This year I’ve been undertaking a large personal project which has already been underway for a few months now. This “Improv.” series essentially allows me to focus on one of my biggest interests and passions in music – creating live content. 

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From the 13th to 17th of February, I took part in my last CoLab project as a part of my course at Trinity Laban Conservatoire of Music and Dance. CoLab is a week- long collaboration between multi-disciplinary artists that results in a showing or performance of some sort.

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Memorizing music can be extremely challenging. Since it cannot be taught as easily as other aspects of performance, it is often skimmed over. Students are expected to deal with memorizing in their own time. There is a passive attitude towards it - either you are good at it, or you aren’t.

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Case Study: Ravel Sonatine M. 40

Maurice Ravel was born in 1875 and died in 1937 of mixed Basque and Swiss heredity. According to all accounts, he was a very reserved man, concealing aspects of himself even from his friends. He studied music at the Paris Conservatoire in the early 20th century and achieved international celebrity status during the last decade of his life. 

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Case Study: Bach Prelude and Fugue No.2 in C minor

I am currently learning this piece, and have so far come across various performance practice issues. The first is evidently the instrument used. Playing the work on a modern piano differs vastly from a keyboard of Bach’s time. Although the pianoforte had been invented by 1722, the date Book I of ‘The Well-Tempered Clavier’ was published, it did not become influential until later on in the century, and harpsichords, clavichords and even organs were more widely used.

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