Recent events have highlighted that life does not go in straight lines – due to the coronavirus pandemic, this has led to meetings never made, concerts never performed, and with the weather becoming increasingly cold, this festive period looks to be indeed, a frigid one. Despite the challenges it has posed, I have found some relief performing with several of my school ensembles in isolation, and as part of global virtual music-making projects with friends across the world.
Many students have found school studies difficult – despite rising infection rates and the rest of the nation in lockdown, schools had to stay open; I personally find the move irresponsible. Young people are constantly being blamed for spreading the virus, though schools are kept open? As we look to the new year, new pressures are being faced by new generations with mental health at an all-time low. It is critical that we support each other during these difficult times – sometimes a simple Zoom video call to a friend can brighten up their day, oh so much. Take me for example – I had a jolly old chat with one of my musical friends, talking about the quartertone music of Wyschnegradsky. Performing Aaron Copland’s Hoedown and Gear Getaway from Super Smash Bros with my school ensembles was quite a fun way to end what has been a challenging year!
My studies at Junior Trinity finished with a bang – a intriguing session delivered by Helen Wilson, a doctorial researcher from SOAS who introduced us to Indian and fusion music. Here, I was introduced to Hindustani and Carnatic music – both classical musical cultures of South Asia. It was fascinating to find out about their raga, literally meaning colours, scales that had interesting rules such as not being able to move consecutively in some instances, having ‘signature’ phrases and having something called a rasa, an essential essence (mood) such as wondrousness.
Such niche concepts explored were beneficial to the university and conservatoire interviews and auditions that awaited me! That being said, Junior Trinity have their next virtual Open Day on 30th January 2020 – be sure to attend, Junior Trinity has proved invaluable in terms of both providing me with musical opportunities and studying under the tutelage of some great musicians.
Now performance-wise, I have been exploring some new repertoire – that of Reinecke’s Ballade and the Hindemith Sonata; though both very complex works, breaking the pieces down into little chunks, mixing the articulations and playing them grouped differently, all with a metronome to guide you can really help when exploring tricky works. It may not seem the most enjoyable way, but setting a framework as to how to practice fast semiquaver passages, for example, really helps.
Breaking down pieces for piano also works; simple concepts such as ensuring you follow the same fingering every time can make your practice much more efficient; there’s no point practicing if every time, you play the piece differently. I have been continuing with my graded repertoire, though have also been studying Chopin’s Waltz in E minor and Khatchaturian’s Toccata for some light-hearted relief.
Back to flute – take any old Berbiguier or Boehm exercise – when learning such pieces, you can apply your method of practice to so many other pieces and ensure that encapsulate evenness of tone, and so many other technical aspects. And finally, away from technique, I have fallen in love with Charles Callahan’s beautiful An Advent Prelude – enjoy! Been playing this beautiful, beautiful work and most certainly am wanting to play it alongside a beautiful, grand organ.
Do you have any suggestions for great diploma repertoire? Make sure you share it with us!
Anyways, happy practicing, hope you have a very Merry Christmas and a prosperous New Year! Keep warm, keep well, make sure you take care of your own and the mental health of others! If you would ever like to chat music, be sure to give my Instagram page a follow! Until next year!
RICKY TAING 
Well written
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