I'm told I was rocking to music in my pram with a good sense of rhythm at a younger age than most, and then around age 9 or 10 I picked up my sister's violin without any instruction and started playing what I had heard her playing.

I had an affinity and aptitude for the violin, but with a good ear for music and a desire to play 'freely' I felt constrained by lessons and frustrated by the music teacher's insistence I follow the music and play set compositions.

I had learned how to read music, but often unintentionally would find myself forgetting the pages of musical direction, and just playing the pieces by heart. Many times the nun would be none the wiser and I would get away with it, but on occasion she would reprimand me for not reading the music.

I can appreciate that reading music and structured learning are important and form an important foundation for music as learnt and played in the mainstream...but there was something deeper that was calling me.

After a year, and despite high exam grades and being advised I was gifted and could go on to great things, I gave it away.

I then spent a couple of years taking keyboards more seriously after some basic lessons earlier on, and my interest was held for a time by a teacher who had a bit more flexibilty...but still not enough. Eventually the piano got left behind as well.

As my life became increasingly busy with work and serious equestrian commitments, playing musical instruments just wasn't a priority. I loved singalongs around campfires and always lamented not singing as much as I would have liked. I also played LPs and then CDs of my many favourite musical artists, which I soaked up with grat appreciation on a very regular basis.

In my mid 20s the strings were calling me again, so I bought a 100 year old German violin and went in search of a teacher who would be willing to help me in the way I wanted to play...i.e. support with technical playing skills, but with the main focus on free form playing - an intuitive, improvising mix for the joy of expressing music in a way that felt good to me.

Well, it was a nice thought. There was only one teacher in town and the guy insisted that I needed to do all the disciplined stuff and use that as a base from which to improvise. So I reluctantly agreed, as I felt his logic was reasonable and I could see there was no way he was going to run with my idea. I re-learned how to read music and found myself playing mostly Irish jigs - his preference! After several months, the wind was out of my sails once again, and the violin ended up in a corner gathering dust.

To add to my dismay, I could no longer sit down to a piano and belt out tunes. I had assumed it was like riding a bike and that I wouldn't forget, so it was a bit of a shock after some 10 or 15 years to sit down at a piano...and suddenly nothing happened! ...and sheet music I could once read effortlessly was like a foreign language.

Another 10 years passed before I experienced my first real sense of musical liberation (it only took 35 years, but better late than never!)  It came in the form of African drumming, which a friend introduced me to. As soon as I touched my first drum I was spellbound. There was so much freedom and joy in expressing myself through it. I actually sought out some workshops to learn some African rhythms and drumming techniques (there was so much free expression happening in my general playing and jams with friends that my need for free form were constantly being satiated, so funnily enough there was a natural flow from free form to structure). 

This phase lasted a few years, and then tapered off slowly. I still a djembe 'just in case' but it is gathering dust, as I eventually started to miss having access to melodies via a range of notes as I had enjoyed with piano and violin.

The voice is a very accessible and versatile instrument and I felt long overdue to utilise it more, so I drifted from a drumming focus to singing in an a capella choir. Best intentions were for me to enjoy the experience, which I certainly did at times, but between practice sessions and performances there was more commitment and more commuting than I realised, and while they were nice people they weren't my kinda crowd. Some time, somewhere, somehow, I figured I would find my niche. 

Enter the hang! In December 2005, a friend of my housemate came along to a music jam at our place...and brought a hang. Blow me down, knock me sideways. It was so far beyond magic it needs a new word. I also got to play it for a while, and once my hands touched it, I was history. I knew then that I would have one. It wasn't a choice, it was just how it is. I went through the not-so-easy process of obtaining a hang, and waited patiently until my hang was ready for me.

In October 2006 I received a letter from the hanghaus in Switzerland, inviting me to purchase a hang. Tears of joy streamed down my face and it mattered not that I was at the Post Office! April 4, 2008 and my hang and I met for the first time, and began our sound journey together.

What an utter delight it is - beyond any description - to have the privilege of owning and playing and performing with the hang. This instrument was a perfect match for what my heart was calling for. The perfect blend of melody, percussion, intuitive play/improvisation...the fact that the hang has been designed for this type of playing is for me like manna from heaven! More of a share about my hang journey can be found on 'Maia's hang journey' page.

In trusting in the guidance of the hang makers on how to play it ('touch it, listen, and follow that') what started out as freeform evolved of its own accord into recognisable, repeatable melodies, and before I new it, I was a 'composer' (technically speaking, the composer is the collective consciousness, I just have the privilege of it coming through me!) The spontaneous arising of melodies - whether as I play or in my head - is a delight beyond delight. They are increasing in number over time and we simply can't keep up - we have enough material to fill another four CDs. Some are beyond me at the moment so I have asked for assistance (including 'Be the Change'). There are quite a few of our instrumental pieces that have lyrics now, and increasingly voice will be added.

Now I both improvise and play our 'original' compositions, both on the hang and more recently the harp (there is a magical story in that which I will share when I have the time) and I'm also just starting out on another journey of discovery with the swarmandel (Indian harp - I will also share more about that when there is time). If you like, I have shared some thoughts about structured vs. freeform.

I totally respect the journey of any musician - whichever way their music has evolved, but what lingers in my mind the most is this quote...

"The whole, though it be long, stands almost complete and finished in my mind so that I can survey it at a glance. Nor do I hear in my imagination the parts successively, but I hear them, as it were, all at once. What delight this is I cannot tell!"
                                                                                                                 Wolfgang Amadeus Mozart

maia's music journey

Sharing a bit of history...

Performing with Zormiwasa during my drumming, drumming, drumming phase. What a buzz! Great concept...10 weekly sessions of workshops culminating in a performance as a support act for the main gig at 'The Big Bang Frenzy' percussion nights at 'The Zoo' in Brisbane.

A typical gathering of music loving friends (with the rest sitting behind me!) Just for interest I'd like to share that the young guy playing drum is a wonderful classical pianist. He auditioned for the Brisbane Conservatorium of Music at age 17, got accepted...then decided to go to university instead to study engineering! His Dad (far left with guitar) is a wonderful jazz pianist. Furthest right (on drum) is a friend who plays guitar and sings beautifully.