‘Starlings’ – Cello Music for Yoga
1. Project Overview
For my final project, I created a piece of music designed to accompany and enhance a guided yoga practice, utilising my creative skills in music production, composition, performance and video production, as well as collaborative and organisational skills.
The collaboration group consisted of myself, my yoga instructor Sinead O’Brien, and a number of volunteer participants from Sinead’s classes. My main responsibilities in the project were composing, recording and mixing the music, as well as filming and editing the final video. I also managed logistical aspects, requiring effective organisation of schedules and clear communication between collaborators.
Sinead, a Leeds-based vinyasa flow instructor, choreographed the accompanying yoga sequence and led the practical sessions. Her experience and connections as a local yoga instructor were key in securing spaces for rehearsals and filming. Since February 2025, I have attended her free classes at Belgrave Music Hall and Project House, so our working relationship was already well established, making it easy to share ideas and develop the project together.
The volunteer participants were recruited for rehearsal sessions at Belgrave, in which Sinead and I taught them the choreographed yoga routine in preparation for the final shoot. This final shoot took place at Project House and featured myself performing live cello alongside the yoga sequence. I also conducted primary research by informally interviewing some of the participants about their experiences with yoga and music. This helped inform my creative direction and the effect of the final product on the audience.
The concept of the project was based on my own relationship with both yoga and music. The original cello composition is called Starlings’, features layered cellos and ambient field recordings of starling birds in and around the city of Leeds where I live. The starling’s birdsong represents a peaceful escape from the stress and noise of urban life – an experience that parallels the mental and physical benefits of yoga practice.
The relationship between the music and the choreographed yoga flow was considered in depth throughout development of this project. The yoga sequence was designed to closely follow the pulse and dynamics of the composition, helping participants feel immersed and in sync with the experience. Mindfulness is encouraged this way, as external distractions are reduced, and breath control, a crucial part of yoga practice, is reinforced.
2. Panopto Video – Final Product (12min 44secs)
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=69f66de2-402f-49dd-8f5f-b43b00886c3c
3. Chronological Diary
October-December 2025 – Initial Development
In the early stages of the uni year, I focused on creating the musical foundations of the piece. This involved writing and recording my initial ideas for motifs and layered cello harmonies, as well as experimenting with some ambient textures, all in the form of some rough demos (Appendix A). These were only roughly mixed, with the aim being to communicate the overall atmosphere of the piece rather than achieving a perfectly polished sound in this early stage.
I sent some of these demos to Sinead to get feedback and so she could begin developing her ideas for a yoga sequence (Appendix O). This stage was important in establishing a clear direction and ensuring that both the musical and physical sides of the project were aligning.
January-March 2026 – Music Composition and Production
In these months, I developed my ideas into a full-length piece, aiming for a 10–12 minute duration. This involved recording and layering many cello parts, refining the structure, and beginning the mixing process to create a more polished sound.
Progress was inhibited between February 1st and 22nd as I was on tour abroad, which limited my ability to work consistently due to distance from the project. I had to adapt my schedule to make up for lost time, working remotely when possible.
Despite this, I was able to finalise the overall musical structure and send the first mix to Sinead by the end of February (Appendix P). This was a key milestone, as it allowed her to begin choreographing the yoga flow in direct response to the timing, dynamics, and phrasing of the music.
March-April 2026 – Rehearsal and Final Production
The final phase of the project focused on collaboration and rehearsal, all in preparation for the final video shoot. Practice sessions took place between Sinead’s regular classes at Belgrave Music Hall, where the participants were familiarised with choreographed yoga sequences and the music (Appendices C, D and E). These sessions were essential in ensuring the group felt prepared ahead of filming.
The final shoot took place at Project House on April 26th and featured a live cello played alongside the yoga flow. This was the culmination of the project, bringing together both movement and sound elements in a single film.
However, there were some significant delays in these later stages due to illness (Appendix N) and a lack of availability with the extended group (Appendix J and F), so I had to be mindful of pressure and adapt the production to feature just myself and Sinead in the final video. This did impact the quality of the final product, resulting in some shortcomings. Despite this, the final product still communicates the core concept and demonstrates the integration of music and yoga successfully.
4. Evidence of Planning/Process
The planning process was documented in various formats, including demos, waivers (Appendix K), practice videos, interviews with participants (Appendices H and I), email chains (Appendix M), timetable planners and mail lists (Appendix J), and videos of the yoga flow routine (Appendix G).
I used a chart to map out a timeline of key dates, such as rehearsals, interviews and the final shoot and submission deadline. It also kept records of participant availability, allowing me to easily track who would be attending each session. This helped retain an organised manner of project progression, especially in the later stages when time pressure was more significant. I also used communicative tools like email and shared drives to keep collaborators efficiently informed with relevant schedules and files.
The use of various planning methods ensured maintenance of key project management skills, like time management, delegation and adaptability
5. Reference Material and Inspiration
A core inspiration for me was the use of starling birdsong recorded in Leeds. Birdsong samples appear in a large number of compositions, usually for the intended effect of immersing the listener in a calming, natural environment. For example, Paul McCartney’s ‘Blackbird’ uses birdsong to help paint the picture of the “blackbird singing in the dead of night”. By using the natural and beautiful soundscape of their song, I created an authentic and immersive sense of relaxation and escape from urban life for the listener. This parallels with the role of yoga in my life, as it allows me to detach myself from the stresses of modern living. Capturing the audio in Leeds also helped ground the project, using my own local environment as a means to create a meditative experience.
When researching music for yoga in the early stages of this project, I discovered that it tends to hold a background role, supporting the yoga flow rather than leading it. I experienced this also in Sinead’s regular classes in which her playlist, containing tracks with less rhythmic intensity as mine, was used as a backdrop. Although I originally planned to make music like this too, I decided that I actually would rather create a piece of music that informs the flow with pulse, structure and dynamics. Sinead and I discussed the possibilities of synchronising the movement and breath of a flow with musical phrasing, almost like a choreographed dance, and how this could enhance the yoga experience in a less conventional way. Choreographing a flow routine to a combination of the natural field recordings and structured composition produced a more interactive and immersive experience for the participants than a typical yoga music accompaniment would.
The music takes inspiration from ambient and minimalist compositional methods . I used several layered tracks over repeating structures to create a variety of textures and to build gradual development. This gave the track a strong but not overpowering pulse which helped preserve a meditative atmosphere. I got this idea from Rob Lewis, my old cello teacher who has written a number of ambient cello tracks which utilise layering over repetition with a loop pedal to immerse the listener, such as in ‘The Sea’. He can be seen using repetition and looping extensively in ‘Rocket to Yin’, a live recorded session also intended to accompany yoga and meditation practice. Rob has also used sounds of his environment to further immerse the listener. For example, in ‘Valley of The Brambles’, a piece of music intended for the Glendronach Whisky in Aberdeen, Rob manipulated the sounds and reverb of the space to create his musical ideas. The addition of the starling birdsong and Leeds city ambience in my project produced a calm and authentic atmosphere, blending both environmental and musical sounds while keeping to the project’s theme of mindfulness and escape.
6. Use of Technology
The use of recording technology was central to this project, as I had to capture both audio and visual elements along the way, all of which contributed significantly to the final product.
Cello Recording:
For the early demos (Appendix A), I recorded cello using my Shure SM58 plugged directly into my laptop at home. Despite being intended primarily as a microphone for live vocals, it proved ideal for quickly and efficiently capturing ideas without needing a complex setup. This helped maintain my creative flow in the early compositional stages.
For the final cello recording (Appendix B), I considered using my t.bone Ovid System CC 100. Although I am very familiar with this microphone as I use it for live cello performances, I decided against its use as I wanted to capture cleaner, more detailed recordings for the main piece. I settled on using a Rode NT1-A, which I booked and used at university. This was a reliable choice due my familiarity with it from previous project recordings and its ability to capture the full tonal range of the cello. The Rode gave me more control over the recording, in turn creating a more professionally polished end result.
In terms of the mix, the biggest challenge was balancing multiple overdubbed layers of cello. There were 20 cello tracks in total, played both arco (with bow) and pizzicato (plucked), the range of timbres was extensive. It was therefore important to manage frequency overlap to maintain clarity, and I did this through careful use of EQ, volume balancing and panning within Logic Pro.
Field Recording:
Capturing the starling recordings was less predictable than other parts of the recording process. I explored a range of locations, including areas outside the city like the Ripon City Wetlands and the Lower Derwent Valley nature reserve, and local parks like Burley and Hyde Park, and urban environments such as Kirkgate Market. I also had to consider seasonal factors, as starling activity varies throughout the year which added an extra layer to planning.
I initially attempted to use a professional field recording setup in a rural location, However, due to my limited experience with the equipment, I couldn’t capture any usable recordings. As a result, I turned to using my iPhone 15 voice memos app. While less quality, this approach proved to be practical and effective. Its portability allowed me to capture sounds spontaneously when I came across starlings around the city, and the built-in compressor helped produce usable recordings.
To improve the quality of these recordings, I edited them within my DAW, removing unwanted noise and shaping the sound using EQ and other plugins. This allowed the field recordings to sit more naturally within the overall mix.
Filming and Video Production:
All video content for the project, including rehearsals, interviews, and the final shoot, was filmed using my iPhone 15. This was a reliable and efficient option with my limited budget and time. Had I not been under pressure from various other projects in university, I would have explored more advanced filming methods. With more time I could have pursued potential funding options and access to professional filming equipment, but this was not feasible within the scope of this project.
Despite this, the iPhone was still capable of producing high-quality footage, especially for this DIY, zero-budget production, and in the end the final product still conveyed the message of the project. This reflects a practical approach to using available technology to achieve a project’s aims.
7. Evaluation
Overall, my ability to effectively collaborate and combine both creative and technical skills resulted in a successful project. The main aim of producing music for a yoga practice routine which demonstrates a strong relationship between sound and movement was achieved.
A key strengths of the project was the effectiveness of the collaboration. Working with an experienced yoga instructor meant that the movement element was authentic, and our existing relationship helped make communication smooth. Our ideas could be shared and developed efficiently, particularly when it came to aligning the music with the choreography. The involvement of additional participants also contributed to the realism of the final product, as well as keeping us informed with feedback from real people who practice yoga.
Another strength was the originality of the concept. My idea of combining a cello with field recordings of starlings created a strong purpose behind the music and the yoga practice. This concept was consistent throughout the project and helped guide creative decisions, particularly in terms of pacing, dynamics, and atmosphere.
With the technical side of things, I developed my skills in recording, layering, and mixing audio. The challenge of working with multiple cello tracks improved my understanding of EQ and spatial placement in a mix. Also, the use of field recordings introduced a more experimental element, forcing me to adapt to less controlled recording conditions.
However, there were also some limitations. Time management was a significant challenge due to my time away on tour, illness, other participant’s availability and my other academic commitments at university. As a result, the final video did not reach the level I had originally intended. However, despite increased pressure during the final rehearsal and filming stages, I adapted the concept of the final product to work with just myself and Sinead in the video.
The filming process itself was another area that could have been improved. While using my iPhone was cost-effective and easy, it limited the visual quality and variety of shots. With more time and resources, I would have explored using multiple cameras, external audio recording for video, or more considered lighting setups to improve the overall production value.
The field recording process also highlighted a gap in my technical experience. My initial attempt using professional equipment was unsuccessful, which meant I had to rely on simpler recording methods. Although this ultimately worked within the context of the project, it is an area I would like to develop further in future work.
If I were to approach this project again, I would place a stronger emphasis on early planning and time allocation, particularly ensuring that the final production stage has enough time for refinement. I would also aim to expand my technical approach to both audio and video recording, making use of a wider range of equipment and techniques.
To conclude, this project has been valuable in developing both my creative practice and my ability to manage a collaborative process. It has highlighted both my strengths and areas for improvement, and provided practical experience that will inform my future work in music production and collaborative projects.
8. Bibliography
- O’Brien, S. (2026) Sinead Yoga. Available online: http://www.sineadoyoga.co.uk/ [Accessed 25/02/2026].
- O’Brien, S. (2024) Slow Flow. Available online: https://open.spotify.com/playlist/68px7OahBtsyUXJl3FhYtH?si=4df0704793d4499d [Accessed 19/03/2026].
- The Beatles (1968) Blackbird – 2018 Mix. The Beatles [CD]. Calderstone Productions Ltd/ Apple Core Ltd.
- Rob Lewis (2018) The Sea. Momentum [streamed]. Rob Lewis.
- Rob Lewis Composer (2018) The making of The Sea at Abbey Road – Rob Lewis ‘Unpicked’ [Video]. Available online: https://www.youtube.com/watch?v=zRitrLt-x7U [Accessed 30/03/2026].
- Rob Lewis (2020) 2 Hour Live Rocket to Yin Soundtrack by Rob Lewis [Video]. Available online: https://www.youtube.com/watch?v=Lj8xd7seu54&t=2963s [Accessed 30/03/2026].
- Rob Lewis (2025) Valley Of The Brambles. Valley Of The Brambles [streamed]. Rob Lewis.
- Rob Lewis (2025) The Making Of Valley Of The Brambles [Video]. Available online: https://www.youtube.com/watch?v=08zqjTarHDQ [Accessed 30/03/2026].
Appendices
A – STARLINGS demo
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=c96e9bb4-da5e-4508-ae33-b43b008b963bB – STARLINGS final mix
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=f8c535d6-134f-485a-a6fe-b43b008beb14C – Belgrave practice 1 (April 2nd)
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=d6da01cd-4981-499d-8599-b43b008b151fD – Belgrave practice 2 (April 9th)
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=3ce7bfc8-b9b6-4cbe-b5b8-b43b008b0f0dE – Belgrave practice 3 (April 9th)
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=6a3bdb40-1001-4739-86de-b43b008b4b33F – Project House practice (April 26th)
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=4d54c4d7-5c1f-4987-98fb-b43b008e63a1G – Sinead’s full sequence solo
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=2e609121-1b82-4135-a653-b43b00896b75H – Alex’s interview
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=54b16181-3c7c-4baa-acdf-b43b009ad25eI – Rory’s interview
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=8c888e50-6671-48b9-9057-b43b009acdbbJ – Participants mail list and timetable
K – Disclaimer and Waiver
L – Filming session plan
M – Email chain planning screenshots
N – Illness emails
O – Demo Email
P – Final Mix Email
