Capriccioso - Polyphony Edition 1

Polyphony

OCT 2023 EDITION I

Capriccioso

Capriccioso: adv. in a free, lively and whimsical style.

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Inside EDITOR’S NOTE -----------------------------------------------

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TAYLOR SWIFT: THE MASTERMIND -------------------------

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STREETBUSKING ----------------------------------------------

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BTS: FROM RAGS TO RICHES --------------------------------

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CLC TEACHERS’ FAV MUSIC ---------------------------------

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JAPAN 80S-90S: CITYPOP -----------------------------------

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A NEW OUTLOOK ON PRACTICE ----------------------------

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UPCOMING EVENTS ------------------------------------------

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The Team Editors-in-Chiefs: Audrey Wan and Zadie Phillips Production Manager: Sophia Lau and Guinevere Rees Writers: Harriet Lee, Natalie Chan, Emily Lam, Victoria Lee and Julie Suen Editors: Emily Lam, Sophia Lau and Zadie Phillips Graphic Designers: Cynthia Xie, Olivia Zhang, Sophia Lau, Costanza Pascuzzi, Jaime Chan, Victoria Lee, Faith Moey and Mary Chang Illustrators: Sasha Phillips, Sofia Wu, Costanza Pascuzzi, Jaime Chan Cover illustration by Sasha Phillips Citations: https://docs.google.com/document/d/1r6uWJlPp2MFR9feam_1dv1uUr-8lHOaYwRo-doyZr7M/edit?usp=sharing

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From the

Editors To our beloved music enthusiasts,

Welcome to our first issue of Polyphony - CLC’s very own music magazine where voices unite to create exquisite harmonies. We hope our magazine provides a platform for all those passionate about music - from Beethoven fans to jazz enthusiasts to Swifties, we welcome all!

Music - a universal language - heals, inspires, and brings us together. We invite you to embark on this journey: traverse the vast realms of music, explore the undiscovered and don’t hesitate to dive in headfirst! At the end of the day, scales and theory papers are really just the tip of an iceberg. Instead of focusing solely on the final destination, we implore you to enjoy the journey too.

In this issue, we follow the musical journeys of the one and only Taylor Swift (ERAS!) and the global phenomenon BTS, as well as featuring tips on improving your instrumental practice. We’re also going to be delving into street busking, city pop, and perhaps some CLC teachers’ favourites songs will be making an appearance too? (wink) A massive thank you to Mr. Keir for being the best supervisor we could ever ask for.

Finally, we’re keeping this note short and sweet, just like each edition of Polyphony.

Happy reading, Audrey, Zadie & Guin on behalf of the Polyphony Team

Join Us NOW! Interested in joining Polyphony? Hesistate no more.

Whether you’re in LC, UC or SFC, student or staff, we welcome all! From writing articles to being an editor, to graphic designing and doing illustrations, there is a myriad of roles you can participate in. Please don’t hesistate to teams or email any of the contacts below!

General Enquiries: magpolyphony@gmail.com Writing & Editing: WanA@ PhillipsS@ Graphics & Illustrating: LauS@ Teacher suggestions for playlist: LauS@

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TAYLOR SWIFT : the mastermind Harriet Lee 4s

Taylor Swift’s musical odyssey is truly one of a kind – she never fails to reinvent herself with each album she makes, experimenting with a plethora of genres, messages, and appearances. Her discography covers pop, indie, folk, rock and more; its versatility allowing her to leave an indelible mark on the music industry.

When Swift was 16, she made her debut with the country album Taylor Swift, which captured the attention of many with its teenage fantasies of true love and heartbreak along with its sweet and youthful nature. A fun fact about the hit song Tim McGraw, which include the lines ‘when you think Tim McGraw, I hope you think of me’, is that when Tim McGraw heard the song, he thought it meant he was getting old, until he realised she was just a high school kid!

Next up is Fearless, released in 2008, which includes some of her biggest hits Love Story and You Belong With Me: the songs we all sing along to at every party. This album earned her her first Grammy when she was just 20. Many fans have a special place in their heart for this era, as it encapsulates the struggles of adolescent love and the tumultuous roller-coaster of high school life.

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Swift’s third album is Speak Now – her first completely self-written album. Primarily steeped in the country music tradition, this album ingeniously weaves threads of rock and pop, a testament to her ventures into diverse music landscapes. Some of the most popular songs in this album are Enchanted and Back to December, which share a sense of nostalgia and reflection upon past romances.

However, some fan favourites are heartwrenching Dear John and fiery Better Than Revenge – the best song to scream to after being cheated on – as she experimented with rock for the first time. This is also the most recent album in her ongoing re-recording journey.

https://www.pinkvilla.com/entertainment/hollywood/taylor-swifts-1989taylors-version-when-is-it-releasing-date-track-list-and-more-1235036

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Swift’s fourth album, Red, exudes the comforting aura of autumn, and contains more popular hits – 22, We are Never Getting Back Together, and the timeless All Too Well, which has now been extended to a ten minute version (to the delight of many fans).

The album embodies an emotional rollercoaster – there are bubbly pop songs you could shout to in parties, heartfelt love ballads that give you that fluttery feeling, and cathartic songs especially after a breakup.

Listening to Red is akin to traversing a myriad of emotions: it makes you feel happy, free, confused and lonely at the same time, in the best way.

In 2014, Taylor Swift moved to New York and released her fifth album 1989. It marked her change in music style: a full pop album consisting of 13 songs, many of which have become household names – Shake It Off, Blank Space, Style, Bad Blood… although short, the album was definitely a megahit and catalysed Swift’s rise in the music industry as she became a global phenomenon. In this era, she overcame the challenge of navigating the ever-watchful gaze of the public eye, contending with a barrage of unwanted rumours and the incessant but unnecessary scrutiny of her physique. Paradoxically, 1989 emerged with confident lyrics, showcasing her resilience and self-assuredness despite the challenges thrown at her. pinterest

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After the 1989 era, Taylor Swift vanished from public view for a year and a half, ensnared by controversies and feuds with Kanye West and backlash from the public, only to recalibrate her public persona to prepare for the release for her most iconic album – reputation, in 2017. The electropop album has a dark and edgy aura, as the trademarked line ‘the old Taylor can’t come to the phone right now… because she’s dead’ shows her 180 degree turn from her previous persona. This declaration symbolises Swift’s bold resolve to shed her ‘good girl’ image, embracing the epithets of ‘snake’ and ‘witch’ the public cast upon her with a whole new twist to it.

However, mentions of romance still sneak themselves into the album, with her ex-lover, and the king of her heart Joe Alwyn getting mentions in this album – he stood as her steadfast anchor in the sea of public scrutiny. pinterest

Her next album is now her oldest self-owned album - Lover, released in 2019. Lover is one of her brightest albums, filled to the brim with happy love songs like Paper Rings and confident anthems like ME!. It was a colourful, effervescent album – again, a complete change from Reputation and its dark, edgy theme, instead bringing positivity and romance with the pop album. The tour was unfortunately cancelled due to the COVID-19 pandemic, which led to the speedy production of her next two albums.

Editor: Emily Lam Graphic designers & Illustrators: Costanza Pascuzzi, Jaime Chan, Faith Moey and Mary Chang

Her 8th album was released during the COVID-19 pandemic as a surprise to her fans – folklore was a return to her country and folk roots, an album for the indie girls. Instead of colourful melodies and cheerful, dance-able songs, Swift focused more on lyricism, and fans joked that you needed a dictionary to listen to the album. There was a more serene colour and tone in this album, resembling the ‘cottage core’ aesthetic. Swift created a whole romance storyline in three songs - the teenage love triangle of James, Betty and Augustine portrayed in her songs betty, august, and cardigan.

Evermore is commonly referred to as the ‘sister album’ of Folklore, being another indie folk album and being released in the end of 2020. Many consider both to share an era as there are many lyrical parallels, and those who don’t brand evermore as the ‘forgotten’ or ‘least favourite album’ as Taylor Swift was busy re-recording her old albums at that point to claim her album rights and did not give evermore a lot of recognition. In this album she wrote some of these songs in the pandemic with her boyfriend, who was working under the pseudonym William Bowery.

Last (hopefully just for now) but not least, Taylor Swift most recent album, Midnights, was another pop album, consisting of 13 different songs written on 13 nights of different eras, revisiting each and every one of her previous albums, making connections to lyrics from them.

And that summarises her journey through the eras from writing songs on her bedroom floor to her evolution into a global pop phenomenon as she takes us into the labyrinth of her life. As she continues to rerecord her old albums and embark on the global Eras Tour, fans eagerly anticipate the next chapter in Taylor Swift's remarkable musical career as she re-records reputation (Taylor’s version).

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A COMPLETE GUIDE...

STREET BUSKING

NATALIE CHAN 4s

www.sarahkrugerphotography.com

Have you ever wondered what it would really be like to be a street musician? To be someone with an unlimited choice of repertoire and freedom in their performance – to be able to make someone’s day a little brighter, to make their mood a little lighter? (Or rather, to be constantly exposed to the public for long, strenuous hours without much time for break and resting; or to be controlled by the UK’s constant rainy weather tirelessly?

To play in damp subways where the acoustics are exceptional but the world sweeps around you with no regards of the way you’re pouring your heart out with music?)

thelondoncolumn.com

For me, I’ve always been told that street busking was a rather ‘contemporary’ career. I was told it would earn little to no income as a full time job, relying only on the public’s donations and constantly vying for the spotlight. Of course, when I was a child there was nothing better to perform; and with money as a side benefit? My interest was piqued almost immediately. I fell in love not with the overturned top hats and the open violin cases filled with glistening, valuable change, but with the allure of how the musicians could easily transform an ordinary sidewalk into crowded, unexpected stages, where everyone would join together and move to the rhythm felt in their bones.

But of course, what job would be complete without a history longer than time itself?

THROUGHOUT THE CENTURIES ‘Contemporary’ would be the last word I’d use to describe street entertainment.

The first records of street busking were in the ancient times—when musicians and performers alike entertained crowds in public spaces; agricultural festivals and marketplaces, sometimes even in Roman amphitheatres.

Commonly, the songs performed would be more of a lyrical contest between two parties; almost like a medieval rap battle. Think of Shakespearean insults, but performed in real life. Not only were they extremely popular, but the street performances were eventually funded by the Roman Government with free food (and sometimes propaganda, as well). They were all in good spirits; free style without limits to exceed.

Then, we move on to the times of Medieval Europe. This was when the street performers became travellers; known as troubadours or minstrels, going from town to town to entertain villagers or anyone who fortunately happened to come across them. Every so often, they would show up to feasts and festivals in great numbers too; bringing along their instruments such as harps, violins, bagpipes, flutes, and more. This was how they earned money to live on; purely through the plentiful donations from the villagers.

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www.flickr.com

In the Renaissance and 19th century, the population grew faster than ever; streets became increasingly crowded, providing never-ending opportunities for street performers.

From traveling around the world to find a crowd, they could switch back to entertaining public squares and festivals, with the added bonus of more and more people being wildly generous in their donation. Of course, the growth in both citizens and tourists made excellent business, however there was another rising category in street busking—improvised comedy and masked performances.

Finally, in the 20th century, we arrive to where we are now; with an almost exponential increase in the rate of blues guitarists and folk singers emerging through the multitude of genres in music, performing both underground and overground in almost every city or town in the United Kingdom (some even spotted in Cheltenham!) — with music of every culture and instrument imaginable.

Recently, more and more festivals have been starting up again after the tragic pandemic from 2019 to 2021; amongst these including the International Busking Day in Wembley Park; London’s biggest celebration for street performers. This event is held on the 16th of July; with not just a free entry, but with 9 stages to perform on and over 100 parties of street performers! Not only is it an amazing event, but there are also worldwide parallels of this event celebrated in other countries; such as the Singapore Buskers Festival, and the World Buskers Festival in New Zealand.

IMPACT OF STREET BUSKING ON SOCIETY From the ancient times to the present, street busking has undergone a myriad of changes; in such a way that made every city’s buskers unique to their own place, their music echoing through the hearts of locals and travellers from all around the world. It not only served as a bridge between cultures—a unique take on every corner of the world—but as a way to lift people’s mood, regardless of whether they’ve had an exhausting day at work, or are simply passing by.

From a study in 2021, it was concluded that street performances made public spaces more visitable, vibrant, and generally a more preferable place to live or visit. Although this study doesn’t hold for everyone’s opinion, it is clear the general consensus reveals that most humans enjoy listening to music simultaneously with other people, as it provides them with a sense of social unity—to freely bond over something so varied and creative.

Street busking is a testament to how something that could be so easily fragile and forgettable withstands the erosion of time, through both moments of conflict and peace. Albeit often a last thought in people’s head, it is something we should learn appreciate more; and maybe every time you hear the melody of our urban cities and countryside towns, you might just think of how this all started.

Violonchelista en montmartre - Verónica R.

RULES AND LIMITATIONS Unfortunately, with more and more spotlight shone on this well-deserved occupation and an increasing amount of street performers as well, ethical issues have also emerged from the surge in popularity of busking. Even in quaint towns such as Cheltenham, strict codes of conduct have emerged in order to prevent any potential conflict in the community. Matters such as volume or the use of communal furniture were understandably limited, but performers also had to show a positive intention during their performance.

Whilst street busking was a thing passed on through millennia of history, ethical dilemmas still exist. Such issues regard noise pollution and its possibility of disrupting the peace and quiet of urban areas, as well as conflicts between performing parties to find street corners to play on—with respect for the homeless population as well. Another less interpersonal issue covers copyright and licensing; which became a problem when people started uploading their performances onto social media with no license or permission to play a specific piece; sometimes even causing their busking licence to be removed.

www.flickr.com

Editor: Zadie Phillips Graphic designer: Cynthia Xie

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BTS: FROM RAGS TO RICHES

Emily Lam 5s

‘Emily, stop watching those YouTube videos of random Japanese men and do your homework for once’, my mom chastises.

‘For the last time, Mom, they’re not Japanese….’

You’re all familiar with the South Korean juggernaut BTS: a K-pop boy band that has taken the world by storm, their name synonymous with greatness. But how did seven young artists from Seoul ascend to the pinnacle of global stardom? Here, we delve into the roots of BTS’ rise, tracing their humble origins, artistic odyssey, and the colossal impact they’ve had on both the Korean and Western music scenes.

WHO? In the vibrant scape of contemporary music, there exists a global phenomenon that transcends international borders, challenges norms, and captures the essence of an entire generation.

Meet BTS, the powerhouse that has redefined the music industry with their boundless passion and artistic ingenuity.

The group shares an inclination towards profound, guileless themes, which is evident in their ‘Map of the Soul’ albums on Jungian psychology, as well as their utilisation of Pluto’s loss of full-planet status as a metaphor to express alienation of an individual from a community in the track 134340.

And then there’s the genre BTS has redefined – the K-pop phenomenon. What once may have been a niche has now become a global cultural force, all thanks to them. They’ve transcended the shackles of a genre, infused it with their own distinctive flair, and taken it to never-seen-before heights.

ibighit.com

By uniting people through raw, emotionally charged lyrics, and wearing their hearts on their sleeves, they prove that music itself is the universal language, the ultimate form of art that knows no barriers.

With sky-high levels of charisma as well as heartfelt lyrics that reverberate through the core of listeners, it’s no surprise that BTS are now one of the biggest names in the music industry – but that wasn’t always the case. They debuted from a small, nameless company on the brink of bankruptcy, even offering to give away free concert tickets along the streets of LA in hopes of drawing larger crowds.

Today, they stand triumphant, having sold out London’s Wembley Stadium – a distinction shared by less than 15 artists in history, including Taylor Swift and Beyoncé.

RAGS Let’s rewind back to 2013: BTS had just debuted from Big Hit, an underdog startup company in a music industry dominated by firms known as ‘The Big Three’ *.

Big Hit was financially unstable, such that the CEO of the company had to pitch in his own money into BTS’ early development. The septet shared a single dorm room and bathroom – a space that not only bred their camaraderie, but also fuelled their dreams of making it in a merciless industry where survival hinges on talent and perseverance (and of course, visuals).

And the industry was merciless indeed: after their inception, BTS were mocked for their ‘hip-hop’ content, their efforts belittled with words like ‘they’d never be able to reach the level of the ‘Big Three companies’.

Fast forward to 2016, as the onslaughts of prejudice reached their peak. BTS were pulled from the lineup of a festival in Busan, Korea, despite being slated to perform, which was a disappointing setback for the members who had poured their hearts into rehearsing for the performance. However, their resilience shone through as they chose to perform for their fans after the broadcast, even with lights dimmed around them.

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*The Big Three: companies SM, JYP, and YG Entertainment

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BTS: FROM RAGS TO RICHES

ANALYSIS – ‘TWO BARE FEET AS OUR GASOLINE’ It’s time to pop the big question: why is BTS so famous?

How did seven teenagers from South Korea, with their youngest no older than the average UC5, etch their name into pop culture’s Hall of Fame? (No, it’s not just because of their astonishingly good looks.) It all boils down to a few points: their musical style, fervent lyricism, and authenticity.

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BTS’ musical signature is forever evolving: they burst onto the scene with hip-hop and rap influences, unapologetically incorporating themes of youth rebellion or the pursuit of dreams into songs like N.O or We Are Bulletproof Pt.2. Their vocals are aggressive, determined, and tinged with adolescent helplessness.

RICHES In striking contrast to their humble beginnings, 2017 was the year BTS broke through to the West. They graced the American Music Awards with an electrifying performance of DNA, introducing many to ‘K-pop’ which would later become a global sensation. (The music video for DNA boasts 1.5 billion views.) Over the ensuing six years, the band has clocked 11 wins in the AMAs. Seven years into their career, BTS made history with their first English single, Dynamite, as they became the first Kpop group to top Billboard Hot 100 – an achievement so momentous it prompted a ‘congrats’ from South Korea’s president, Moon Jae-in.

Their colossal success paved the way for Big Hit corporation (now known as HYBE), which snapped up American management company founded by Scooter Braun, known for representing stars Ariana Grande and Justin Bieber. The company is now worth 6.18 billion pounds – an indisputable testament to BTS’ global impact.

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The first album was all horn accents, percussive gun effects, and sirens; the album following retained the initial hip-hop element while venturing into the realm of punk rock. A prime example of this evolution is the title track Danger, where distorted electric guitar stabs trail a beatbox intro, layered with synths and chopped vocals. 2013-14 bore witness to BTS’ developing vocal prowess and their ability to mix elements from different genres into cohesive tracks, along with agonising lyrics about the constraints and pressures of South Korean teendom.

‘When there’s light, there’s a shadow,’ the leader of BTS, RM, mused in an interview for JPFC. This quote encapsulates BTS’ Map of the Soul era (2019-2020) – a three album cycle – which served as a testament to their growth.

They take the misconception ‘success guarantees joy’ and throw it out the window, focusing on the pressures of being at the top and the creative depletion it brings.

www.koreaboo.com

The first single Boy with Luv captures your attention with its bubble-gum pop and a feature from Halsey, who has collaborated multiple times with the boys. My personal favourite is Louder than Bombs, a fusion of BTS’ finest musical elements. The ballad unravels like a lush tapestry of emotions, weaving angelic falsetto harmonies together with the graceful cadence of rhythmic raps. It starts off on a melancholic note, delving into the tangled depths of sorrow as one comes face to face with pain, then a glimmer of hope emerges: they pledge their commitment to sing endlessly, to soothe hearts in a lullaby of comfort.

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BTS: FROM RAGS TO RICHES

And of course, one cannot praise BTS without mentioning their intricate lyricism. By taking a strong hand in their songwriting process, they stand apart from traditional Kpop methods. One of the most defining aspects of BTS’ music is their use of metaphors, best illustrated in Whalien 52 (2015), a song about the loneliest whale in the world. In 1989, biologists discovered a whale that sang in 52 Hertz, a decibel far exceeding the typical whale’s frequency range. It is the only specimen capable of producing such a high frequency, hence it is known as the

Over the years, BTS have weaved their insecurities and heartfelt narratives through the medium of music. From lamentations about the crushing weight of academic pressures from parents (‘Who are the ones that made us into studying machines?’) to confessing their impotence in the face of the COVID pandemic (‘It feels like I should be doing something to the point my body shatters / But I’m just a bastard who eats three meals a day’), BTS address a myriad of social issues with their active participation in songwriting and music production. Their music is infused with personal sentiment and originality – a kind of creative control that’s uncommon in the K-pop scene.

world’s loneliest whale: never heard, never understood.

The beginning goes:

‘In the middle of this wide ocean / a whale talks in a low, calm and lonely voice / it can never reach someone else no matter how hard it shouts / feels so lonely it closes the mouth’.

REFLECTION I think it’s more than fair to say that BTS’ success isn’t solely due to their looks, but rather their unique blend of musical talent, profound lyrics, and creative control. They have not only achieved remarkable milestones in the music industry, such as topping Billboard’s Hot 100 for 17 weeks, but have also touched the hearts of millions, proving that music is indeed a universal language that knows no barriers. As they continue to inspire and connect with fans around the globe, BTS’ legacy as a global phenomenon is secure, and their name will forever be synonymous with greatness in the world of music.

ondisneyplus.disney.com

The opening lyrics set the scene with maritime imagery – BTS’ loneliness is veiled by the extended metaphor of an ostracised whale. The whale, disheartened by the echoing void of its own song, retreats into melancholic silence. This narrative mirrors the struggles BTS have grappled with: shunned by the industry in their debut years, artistry overlooked, voices disregarded. Written by BTS’ leader, RM, nicknamed ‘the philosopher who raps’, Whalien 52 resonates with its many listeners; it is a metaphor for the universal feeling that comes with talking but never heard, acknowledged but never understood.

Amidst an industry that incessantly demands K-pop idols to appear flawless to the general public 24/7, to never talk about their personal struggles, and to always answer interview questions with a charming smile, BTS emerge as a striking anomaly akin to spilled ink on paper. Their essence lies in the courage to reveal their humanity, setting them apart from manufactured façades.

Editor: Sophia Lau Graphic Designer: Olivia Zhang and Sophia Lau

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CLC teachers’ fav music Mr K

Meatloaf I’d Do Anything for Love

Frank Sinatra I’ve Got You Under My Skin

Elton John Don’t Let the Sun Go Down on Me

Jeff Buckley Lover, You Should’ve Come Over

*Don’t be shy to message LauS@ on Teams for more teacher suggestions!

12 images from discog

Mr L

Pink Floyd Dark Side of the Moon

Elton John Rocket Man

Queen Friends Will Be Friends

Spandau Ballet Gold

Mr D

Bruce Springsteen Dancing in the Dark

The Pogues, Kristy MacColl Counting Crows Fairytale of New York Mr. Jones 13

Japan 80s-90s

Citypop Victoria Lee 5s

City pop is an incredible genre. Originating in Japan, it emerged in the late 70s and peaked in the 80s. Often regarded as a subgenre of jazz, this genre is seen as Japan's unique take on jazz. It encompasses a wide range of styles, from funk, disco, boogie to soft rock and R&B. Key instruments that are frequently featured include the guitar, electric bass, keyboards and drums. The genre is characterised by its heavy use of electric instruments such as the Casio CZ-101, Yamaha CS-80 synthesisers, and the Roland TR808 drum machine, which contribute to its funky and vibrant sound. images from pinterest

City pop has a very upbeat energy that makes it an absolute joy to listen to. Notably, many of the genre's vocalists are female artists. This can be traced back to 1986 - 1991, when Japan experienced an economic bubble, with real estate and stock market prices soaring to the world’s second highest. Young Japanese individuals flocked to big cities in pursuit of better opportunities, and companies were at the forefront of technological innovation. As a result, the Japanese public needed contemporary musical backdrop to complement the new lavish urban lifestyle, and city pop was the perfect choice to encapsulate this. Music journalist Yutaka Kimura aptly describes city pop as "urban pop music for those with urban lifestyles." images from pinterest

The visual aesthetics of city pop can be divided into two distinct themes: sandy beaches and metropolitan skylines. Despite its Western influences, city pop primarily remains a Japanesedominated music genre, with lyrics often delving into introspective themes and emphasising personal or communal struggles.

Although city pop didn't last indefinitely, its influence continues to reverberate in today's music. Some of my favourite city pop artists include Miki Matsubura, Yukihiro Takahashi, Anri, Hiromi Iwasaki, and Mariya Takeuchi. You may have come across the song "Mayonaka no Door/Stay with Me" by Miki Matsubura on TikTok, which undoubtedly contributed to the reappearance of city pop's popularity over the past year. I too, was drawn into city pop through this song. To me, this genre is fun and each track evokes a vivid mental imagery. It never fails to brighten my mood. City pop draws you into the urban lifestyle, takes you away from reality and transports you to a vibrant dimension. If you get the chance to, I really recommend immersing yourself in the world of city pop!

Editor: Sophia Lau Graphic designer: Victoria lee

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A NEW OUTLOOK ON PRACTICE Julie Suen 5 s Maybe your parents insisted you practise your instrument every day as a kid. Or maybe you’ve always had an innate drive to take your instrument out every day and run through your latest piece again. Or maybe you’ve simply just laughed at TwoSet Violin’s motto ‘Practise 40 Hours A Day’ on YouTube. The importance of practice is a stranger to nobody, but here’s the big challenge: how do we consistently practise until we achieve our desired level of virtuosity?

From personal experience, practising an instrument requires immense motivation and energy – just one hour of it is more arduous than walking an overnight DofE expedition; sight reading Paganini's score is way tougher than reading a map.

images from pinterest

Atomic Habits, a NY Times bestseller by James Clear, teaches us that small habits in our daily routine can result in change and success in the long run – we could practise 10 minutes every day and still make considerable progress. Like the incremental building of atoms, these small but consistent efforts accumulate, yielding substantial growth in one’s musical prowess. Hilary Hahn, three-time Grammy winner and top-notch violinist, voiced her opinion on practice: ‘Being a consistent practiser doesn’t always mean practicing by data [meaning time].’

But do we have to practise for an hour?

No – 10 minutes will suffice. We can take a break to relax our arms and catch our breath when we feel tired. There is no need to master Paganini's caprices overnight. The purpose of practising lies not in the completion of a rigid onehour regimen, nor does it demand flawless execution of that challenging run instantly.

Since 2017, Hahn has been posting under the hashtag #100daysofpractice – she has been committing herself to 100 days of continuous practice, posting her progress to inspire others to do the same. The consistency of every day practice is greatly emphasised rather than the duration.

One of Hanh’s best performances is her rendition of Bach's Presto – an immensely tricky piece she has thoroughly mastered. Her virtuosity in performances may seem effortless to the ears of many, however her Instagram posts showcase her violin as a canvas for developmental experimentation, rather than a platform for flawless performances. She even describes practice as an ‘ongoing experiment where the pressure is off’, aiming to alleviate the negative perception of practicing perfectly, instead showing it as a process full of slips and repetitions as a pathway to improve the playing of a tricky piece.

The essence of practice isn’t beating yourself up for playing a wrong note and worrying about the result. Instead, it’s about enjoying the dolce and espressivo, and experiment how you play the presto and spiccato sections with patience. On her 100th day of season 6 of the challenge, Hahn writes: "Keep your inner critic constructive, not destructive. Include compassion and creative freedom in your daily musical practice."

Be creative and practise the way which you think works best for you! Change the dynamics, change the tempo, or maybe add in some vibrato to sweeten the tune.

The thought of practising for 100 days may be daunting, but rather than focusing on the number "100", you can start with just a single day. Practise with the purpose to improve just a bit from yesterday. As days increment, so will progress. Just believe.

Editor: Emily Lam Graphic Designer: Cynthia Xie & Sofia Wu

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Upcoming Events Autumn 2023

SFC2 SCHOLARS RECITAL OCT 17th 19:00 Parabola Arts Centre PERFORMANCE PLATFORM CONCERT NOV 13th 13:50 Sanders Room PIANO ENSEMBLE PRIZES/ JAZZ PIANO WORKSHOP NOV 16th Room and time TBC Singing Prizes NOV 21st & 22nd All Day Council Room Performance Platform Concert NOV 29th 13:50 Council Room Performance Platform Rock and Pop NOV 30th 17:00 GCR

Christmas Concert DEC 14th 19:30 Princess Hall Service of Nine Lessons & Carols DEC 15th 12:00 Princess Hall 16

where music unites.

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