TROUTHE IN TUNE
IN THIS ISSUE
Let’s Chat….Cherise Pollard
Practice Possibilities for Parents
Feel Good Friday Recipe
Teacher as Musician: Lesley Bell
Musician Spotlight: Charles Ignatius Sancho
The Curiosity Zone
LET’S
CHAT…. CHERISE POLLARD
When you think of creative or exciting musicians who are recording and performing today, who comes to mind and why?
This question I feel, was quite a difficult one to answer. So many creative musicians come to mind, and I think one of the flaws of the music industry is that such few musicians get the recognition that I feel they deserve My initial answer to this question brings to mind a few people: Mitski, Dodie, Laufey, Amy O, and Vulfpeck. Here we explore Mitski!
Mitski has consistently pushed the boundaries of indie rock and alternative pop with her deeply personal and evocative music. Her ability to blend raw emotion with intricate musical compositions makes her stand out in the contemporary music scene. She is an artist not bound by genre or convention. I also like and admire Mitski as an artist as she draws inspiration from a wide range of artists She has cited influences from punk bands like The Clash and Sonic Youth, to pop icons like Beyoncé and Björk. Additionally, she has been inspired by older musical styles, such as traditionally “classical” music and 60s folk, which I feel has contributed to her distinctive sound.
Another one of the reasons I admire Mitski is her fearless exploration of complex themes such as identity, loneliness, and the human condition Her lyrics often feel like poetry for me, capturing the nuances of her experiences and emotions in a way that resonates deeply with me. Another being Mitski's live performances. I feel they are a testament to her artistry. She incorporates Butoh-inspired choreography, a form of Japanese dance theatre, into her shows, creating a unique and immersive experience for her audience this innovative approach to performance art not only highlights her creativity but also her dedication to providing a memorable experience for her fans I experienced this firsthand when I saw her in concert back in October 2023 at Queen’s Hall.
I think perhaps one of my most favourite songs by Mitski is the song "Last Words of a Shooting Star”. It captures a moment of turbulence, both literally and metaphorically, as she reflects on her life and relationships. The song is framed around a turbulent plane ride, which I believe Mitski uses as a metaphor for the unpredictability and fragility of life Like many of Mitski’s other songs, the lyrics are rich with imagery and emotion, touching on themes of mortality, regret, and the desire for a meaningful existence. For example, she sings about leaving her room tidy, hoping that those who find her belongings will think kindly of her. This is shown in the lyrics: “And I am relieved that I'd left my room tidy//They'll think of me kindly//When they come for my things”. This small detail, for me, speaks volumes about the human need for connection and remembrance and how even in our last moments, we can still reflect and analyse the effect that we can have on others; how our actions always have consequences. Something that may seem small and insignificant like tidying one ’ s room may actually have a large impact on those around us posthumously. Even after death we all are connected.
IN NEXT MONTH’S ISSUE
What author interests you the most and which of their works stands out for you?
Cherise answers with: “When I was thinking about how to answer this question specifically, one author came to mind mainly - Sylvia Plath ”
PRACTICE POSSIBILITIES FOR PARENTS
NOT WANTING TO PRACTISE
How to deal with the biggest practice crisis of all
It’s been two weeks since Amy last practised, and she’s not doing a great job of hiding it. Her parents are frustrated, her teacher is frustrated, and Amy herself doesn’t want to quit lessons - but she does wish the burden of practice would just disappear.
So, what can be done? Is her motivation doomed, and with it, her lessons?
At some point, every musician hits a wall with practice. This includes the student before you, the one after, and even members of world-class symphony orchestras It’s happened to soloists, conductors, teachers, and their teachers before them. Everyone, at some point, has struggled with the desire - or lack thereof - to practise. The real question is why this happens, because the answer holds the key to fixing it Parents and teachers often resort to the “just do it” approach: pushing students to practise out of a sense of duty. While this might get the job done in the short term, it doesn’t address the real issue. Forcing yourself to practise doesn’t change the fact that you don’t want to
The core problem remains unresolved, and the cycle r why you don’t want to practise. Without uncovering th
For example, consider students who say they dislike sports. That statement doesn t tell us much because “sports” is such a broad category. What they really mean is that certain aspects of their limited experience with sports - like being out of breath, giving up weekends, or the fear of injuryhave turned them off. The key isn’t to quit sports entirely but to explore alternatives that sidestep these issues.
By identifying the specific elements that bother you, it’s possible to find activities - or, in Amy’s case, practice strategies - that align better with your preferences The same logic applies to practice If you ’ re struggling, it’s not about forcing yourself through the motions Instead, pinpoint what’s making it unappealing. Is it boredom, a lack of clear goals, or feeling overwhelmed? Once you understand the issue, you can adjust your approach - choosing strategies that make practice more enjoyable and fulfilling. Only then will you truly mend your relationship with it. If you don’t feel like practising, it’s not the entire process you dislike - it is specific parts Identify and transform those parts, or eliminate them entirely, and practice can become something you don’t mind - or might even enjoy
Hate being out of breath?
Skip running and try snooker or bowling.
Don’t want to lose your weekend?
Avoid cricket and consider swimming, where practice is often early in the morning.
Fear contact injuries?
Avoid rugby, but explore volleyball, figure skating, or athletics.
IN SHORT..
IF YOU DON’T LIKE IT, DON’T
JUST DO IT.. CHANGE IT!
Practice, like sport, comes in many forms. Some methods might frustrate you, while others may suit you perfectly. For example:
If you hate learning new notes, that type of practice will feel unbearable. If you enjoy refining pieces that you already know, focus on speeding them up or adding nuance
Your motivation often depends on the type of practice required. Once you pinpoint what’s bothering you, tweak your routine to minimize or remove the frustrating elements. Adjusting your practice style lets you work effectively without battling resistance. Here’s the deal: your parents and teacher just want you prepared for lessons How you achieve that is up to you Practise when, how, and as long as you want - just deliver the results on lesson day This freedom is a game-changer The satisfaction of being ready while calling the shots will motivate you to stay consistent.
By tailoring your practice and owning your progress, you’ll not only keep your parents and teacher happy but also build a system that works for you. It’s a win - win situation - one you won’t want to give up
The best way to motivate yourself is to find a piece that truly excites you. When you ’ re passionate about playing something, the hours of practice will fly by unnoticed. Lack of motivation to practise is a complex issue, but it’s one you can tackle. Start by redefining what practice looks like, removing negatives, setting clear goals, using motivational techniques, and keeping your routine fresh Help is available, but ultimately, it’s up to you to take on this challenge - your lessons depend on it.
There’s no let-up...I’m so sick of having to practise every single day….
You’re right! That does sound terrible with no breaks, no holidays, just a hamster on the practice wheel, but it does not have to be this way If your practising seems never-ending then switch to a practice routine that has scheduled days off. It might be every 5th day or every Thursday but the big change is that you will always be a few days away from a break of some sort. Alternatively, days off might be something that you earn with the idea being that each week you can stop practising as soon as you are ready for your next lesson no matter when in the week you reach that milestone This earn-your days-off system is also a huge incentive to practise intelligently and put in an intense effort at the start of each week. Remember, your job when you practise is to be ready for your next lesson. It is not to notch daily tally marks on your prison wall and the important thing to realise is that despite taking time off, there is no damage done. Your teacher can hear that you are lesson ready, you have had a day or two to relax, everybody wins
HELP
It is so boring because every practice session feels the same….
Oh dear, this probably means that every practice session is actually the same. The question you need to ask yourself is, “how on earth have I allowed that to happen?”
Apart from being boring, the needs of your pieces change from day to day – a one-size-fits-all approach is not going to get the job done You need to vary your practice diet or even randomise your approach At the very least, if you start matching practice techniques to the changing needs of your pieces, then that guarantees that every day of practice will be unique You will never have two days with exactly the same requirements, which means that you will never have two days with exactly the same practice. In short, if you are bored because your practice is always the same, it is your fault, but on the plus side, it is also very easy to fix You will find it much easier to look forward to practising when you don’t feel like a worker on an assembly line.
My piece is boring…..
First of all, make sure that you have not confused “boring” with “I’m sick of it because I am not making good progress ” . The true test is to listen again to the recording (or have your teacher play it) and then ask yourself, “If by magic, I could sound like that right now with no work required, would I enjoy playing this piece?” If the answer is yes, with the work factor removed, then the piece is not the issue. You just need to find a way to get faster results.
If the answer is no, then unless the piece is absolutely essential to your development, or compulsory for a life-changing competition, talk to your teacher about ditching it. Remember, the reward for all this practice is that you get to play the piece well. But if it is a piece that you don’t like, why would you go to all that trouble? If I practised doing card tricks every day for the next ten years, I would be really good But knowing that does not motivate me to practise card tricks I simply have no interest in being bl t f d t i k
FEEL GOOD FRIDAY RECIPE
AUTUMN PUDDING
This is a delicious and simple pudding that uses either apples or peaches will bring a smile to the family’s face on a dark Monday evening.
Ingredients
2 tins of sliced apples or peaches
125g/4½oz self-raising flour
125g/4½oz butter (or non-dairy alternative)
125g/4½oz caster sugar
2 large free-range eggs
Method
1.Preheat the oven to 180°C/350°F/ Gas mark 4.
2 Put tin apples or peaches (without the syrup) into an overproof dish or bowl
3.In a different bowl, beat together the butter, caster sugar and eggs until the mixture is light and fluffy.
4.Add the flour, mix thoroughly and spread over the apples or peaches.
5 Bake in a preheated oven for 45 minutes
6.Remove from the oven and serve with hot custard or something cold, like vanilla ice-cream or extra thick double cream!
TEACHER AS MUSICIAN
INSTRUMENTAL TEACHER PROFIL
LESLEY BELL, CLARINET AND SAXOPHONE
What inspired you to pursue a career in music education, and what do you enjoy most about teaching students?
I think teaching makes you think about your own playing, and I enjoy getting to know each student individually I like the challenge of tailoring lessons and finding different ways to solve clarinet/saxophone problems for each student. I also love the way music doesn't discriminate - the difficulties of the clarinet/saxophone are the same no matter who you are or where you are from.
What do you believe is the most important skill or lesson students gain from learning an instrument?
There are so many! It teaches discipline, the ability to work individually or as part as a team (when in orchestra or band for example). I think it also teaches us that things take time - learning an instrument takes commitment and dedication, and we are now used to a world where we have instant gratification, or we 'google' something if we don't know it! It's also a fantastic way to meet new people - musicians are generally a sociable bunch!
What advice would you give to parents who want to support their child’s musical journey?
Try to establish a routine early, especially for younger players. If the students get into the habit of playing for a short time (even five minutes) and often, it makes a huge difference When I look back on my most successful students, they have all had in common amazing parental support at the outset of playing. And be prepared for some unusual, even nasty noises!!!!
What’s something students would be surprised to learn about you?
I am a Sgt in the Highland Band of the Royal Regiment of Scotland I joined when I was a student at the RSAMD (now RCS). In a way, it was one of my first experiences of earning money as a musician. The Band has given me lots of opportunities - from playing in the Nova Scotia Tattoo to throwing a Grenade in Romania!
MUSICIAN SPOTLIGHT CHARLES IGNATIUS SANCHO
“The first part of my life was rather unlucky, as I was placed in a family who judged ignorance the best and only security for obedience. A little reading and writing I got by unwearied application – the latter part of my life has been – thro’ God’s blessing, more fortunate.”
Charles Ignatius Sancho (1729–1780) was a remarkable figure whose life story defied the oppressive norms of his time. Born on a slave ship and orphaned as an infant, Sancho rose to prominence as an influential writer, composer, and abolitionist, becoming the first Black Briton to vote in a parliamentary election - a feat that symbolized his extraordinary determination and intellect
Raised in London, Sancho was initially under the “ care ” of a wealthy family who treated him as a servant and denied him an education. Yet, his thirst for knowledge could not be stifled. With the help of the Duke of Montagu, who recognized his intelligence, Sancho gained access to books and music, which ignited his passion for learning and creativity By adulthood, Sancho had not only become a selfeducated man but also a talented composer, poet, and actor.
Sancho’s contributions to music were particularly significant. A gifted composer, he published a collection of minuets, songs, and dances, demonstrating his mastery of the classical forms of the 18th century His music reflects a unique blend of European styles and his own experiences, offering a poignant glimpse into the cultural crosscurrents of his time. Sancho’s compositions were celebrated for their elegance and emotional depth, and they remain a testament to his artistic brilliance.
Beyond music, Sancho was a passionate abolitionist and a literary voice for social justice. His letters, compiled posthumously, reveal a man deeply committed to humanity, equality, and dignity As a shopkeeper in Westminster, his business became a hub for political discussion and a platform for advocating against the transatlantic slave trade. Charles Ignatius Sancho’s life is a story of triumph against adversity. His accomplishments as a composer, writer, and activist not only broke barriers but also left an enduring legacy, inspiring generations to challenge injustice and embrace the transformative power of art and intellect
THE CURIOSITY ZONE
Song we are listening to again and again: Tom Odell’s Black Friday: 1
“I wrote this song on my birthday last year, which happened to be the day before ‘Black Friday.’ The song is inspired by my admiration and love for the people in my life, but also my proclivity to be unkind to myself It’s a love song, I think, and I’m very proud of it, and I hope people like it ”
A book not to be put down: “The Housekeeper and the Professor” by Yoko Ogawa. He is a brilliant math Professor with a peculiar problem--ever since a traumatic head injury, he has lived with only eighty minutes of short-term memory She is an astute young Housekeeper, with a ten-yearold son, who is hired to care for him And every morning, as the Professor and the Housekeeper are introduced to each other anew, a strange and beautiful relationship blossoms between them. Though he cannot hold memories for long (his brain is like a tape that begins to erase itself every eighty minutes), the Professor’s mind is still alive with elegant equations from the past. And the numbers, in all of their articulate order, reveal a sheltering and poetic world to both the Housekeeper and her young son The Professor is capable of discovering connections between the simplest of quantities--like the Housekeeper’s shoe size--and the universe at large, drawing their lives ever closer and more profoundly together, even as his memory slips away. The Housekeeper and the Professor is an enchanting story about what it means to live in the present and about the curious equations that can create a family.
A Podcast that caught my attention: The Diary of A CEO with Doctor Gabor Mate: The Shocking Link Between Kindness & Illness!
Quote to Ponder: “A society grows great when old men plant trees whose shade they know they shall never sit in.” Greek proverb
Everlyn Nicodemus: Presented at
The Scottish National Gallery of Modern Art Modern One, 75 Belford Road, Edinburgh EH4 3DR Open Daily from 10 00-17 00 from now – 25 May 2025
demus was born in Kilimanjaro, Tanzania in 54. She is an artist, writer, and curator who that creativity can be a form of healing. Her works are a powerful response to the global pression of women, the profound impact of sm, and her personal trauma and recovery. us ’ portrayal of the human body is bold and ourageous. Her work asks us to explore and n our understanding of identity, belonging, h Nicodemus also loves to experiment with r and form In her art, you can spot abstract s, materials, and found objects from around me. “If the knowledge isn’t there, then you have to create it.”