The Struggle to the Competition

August 4, 2015 | Uncategorized | 0 Comments

The Struggle to the Competition

I’m thankful to four people: my teacher, my mother, my father and my grandmother for the third place that I won in the All India Junior Level Kawai Piano Competition.

Without my teacher, I couldn’t do any thing. He slowly, patiently, indefatigably taught me all the pieces I needed to play. Mr. Srikanth Gnanasekaran really helped me while I failed, lifted me when I stumbled, and pushed me high when I was low. Another teacher, however, taught one of the songs to me. In Dubai, where I used to live, a wonderful teacher named Ms. Valentina taught me the song, Menuet.  Most of you would not have heard it. It was composed by Johann Mattheson and it’s included in Trinity Grade 2, 2012-2014 book. Mr. Srikanth tirelessly made sure I played the pieces to a certain level before heading for the competition in Bengaluru.

My mother sat with me everyday, enduring even the unendurable pieces and making sure I got better. She politely listened to my pieces and made sure she properly expressed where I had gone wrong. She encouraged me to go on and made sure my playing was audible. Without her I would have stopped preparing properly for the competition.

My father sat with me whenever he got the chance. He has an unquenchable thirst for music and could not stop listening to it. He would make me play, correct my mistakes, help me learn new pieces, and encourage me to go on. My father used to play the mridangam (a percussion instrument used in Carnatic music), so the difference between my mother and my father is that my mother was more fixed on the melody, while my father helped me out with my beat. Without him, my tempo would have been gone long ago.

This is the surprise one. You must be thinking, “How could his grandmother help him get ready for his competition?” You would not believe it, but when everybody else left saying I played badly, my grandmother stood by me, making me practice the piece again and again until I got it right. She would say a very popular saying “Practice makes perfect!” She could not come for the competition in Bengaluru, but listened to the recording that my parents had done. She congratulated me as soon as we arrived here in Chennai. Without her I would not have believed I could do well in the competition.

These four people with their talent, encouragement, and indefatigable thirst for music really helped me to be among the top three in this competition.

When I came to class that day, sir told my parents that there was a competition hosted by Kawai in Bengaluru. My parents immediately said yes. I was incredibly nervous. How would I do in a contest? Would I do well? Would I not do well? I’d never been to one before. The only place I’d performed was my old school’s talent show! I was so frustrated I couldn’t even play properly! So after the class I went and had a long think about it. Should I do it or should I not? This same argument went on until I got my award. Then, the warring parts of myself finally came to an unanimous conclusion. I should have. I definitely should have.

Suhrit Venkatvardhan (Age: 10 years)

Piano Student –Academy of Western Music, Chennai.


Performance Anxiety

June 3, 2015 | Uncategorized | 0 Comments

What is performance anxiety?

For many musicians, it’s a common scenario: you stand backstage about to go on, you may feel your chest pound, your breathing grow shallow, your stomach fluttering, your hands sweaty, sometimes shaking, your shoulder blades hurt. It’s bad enough that you have to experience these unpleasant feelings, but you also worry that they will ruin how your music sounds onstage. You head down, to the center of the stage and can feel the sweat trickling down your neck. Perhaps, if you’re lucky, you might faint (a good exit strategy from the situation).

Anxiety is a normal part of life, and a small amount of anxiety can help kick us into action to do something we have avoided. But stage fright or performance anxiety is the anxiety or fear which may be aroused in an individual by the requirement to perform in front of an audience, whether actually or potentially.

MPA or Music Performance Anxiety

MPA has been divided into two distinct types:

  1. Cognitive anxiety and
  2. Somatic anxiety

Cognitively anxious musicians portray consistent thinking styles about their playing and performing. They might have negative biases in their self-perceptions before and after a performance; “It’s going to be rubbish,” “I’m a terrible musician,” They can show heightened concerns about the consequences of performances; “Everyone heard that note,” “I am disappointing the audience”.

Somatic anxiety refers to the physical symptoms that are experienced during an anxiety provoking event — tremors, dry mouth, dizziness, all caused through over arousal of the sympathetic nervous system.

Source of MPA

For those who’ve struggled with it, accept MPA as an inevitable part of performing.  For them it is a “conditioned fear” that was acquired in childhood, when they were made to perform and had a bad experience. The brain learns quickly to avoid danger and once it decides that audiences are scary, it’s not about to change its mind. Fear associations are stored in a small organ in the brain called the amygdala, and there they remain for the rest of our lives.

There are many contrasting reasons for why a musician feels anxiety when taking the stage. Psychologist Glenn Wilson has divided the sources of musical performance anxiety into three categories: the taskthe situation, and the person. (Klickstein, 2009; Lehmann, Sloboda & Woody, 2007, ch. 8; Wilson & Roland, 2002; Valentine, 2002).

  1. The task. When musicians experience anxiety because they believe they’re physically incapable of playing or singing their music, then the task is the source.
  2. The situation. When performance conditions cause stress, including the presence or absence of co-performers, the makeup of the audience, and any consequences of performance (e.g., an audition or competition).
  3.  The person. When a musician’s own personality or thought processes – their attitudes, beliefs, and thought patterns related to performance is the root of all problems.

How to deal with performance anxiety

Many have advised musicians that the key to a successful performance is over-preparation. “Practice your music so much that even your worst rendition still sounds pretty good, your body will deliver it onstage without thinking”. According to this view, you can have utmost confidence and no reason to worry going into a performance.

When well-intentioned performers pass on their advice of “what worked for me,” the result can be a diagnostic mismatch: one person’s prescribed treatment does not fit the underlying cause of another person’s anxiety. For example, the common recommendation of doing extra practice performances in the recital hall (source = the situation) will not help if your anxiety really comes from attempting music that is just too difficult for you (source = the task). No amount of breathing exercises or relaxation techniques will erase symptoms that have been brought on by irrational and/or negative thoughts and perfectionism(source = the person).

More common are recommended cure-alls, ranging from the silly (“imagine your audience in their underwear”) to the simplistic (“practice, practice, practice”). This reflects the fatalist attitude mentioned above, in which musicians accept anxiety as a fact and resign to battling symptoms without considering what’s causing them.

Performance means different things to different musicians. It seems that many musicians adopt an anxiety-related performance perspective early in their development (Thomas & Nettelbeck, 2013). A preventative approach starts with identifying the source.

A recent study showed that how you think about your musical instrument can affect your susceptibility to anxiety (Simoens & Tervaniemi, 2013). These researchers identified several attitudes that musicians may hold. They can feel united or “as one” with the instrument, they can see it as something to hide behind, or they can think of it as an obstacle to overcome between themselves and an audience. As might be expected, the research revealed that those with a united mindset had the lowest scores of performance anxiety. They also scored favorably in other measures of well-being, including confidence and the experience of positive feelings or boost during performance. The researchers suggest that those who feel united with their instruments can more freely express themselves and be less vulnerable to the opinions of others.

As musicians, the way we think about performance results from our past experiences and the musical cultures in which we’ve developed. It can be a difficult and unpleasant exercise to try to identify the attitudes and thought processes in ourselves that undermine our performance success. But the wealth of past research on performance anxiety has indicated that the most damaging thoughts are those that are irrational and negative “I am going to forget the words” “I’ll never do well” “I’m going to miss that note” “I never get this right”. What needs to happen, however, is to acknowledge these negative thoughts, expose them for their faulty quality, and, most importantly, replace them with realistic and task-centered thoughts (see Hoffman & Hanrahan, 2012).

Effectively changing your own thinking or cognitive restructuring, as psychologists call it does not happen without some work. Fortunately, the work that is required is, in a way, familiar to musicians, practice. If you’ve determined that the source of your performance anxiety is your own inner dialogue, then you can practice new thought patterns. Irrational and negative thinking will fade as you deliberately rehearse thoughts that are realistic and that focus on the true nature of music making.

  1. Don’t expect to eradicate your fear altogether. Instead, learn to live with it.
  2. De-sensitise yourself. This means exposing yourself to the thing you’re afraid of, like an audience, repeatedly, but in small doses that you can handle.
  3. Videotape yourself before your performance.  Do a dress rehearsal on tape. Some of your performance anxiety is well-founded – you have no clue how you’re coming across, and that is inherently unsettling.
  4. Activate your energy. Do something that makes you feel “up” and excited. Call a friend who makes you laugh. Smile at people in the audience. Jump up and down backstage to happy music.
  5. Remember that your job as a performer is to give, not to be perfect. You are there to share something of value with your audience.

References

Hoffman, S. L., & Hanrahan, S. J. (2012). Mental skills for musicians: Managing music performance anxiety and enhancing performance. Sport, Exercise, and Performance Psychology, 1(1), 17–28.

Klickstein, G. (2009). The Musician’s Way. New York: Oxford University Press.

Lehmann, A. C., Sloboda, J. A., & Woody, R. H. (2007). Psychology for musicians. New York: Oxford University Press.

Simoens, V. L., & Tervaniemi, M. (2013). Musician–instrument relationship as a candidate index for professional well-being in musicians. Psychology of Aesthetics, Creativity, and the Arts, 7(2), 171-180.

Thomas, J. P., & Nettelbeck, T. (2013). Performance anxiety in adolescent musicians.Psychology of Music. Published online before print July 31, 2013.

Valentine, E. (2002). The fear of performance. In J. Rink (Ed.), Musical performance: A guide to understanding (pp. 168-182). Cambridge, UK: Cambridge University Press.

Wilson, G. D., & Roland, D. (2002). Performance anxiety. In R. Parncutt & G. E. McPherson (Eds.), The science and psychology of music performance (pp. 47–61). New York: Oxford University Press.

Woody, R. H. (2013, August). Stage Fright: What to Do When the Problem Is You. Psychology Today. Retrieved from https://www.psychologytoday.com/blog/live-in-concert/201308/stage-fright-what-do-when-the-problem-is-you

Woody, R. H. (2012). When Practice, Practice, Practice Isn’t the Answer. Retrieved from https://www.psychologytoday.com/blog/live-in-concert/201207/when-practice-practice-practice-isn-t-the-answer

Sangita Santosham

M.Phil (Psychology), Associate London College of Music (ALCM)

Vocal Instructor –Academy of Western Music, Chennai.


Baffled By Beats

April 25, 2015 | Uncategorized | 0 Comments

Baffled By Beats

I still remember when I was a kid my parents always would play a song or clap aloud to draw my attention towards them. At the sound of music I would pause anything that I would be into and extend complete attention to listen to that I hear. It wasn’t about the lyrics or the tune of what I was listening to, it was ‘that’ magic element of the music that kept the lyrics and tune going – the rhythm. Rhythm was a fascinating concept that kept me engaged as a lad. Anything and everything that would get caught between my fingers I would use them as sticks and bang on a door, utensils, sometimes on my dad’s head even trying to understand the concept of drum beats. As days moved on I discovered that it was a percussive instrument that would create a feel and tempo of the song and is therefore the ‘backbone’ of any band. The drum is a very popular instrument that all cultures have in common! The role of a drum kit is loud and dominant as the lead vocals in most music styles! My passion to learn drums grew stronger and yes did land me as a distinction holder in the 8th Grade percussion exams from the Trinity college of London and eventually my passion became my profession as well. I love being a Drum tutor!

In history, drumming and the use of percussive instruments have had a significant role in people’s lives. Not only do the people who play these instruments enjoy them, but it is said that “there is as much pleasure participating in, as listening to and admiring to it”. The use of drums has been recognized as being able to put people into spiritual trances throughout history. The drum set is a musical instrument with great power and presence that gives the “pulse” or backbone to the music it is incorporated with.

I view drumming as a way to complete the inner self. Drumming is helpful in relieving stress and improving physical and mental well-being. Playing the drums has very positive effects on brain development and coordination. Drumming is also beneficial to hand-eye coordination and improves reflexes and develops muscles. Learning to play the drums gives enough instant gratification to be enjoyable for the beginner student, yet can be challenging and difficult enough to keep even the most seasoned player engaged and interested in learning more.

1. Drumming can help students grow academically; it can improve students’ ability to concentrate and compliment their studies in the arts, math, science, language arts, history & physical fitness.

2. According to scientific research, playing music, and hence drumming and playing percussion, increases the development of various regions of the brain, including the corpus callosum, motor and auditory cortexes.

3. Playing drums and rhythms can be an optimal experience and encourages participants of all ages to achieve flow.

4. Drumming is a healing art and therefore it can give participants of any age a better sense of well-being.

5. Hand drumming (and regular participation in any form of percussion playing) increases the physical stamina of students.

6. Drumming increases body awareness & kinesthetic development; drumming helps students develop graceful coordination and self-control.

7. The process of drumming engages both the linear, rational left brain and the creative (intuitive right brain).

8. Playing rhythms improves listening skills and increases children and teens’ ability to focus for extended periods of time.

9. In general, the increasing of rhythmic skills – and the learning of any musical instrument – increases students’ confidence.

10. Playing rhythmic music helps students to take notice of the rhythms and beauty in nature and their surroundings.

The above stated facts are indeed amazing and I have experienced it myself being a drummer. My role as a drum tutor at the Academy of Western Music (AWM), Chennai is a dream come true thing. The AWM offers a great music learning ambience and experience to its students and opportunities to the faculties here. As a tutor, every session is exciting, and the top notch instruments make the teaching and learning all the more interesting at this music academy.  If you find your child baffled by the beats, Academy of Western Music is the place for him/her to master the art. Enroll him; let him enjoy the experience of the enthralling beauty in beats.

F. Terence Nathan

Drum Instructor –Academy of Western Music, Chennai.

 


A Music School, Quite Like No Other

February 27, 2015 | Uncategorized | 0 Comments

A Music School, Quite Like No Other

Those were the words that I’d had heard and read voluminously about. As I’m an ardent music fan, my curiosity was piqued, to say the least. I ventured towards Santhome, Chennai one sunny morning, armed with little else than my tote, notepad and overflowing eagerness. Did the Academy of Western Music live up to those mental notes I had made? Why don’t we find out!

The vast and beautiful campus of the music school was the perfect sight for sore eyes. With ample car parking space, it’s a welcome boon for visitors as well as students. As I had fixed an appointment with the CEO- Mr. John Sudhakar- I waited in the sizeable lobby for fewer than two minutes before I got whisked away to Mr. Sudhakar’s cabin. Modest and amiable, I was put at ease in no time at all.

The Heritage: The Academy is a little under two years since inception, but going by its evolved and elaborate appearance, it would definitely seem otherwise.  It offers Courses in 10 disciplines- Guitar (the most popular one, I realise), Vocal & Piano (close runners-up), Drums, Keyboard, Violin, Saxophone, Clarinet, Trumpet and Music Theory. The last, where the in-depth structure of music and music notation are taught is the most vital one to strike a chord, I’m told. Lessons for beginners at the Academy are intrinsic and well-etched, where students are handheld to perfection. A music instructor at the Academy takes separate sessions for students at different levels.

Classrooms at the Academy: I am soon led to the classrooms at the Academy which span the First & Second floors. Guitar has an exclusive room where Acoustic & Electric are taught. Vocal & Music Theory has a separate classroom. Piano, Drums & Keyboard have different rooms & Mr. Sudhakar patiently explains the differences between the two to this eager beaver & he rounds off his statement with a pitch-perfect performance! I was truly honored, I must say. The Classrooms have top-notch instruments which are taught by experienced faculty who come with excellent degrees and the one ingredient that is a prerequisite- committed passion towards teaching.

Syllabus & Certification: Students at the Academy can take music examinations conducted by Trinity College London and Rockschool.

Advantage Academy: What clearly impressed me was when I learnt that the student-teacher ratio was as less as 1:5! The personalised instruction from well-experienced music instructors apart, parents can take heart from the fact that the brightly lit classrooms have CCTV installed in each room. Students are also encouraged to participate in SPOT- Student Performance Over Time- which are conducted at regular intervals to build their confidence and equip them for the bigger stage. Cut to the Reading room and Library which housed an eclectic collection of books and magazines from the world of music. Rock, pop, classic- you name the genre, the Academy, in most certainty, will cover it. Over to the Recital Hall- the arena for students to perform; and also where you can lend an ear to known artistes.

Music Retail Store: Students are encouraged to buy instruments that they choose to study. Towards this, the Academy has set up Sterling Music, a music store within the campus (nirvana to music enthusiasts, I tell you!) with a colossal line-up of Musical Instruments and Accessories ranging from Yamaha, Casio and Roland to Korg, Ashton and Havana; and everything else in between.

After a morning well spent, I take leave and bemusedly mull over the newfangled Academy and its well-entrenched position in the south of India!

A Music School, Quite Like No Other

Those were the words that I’d had heard and read voluminously about. As I’m an ardent music fan, my curiosity was piqued, to say the least. I ventured towards Santhome, Chennai one sunny morning, armed with little else than my tote, notepad and overflowing eagerness. Did the Academy of Western Music live up to those mental notes I had made? Why don’t we find out!

The vast and beautiful campus of the music school was the perfect sight for sore eyes. With ample car parking space, it’s a welcome boon for visitors as well as students. As I had fixed an appointment with the CEO- Mr. John Sudhakar- I waited in the sizeable lobby for fewer than two minutes before I got whisked away to Mr. Sudhakar’s cabin. Modest and amiable, I was put at ease in no time at all.

The Heritage: The Academy is a little under two years since inception, but going by its evolved and elaborate appearance, it would definitely seem otherwise. It offers Courses in 10 disciplines- Guitar (the most popular one, I realise), Vocal & Piano (close runners-up), Drums, Keyboard, Violin, Saxophone, Clarinet, Trumpet and Music Theory. The last, where the in-depth structure of music and music notation are taught is the most vital one to strike a chord, I’m told. Lessons for beginners at the Academy are intrinsic and well-etched, where students are handheld to perfection. A music instructor at the Academy takes separate sessions for students at different levels.

Classrooms at the Academy: I am soon led to the classrooms at the Academy which span the First & Second floors. Guitar has an exclusive room where Acoustic & Electric are taught. Vocal & Music Theory has a separate classroom. Piano, Drums & Keyboard have different rooms & Mr. Sudhakar patiently explains the differences between the two to this eager beaver & he rounds off his statement with a pitch-perfect performance! I was truly honored, I must say. The Classrooms have top-notch instruments which are taught by experienced faculty who come with excellent degrees and the one ingredient that is a pre-requisite- committed passion towards teaching.

Syllabus & Certification: Students at the Academy can take music examinations conducted by Trinity College London and Rockschool.

Advantage Academy: What clearly impressed me was when I learnt that the student-teacher ratio was as less as 1:5! The personalised instruction from well-experienced music instructors apart, parents can take heart from the fact that the brightly lit classrooms have CCTV installed in each room. Students are also encouraged to participate in SPOT- Student Performance Over Time- which are conducted at regular intervals to build their confidence and equip them for the bigger stage. Cut to the Reading room and Library which housed an eclectic collection of books and magazines from the world of music. Rock, pop, classic- you name the genre, the Academy, in most certainty, will cover it. Over to the Recital Hall- the arena for students to perform; and also where you can lend an ear to known artistes.

Music Retail Store: Students are encouraged to buy instruments that they choose to study. Towards this, the Academy has set up Sterling Music, a music store within the campus (nirvana to music enthusiasts, I tell you!) with a colossal line-up of Musical Instruments and Accessories ranging from Yamaha, Casio and Roland to Korg, Ashton and Havana; and everything else in between.

After a morning well spent, I take leave and bemusedly mull over the newfangled Academy and its well-entrenched position in the south of India!

Radhika
Music Lover

 

 


My Love For The Guitar

January 23, 2015 | Uncategorized | 0 Comments

My Love For The Guitar

Music is the only universal language that can be understood, accepted, loved and admired irrespective of age, culture or religion. I truly feel that music is genetically programmed in all of us. That could be from humming your favourite tune, singing, or playing a musical instrument to even appreciating simple sounds.

Ever since I can remember, I was always fascinated with the sounds of various musical instruments. As a child I did try to lay my hands onto a keyboard, piano, drums and guitar that I could find at a friends’ or a relatives’ place. The sheer delight and joy that filled me transported me to a different world altogether. Of all the instruments, it was the six strings guitar that really caught my eye. Having listened to several legendary bands and artistes and also seeing videos of their stage performance during my growing years, I was particularly intrigued by the guitarist and his renditions. The seamless movement of his fingers over the strings to an extent such that it seemed as though they were made for each other. My love for the guitar evolved further during my teens when I was introduced to rock music. The complete mastery over the instrument that the guitarist possessed was unimaginable. That was when I decided that I must learn to play guitar.

But that was easier said than done. At home, it was very clear that academics was always the first priority and everything else could wait. That meant that my guitar lessons too would have to wait. For how long? Nobody could tell that. One thing lead to another and academics gave way to career path and that lead to professional commitments. We are living in a competitive world where we always have too many things to do in a limited time frame. But the passion for guitar learning lived on. I was very clear in my mind that come what may, I will fulfil this dream.

My family was also very clear that our daughter would be exposed to learning a musical instrument early on in her life. It was after her sixth birthday that we decided to enrol her into piano classes. That’s when we came across the Academy of Western Music.  I was thoroughly impressed with the Academy. From their architectural layout to the friendly and informative front desk staff, from the classroom designs to their faculty members, every aspect has been thoroughly researched, planned and executed well. Above all, the CEO, Mr. John Sudhakar’s personal intervention, towards guiding us on the course details, taking us on a tour of the academy and helping with the enrolment process to advising on the various types of pianos that we could consider purchasing, was very helpful. These were qualities we had in mind before selecting a music academy for my daughter.

I was hesitant at first but let my confidence get the better of me and popped the question to Mr. John Sudhakar about the possibility of me pursuing guitar classes at the Academy.  Age was a big factor and I certainly did not see myself sitting in the midst of children my daughters’ age and learning to play the guitar. Besides that, a father daughter duo attending music classes was certainly not a common sight. To my surprise, Mr. John Sudhakar put all my anxieties at ease by giving me examples of a few students who despite their age and professional commitments have found time to pursue their passion of learning music. Age is certainly not a deterrent to learn new skills. We have all read or heard about this umpteen number of times. But how many of us put it to practise.

Thus began a new journey in my life to fulfil an incomplete dream. After getting suitably guided by Mr. John Sudhakar on the course, instrument purchase options and enrolment formalities, I began my weekly classes to learn guitar. The experience has been truly overwhelming. Until just 3 months ago, I could barely hold a guitar properly. Now I’m able to play some guitar chords and other musical pieces from the book. I’m still working on guitar lessons for beginners and there is a long way to go but with regular practice I’m confident that I will get only better. The excellent student to faculty ratio has also made this possible. With individual and undivided attention given to each student in the class, the scope for learning and enjoying what you learn only adds to the experience. This would not have been possible without the guidance and encouragement from my instructor, the young and spirited Jonathan.

There have been several occasions when I’m unable to play the music notes correctly. It does get frustrating during such times. But I constantly remind myself that practice will only make me perfect. This is not a race that I need to finish before time. This is process that I need to follow diligently and keep the focus on accuracy rather than speed. Play it again and again until you get it right. It’s also important to set aside time every day, at least 30 minutes, to play the guitar. For a working professional it can be daunting at first but with discipline it’s possible to do so. My work requires me to travel for many days. This means no practise for several days. But I carry my guitar whenever I travel on work. I have purchased a sturdy guitar travel case from Sterling Music and always make it a point to practice in my hotel room when I return from work. It may be for as less as 20 minutes for a day but trust me, it really does make a big difference.

What started out as an unfulfilled dream has not only turned into realty but also has made me strive for greater pursuits. After I successfully complete my acoustic guitar lessons, I plan to progress onto the electric guitar and the drums. My daughter too can play various musical pieces on her piano. I must thank the academy for giving me this wonderful platform.

It’s never too late to pursue your dream of learning to play a musical instrument that you have always cherished and wanted to learn to play. The time is now and there can be no excuses!

Avinash Swamy

Guitar Student –Academy of Western Music, Chennai.

 


The Guitar is Interest(R)ing

December 1, 2014 | Uncategorized | 0 Comments

The Guitar is Interest(R)ing

My music journey started at the age of 11. It was Christmas eve and we just got back home from Church. People were exchanging gifts and under the Christmas tree was my first guitar! And, that’s how it began. I did not start because I wanted to. I was pretty musically inclined even before that as I was actively singing with a popular kids choir in town. So, my dad thought “Let him try the guitar, because it’s obviously a beautiful instrument, and it would be nice if he could play”, (he was thinking like any other parent……).

Hands down, best decision Dad took there. It was a life changing one but just that I didn’t realize it that early. Guitar has since then remained an important part of my life. School, College and now work, my ability to play the guitar always got, and still gets me through it all.

I decided to start teaching right after I started college. Times were tough and I thought I could use the extra scratch. I couldn’t really understand what was happening to me but teaching music became a very big part of my life. Something that started off as just a simple hobby turned out to be a passion, and now a career.

It’s very difficult to connect with your instrument if you are not interested in it. Great if parents can notice this early on (ideally when the child is below 15 years) and not force it on them.

The direction is clear when you go through formal training, and it is very helpful to make a steady progress. It is vital to find yourself the right place and teacher who will ascertain you, and help you to achieve greater heights in music. The structured approach through a graded curriculum from an accredited board like Trinity College London could serve as a good base.

Often students lose interest after a few weeks of guitar lessons. They either don’t find them so engaging as they initially struggle with music notion or because the student is just lazy to put in some hard work. So, it becomes very important for a teacher to keep the guitar lessons for beginners interesting enough, which is certainly a challenging task. I’ve gone through music notes, scales and stuff like any other student, and the only thought on mind at that time was “when will I be able to actually play a song or strum a few guitar chords”.

Once you’re guitar learning stabilises and you begin to play, the next question we usually ask ourselves is “how can I get better or how do I move to the next level?” …… Experts and senior guitarists will always sum their advice in just three words, “practice, practise and practise”. No doubt, practise is the key thing to become an accomplished musician. I cannot stress on this point enough. Without practice there is no perfection.

I like to share with every aspiring musician the following thoughts on how to learn guitar:

1. There has to be a strategic approach for learning anything. It is important to make a plan for the next year ahead and ensure you do it. It is not enough if you have the desire alone but you also need to put in the required effort in a disciplined fashion to make it work. The way you plan need not be conventional and similar to what may have worked well for others. You just need to be sure of what you are doing and be able to see results at the end of it.

2. It is important to develop your other music skills like sight reading, theoretical knowledge, etc. side by side as you work on improving your instrument techniques in your guitar classes. You will surely be a better guitarist when you become a better musician. This is when you understand that formal training supports each and every step of your learning in a systematic manner.

3. You should be in the company of musicians who are ahead of you. Good if you can spend time with them as and when you get an opportunity, and discuss about things that you may not have known. Ex. Techniques, soloing, chord progressions, etc.

4. It will be good to listen to music of various styles and this exposure in turn could inspire you to learn more. There are plenty of online resources available now that one can make use of.

5. You can build on things that enthuse you to motivate yourself. I like to hear others play, attend concerts, or even just listen to classics. The way you look at music will be more mature as you do this, and this will push you to do music all the more.

6. It might be interesting to do a bit of case study on your favourite guitar players to understand their learning experiences, and to benefit from the tips they may offer.

7. Try to balance your practice time efficiently between improving your strengths and dealing with your weaknesses.

8. Keep doing it till you get it. There should be no turning back once you start and you will surely make it. There will always be someone better than you, which should only motivate you to keep getting better and better at it. Just because someone is naturally talented doesn’t mean that it comes easy. It involves a lot of consistent effort. Your main investment here is time, which needs to be put to best possible use for achieving your goal.

I like to reiterate a couple of tips that my colleague, Mr. David has already given here in his post earlier:

• Practice daily at least for 30 minutes
• Review the lessons taught in your previous class before you go for the next session
• Memorize the song; you can interpret the song well if you know the Music
• Develop an ear for music; ear training exercises will be helpful in this regard
• Learn music theory
• Ensure your instrument is in proper pitch and is tuned well

A good teacher and the perfect environment are key ingredients in the whole recipe of creating the ideal guitarist or any other instrumentalist for that matter.

At the academy (AWM), they have an abundance in both. I teach music there and in all my experience being a teacher and a student I have never seen anything like it. The facilities that are being provided are simply excellent, the best.

The only thing that is left is someone who is eager to learn the instrument. Someone who is willing to put in the necessary hours of PRACTICE and I guarantee the result will blow you away.

In a time where the world is in turmoil, Music is what we need to bring back peace and Serenity!!

Jonathan Raphael
Guitar Instructor –Academy of Western Music, Chennai.


The Music Within

October 27, 2014 | Uncategorized | 0 Comments

The Music Within

Whenever it comes to sharing of experiences, I prefer writing it down rather than quoting the same through a verbal conversation for the simple reason that conversations may be forgotten but the writings cannot be written off the wall. With this in mind, I pen down my little enjoyable ‘student’ experience with the Academy of Western Music (AWM).

It would be a fact that majority of us would have thought of pursuing music in our younger days but due to lack of opportunities or other reliable amenities we would not have moved along the said lines. I am equally not alien to such a history.

Acquaintance with AWM

I had seen a music instruments showroom called Sterling Music in Nungambakkam, Chennai quite a few times while crossing that junction. My wife had expressed in our initial days of marriage that she had inclination to learn guitar. Hence, to surprise her I gifted her acoustic guitar. Obviously it cannot stop by giving a mere gift. Hence, I had to ensure that she is drawn to an institution which hosts wonderful teachers with a learning ambience for her guitar lessons. I made a casual enquiry at the showroom itself and was guided to the AWM. This was my first introduction to AWM.

Personal Meet with AWM

Sometime later I visited AWM to get a feel of the place. All along I had been interested in music myself. My interest ranged from singing to playing instruments like flute, guitar and violin. Of course, my entrance to the Academy triggered my subdued interest for a long time. Hence, while visiting to enroll my wife I ended up enrolling myself with the Academy for a guitar course.

The process of admission in itself is so attractive that whoever visits the Academy might prefer to experience the innovation over the traditional approach to music.

The CEO, Mr. John Sudhakar, engages himself in a personal conversation to ensure that whoever joins the Academy is not swayed by other factors than his/her own interest in music. This is because whenever people join due to peer pressures, friends’ influence the sustenance becomes questionable. To introduce, Mr. John Sudhakar himself is a musician and a teacher in his own rights.

My selection of guitar

Now, the big question comes, why guitar? Obviously, girls like guitar and the guys playing it J!!!! Jokes apart, string instruments have their own peculiarity when it comes to music. I knew I understood the sound. I realized having joined the classes that I need to feel the sound when it comes to learning music. There is very subtle difference between the two which I feel words fail to describe.

My interaction with Mr. John yielded me in taking classical guitar lessons, a different variant than the acoustic version.

How to learn a guitar

Learning guitar is a joyful experience. But it requires dedication, patience and perseverance. Above all, a wonderful teacher, a good learning institution and a respectable ambience! This is where the search ends with Academy.

The Academy hosts some of the wonderful teachers in Chennai and I can personally vouch for that given my experience with the Academy which is close to a year now.

The Academy is unique in terms of offering the learning experience. It offers both structured and unstructured way of guitar learning. The structured learning mechanism allows students to follow a set pattern of books which are very carefully selected. These set patterns give students a perspective of what is due to come. However, following a structured pattern is not at all compulsory.

This is where the teacher’s experience comes into play. The approach adopted by the teachers in the guitar classes is very simple. They assess the student so fast that they start structuring the learning process as they go along. If the teacher feels a structured curriculum is suitable then they suggest the student to follow the option. This also comes with advantage of holding certain qualifications in music from Trinity College London. My wife follows a structured pattern of guitar instruction and enjoys it.

I have for my own interest chosen to follow an unstructured way of learning to play the guitar. I am grateful that Academy has not forced me to follow a structured curriculum. This approach speaks a whole lot about independence required in learning music. It also reflects that the Academy allows students to follow their own course of action. This is also in my own interest as I am not keen in attending to exams considering that as a working professional there are too many challenges to handle and one more examination appeared to me as an overload.

Hands on guitar

The feeling of holding onto a musical instrument is by itselfquite amazing. Especially if you have been longing for it. My first experience was in my first class when I started to learn the basics of a posture required for learning classical guitar. This included growing nails, sitting with the left leg in an elevated position and holding the guitar in a 10:10 angle as is reflected in a clock. I recently read an article in the ISL Football league wherein one of the coaches said that the basics are learnt at a young age i.e. as early as 15-16. And I fully agree with that as the later we start learning, the longer it takes the time to learn the basics.

It took me almost a quarter to learn proper sitting position, holding of guitar and playing the strings. This is because sitting in a given position for an hour especially when one does not get involved in daily work out is very difficult. It also has its own pains. I may be a slow learner but these did not deter me from my determination.

If I had to go by my speed of learning, I was a sure drop-out by choice then. However, within myself I knew that time is not the criteria and this is where my choice of learning the unstructured way helped me. And I must admit that my guitar instructor Mr. Nandakumar is an amazing person and he allows the space required for a working professional to learn music.

Playing music pieces

To learn the basics and reach a stated level it took me some time. I was also not equally disciplined in putting daily ten minutes of practice given the work load and the responsibility I handle in my profile. But despite all this, I did put in time for practice whenever I could snatch some. I used to spend some extended time during holidays. This is keeping in mind that I am also pursuing another professional course simultaneously which requires certain amount of time. Now, I have developed myself to a level wherein I can play some small pieces. Precision is yet a distant start but the confidence is the ship sailing in the desired direction.

Teachers’ expectation

The basic expectation that teachers have from us as a student is to put in daily ten minutes of time for practice. This is similar to the homework we used to do during our school days J! But this time there is no hard and fast rule. The teachers do understand the work pressure and they rather help us practice during regular classes, which of course would be ideal to avoid as otherwise we would never graduate to the next level. The regular practice may be difficult for working professionals in the initial days but as we progress along believe me this does not appear difficult. Because as we go along, there will be a learning curve effect in whatever we do. Same is the case with the guitar classes. In the initial days the learning is slower but in the later stage it all boils down to handling the strings.

Concluding Note

I know lot of working professionals find it difficult to take time out for themselves due to work, family and kids. But if you ever feel living that portion of life which you wanted to, take the first step now. Because it is better late than never.

Music, if ever, had been on your wish list then you may wish to explore the Academy as an option. If not for you, then your loved ones may enjoy the pleasure of learning music. I do, including my loved one does – do you wish to share the same feeling J? Then you are welcome to join me in this pleasant journey!!

Anand

Guitar Student –Academy of Western Music, Chennai.


Sing Out

October 10, 2014 | Uncategorized | 0 Comments

Sing Out

I remember asking my Uncle about who created music, when I was probably 5 years old, and trying to learn the guitar. Also, why he always tuned my guitar before I started playing? And, why my Guitar had 6 strings and not 7 or 8?

My Uncle sat next to me and told me this story that happened long time ago when the world was just made and where people did not have a language to speak. It seems some people were carrying big stones and one suddenly fell on a man’s feet. He instantly screamed loud and sharp which the people around had never heard before. The man was very curious to know what had happened and how the sound came from his mouth all of a sudden. So, he took another stone and dropped it on his feet again but this time the scream was different. He became all the more curious and gathered more stones of different sizes. He started to throw them on his feet one after another, and started making sounds of different kinds. His curiosity further increased and he dragged another person who happened to be a lady and did the same to her. And, to his surprise the sound was different, which he felt was better than his own. He then decided to do this trick before the BIG Chief, and get rewarded.

Having gathered a few more people including men, women and kids, he tried and discovered that it worked on all of them. Now, he took them to the BIG Chief with a huge sack of stones, rocks, etc. He made them all stand in a group before the BIG Chief and started tossing stones one by one on their feet and each of them started to make sounds. The BIG Chief who was truly carried away by the act, rewarded him and also gave him a position called the “SOUND CREATOR”. His job was to entertain people whenever there was a feast or any kind of celebration. The group of people he used told him “buddy, all you need is a sound from our mouth, which we will do without you throwing stones at our feet as it hurts; all you have to do is stand in front of us, wave your hand and we will understand, and make the sounds that you want”. That is how the first CHOIR came to life.

Singing is a beautiful art. But, you need to learn how to sing the right way in order to sound beautiful. Else, it could sound odd…………. When you take voice lessons from a qualified and experienced instructor, you will be taught the basic things that can help you go a long way.  Before you start singing, you need to do a bit of warm up, and some work out, like how one does before playing a game. This is the first thing done in singing classes too.

Warm ups will gradually prepare your muscles for higher intensity of performance and help you sing higher notes easily. You will distinctly experience this when you go for singing lessons.

Breathing

The Four steps of Effective Breathing are

  1. Aligning your body with neutral posture (proper alignment, or keeping a “neutral” spine, placing the least stress on your muscles because you are balancing the effort among all your muscles to maintain your position)
  2. Inhaling, expanding around your waistline
  3. Exhaling with a firm abdominal
  4. Keeping your ribs open as you exhale (do not collapse your chest.)

A Quiet Breathing exercise

  • Stand in front of a full length mirror
  • Take a deep breath with no chest lift (don’t over fill), and hiss on sustained “S” sound for as long as you can
  • You will feel firmness in your abdominal muscles as you expel your air
  • At the very end of your air supply, be sure to keep your ribs open, and your chest in a comfortably high position

Repeat two or three times, watching carefully to maintain good form. When you memorize good form by watching yourself, you are teaching your muscles to “remember” this action for singing. This is best explained when you attend vocal lessons.

(Courtesy – Vocal Workouts for the Contemporary Singers, Anne Peckham, Berklee press)

For more details on the above topic, please refer to the book which is available at the Academy’s library.

Practice in front of a Mirror

Singers should constantly practice in front of the mirror. As soon as you finish learning a song, you have to put yourself in front of a full size mirror. This will help you express emotions in your music. The dramatic artist depends largely for his / her expression.

The singing mouth should always smile lightly. The light smile relaxes the lips, allowing them free play for words which they and the tongue must form, and together give the singer a slight sense of uplift for his / her expression.

The lips are of greatest aid in shaping and shading the tones. A singer’s mouth must always look pleasant, not only because it creates a disagreeable impression on the audience but also because natural and correct voice production requires a mouth shaped almost into a smile.

Good Diction

A good diction or the art of pronouncing the word properly and intelligently is very important. The same is sadly neglected by many singers, and is indeed not considered important by a large proportion of the audience, who do not understand foreign language. And in opera singing, where the language may not be familiar with the entire audience, sometimes it becomes unimportant whether the words are understood or not, as long as the music is good.  It is very important to learn how to pronounce the word correctly before you start to sing.

Essential Vocal care

  • Do not scream
  • Do not speak at the top of your voice
  • Do not speak when the music / noise level around you is high
  • Do not sing when you have a sore throat / cold
  • Do not smoke
  • Drink a lot of water
  • Avoid stress, as it is directly connected to your emotions
  • Avoid too much of dairy products, especially ice creams and chilled drinks

Some Hints to master the art

  • Practice daily at least for 30 minutes
  • Review the lessons taught in your previous class before you go for the next session
  • Sight read few pieces daily; reading sheet music is very important
  • Ensure the instrument used for accompaniment is in concert pitch and tuned well
  • Memorize the song; you can interpret the song well if you know the words by heart
  • Develop an ear for music; ear training exercises will be helpful in this regard
  • Do a little of back stage warm up before you perform

I would say to all young people who are ambitious to become singers, that it is a thoroughly hard-worked art, which requires long months and years of study. Daily practice is very essential. Practice on the diction; try to learn a few songs of different languages like-German, Italian and French. Daily workouts are very important. If you are given an opportunity to perform for an audience, just don’t hesitate, even if it is not the kind of crowd that will appreciate Western music. Performance opportunities for music in schools and colleges is also a great platform. Just get on stage and give your best shot. Someone from there will take you to the next level, trust me it has worked for me, and if it has worked for me it will surely work for all. When it comes to singing, you need to put your heart and soul, and bring life to the words of the song. And when you have put all of it together then definitely there will be magic in your voice. If you’re someone who’s looking for the right place for vocal music lessons, the Academy of Western Music in Chennai is where you need to go. It is the most sought after academy in town for music education, where training is offered in both classical and contemporary singing by experienced and qualified faculty.

Cheers!!!

David Devasahayam

Vocal Instructor –Academy of Western Music, Chennai.


Holistic Approach To Teaching

August 5, 2014 | Uncategorized | 0 Comments

Holistic Approach To Teaching

Most pupils want to learn music because they love the sound of their instrument or because they love music in general; others learn because they have a sibling or a friend who plays, or because their parents want them to learn. But unfortunately, often students lose interest after a few weeks of lessons because the lessons are not so engaging or because the student is just lazy to put in some hard work. So it becomes very important for a teacher to keep the students motivated all the time. Teacher has to carefully structure the lessons so that they are challenging and at the same time, enjoyable. The lessons should focus on helping the students become musically independent and creative.

A lot of students spend a whole year learning only the 3 exam pieces by rote. And a few weeks before the exams the teacher rushes with scales and some lessons on sight reading and aural. Teaching improvisation and composition is not even in the agenda. Integrating all aspects of music, like scales and technical exercises, sight reading, aural training, improvisation, building a repertoire, theory etc. in every lesson would be a better way to go about. Each aspect actually complements and improves the others.

Scales and Arpeggios develop an awareness of keys. They are a good way to warm up before a music lesson. They also help students recognize scale and arpeggio patterns in their pieces.  Along with scales, students should also be made to practice technical exercises. There are a whole lot of technical exercises from Czerny, Hanon etc. that help improve finger dexterity when you study piano. My students are particularly fond of Edna Mae’s ‘A Dozen A Day’ series. These books have plenty of short exercises that address the technical needs in beginners.

A teacher can save a lot of time and effort when the student is good at sight reading. Sight reading helps the student to be independent and learn pieces quickly. With the ability to sight read, one can explore the ocean that is music. Students should be taught to recognize various rhythm patterns, interval and chord patterns. Always insist on maintaining a strict pulse, and reading forward, never to go back and correct a wrong note. A good way to improve sight reading is by playing in ensembles and duets. Recently, in a workshop, Karl Lutchmayer, a concert pianist and educator, showed an interesting way to teach sight reading. He would give the student a few seconds to have a glance at the score. Then when he asks the student to start, he would cover the first bar in the score, which means the student can only read the second bar while he is actually playing the first. And when the student plays the second bar, Karl would cover it, allowing the student to keep reading ahead. This way, the student was chased to keep up with tempo and read at least a few beats ahead of what he was playing.

Ear training helps to analyze and understand music. It improves musicianship and helps in improvising and composing. Teachers should emphasize on having alert ears. Insist on constantly listening to what the student is playing. Make the students sing what they play. This way, they internalize the piece. With the advent of smart phones, there are a wide range of mobile apps that make aural training fun. One can have exercises for pitch, interval and chord recognition, scale patterns, rhythm etc. even while travelling, without a teacher being around. Again this saves the teacher some time and effort in the class. Also there are dedicated radio channels like BBC radio3 and plenty of recordings on YouTube to listen to western classical music online.

Improvisation has become a lost art in classical music. Today’s music instruction has become more score centric. I believe improvisation lessons can retain the pupils’ interest in learning music. Students develop a sense of ownership in what they play and thus pay more attention.

The importance of teaching music theory cannot be over emphasized. A knowledge on harmony helps to understand the music better and to appreciate it. It improves the listening skills and makes memorizing easier.

A teacher will obviously spend a big chunk of time in teaching pieces in any music course. No matter how much importance you lay on scales and other technical skills, ultimately what anybody would want is to play some meaningful music. It is here that the teacher’s role becomes very vital in improving the musicality of the pupil. Given the limited time available in a day’s teaching session, integrating all aspects of teaching (sight reading, aural, improvising etc.) with the repertoire pieces will be an ideal way to holistic teaching. Paul Harris speaks in depth about this and various other teaching issues in his book ‘The Virtuoso Teacher’. In fact the very first few lines in this page have been borrowed from that book. But honestly, the subject is what I really mean and something that I practice.

Going back to the topic, Students should also be taught how to practice. Most young musicians find practice as a monotonous, mundane work. It is certainly the teacher’s responsibility to present practice as a rewarding and enjoyable experience. I don’t deny exams are important. But students may lose sight of the goal when preparing for a once-in-a-year event. Instead, arrange peer concerts every few weeks so that the students set shorter goals and ultimately achieve the bigger prize. Wouldn’t it be lovely to think you are at least one step closer to achieving your target, after every practice?

Finally, a good teacher is a good student. Learning is a never ending process. It is important to shed one’s ego and search for knowledge all the time. All the above ideas that I discussed are just a small compilation of my little experience, and learning from some of the great teachers’ that I have studied under. Academy of Western Music, the place where I teach piano has been benevolently providing all the piano teaching resources that I need, which allows me to experiment with my teaching methods and evolve as a better teacher. The nicest learning environment, good teachers and the right teaching methods at this Academy, makes it the best place in Chennai for learning western music.

Srikanth Gnanasekaran

Faculty for Piano & Keyboard –Academy of Western Music, Chennai.


Well Balanced Curriculum

July 1, 2014 | Uncategorized | 0 Comments

Well Balanced Curriculum

Music is deeply rooted in human nature and learning music is something that many of us like to explore. The choice of institution, instructor, and a few other factors make music study, a pleasurable experience. It is therefore important to have the right mix of everything in music education.

What is a balanced curriculum and why teach a balanced curriculum?

A good music academy should have a balanced approach for holistic development in the student. It begins with the use of right books and methods, taught by experienced teachers, who effectively engage the student. A well-structured study is required to achieve the goal ahead, where every single lesson or activity is made enjoyable and meaningful. The three key areas that determine a well-balanced program and make it quality oriented are:

  •  Learning
  •  Performing
  •  Assessing

 

LEARNING

Communication:

It is important for the teacher to regularly converse with the students as they need to know, why they do, what they do. There could be a purpose behind every application but the student will not work towards it, unless it’s explained. For example, some teachers like to introduce music notes through theory lessons even before they begin practical training since they feel it makes learning relatively easy.

Practise:

It’s quite exciting when you begin music lessons but the need for real passion is realised only when it comes to sincere effort and hard work. The consistent practise at home is important whether you take guitar lessons or piano lessons to progress effectively. The students should avoid using the class time for practising old lessons. The teachers will appreciate when the students complete the necessary homework and come prepared to take the next lesson.

Syllabus:

Music learning should never become just another school going activity. Instead, it should be made as interesting as one would play a video game or spend time on Facebook. There are several modern method books on how to learn guitar or how to play keyboard and other instruments. These books give a lot of confidence to the student, especially beginners through their tune based learning exercises. It makes the student play the simplest of tunes, right from day one, where each tune is a lesson by itself that introduces something new in music. Additional study materials like supplementary tune book, technique book and theory book should be slowly encouraged once they start progressing. This in turn will make their music learning more interesting and challenging. It will raise the level of seriousness with which their practise becomes even more important to accommodate these things.

Improvisation & Own Compositions:

It may not be a good idea to remain confined to written music. Creative thinking along with the ability to explore and find responses can be nurtured through right guidance. Music promotes intelligence by encouraging personal expression and gives enormous scope for imaginative ideas. Also, a good balance between ear music and sight reading is important. The student will have to be well equipped in a competitive music environment that demands both the abilities.

 

PERFORMING

Opportunities:

Yes, we learn because we want to perform and for that we need opportunities to showcase our talent. It doesn’t really matter whether you are playing for a small or a large audience as far as you get a platform to do it. In many cases, the opportunity will have to be created by the institution or the teacher so that the student experiences performance.Such events will also give the parents and friends an opportunity to see the progress made by the student. Performing in a recital hall or auditorium is a different experience for the student whose playing is mostly confined to classroom or home. It requires a bit of skill that the student develops over a period of time.

Options:

There are several options like solo, duet, ensemble, etc. that can be offered to students when it comes to performance. Not all students will be willing to perform in front of an audience as stage freight might worry them. Solo playing can be done by students who are relatively bold, and the alternate options could be explored by students who shy away from performing. Competition is another great platform but the decision to participate in it should be left to the student. It is one step ahead, where the student is expected to demonstrate higher level of certain qualities like showmanship, technique and proficiency, to name a few. The students should be encouraged to present their own compositions in addition to the ones that they have been taught.

Frequency:

There can be as many events as possible to make them perform consistently. Right from a small time piano recital, to a mixed instrumental, to a vocal evening, there are many things that can be scheduled through the year. It can be anything from classical to contemporary music. This will certainly improve their playing. It will help the student to build a personal repertoire and be prepared to perform any time.

Confidence:

Performance enables the students to develop the required confidence as they keep doing it regularly. It happens all the more when they perform and witness other students play. As they do this, they share with others,and also learn from one another by observing the uniqueness that each student portrays.

 

ASSESSING

Structured learning:

It is better to have a framework for studying music, and the graded curriculum is a good way to go about it. The assorted collection of music that has been put together in increasing difficulty by accredited exam boards, helps the student to go through structured learning.

Qualification:

The student can work on the graded syllabus and take exams in music to earn certificates that are globally acclaimed. It is the common basis on which the student’s musical ability is generally ascertained. The student’s presentation is evaluated by a qualified examiner who gives an unbiased report.

Accomplishment:

There is a sense of fulfillment when the student earns credits in music. The exam repertoire is not limited to the assessment based on general parameters like accuracy, fluency, technicality but also provides the scope for own interpretation in several areas.

In conclusion, I like to highlight that the overall talent development is a major focus at our “Academy of Western Music”. All the courses here are well balanced, well sequenced and well implemented. It is a great facility where skilled faculty help you to enjoy every bit of your learning. If you’re someone looking for Music Theory, Piano, Keyboard, Drums, Saxophone, Violin, Vocal or Guitar lessons in Chennai, I can assure you that our academy will be the best in the city. The dream of every student who aspires to learn and master western music is made a reality at our Academy.

 

John Sudhakar
CEO -Academy of Western Music, Chennai.