Music Archives - OPUS Music CIC

Charity Single: This Won’t Last Long

We’re delighted to launch our new charity song ‘This Won’t Last Long’, a song of hope and strength for our friends and colleagues in the NHS.

It has been written, recorded and produced in isolation whilst staying at home to help protect, and in celebration of, our NHS.

We’re happy to offer a free download of this song at our Bandcamp page.

If you like what you hear, then please support the work of the amazing Hospital Charities in Leicester, Nottingham, Derby and Sherwood Forest Hospitals at our Justgiving page.

Thank you!

Case study: ‘you have to stay right there until he’s finished!’

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Working on a ward at Nottingham Children’s Hospital, we asked a nurse if it was appropriate to play for the very young baby she was caring for. She said ‘yes of course’. We could see that she was feeding the baby through a feeding tube.

As we played, the nurse interacted with the baby, soothing him through touch and gentle tapping. The ward sister came along and asked the nurse if the baby had calmed down. The nurse said he had since we had arrived. The ward sister then said ‘you have to stay right there until he’s finished!’

Richard asked the nurse if he’d been very distressed and she explained that he’d been struggling feeding with the tube, then getting angry and being sick, so losing the feed. This had caused him to be hungry and the cycle had then repeated.

We continued playing and the baby was still slightly upset. Sarah suggested that Richard played the Bodhrán (drum) for the next piece to see if a quiet repetitive rhythm would be soothing. We played ‘Evelyne’s’, moving into ‘Sailor went to sea’. We played an extended version, getting quieter and quieter as the nurse finished the feed and cleaned the feeding tube. She continued to sooth the baby as we played until he fell completely asleep. She smiled and said ‘he’s gone off’ at which point we finished the piece.

As we left the ward he was still asleep and had kept the feed down. The effect of calm induced by the interplay between the nurse and musicians was observed to continue in the baby until his next feed approximately two hours after the musicians had left the space.

Music Care

OPUS is delighted to be working in partnership with the University of Nottingham and Room 217 Foundation (Canada) to deliver Music Care Training. Music Care Training is for care providers looking to incorporate music into their care practice, and for musicians looking to take their skills into the care context.

Next Training: 25/26 November 2019, Music Care Level 1, University of Nottingham

We are also looking forward to presenting at the second ‘Power of Music in Health and Social Care’ conference, to be held at the East Midlands Conference Centre on 4 November 2019

Drumming in Intensive Care Units

Five years ago, during my initial training as a musician in healthcare settings, one of the first challenges I faced was how to take my specialism of percussion into hospital settings. How could I use percussion instruments, particularly drums, in spaces that I assumed would be very quiet in a way that would enhance that environment? How could I use something as potentially noisy and intrusive as a drum in an a space populated by children suffering from a variety of illnesses or conditions which are unknown to us and doctors and nurses doing a job that required great concentration and accuracy? After having spent 10 years playing in a variety of loud percussion based bands and running drum circles and percussion workshops, I couldn’t see how a drum would do anything other than disrupt a hospital space, over excite or disturb patients and distract doctors and nurses. At that time the thought of taking a drum into a hospital ward seemed like a bad idea and if the possibility of taking one into an intensive care unit had been raised it would have seemed ludicrous.

In the last couple of months I’ve had cause to remember and reflect on my initial thoughts and reactions to drumming in hospital.

The first occasion started with walking into a children’s intensive care unit in a large hospital in the East Midlands. The unit has about 10 beds in it with only a few feet in between each bed to allow access for nurses, parents etc. The feeling on the ward is quite enclosed and cluttered due to the large amounts of medical equipment around each bed and the large numbers of staff attending the patients.

I was working with two colleagues, Sarah on fiddle and Marc on guitar. We had been requested by a parent to come and play music with her little girl who was about two years old. The little girl, who we will call Lisa, had special needs, no speech and had recently had a tracheotomy, so she couldn’t make any sounds at all with her voice.

When we arrived Lisa was sitting up in bed and her mother was at the bedside. Marc started playing a nursery rhyme and her actions and facial expression showed that she was immediately responding positively to the music. Her mother reinforced our reading of this response with positive comments and an increase in engagement with Lisa. We continued to play, with Marc leading the interactions and encouraging Lisa to shake along or engage with the animal toys around her bed. I changed from accompanying a lullaby on ukulele to playing a deep quiet and steady beat on the bodhrán on the next song. As I did so I noticed a shift in Lisa’s focus towards the drum so I asked Marc to make some space so I could get to the bed.

I knelt down at the bedside and asked Lisa’s mother if I could place the drum on the bed so she could see it and hear it more clearly. I continued to tap along on the drum as we sang, just keeping a gentle pulse and as I did so Lisa leant forward and started touching the drum skin. She was exploring how it felt, sometimes tapping it and sometimes just leaving her hands on the skin to feel the vibration as I continued to tap the drum. Sometimes I copied what she did on the drum but she seemed to be getting the most pleasure from experiencing the vibration from the skin as I hit it. She moved from having both hands on the drum, to both hands and one foot on the skin, to putting both hands, one foot and her face pressed against the drum as I continued to gently tap the pulse of the song that was being played and sung by all the musicians.

Once Lisa had become used to the sensation she decided she wanted to find out more about this object so she started to try and move it around. I responded to her attempts to move the drum, moving it for her in the direction that she was trying to get it to go. She turned the drum around and put her hands inside it. She tapped inside the drum and left her hands on the skin as I played the other side. This continued for at least 5 minutes after which time Lisa started to get tired which she showed by simply disengaging from the drum and leaning backwards onto her bed.

All the way through the interaction was accompanied by beautiful music and songs from Marc and Sarah. As Lisa was exploring the drum and interacting with me, a group of nurses and doctors had gathered to look at what was happening. From their comments and faces they all seemed to be really enjoying the opportunity to see their little patient behaving like a normal child enjoying her exploration of her environment.

The second instance of drumming in ICU was in a different large hospital in the East Midlands. This time a nurse said it would be ok if we went into a side room where a young toddler, we’ll call him Mohammed, was standing in his cot. His mum was in the room with him and the TV was on with the volume turned up. After saying hello to them both we checked with the boys mum if they would like us to play. They had already seen us playing in the main part of ICU so we felt like they would understand what we might be offering. When Mum agreed we asked if we could turn the TV off. Once we had done this we had Mohammed’s full attention.

As soon as we started playing he was jiggling around to the music and wiggling about holding onto the bars on his cot. He also had a tracheotomy and was attached to oxygen through that. I was surprised at how much energy he had and how little the tracheotomy and the oxygen tube hindered his enjoyment or compulsion to move. He was really grooving and smiling. We gave him a shaker and he quickly learnt the ‘throwing the shaker out of the cot’ game so I approached him with my drum. His response was very similar to Lisa’s. His hands were immediately on the skin and again rather than his focus being on hitting the drum himself he seemed to be enjoying feeling the vibration through the skin. Mohammed too was intent on exploring the drum, constantly turning it around and around so he could feel it inside and out. The drum must have seemed enormous to him, as he was only just taller than it’s diameter. Once he got the hang of how to get a sound from the drum he started really enjoying the loudness of the instrument and as we were in a side room I was able to allow him to really get into this, knowing that the volume outside the room wouldn’t be distressing to other patients and staff. As he started to lose interest in the interaction I refocused my playing of the drum to join back in with the tune that Sarah had been playing throughout the interaction and so we were able to leave the room in a musical way with Mohammed having played his part in some great interactive music making while learning about and experiencing a person sized drum!

In order to use a bodhrán in hospitals I’ve had to develop my technique so that I can play very quietly whilst maintaining accuracy and positivity. I’ve also had to develop and change my musicality to think about how I use the drum to accompany song. Traditionally the drum is used to add drive to tunes and to bring out the rhythm and shape of tunes. There can be a lot of ornamentation used in bodhrán playing and I often choose to strip much of this away so that I focus on the essence of the rhythm of the song or tune, focusing on groove more than the shape of a tune. I always try and keep in mind that my focus is on playing for the space and the person rather than for my own enjoyment. The drum I have has a very rich bass end and even the top end is mellow sounding. This enables me to play with a variety of dynamics without bringing in any harshness to the sound. It has been my experience that choice of instrument is very important when using percussion in hospitals. My preference is for warm sounding drums that can be played to obtain a variety of pitches. The other factor that I’ve had to consider is the weight of the drum. The bodhrán is often played sitting down, so walking around a hospital for a day carrying the drum also presented problems. I fitted a strap to my drum and this has helped a great deal.

When using the drum for interactions there are number of things to bear in mind, not least of all the potential volume of the instrument and the impact that this can have on the space around. There is a lot of satisfaction and a sense of power to be gained by a child when they hit a drum hard and get a loud sound in response. It’s a great thing to allow this but the musician also has a responsibility to their surroundings and the other people in the space. Sometimes it’s not a problem to allow a child to make a lot of noise, sometimes it’s ok once or twice but then the volume needs to be managed. Other times a loud noise is not appropriate. I dampen the drum with my hand, use explicit verbal instructions or offer beaters with softer heads in order to manage the volume of the drum. If volume is becoming an issue I also try to refocus onto rhythm, pattern or copying.

I’ve come to realise that there is no problem with bringing and playing drums into the most sensitive of environments. My skepticism at the start of my training was rooted in the way I was seeing drums, thinking about them and relating to them at the time. The power of drums to transform mood, empower people, to facilitate communication and connection and to bring joy seems consistent in all situations. This power is not constrained to the volume or complexity of what is played. It’s up to the drummer to learn and then decide how to best use the drum to the maximum benefit in any given circumstance. Working with drums in hospitals has given me a great faith in the efficacy of what I do as percussionist and inspires me to explore the huge potential of drums still further.

Richard Kensington, OPUS Musician

Music in Healthcare Settings Conference: Derby, 16 July 2015

Thursday 16th July 2015, 9.30am – 4.30pm Education Centre, Royal Derby Hospital, Uttoxeter New Road, Derby, UK.

We are delighted to launch the forthcoming International Music in Healthcare Conference, hosted by OPUS Music CIC in partnership with Royal Derby Hospital and Air Arts to Aid Wellbeing.

Bringing together music for health practitioners, healthcare staff, promoters, funders, researchers and other key stakeholders, this event promises to provide stimulus for discussion and debate around the ongoing development of Music in Healthcare settings across the UK and beyond.

A mix of thought-provoking presentations and discussion groups throughout the day will leave all stakeholders with new contacts and new ideas for continuing to develop their own practice.

Places are available to book for a modest charge of £10 from the Eventbrite link below (includes tea and coffee on the day).

We are also hosting a Music in Healthcare Settings ‘Music Sharing’ day on Friday 17th July 2015, to be held in Derby. Any musicians attending the conference are invited to come along from 9.30am-3.30pm (stay for as long or short a time as you like!) to make music with like-minded musicians (small charge of £2 payable on the day to cover refreshment costs).

Please email us at conference@opusmusic.org if you would like to come along to the Music Sharing day.

Reflections on Apprenticeship – Joe Danks

My experience as a Music In Healthcare Apprentice in 2014/15 has provided me with a fantastic platform to build my own practice in the coming months and years. I strongly believe that good MiH practice comes from experience, and that this work is all about learning how to adapt to different situations.

One thing I would like to highlight is how a combination of non-verbal approach techniques and repertoire in different languages can help overcome some of the challenges posed by cultural diversity in our hospitals. Instrumental music is not bound by language constraints at all and part of good practice is using repertoire with a ride range of languages. Working as a MiH practitioner has strengthened my belief that music is hugely effective as a communication tool between people from all backgrounds and all ages. There are countless examples of this happening in the last 6 months, and it was been noticeable from when I first engaged in this work in November 2013.

One that springs to mind happened in a neo-natal intensive care unit. Myself and Oli were working as a pair in a small space with 3 newborns. These rooms can often feel very cramped and often the breathing apparatus and monitoring machines can make them feel very noisy. For this reason it is important to be aware of the sound you are making and make sure you are not just contributing to the hum of medical equipment and causing a negative effect. Whilst we were making music with ukulele and melodeon, I feel that the most effective instrument in that space was our voices. We sung, Kyla Vuotti Uutta Kuuta (a traditional karelian wedding song sung in a Finnish dialect) and Zamina Mina (a cameroonian song sung in Fang). We also sung some traditional English Lullabies like Twinkle Twinkle Little Star. This seemed to be working well and the two parents in the room were making physical contact with their children and even singing to them!

We were then greeted by a young girl around 5 or 6 who had come to visit her baby sister; she was accompanied by her mum. We continued to play as they got settled. I then went to fetch the box of instruments from outside the room, and chose the Glockenspiel to get out first. I continued to play along with Oli on Melodeon but on the Glockenspiel now. Being aware of the sensitivities of the space, I carefully chose which beater to offer to the young girl and continued to play very quietly along with the music. The young girl hesitantly began to join in and grew in confidence as the music continued. We played 5 Little Speckled frogs together, and then she took to a spark shaker as we played Galopede, an english country dance tune. We were aware all this time of the other parents in the room smiling and vicariously enjoying the music making through the young girl who was clearly having a wonderful time.

As the final tune wound to a close we were asked to stop by a member of the medical team as one of the babies in the room was about to have an X-Ray and they had to move the X-Ray machine into the room. We did so quickly and packed away our instruments. It was only then did we say thank you to the young girl for playing and realise that she spoke very little english. It struck me that we had managed to facilitate music making for a young person, relax the room and provide music for patients and parents, and perhaps most crucially of all provide a platform for parents and siblings to interact with their newest family members using almost no words.

It is important to say that this is one of the instances where music has really been useful to overcome cultural barriers, but this is not always the case. There has been times where it has not worked so well (presuming that every child knows wind the bobbin up springs to mind!). Even the trickiest interactions provide an opportunity to learn, and I am trying to soak in as much as I can from the apprenticeship programme as I begin work at Great Ormond Street Hospital, a hospital that will provide an even more diverse body of young people to make music with and learn from.

St George’s Day

We were working on a ward in Leicester Hospital on Tuesday 23rd April and played our way round to a corner room where the door was wide open. Inside there was a little baby all dressed in green pyjamas. When he saw us he looked quite anxious – Who were these People? What were they carrying with them? And what were they going to do?

I was reminded of the training we had recently been doing with musicians in healthcare, and the ethics we had discussed. I knew I wanted to provide some nice music for this young man to enhance his stay in hospital, but was very aware I did not want to alarm him. He was in a very vulnerable position, with assisted breathing equipment, in a seated position in bed, with no adult he knew nearby.

We decided to play Twinkle, with no eye contact, just letting the music reach out to him and then observed his reactions. The music became part of his environment and more normal to him. He appeared to relax and began to smile intermittently.

My intention was then to help him feel more comfortable with us being there and thereby allow him access to more music and to enjoy himself.

Slowly, but surely, the smiling became more frequent, movement increased with stretching, reaching, sitting up and leg extensions – dancing as much as he could. He started to tip his head back, mouth wide in a silent laughter and caught my eye with glee – as if teasing me. Eye contact now not a threat to him, we shared quite long gazes.

I left him apparently relaxed and smiling and his nurse came by and shared the moment with us. I was reminded of how important eye contact is at the right time and with the right intensity, and felt so glad I had my training to help me make this interaction successful for this little baby and indeed a lovely experience for both of us.

“Can we sing another song?”

Working in Derby Children’s Hospital with Nick Cutts and Rich Kensington today we played our way along the upper wards in the morning. We met a young patient who was so relaxed and open about her music and singing, she just couldn’t get enough of making music with us.

We started with “Yellow Bird” as an instrumental piece and then a sung song. The patient and another friend in hosptial were both offered a shaker instrument to join in with – which they both did with great joy in their faces – sometimes fast, and then slow, and then stopping to listen to the music on its own.

I smiled at the patient and asked if there was anything that she liked to sing – to which the answer was certainly “yes”. She said her favourite was “The Wheels on the Bus”. Oh great we know that one – and we sorted out which verses we could cover. This young patient, lying on her back for medical reasons, unable to sit up, joined in and led the song, thinking of new different verses with Mum’s help. Her voice was quite confident and happy and clear, such that a group of doctors standing nearby on their rounds, stopped and looked up from their work.

“Can we sing another song?” came her voice, at the end of that one…..we decided on Five Little Speckled Frogs, and encouraged her to help with the counting. She was not quite so confident with the words on this one, but none-the-less made every effort to join in with us.

She then became interested in my violin and I moved around the other side of her bed and showed her the instrument. She plucked the strings with such care and sensitivity. Then I explained how to touch the bow, and with Mum’s hand on one end of the bow, hers in the middle and mine at one end, we drew the bow back a forth across the D string.

“Can we sing another song?” she asked, whilst still bowing the D string on the violin…..Twinkle Twinkle in D major of course, worked really nicely. She played so gently and sang the words at the same time.

So lovely to meet this young patient – to listen to her voice and share those musical moments. The fact that we were in hospital did not really matter – the fact that she was lying down didn’t seem to hinder her participation and indeed, leadership in the music.

We did indeed sing another song.

Music in Healthcare Settings Training

It’s the final day of our 5-day music in healthcare training today, and we’ve had a great time exploring the skills and competencies required to deliver this work alongside a fabulous group of trainees. We’ve spent time in the training room exploring, alongside many other things, repertoire, improvisation and ethical principles behind this practice. We’ve also spent a couple of afternoons at Derbyshire Children’s Hospital, playing music for and with patients, visitors and staff on surgical and medical wards, in the neonatal unit and in A&E. Final day today bringing all our learning and experiences together. Many thanks to our trainees for embarking on this journey with enquiring minds, a spirit of adventure and enthusiasm, and a real passion for this practice.

Connections – first day at Leicester Royal Infirmary Children’s Hospital

Our 18 month residency at Leicester Royal Infirmary Children’s Hospital began on 11th September, and what a fabulous day it was! After having a tour of the wards and outpatients areas of this really busy hospital, we began our work on one of the wards accompanied by one of the play specialists. Some lovely interactions with children and babies, all of whom were finding the music engaging in ways which suited their individual situations. Play staff had been struggling to engage one particular patient in any activities, however he immediately found the music-making engaging and his mood brightened significantly. Music became a means of communication with him, and one which staff were then able to use.

During the afternoon session we were asked to attend a treatment room where a doctor had previously tried to take bloods from a young girl accompanied by her mother and play staff. Despite trying various distractions, the child had previously become too distressed and agitated for them to be able to take bloods, and it had taken a long time for the child to calm down after the attempt. We were asked to help. We were already playing music as the child and her mother entered the treatment room, the doctor and nurses all ready to take bloods. The girl sat on her mother’s knee, and though she was still a little agitated and upset by the procedure, it was completed quickly and succesfully this time around. As the child had become agitated, we reflected this in our music, recognising the child’s distress and being ‘with her’ through the music. As the procedure finished, we gradually calmed the music and she quickly calmed with us until we gradually resolved the music to a gentle rendition of Zamina (aka Waka Waka), a popular song across Africa. The girl’s mother knew the song, and joined in with us, singing gently to her daughter as her previously restraining arms transformed to ones for cuddling and comforting. We all left the room in a calm and peaceful state (if a little emotional at the beauty of what we had all just witnessed), and crucially with mother and daughter reconnected through music.

Playing with spider man

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In Kings Mill hospital last Friday we were invited to play in a single bed room for a young boy who was connected to a lot of monitoring equipment and had an oxygen mask on. We played a song for him and his reaction was fairly muted but he did say that he liked it. We took our time and spoke a bit to his Dad who said that he himself was a song writer. We played some improvised music and offered the boy a shaker to see if he would like to join in. He declined it and just looked on. He was making his spider man doll move about a bit to the music and we picked up on this by changing the way that we were playing depending on how he moved the doll. Once he realised that spider man was conducting the band he couldn’t get enough of it. He had a great time determining the pace and duration of the music with his doll and he laughed and smiled as he did so. His Dad said we’d done well to get a smile out of him.

Before we left the room the boy’s dad asked if he could share some words he had written about his son being in hospital and we listened as he did so. He’d written a really moving rap about his love for his son and family. At the end he said ‘Thanks for listening to that… It’s quite hard to get people to listen’.

Music in hospitals gives people the time and space to reveal and express their emotions.

Whistle while you work!

Last Friday was my first visit to Kings Mill Hospital in Sutton in Ashfield. While being guided round the wards for the first time by a member of the play team, Nick and I were invited to play for a young girl who was profoundly disabled and who had very restricted means communication. We played a song for her and her parents seemed very pleased to have us there. After we had played, they mentioned that the girl responded very well to whistling. This was only the second time that Nick and I had worked as a duo and we had discussed a variety of different ways of doing this without Sarah playing the lead melody. Whistling had not been on the list but we took up the gauntlet and set to whistling a version of ‘Maid and the Palmer’. The girl responded with a show of great pleasure, the parents were pleased and I was reminded of the importance of maintaining a versatile and light hearted approach to music making in hospital!

Should I stay or should I go?

Through playing music in hospital wards we are constantly learning to read patients reactions and developing our sensitivity as to whether a patient is happy for us to be there, wants us to be there or would rather we left. Sometimes this is easy as the patient gives a clear response to our arrival and we can feel confident as to whether we should stay and play or leave.

On Friday 1st of June I was part of an interaction in a day surgery ward that went something like this… We entered the 8 bed ward and played for the children and their families there. We were met with a variety of reactions from the patients on the ward, from interest, through indifference to excitement. We felt confident to stay and play. We played for about ten minutes and had engaged a couple of children who had interacted with us to varying degrees, but all positively.

While this was going on a child (who we later found out was just one year old) was brought back onto the ward from surgery. He was coming round from anaesthetic and was in some discomfort and distress and there was very little that mum could do to comfort him. He would not stop crying. At the end of the piece we had been playing Sarah moved over and started playing for the boy. Nick was playing behind her and I was some feet away able to view the scene from a distance but still able to provide musical accompaniment. As I watched and played and the piece progressed I couldn’t see that what we were doing was having any discernible effect on the boy or even that he had registered our presence, even though Sarah was only a couple of feet away and crouching down playing at the boys eye level.

I was starting to feel uncomfortable and that perhaps we were distressing the boy more and my reaction was to move away but Sarah continued to play so I stayed and played. After a few more seconds (that to me felt like a long while) the boy all of a sudden stopped crying and became transfixed by Sarah. He stared straight at her and became completely absorbed in the music that she was playing on her fiddle. Nick and I stayed in a supporting role continuing to play but leaving Sarah free to steer the interaction. She carried the piece on for a couple of minutes during which time the boys gaze did not leave her once. The boy seemed calmed, still and relieved of physical discomfort.

Mum made the comment “I wish we had you at home!” and both adults continued to remark at how soothed he was by the music. After a couple of minutes more the boy seemed to become aware of his physical discomfort once more and started to cry again. As he did so we started to leave but continued playing as we left the ward.

For me it was a lesson in gentle persistence. I would have left the interaction before anything had had a chance to happen. Trying to judge a patients reaction to the music you are playing in hospital can be very difficult and requires a mixture of self confidence, humility and to keep the mantra of ‘expect nothing’ at the forefront of your mind. Just remember not to ‘expect nothing’ too soon!

Derbyshire Children’s Hospital

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Our residency at Derbyshire Children’s Hospital began again yesterday, and what a fantastic day of music-making with children, families and healthcare staff it was! It’s fabulous to be back at the hospital where we are made to feel so welcome and really supported in making a big difference to the lives of those we meet. It was a real priviledge to spend some time on the wonderful neonatal intensive care ward yesterday, playing music for and with babies and their families. Staff and families commented on the positive change of atmosphere within the ward, and the feeling of calm and relaxation which ensued. We saw some lovely reactions from the tiniest of babies and plan to make regular visits to neonatal as part of our weekly sessions.

We are extremely grateful to our funders, Youth Music and The Derby Hositals Charitable Trust for supporting this residency which will continue until at least March 2014, with 3 OPUS musicians visiting the hospital on a weekly basis.

Sheffield Teaching Hospitals

OPUS’ residency at Sheffield Teaching Hospitals is continuing, with musicians working regularly on spinal/neurological injury, general medical and rehabilitation wards. This work takes various forms, mostly seeing musicians playing at the bedside in 1-1 and small group situations. Yesterday saw 2 musicians working with a group of elderly patients in a day room, with everyone playing instruments, singing and ‘dancing’ together. All agreed it was great exercise, thoroughly enjoyable and most of all a humanising experience, giving all patients an opportunity to express interests, curiosity and individuality! With recent press around the need to humanise care for the elderly, we feel like we’re on the right track.

OPUS Music Community Interest Company

At OPUS’ AGM on 14th January 2012, OPUS became OPUS Music Community Interest Company. This development supports OPUS’ aims of continuing to deliver high quality music-making opportunities for the benefit of the East Midlands community and beyond. OPUS delivers this aim with the support of a highly skilled and dedicated board of directors. OPUS is grateful for the support of accountants Poulter Blackwell Limited in incorporating OPUS as a CIC

A December treat!

‘Kissing Tree Lane’ is an OPUS Ensemble arrangement/composition from 2009. The first part of the tune is an arrangement of a tune entitled Kissing Tree Lane by Rob Harbron, while the second part entitled Apple Tree Games is an OPUS composition. OPUS Ensemble are Nick Cutts, Richard Kensington, Sarah Matthews and Laura Zobel. Click on the player on the right hand sde to listen. Enjoy!

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