guilty, they don’t feel like they are fulfilling their potential and it’s not their fault.

Debbie
Very important to keep that in mind.

Clare Finlayson
Very important.

Debbie
Well, I’ve learnt lots and I’m going to organise an open rehearsal for teachers and for parents. I’ve talked about doing it with our instrumental teachers and having them sitting in amongst the band, and we want to do that this year. I don’t know why I didn’t think of doing that with I mean, imagine having the parents sitting in there with Kath Ruhle doing a senior choir rehearsal, like the parents and the teachers minds will be blown when they participate in what our kids participate in. Sorry I’m going to ask a question, just because I can. Did you have them sitting in with the kids?

Clare Finlayson
Yes, so they were in the choir.

Debbie
And they sat probably beside their child if they were parents.

Clare Finlayson
Yes, if the kid let them. Again, teenagers.

Debbie
Teenagers.

Clare Finlayson
Hi Mum, you just go over there.

Debbie
Yeah, yeah. Yeah. Love it. Okay.

Clare Finlayson
Other things that we do we have an inter school choir competition every year. So each house has to learn a pop song, and we have an afternoon. And so every single student in the school once a year, sings, and we compete, like athletic day, or swimming carnival day. And the other thing we do that sort of connects that community is every second year we have a community choir, we run a community choir that past students and parents are invited to come to and they perform at a concert that their children perform at.

So that’s always really, really lovely. And a few times, I’m just thinking of one set of parents specifically they lied to their daughter, the whole rehearsal period. So every Wednesday night, Oh I’ve got a meeting or I’ve got to work late. Every Wednesday they’d come and I’d be like, okay, so what’s the lie this week? And they’d tell me their little excuse. Then they turned up to the concert and walked on stage. And just the face of their daughter was just like a mix of excitement, pride and absolute horror.

Debbie
Horror.

Clare Finlayson
It was glorious. It sticks in my memory. It was great.

Debbie
Oh, love it. I love it. And yes, a parent choir. It’s so powerful. Oh, that’s amazing.

Clare Finlayson
So powerful.

Debbie
Oh, Clare, I have so loved chatting to you. It’s been nice.

Clare Finlayson
Right back atcha.

Debbie
Yeah, thank you. I should have done it a lot earlier. Thank you. Now before we go, do you want to get on your soapbox? Finish off our chat by telling the world something? Everybody’s listening? What do you want to tell them?

Clare’s Soapbox

Clare Finlayson
Oh, my gosh, no pressure. No, stay hydrated people. It’s hot. I think and this is specific to music teachers. I think it is really important that at least once a year, if not multiple times a year, you get the opportunity to just be a musician, join a choir, join a band, go to pub choir, be a part of ABC classic choir or whatever it might be. And remember why you decided to go down this path in the first place because we were all that kid who found their place in the music program. We’re all that kid. So if you can have any opportunity to remind yourself of that version of yourself, and it will just lift your spirits. That’s what I’ve found personally, that is just lifted my spirits and it helps. It helps with everything. That’s my soapbox.

Debbie
I love it. And it’s a perfect way to finish. Thank you so much, Clare, and we will talk again.

Clare Finlayson
Thanks, Deb. Bye.

Debbie
Thank you for joining me for this podcast. Don’t forget, you’ll find the show notes and transcript and all sorts of information on crescendo.com.au. If you’ve enjoyed the podcast or found it valuable, you might like to rate it on your podcast player and leave a review. I’d really appreciate it if you did.

Sign-Off

I appreciate you and all of my colleagues, and hope this episode has been enjoyable and useful. Don’t forget, you’ll find the show notes on crescendo.com.au. I’d love a share, rate or review to help other music educators find this podcast. All I can be as the best version of me. All you can do is be the best you. Until next time, bye.

Just for Laughs

As we know laughter relieves stress don’t lose sight of the funny side of life.

You know if I wasn’t a music teacher, inspecting mirrors is a job I could really see myself doing.

Links Mentioned in the Episode:

🎙️ Ep 90: Making Choir Accessible

Resources: Canva

Some of Clare’s Favorite Composers:

• Dan Walker
• Jake Runestad (Come to the Woods and Let My Love Be Heard)
• Sally Whitwell
• Katherine Ruhle

Where to find me:

• Crescendo Community Facebook Group: https://www.facebook.com/groups/crescendocommunity
• Official Crescendo Page: https://www.facebook.com/CrescendoMusicEd/
• YouTube: https://www.youtube.com/user/CrescendoMusicEd
• Twitter: https://twitter.com/crescendomusic
• LinkedIn: https://www.linkedin.com/in/debbie-o-shea-62a3741b/
• Instagram: https://www.instagram.com/CrescendoDebbie/
• Pinterest: https://www.pinterest.com.au/crescendodebbie/