WE HELP YOU CONTENTS turn your musical 04 WELCOME 06 WHY CHOOSE TSM passion into 08 CAREER OPPORTUNITIES IN MUSIC 12 STUDENT LIFE 16 COURSE OVERVIEW a successful 18 PROFESSIONAL MUSIC PERFORMER 30 PRO MUSIC PRODUCER career 36 MUSIC INSTRUMENT PRODUCER The True School of Music beats at the very 46 PRO SOUND COURSE heart of Mumbai’s thriving entertainment 48 PRO DJ COURSE business. Its aim is to train the next generation of musicians, artistes, producers, sound 5O ADDITIONAL ELECTIVES engineers, composers and DJs to feed the 52 REAL WORK EXPERIENCE increasing demand for music within India’s 54 INTERNATIONAL FACULTY burgeoning music scene. 56 STATE OF THE ART FACILITIES 58 MASTER CLASSES There has never been a better time to be a 60 TSM LOVES AMCHI MUMBAI musician in India and there has never been 62 OPEN DAYS & HOW TO APPLY a school quite like TSM to help you achieve your goals. Our mission is to equip you with 64 FOUNDATION COURSES all the knowledge and expertise you need to 66 TSM SUPPORTERS turn your musical passion into a successful career. Inside you will find all you need to know about our extremely talented and professional faculty, industry inspired facilities, world-class courses, and everything you need to take your first step into a future of musical possibilities… we look forward to welcoming you.
TSM Prospectus 2015/16 Written and compiled by TSM Design : Mangoblossom Design (Manjiri Rajopadhye with Marlies Bloemendaal) Photographer : Kaval Chaudhari Special thanks to Julia Leggett, Ashutosh Phatak, Nitin Chandy, Timothy Herring, Helen Stone, Poornima Sharma
All information is correct at the time of publication. TSM reserves the right to make changes or amendments without further notice.
2 • TSM 2015/16 2015/16 TSM • 3 Ashutosh Phatak Co-founder it’s an
I know you are reading this because music is at the very amazing core of who you are. It is the backdrop of your every waking moment; it defines you and it drives you. I understand this drive. I have been a professional musician for over 20 years It’s really an amazing time to be a musician! I’ve been part time and I’ve loved every minute of it. As well as being a profes- of the music industry for the last 20 years and it’s been won- sional musician, for the last 10 years I have also had the derful to see how the scene in India has evolved over these privilege of working with thousands of aspiring musicians years and I’m especially excited to see where it’s about to go. to be a during my time as CEO for the Academy of Contemporary It’s a time when so many diverse opportunities are available Music, UK. At ACM, I saw many students take their first to working musicians, where the demand is more than the tentative steps in their musical learning and go on to achieve supply in many industries, and with the right spirit, opportu- musician! commercial success; artists such as Ted Dwane (member nity and knowledge, anything could be possible. of Grammy Award winning Mumford and Sons), Newton Faulkner (2 number one selling albums), Zomboy (hugely So when TSM’s Co Founder, Nitin Chandy approached When I first envisioned a music acad- successful producer and DJ) and many more making music me with the idea of setting up the school together, it just emy in Mumbai, I only thought of the their life. seemed perfect. The dream was to build a school that will highest calibre music eduction for our empower people to take up music professionally. A school equally talented local musicians. But Now I am in India and it is an honour to be the CEO of TSM. that was industry oriented, full of the passion that fuels now when I see our students perform- I was drawn to India by its vibrancy, its people, its culture our souls, yet practical enough to convert that passion into ing at established music festivals and its spirit of possibility. I was drawn to TSM by the team’s a paycheck. A school that bypasses a lot of the trials and and local music venues, it gives me passion, authenticity and desire to create a world-class tribulations of learning on the job, by distilling that informa- immense pride to know that our institution. I was also excited by the potential for growth in tion into concise packets that can be consumed in a shorter school has managed to deliver on not the music and entertainment industry. The growth statistics amount of time, making the whole learning process efficient just education but also on integration here are truly mind blowing. I am so privileged to have the and exciting! A school that gives real world experience to with the music industry. It can only get opportunity to take all of my experience in the UK and apply students, but under the protective shelter of a professional better from here. it to such a wonderful institution and in such an incredible faculty and facility, so that studied knowledge is seamlessly country. integrated into reality. This was the dream. Nitin Chandy Co-Founder Mumbai is India’s entertainment capital. It’s no accident that Today it is beautiful to see it come alive, made real by the True School is at the heart of this industry. Our connection very students and faculty that give life to this idea every with the entertainment industry is unparalleled and we aim single day. I watch them shape and mould it by their com- to bring these connections to you. Money-can’t buy experi- mitment, enthusiasm and their drive. Like we make our own ences such as Master Classes from world-renowned artists destinies, we can decide the way we learn. If you do choose are all part of the TSM experience. Coupled with real-world to join our school, I urge you to take advantage of us! Be placement opportunities, this makes TSM the number one proactive! Extract every piece of information you can from choice for aspiring musicians. the faculty and treat the facility as your second home. Everything we do is about you. From our world-class faculty, I’ve lived the life of a musician and all I can say is that I’m drawn from across the globe, to the high spec classrooms, happy - happy to go to work everyday because I love every everything is about creating the very best student experi- moment of what I do. The cathartic release of expressing a ence. Should you choose TSM, I know you will bring your new idea and getting paid for it at the same time – you can’t talent, your commitment and your dedication to succeed. In beat that! This is what I wish for all our students. return, I promise that every member of the TSM team will do its best to match your passion and help make music your Once again, it’s an amazing time to be a musician! life.
HELLO!
Julia Leggett CEO
4 • TSMTSM 2015/16 2015/16 TSM • 5 .Master Classes.
WHY .Real Work. TSM attracts big names from .Experience. the music industry making CHOOSE master classes an integral TSM is leading the way in cre- part of our student experience. ating career paths in today’s World-renowned artists such TSM music industry, with work .State of the Art. as Derek and Susan Trucks, placements exclusive to TSM .Facilities. Louiz Banks, Shubha Mudghal for its students to combine and many many more have practical study, real life work Our facilities are truly world shared their invaluable experi- experience and the opportunity class with equal attention paid ence with the students. .Student Life. to network with employers. .International. to each room and the equip- .Faculty. ment that goes in it to ensure As a student at TSM, you will our spaces are functional and .Career. launch your career equipped The Professional faculty at The are inspirational to learn, play with an unparalleled educa- and hone your craft. .Opportunities. True School of Music comprises tion from India’s leading school .Course Overview. the very best graduates from .in Music. for contemporary music. As international schools such as well as the music, faculty, and Unique to TSM, the Professional The Manhattan School of Music There is a high demand in India classes that await you, there school courses are tailored (MSM), Conservatorium Van for music to be produced for are friends and mentors that to each individual. Students Amsterdam (CvA), HKU Univer- film, TV, advertising, digital you will treasure for the rest of can choose from: Music Pro- sity of the Arts, Utrecht (HKU) and live performances. Unlike your life. duction; Guitar; Bass; Drums; & British & Irish Modern Music many other career paths, music Keyboards; Vocals; DJ; Studio Institute (BIMM). is an industry that is thriving in & Live Sound, either as a single India offering real, high earn- pathway or a combination of ing employment opportunities. disciplines. The system is also designed to take students who are at varied levels of learning and experience and prepare a path for them that ultimately takes them to the professional world.
6 • TSM 2015/16 2015/16 TSM • 7 CAREER OPPORTUNITIES IN MUSIC HELLO. I’M A MUSICPRENEUR
“A Jack of All Trades is a master of none, but often better than a master at one.”
There are salaried positions within the music industry but I’m a most musicians need to think of themselves as entrepre- I also create neurs or “musicpreneurs”. The concept of a musicpre- music neur is to have a portfolio career whereby you maximise producer advertising all of your skills to make music your full time income. jingles by day For example, a music producer needs to develop multiple revenue streams such as working in music for advertising, writing jingles, at the same time collaborating with other artists and taking a session fee. He/she may also offer and a I give PRIVATE studio sessions for paying customers and therefore earn a by night MUSIC lessons booking fee. Other revenue streams could include teach- DJ ing at either a school like TSM or privately at a studio. They At times I offer may also be a resident producer or engineer at commercial I teach studios and may also extend their skills to DJ’ing and work studio in venues during the evening. sessions music at a school like The music industry employs thousands of professionals R$ to meet its specific and varied requirements and new job TSM roles are being created on a regular basis. I often On the next pages we’ve listed some of the earning collaborate opportunities available within the music industry. with other musicians
8 • TSM 2015/16 2015/16 TSM • 9 CAREER OPPORTUNITIES MULTIPLE WE’VE LISTED SOME OF THE EARNING OPPORTUNITIES IN MUSIC AVAILABLE WITHIN THE MUSIC INDUSTRY. EARNING OPTIONS
.LIVE MUSIC. .MUSIC BUSINESS. .MUSIC FOR FILMS. .MUSIC EDUCATION.
Indie Band Festival Organizer Film Song Composer Freelance Music Teacher Singer/Songwriter Gig Organizer Background Score Composer Music School Owner Solo Artist Venue Promoter Music Producer Professor .ONLINE MUSIC. Artist collaborations Venue Programmer Music Programmer Associate Professor Live Sessions for Event Programmer Music Arranger Assistant Professor YouTube Channel Owner Multiple Artists/Bands Artist Manager Studio Director / Manager Ethnomusicologist Cross Channel Collaborations Resident DJ A&R Administrator or Coordinator Studio Engineer Private Studio Personal Artist / Band Website Owner Freelance DJ Booking Agent Recording Engineer Music Supervisor / Administrator .MUSIC FOR RADIo. Online Music Sales Music Producer Record Label owner Sound Designer Video Music Tutorials Web Series Composer EDM Producer Music Branding Sound Editor Online Music Education RJ Promo Music Maker Lyricist Music Distribution Foley Artist Music Workshop Radio Jingles App Music Maker Live Sound engineer TV Music Marketing Manager Sync Sound Recordist Recording Engineer Music Programmer Online Music Merchandising Stage Manager Music Business Attorney Symphony Orchestra Conductor Sound Designer Music Director Music Video Production Emcee Tour marketing Playback Singer Sound Editor Chief Engineer Online Music Manager Music Video Production Managers Backup Singer Singer Maintenance Engineer Music Blogging & Tweeting Lighting Engineer Music Instruments Sales Lyricist Multiple Language Singer Production Director E-Music Magazine Owner VJ Copyright Jobs Session Musician Background Singer Production Manager Artist / Band Website Designer Music Technician Music Licensing Jobs Voiceover Artist Voiceover Artist Production Assistant Online Music Production Projects Endorsements Instrument Sales Music editor Music Editor Digital Associate Media Director Corporate Shows Representative Music Supervisor Music Supervisor Wedding Shows Music Dealer Manager Re- Recording Mixer Re-recording mixer .MUSIC FOR. Music Journalist Retail Music Sales Mixing and Mastering Mixing And Mastering Engineer .TELEVISION. .MUSIC FOR VIDEO. Artist Logo Designer Publicist Engineer Sessions Musician .GAMES & APPS. Album Artwork Designer Background Score Composer Musicals Music Producer Background Score Composer Band Photographer .MUSIC IN. Music Programmer Music Producer Costume designer .ADVERTISING. Music Arranger Music Programmer Tour Work Studio Director / Manager Music Arranger Tour Manager Jingle Writer Studio Engineer Studio Director / Manager Sound Technician Jingle Composer Recording Engineer Studio Engineer Tour Co-ordinator Background Score Composer Studio Designer Recording engineer Tour Publicist Music Producer Sound Editor Sound Designer Music Programmer Foley Artist Sound Editor Music Arranger Sync Sound Recordist Foley Artist Studio Director Symphony Orchestra Conductor Sync Sound Recordist Studio Manager Session Musician Session Musician Studio Engineer Voiceover Artist Voiceover Artist Music Editor Music Editor Music Supervisor Music Supervisor Re- Recording Mixer Re-Recording Mixer Mixing and Mastering Engineer Mixing and Mastering engineer
10 • TSM 2015/16 2015/16 TSM • 11 We asked current students to answer questions about their lives here at TSM, and based on what they had to STUDENT say, here are the top 10 reasons for them choosing TSM. LIFE TOP 10 REASONS TO STUDY AT TSM
2 3
With faculty members coming from How are the facilities at TSM? across the globe what about this multi- The facilities at TSM are world-class! cultural experience appeals to you? TSM has a brilliant studio, 2 record- TSM is the first music school in Mumbai ing rooms, a band rehearsal room, a that actually offers a multicultural music silent jam room and 8 practice rooms; education. Students get to interact with this is in addition to the classrooms 1 and share the same workspace as differ- per department. Students are allowed ent musicians and educators from across to book any of these rooms for What’s a typical class like in terms of the the globe and locally. This way, students rehearsal or recording. Additionally, dynamics between faculty and students? absorb diverse influences and become TSM has a fully functional auditorium It’s a very close-knit class with at most 10 students. This multi-faceted within their chosen music that pretty much simulates a real enables the faculty to focus on each student individually disciplines. stage; students can use the audito- ensuring a strong foundation in their chosen discipline. rium to perform or practice for their The faculty comprises young professionals from around live shows. the globe with a world-class education and experience which makes it a lot easier for students to relate to them in class and not feel intimidated to ask questions and speak openly. 4 Do you feel like you’re part of a community, part of something bigger? Absolutely! TSM is a music industry school with real placement opportunities. It feels like we’re all part of a bigger vision because tomorrow most of these students will be out there forging new careers in the music indus- try. You never know which one of your peers will be the next big thing in music so it’s really exciting to collaborate at the early stages. Additionally, big industry names, both from the national and international scene are associated with TSM, acting like a bridge between the students and the industry. There is therefore that feeling of belonging to the future of the Indian Music Industry from day one.
12 • TSM 2015/16 2015/16 TSM • 13 5
How would you describe the culture of TSM? It’s a great blend of western, world and Indian music education and every student gathers invaluable skills that can help them thrive in 10 this competitive field. Also, it’s a very real approach to making music a career; we get access to a whole lot of What’s it like to have veterans from resources that can help us with this. the music industry visiting TSM regularly (perhaps even teaching) and sharing their experiences and 9 insights? It’s absolutely amazing to meet your idols and get a chance to talk music Are a lot of musical collaborations born at TSM? Also, How do you feel TSM contributes to with them. Their sheer body of knowl- do you think lifelong friendships are forged here? 6 the music community on the whole? edge, work and experience makes TSM makes collaborations inherent to the culture of the The school has regular master classes chatting with them, so valuable. The school. This is a school where multiple disciplines are taught and workshops that are open to the best part is these musical celebrities under one roof. Musicians are inquisitive learners and having so public and are free of cost. In this way actually do take the time to answer many different kinds of music taught in one place, create experimentation musicians who are not part of the every question that the attendees and multiple collaborations. Students interact with each other a lot and school get to learn from world-class have. Some of them have even come get to know each other’s musical forms, which naturally results in a sort of professionals. Also, TSM has regular on board as faculty and just having cross-pollination of ideas. Additionally, assignments also require students panel discussions and talks by veter- the good fortune of being taught by to team up and perform or produce; it’s very inherent to the system. ans from the music industry that are them is truly a fantastic experience for again open to the general public too. students. This allows people who are not part of TSM to enjoy the TSM experience and also interact with stalwarts from the 7 music industry that they would ordi- narily have little or no chance of meeting.
Is there something that will stay 8 with you long after you’ve left TSM? There is much that being in an environment like this can teach you about yourself; right from dealing What kind of in-house activities are provided to prepare you for the with pressure and tight deadlines to world of professional music? dealing with writer’s block to dealing This is one of the main reasons students choose TSM. TSM does a lot with stage fright and criticism. It’s to give students real world exposure in the form of placement auditions all a part of personal development and open mic nights with constructive feedback from industry profes- and there are many life lessons to be sionals, gigs at venues across the city for both performers and DJs, learnt from every single person here; real-world production work like jingles, background scores and film from faculty to staff to peers. industry songs and so much more. TSM is a music industry school; this means there are plenty of music industry projects that come to TSM for which students are recruited as performers, producers as well as sound engineers. Besides assignments, being given the opportunity to work on real world projects is invaluable in preparing us for the world of profes- sional music.
14 • TSM 2015/16 2015/16 TTSMSM • 15 Pro Music PRO Course PRODUCER SOUND OVERVIEW 2 LEVELS OF STUDY 1 LEVEL OF STUDY Level 1 4 MODULES Level 2 8 MODULES Level 1 8 MODULES The Professional School is aimed at students who are, or aspire to be proficient in their craft and are looking to get an 1 KEYS 1 PRACTICAL SONG- WRITING TERM 1 PRACTICAL STUDIO intensive, more in-depth education and pursue a career in music. ENGINEERING + PROTOOLS TERM 2 THEORY TERM 2 CRITICAL PRODUCTION 1 2 creative mixing In addition to their study, students accumulate real world 1 1 ANALYSIS and mastering experiences through our placement program and by the time 3 MUSIC PRODUCTION 3 THEORY they graduate they are equipped to make music their career. 4 HISTORY & CONTEXT 4 HISTORY & CONTEXT of music of music 1 LIVE SOUND TERM ENGINEERING - BASICS 2 LIVE SOUND 2 mixing 1 KEYS 1 ARRANGING CONTEM- PRO MUSIC PORARY STYLES TERM 2 THEORY TERM 2 ELECTRONIC MUSIC Performer 2 2 PRODUCTION - 2 TERM 1 ear training for 3 MUSIC PRODUCTION 3 THEORY mix engineers 3 LEVELS OF STUDY 3 2 multi microphone 4 HISTORY & CONTEXT 4 HISTORY & CONTEXT techniques of music of music Level 1 4 MODULES Level 2 4 MODULES Level 3 8 MODULES TERM 1 stage sound 1 INSTRUMENT 1 INSTRUMENT 1 INSTRUMENT 1 KEYS 1 Orchestration 4 2 basic acoustics & system design 2 Music THEORY & 2 Music THEORY & 2 Music THEORY TERM 2 THEORY TERM 2 SCORING TO PICTURE TERM EAR TRAINING TERM EAR TRAINING TERM 3 3 3 3 3 1 ENSEMBLE 1 ENSEMBLE 1 EAR TRAINING 3 MUSIC PRODUCTION 3 THEORY 4 HISTORY & CONTEXT 4 HISTORY & CONTEXT 4 PVT LESSONS 4 HISTORY & CONTEXT 4 HISTORY & CONTEXT of music of music of music of music 5 ROCK & BLUES DJ
1 KEYS 1 MUSIC IN COURSE ADVERTISING 1 INSTRUMENT 1 INSTRUMENT 1 INSTRUMENT 2 2 1 LEVEL OF STUDY TERM THEORY TERM MUSIC BUSINESS 2 Music THEORY & 2 Music THEORY & 2 Music THEORY 4 3 MUSIC PRODUCTION 4 3 THEORY TERM EAR TRAINING TERM EAR TRAINING TERM Level 1 4 MODULES 3 ENSEMBLE 3 ENSEMBLE 3 EAR TRAINING 4 HISTORY & CONTEXT 4 HISTORY & CONTEXT 2 2 2 of music of music 4 HISTORY & CONTEXT 4 HISTORY & CONTEXT 4 PVT LESSONS TERM 1 DJ 101 of music of music (Vinyl DJ) 5 FUNK / R&B 1
TERM 1 DJ 202 ELECTIVES (CD DJ) 1 INSTRUMENT 1 INSTRUMENT 1 INSTRUMENT MUSIC DJ 1 2 Music THEORY & 2 Music THEORY & 2 Music THEORY EAR TRAINING EAR TRAINING PRODUCTION TERM TERM TERM DJ 101 3 ENSEMBLE 3 ENSEMBLE 3 EAR TRAINING 3 3 3 critical production analysis DJ 202 TERM 1 DJ 303 STUDIO (Turntablism) 4 HISTORY & CONTEXT 4 HISTORY & CONTEXT 4 PVT LESSONS electronic music prod - 1 DJ 303 2 of music of music electronic music prod - 2 SOUND DJ 404 5 LATIN practical song writing PRACTICAL STUDIO ENG. arranging contemporary BASIC ACOUSTICS & SYSTEM DES. TERM 1 DJ 404 STYLES (Traktor DVS) SCORING TO PICTURE LIVE SOUND ENG: BASICS INSTRUMENTS 2 1 INSTRUMENT 1 INSTRUMENT 1 INSTRUMENT OrchesTRATION LIVE SOUND MIXING 2 Music THEORY & 2 Music THEORY & 2 Music THEORY Indian Rhythms STAGE SOUND ROCK AND BLUES EAR TRAINING EAR TRAINING TERM TERM TERM Indian Raags EAR TRAINING FOR MIX ENGINEERS FUNK R&B 3 ENSEMBLE 3 ENSEMBLE 3 EAR TRAINING 4 4 4 Discovery Of Indian Music MULTI MICROPHONE TECHNIQUE JAZZ 4 HISTORY & CONTEXT 4 HISTORY & CONTEXT 4 PVT LESSONS Music In Advertising CREATIVE MIXING & MASTERING LATIN of music of music LOGIC HISTORY & CONTENT - 1 5 JAZZ PROTOOLS HISTORY & CONTENT - 2
16 • TSM 2015/16 2015/16 TSM • 17 Professional Music Performer
All courses at TSM aim to give students the requisite skills to help them become a musical professional. Performance courses at TSM are set at three levels of study to enable beginners right through to advanced students to study at a level suitable to their abilities.
When students join TSM they are assessed based on their existing skills, experience and career aspirations. Once this is established, they are placed in a study level most suitable to them.
There are three levels of study for professional music performers:
• PRO LEVEL 1 • PRO LEVEL 2 • PRO LEVEL 3
18 • TSM 2015/16 2015/16 TSM • 19 Professional Learning Music Outcomes for Performer Level 1
Pro Level 1 Music Theory and Ear Training By the end of Level 1 a successful student should be able to: • Aurally Identify all intervals • Read basic notated score in both treble and bass clef • Develop their knowledge of intervals and how they are used to build triads • Use all Major and Minor scales Core Modules Studied at Level 1 All lessons in this module from the middle of term 1 should Entry have at least ten minutes of ear training as well as the theory content. Requirements Music Theory and Ear Ensemble 1 Training 3 The Ensemble course is History and Context of Music A prospective student entering at This module concentrates designed for students to get By the end of the Music History and Context course a level 1 needs to show the desire on teaching the fundamentals of music the experience of performing on a weekly successful student should be able to: and ability to improve as a player. theory. It covers the language of music, basis with other students. Through the • Develop an understanding of the history of recorded They need to have a basic knowl- the recognition of tones, harmonies and learning of repertoire they will gain the music edge of their instrument or show rhythm and how to translate that into a skills needed to be able to perform as a • Identify the most prominent genres of music from the an aptitude to grasp the funda- written form. This module will teach you band, and display a level of professional- history of popular music since 1910, and describe the mentals of music. to listen to intervals and recognize the ism in a performance situation. features of those particular genres relationship between notes and under- • Assess the importance of different genres to the To prepare for the audition a stand the context of this in terms of songs History and Context development of popular music and where we find prospective student will be given a and music. 4 of Music ourselves today choice of pieces to prepare. From The History and Context • Examine how culture and society influenced genres these, we will be able to assess Instrument of Music module is designed to give and some of the most prominent artists from the last their skill level on their instru- 2 These classes focus on tuition students exposure to a wide range of dif- 100 years ment so the student can be placed on your chosen instrument. It ferent musical styles. Through this they • Continuously develop knowledge of the links between accordingly. Prospective students will help you understand your instrument will learn about where these styles came different styles of music through the history of popular Ensemble shall also be assessed on their and the techniques used in performing. from, the cultural points that gave birth music By the end of the Ensemble Skills course a successful knowledge of music theory; at For example, drummers will learn stick to them and their lasting influence on the student should be able to: level 1 little to no theory knowl- technique and hand/foot coordination and music that came afterwards. Students will have the opportunity to study the beginnings • Rehearse and perform an accurate representation of a edge is required, as we will teach rhythms. Guitarists will learn scales, bar of Western Popular music and the history and influences piece of music independently you from the very basics. chords, fingering techniques (left hand) that styles such as Blues, Jazz, Folk, Gospel, Rock ‘n’ Roll, • Apply instrumental techniques relevant to the style of and strumming techniques (right hand) Soul and many others have had on the music that music through the performance building harmonic and rhythmic abilities. we listen to and make today. • Show group co-operation and a good work ethic to Bass guitar students will learn right and produce a live product left hand techniques and rhythm. Vocal • Develop stage presence and performance techniques students will understand the body as an to create an engaging and professional performance instrument and how to control breath- • Develop an awareness of the above so that they can ing and tone. Keyboard students will display it in giving feedback to peers learn scales, posture and correct hand • Stay in time as a group, without the aid of a teacher technique. • Develop their ear so that they can pick out other instrument parts in order to keep in time in a live setting and tell when they are out of tune with the rest of the band • Play with any ensemble outside of school displaying the professionalism and dedication that it takes to succeed
All performance students during their time in level one will have the opportunity to perform at 15 school organized gigs and put their names forward to audition for placements on gigs in the wider music scene.
20 • TSM 2015/16 2015/16 TSM • 21 Professional Music Guitar By the end of Level 1 a successful student should be able Performer to: • Play major and minor pentatonic and full scales Pro Level 1 • Have an understanding of the CAGED system • Play all major and minor chords in all keys • Read and interpret lead sheets • Develop technique through the use of appropriate exercises • A basic ability to improvise using the scales studied • Develop an understanding of the guitars role in different styles • Develop basic rhythms and timing through the use of the metronome • Develop an appreciation of style
Learning Outcomes for Level 1 Drums Students will have the opportunity to learn the riffs from By the end of Level 1 a successful student should be able songs like “You Really Got Me” by the Kinks, “Sunshine Vocals to: of Your Love” by Cream and “Bo Diddley” by Bo Diddley. By the end of Level 1 a successful student should be able to: • Read and write rhythmic notation up to and including Students will also have the opportunity to learn lead and • Identify and recreate the styles and techniques semi-quavers solo parts from songs like “Black Night” by Deep Purple, appropriate to the genre being studied (linked to • Play all the basic rudiments “Roll Over Beethoven” by Chuck Berry and “Wish You Were Ensemble and History modules) and explore them in • Develop knowledge of different technique and be able Here” by Pink Floyd. extra repertoire pieces to use correct playing techniques • Sing all major and minor scales • Transcribe parts and form different grooves and beats • Match their singing pitch to that of any note played to • Develop internal rhythm through the use of the them metronome • Develop their posture to facilitate better vocal health • Develop an appreciation of style through the use of the Alexander technique • Practice three point breathing technique to improve Students will have the opportunity to learn grooves to singing technique songs like “Fly Away” by Lenny Kravitz, “Hard to Handle” by • Recognise the different parts of their singing voice Otis Redding, “That’ll be the Day” by Buddy Holly and the and how to use them Crickets and “War Pigs” by Black Sabbath.
Students will have the opportunity to learn the lead vocals Bass for songs like “Strange Fruit” by Billie Holiday, “That’s Life” By the end of Level 1 a successful student should be able by Frank Sinatra, “Heartbreak Hotel” by Elvis Presley and to: “Where Did Our Love Go” by Diana Ross and the Supremes. • Develop technique so that playing is comfortable and safe Keyboards • Play major and minor scales By the end of Level 1 a successful student should be able to: • Play to a metronome to develop internal rhythm and • Play all Major and Minor triads timing • Play all Major scales and Harmonic minor scales • Explain the importance of what the rhythm section • Interpret Lead sheets to be able to play with other does and be able to work with a drummer musicians • Develop a knowledge of different basses and pickups • Play Left hand arpeggios with a right hand melody and manipulate them to get the right tone for stylistic • Play two handed triads purposes • Develop an appreciation of style • Build and play triads in a variety of positions and utilising open strings Students will have the opportunity to play the keyboard • Develop an appreciation of style parts for songs like “Let it Be” by the Beatles, “Lay, Lady, Lay” by Bob Dylan, “Great Balls of Fire” by Jerry Lee Lewis Students will have the opportunity to learn the bass lines and “Sympathy for the Devil” by the Rolling Stones. from songs like “Heard it Through the Grapevine” by Marvin Gaye, “I Got You” by James Brown, “Stand By Me” by Ben E. King, “Iron Man” by Black Sabbath and “Fever” by Peggy Lee.
22 • TSM 2015/16 2015/16 TTSMSM • 23 Professional Music Performer Pro Level 2
Entry Requirements Learning Ensemble A prospective student entering outcomes for By the end of the Ensemble Skills course a successful at Level 2 will have some experi- student should be able to: ence as a player and show the Level 2 • Rehearse and perform an accurate representation of a drive to continue developing. Again piece of music independently students will have to prepare a Music Theory and Ear Training • Apply instrumental techniques relevant to the style of piece from the given list so that we By the end of Level 2 a successful student should be able music through the performance at TSM can assess ability. Students to: • Show group co-operation and a good work ethic to entering at level 2 should be able • Be able to aurally identify all triads produce a live product to play to a metronome and show • Use extended chords • Develop stage presence and performance techniques some ability to sight-read. Level • Have a knowledge of modes, how they are linked to to create an engaging and professional performance 2 students need to have some the major scale and what they are used for • Develop an awareness of the above so that they can theoretical knowledge and be • Develop a basic knowledge of harmony through display it in giving feedback to peers familiar with basic concepts such extending chords and harmonising with simple • Stay in time as a group, without the aid of a teacher as the cycle of fifths, scales, triads, melodies • Develop their ear so that they can pick out other chords, rhythmic notation and bass instrument parts in order to keep in time in a live and treble clefs. History and Context of Music setting and tell when they are out of tune with the rest By the end of the Music History and Context course a of the band Core modules are as successful student should be able to: • Play with any ensemble outside of school displaying per Level 1 but taught • Develop an understanding of the history of recorded the professionalism and dedication that it takes to at the next level of music succeed study • Identify the most prominent genres of music from the history of popular music since 1910, and describe the All students during their time in level 2 will have the features of those particular genres opportunity to perform at a further 20 school organized • Assess the importance of different genres to the gigs and put their names forward to audition for industry development of popular music and where we find placements. ourselves today • Examine how culture and society influenced genres and some of the most prominent artists from the last 100 years • Continuously develop knowledge of the links between different styles of music through the history of popular music
Students will have the opportunity to study the continued development of Western Popular music and the history of and influences that styles such as Reggae, Disco, Punk, Rap, Grunge, Krautrock and many others have had on the music that we listen to and make today.
24 • TSM 2015/16 2015/16 TSM • 25 Professional Music Performer
Pro Level 2 Drums Bass By the end of Level 2 a successful student should build on By the end of Level 2 a successful student should build on their knowledge from Level 1 to be able to: their knowledge from Level 1 to be able to: • Develop control over the instrument through playing • Play Bass lines from chord symbols of varying tempos • Build and play extended chords Learning Outcomes for Level 2 • Play more advanced rudiments through the study of • Develop a knowledge of double bass techniques Etudes • Play arpeggiated chords and utilise octaves in playing Vocals • Apply rudiments in a wide variety of settings • Develop a range of Bass playing techniques suited to a By the end of Level 2 a successful student should build on • Develop a knowledge of working drummers and study wider variety of genres their knowledge from Level 1 to be able to: the styles and techniques that they use • Develop a strong internal rhythm and recognise where • Identify and recreate the styles and techniques appro- • Develop the skills to interpret lead sheets the pulse of a variety of styles of music lies priate to the genre being studied and integrate them • Develop more advanced playing of polyrhythms • Play all Modes with their own interpretation of the source material • Play with style that is appropriate to the piece using • Play with style that is appropriate to the piece using and development of their own stylistic traits appropriate rhythmic, phrasing and dynamic choices appropriate rhythmic, phrasing and dynamic choices • Sing all major, minor and modal scales • Explore techniques and personal development Students will have the opportunity to learn the grooves for Students will have the opportunity to learn the Bass lines through the understanding of extra repertoire songs like “Billie Jean” by Michael Jackson, “Smells Like to songs like “Billie Jean” by Michael Jackson, “Stir it Up” • Recreate and improvise instrumental lead lines and Teen Spirit” by Nirvana, “(Poor Me) Israelites” by Desmond by Bob Marley, “Red Rain” by Peter Gabriel and “Good notate the sung part Dekker and “Ladies Night” by Kool and the Gang. Times” by Chic • Develop singing style in a safe and secure environ- ment conducive to the ability to participate in accurate Guitar peer and self assessment By the end of Level 2 a successful student should build on • Stretch and develop their vocal range their knowledge from Level 1 to be able to: • Play all modes Students will have the opportunity to learn the lead vocals • Play extended chords (6th and 7th) and have a for songs like “Purple Rain” by Prince, “Black Hole Sun” by knowledge of common chord progressions Soundgarden, “I Feel Love” by Donna Summer and “One • Fluently use all studied scales to improvise Love” by Bob Marley. • Notate guitar lines • Develop technique to play complex and syncopated Keyboard rhythms using both finger style and plectrum playing By the end of Level 2 a successful student should build on • Play with style that is appropriate to the piece using their knowledge from Level 1 to be able to: appropriate rhythmic, phrasing and dynamic choices • Sight-read from the stave in both the Treble and Bass clef. Students will have the opportunity to learn the riffs for • Play all the major and minor triads and extend them songs like “Good Times” by Chic, “Refugee” by Tom Petty to seventh chords. & the Heartbreakers, “God Save the Queen” by the Sex • Use and understand basic harmony Pistols and “The Jean Genie” by David Bowie. They will • Play well with left and right hands together also be given the opportunity to learn the lead and solos • Play all major and natural, harmonic and melodic from songs like “Purple Rain” by Prince, “Alive” by Pearl minor scales from memory Jam, “Some Might Say” by Oasis and “Purple Haze” by Jimi • Play Blues/Jazz bass lines with the left hand and have Hendrix. a basic grasp of improvisation • Play with style that is appropriate to the piece using appropriate rhythmic, phrasing and dynamic choices
Students will have the opportunity to learn the keyboard parts for songs like “Goodbye Yellow Brick Road” by Elton John, “Autobahn” by Kraftwerk, “You to me are Everything” by the Real Thing and “No More Heroes” by the Stranglers.
26 • TSM 2015/16 2015/16 TSM • 27 Professional Music Performer Pro Level 3
Level 3 is made up of 8 modules Entry
Requirements Instrument In addition to the above modules, Rhythm & Blues 1 This module covers all funda- students will be introduced to the fol- 7 Rhythm & Blues is at the A prospective student entering mental aspects of instrument lowing key genres. Each of the below heart of much of the greatest at level 3 will show proficiency mastery. This encompasses proper hand, sections is taught as both an instrument American music of the past sixty years. on their instrument, have a good arm, and body positioning, Western music and ensemble class. These genres are This module is designed to help the knowledge of music theory and theory, fingerboard knowledge, right and key influences in today’s modern music student develop accuracy and authenticity a knowledge of a wide range of left hand technical exercises, rhythm and entertainment industry and essen- as a player, and expose him to masters styles of music. They will possess exercises, concepts for soloing, tech- tial learning for any aspiring profes- within the field. The module will cover the ability to be independent in niques for deeper listening and aware- sional musician. artists from the 60s through present day their study and have a strong idea ness and tools to develop ensemble skills. R&B performers. of where they want to take their Jazz musicianship as a professional as Theory 5 The module includes learning Latin the level 3 modules are designed 2 The Theory Modules are key repertoire from swing to 8 (Afro Cuban, Brazilian, for students to study specialized designed to help students bebop to modern, chord and scale work, Caribbean) This module is areas that students want to work understand the concepts behind func- groove concepts, listening, and soloing. designed as an overview of Latin music in. tional Western harmony. Students will There will be an emphasis on traditional and the concepts and techniques neces- learn advanced harmony, chord/scale jazz harmony, chord tones, chord exten- sary for elementary performance. Styles relationships, and will be introduced to a sions, developing individual style, playing include bossa nova, samba, reggae, wide range of writing and compositional interesting melodic lines, jazz feel and calypso, certain Afro-Cuban genres, techniques. swing, and fusion concepts. Students Latin-rock, and flamenco. Topics to be should be able to both support and lead covered include: a historical overview; Harmony & Ear Training the ensemble with knowledge of tune significant artists in each of these styles; 3 Some of the most elemental form. key repertoire; basic rhythms of each and useful skills any musician style and how to interpret them onto your can develop are harmony and ear train- Rock and Blues instruments; and how to groove and inter- ing. This module will help the student 6 This module will explore the act with the ensemble in the language of identify more advanced intervals, chord history of Blues in the Missis- particular traditions. types, chord movement, diads and triads sippi delta, move into Chicago, and end and rhythms of all kinds. This training up all across America as various regional will help the student instantly feel more approaches are examined. Students Electives capable in a live or studio setting, allow- will then see how blues emerged into In addition to the core courses, stu- ing him/her to ‘fit in’ and add his/her part rock and roll. Areas of study will include dents are encouraged to choose more naturally. repertoire stretching from mid-twentieth additional Elective modules to enhance century to present, rhythm section skills, their musical learning. These Electives Private Lessons chord structure, and tone. In addition the can be chosen from any of the Produc- 4 Students are given private student will be exposed to the roots of this tion, Pro Sound and DJ modules. lessons with their instru- music and learn a variety of approaches to mental tutor to consolidate the learning feel and form. of techniques and styles. This helps the tutor to individualize the learning for that student which enables them to move forward quicker.
28 • TSM 2015/16 2015/16 TSM • 29 Pro Music Producer
The Pro Music Producer courses at TSM aim to develop a wide range of production skills to enable students to make a career as a professional producer. Students will learn composition and production techniques that enable them to express ideas in a structured way.
Our production courses are set over 2 levels of study depending on the student’s ability. When a student joins TSM they are assessed based on their existing skills, experience and career aspirations. Once this is established, they are placed in a study level most suitable to them.
There are two levels of study for professional music producers:
• PRO LEVEL 1 • PRO LEVEL 2
30 • TSM 2015/16 2015/16 TSM • 31 Pro Learning music Outcomes for Keyboard producer Level 1 By the end of Level 1 a successful student should be able to: • Play all Major and Minor triads Pro Level 1 Music Theory and Ear Training • Use all inversions of triads By the end of Level 1 a successful student should be able to: • Be familiar with the most common chord progressions • Aurally Identify all intervals and cadences • Read basic notated score in both treble and bass clef • Play all Major scales and Harmonic minor scales • Develop their knowledge of intervals and how they are • Split chords between left and right hands used to build triads • Develop an understanding of arrangement and • Use all Major and Minor scales harmony Core Modules • Develop an appreciation of style Entry Studied at Level 1 All lessons in this module from the middle of term 1 should Requirements have at least ten minutes of ear training as well as the This keyboard module is designed to support production theory content. activities. Midi keyboard techniques will be covered Music Theory and as well as arrangement of popular song repertoire. A prospective student enter- 1 Ear Training Music Production ing at level 1 needs to show the This module concentrates on By the end of Level 1 a successful student should be able to: desire and ability to improve as teaching the fundamentals of music theory. • Display a high level of fluency with the use of a a producer. They need to show It covers the language of music, the recog- DAW, having a basic ability to edit, record, synthesise, basic understanding of production nition of tones, harmonies and rhythm and sequence, understand signal flow, mix projects and software and show aptitude for the how to translate that into a written form. use sampling very basics of computing, math- This module will teach students to listen • Develop a basic understanding of the physics of ematics and physics. to intervals and recognize the relationship recording in order to explain why certain techniques between notes and understand the context are used over others Prospective students may provide of this in terms of songs and music. • Identify broad genre definitions and compose to those samples of tracks that they have genres either written or produced either; Keyboard • Give constructive peer feedback and verbalise their as a live audition or as a recording. 2 These classes focus on basic own ideas in order to pitch them to others keyboard techniques and • A level of competency in computers arrangement skills as more often than not a producers main instrument will be a midi Students will be given the opportunity to learn production keyboard. These lessons are designed to techniques that are used by producers like Trent Reznor, feed directly into the music production les- Timbaland, Max Martin and RedOne. They will have had the sons and skills studied will be transferable opportunity to produce ten pieces in a range of across the two subjects. production styles using various techniques.
Music Production 3 Music production is a combina- tion of teaching techniques and skills needed to manipulate Logic Pro and similar digital software tools. Students will also show their proficiency throughout the term on various assignments. In addition to software sequencing skills students will learn recording skills and basic mixing.
History and Context of 4 Music The History and Context of Music module is designed to give students exposure to a wide range of different musical styles. Through this they will learn about where these styles came from, the cultural points that gave birth to them and their lasting influence on the music that came afterwards.
32 • TSM 2015/16 2015/16 TSM • 33 Pro music producer Pro Level 2
Level 2 is a selection Level 2 is made up of electives that take students through the of 8 modules various elements of being a musical producer Practical Songwriting Music in Advertising Scoring to Picture for example, arranging, 1 How to learn songwriting 4 Learn the process of creating 6 The objective here is to give composition or film score. from a practical point of view. music for a commercial - from students insight on how to Students will also gain Students can learn both the lyrical as well understanding a brief to final execution. write music to picture, including balancing industry experience and as musical aspects of the craft. They are Students will learn various systematic music with dialogues and sound effects, connections through introduced to simple song structures and approaches in composition, recording hitting pictures, cuts and more. Students practical projects. are systematically escalated in complex- techniques and mixing concepts. Get an will be coached through the logistical path ity. There will be a spotlight on how to overview of advertising compositions from of a musical idea from initial conception communicate emotion and also what is past to present, analyzing why certain to final recording, including composition, required to typically create a hit song. campaigns were successful. Also under- orchestration and recording. Scoring for Entry stand sound design, creation of hooks and action, horror, comical, heroic, mysti- Arranging vocal casting. Exposure to copyright laws cal, thriller sequences will be extensively Requirements 2 Contemporary Styles and royalty structures will equip students covered. Other topics covered will include: Students are taught here to to enter the business. practical aspects like Music Spotting ses- Students entering at level 2 be versatile and contemporary. Breaking sions with directors, film terminology, free will need to have either com- down different styles of music and being Orchestration timing techniques, synchronization and pleted successfully level 1 or have able to re-create something authentic 5 This part of the course coaches more. developed a portfolio of work and is an important skill for every musician. students to understand and experience that can be assessed at The idea of marrying different styles of apply traditional orchestration techniques Electronic Music level 2 skills. music to create something new will also for musical scores. They are trained to 7 Production Skills 2 be explored in these modules. All popular analyze orchestral scores and sequence In this module, students music genres will be covered. music for every section of the orchestra. explore more complex forms of EDM styles The level of proficiency expected would that include - drum and bass, dubstep, Critical Production be their ability to create a score with a house, hip-hop, trip-hop, London Under- 3 Analysis full-piece orchestra, including multiple ground and more. The module is designed Students will be exposed to instruments and sections. to widen the student’s appreciation and production styles and techniques that exposure to the most popular EDM formats are prevalent in the market. The process includes listening to popular tracks, Music Business breaking them down to critical analyses 8 This module exposes students and appreciate the methods and direc- to all the facets of how the tions used to create them. Subtleties music industry works. From collection such as doubling, auto tuning, and effects agencies, digital distribution, how labels processing will be focused upon. Audio work and publishing, students will learn analysis will include film scores, alt-rock how to monetize their skills. & pop, hip-hop & rap, R&B, blues, jazz amongst others. Electives In addition to the core courses, students are encouraged to choose additional Elective modules to enhance their musical learning. These Electives can be chosen from any of the Performer, Pro Sound and DJ modules.
34 • TSM 2015/16 2015/16 TSM • 35 A COMBINATION OF PRO MUSIC PERFORMER Music AND PRO MUSIC PRODUCER COURSES Instrument Producer
The Pro Instrument Producer courses at TSM aim to develop a wide range of production and performance skills to enable students to make a career as a professional producer, performer, composer and arranger. These courses are designed for those who wish to be oth a performer and a producer.
When students join TSM they are assessed based on their existing skills, experience and career aspirations. Once this is established, they are placed in a study level most suitable to them.
There are three levels of study for professional instrument producers:
• PRO LEVEL 1 • PRO LEVEL 2 • PRO LEVEL 3
36 • TTSMSM 2015/16 2015/16 TSM • 37 music Learning outcomes instrument for Level 1 producer Music Theory and Ear Training Pro Level 1 By the end of Level 1 a successful student should be able to: • Aurally identify all intervals • Read basic notated score in both treble and bass clef this course combines the study of all the • Develop their knowledge of intervals and how they are pro performer level 1 modules + 2 music used to build triads production modules • Use all Major and Minor scales
Core Modules All lessons in this module from the middle of term 1 should Studied at Level 1 have at least ten minutes of ear training as well as the Entry theory content.
Requirements Music Theory and Ear Ensemble History and Context of Music 1 Training 3 The Ensemble course is By the end of the Music History and Context of Music course A prospective student entering at This module concentrates designed for students to get a successful student should be able to: level 1 needs to show the desire on teaching the fundamentals of music the experience of performing on a weekly Develop an understanding of the history of recorded music and ability to improve as a player. theory. It covers the language of music, basis with other students. Through the • Identify the most prominent genres of music from the They need to have a basic knowl- the recognition of tones, harmonies and learning of repertoire they will gain the history of popular music since 1910, and describe the edge of their instrument or show rhythm and how to translate that into a skills needed to be able to perform with features of those particular genres Ensemble some kind of aptitude for the very written form. This module will teach you almost any ensemble and display a level • Assess the importance of different genres to the By the end of the Ensemble Skills course a successful stu- basics of music. They must also to listen to intervals and recognize the of professionalism in a performance development of popular music and where we find dent should be able to: have an interest in music produc- relationship between notes and under- situation. ourselves today • Rehearse and perform an accurate representation of a tion and recording techniques. stand the context of this in terms of songs • Examine how culture and society influenced genres piece of music independently and music. History and Context of and some of the most prominent artists from the last • Apply instrumental techniques relevant to the style of To prepare for the audition a 4 Music 100 years music through the performance prospective student will be given Instrument The History and Context • Continuously develop knowledge of the links between • Show group co-operation and a good work ethic to a choice of pieces to prepare and 2 These classes focus on tuition of Music module is designed to give different styles of music through the history of produce a live product from these we will be able to on your chosen instrument. It students exposure to a wide range of dif- popular music • Develop stage presence and performance techniques assess their skill level on their will help you understand your instrument ferent musical styles. Through this they to create an engaging and professional performance instrument and can be placed and the techniques used in perform- will learn about where these styles came Students will have the opportunity to study the beginnings • Develop an awareness of the above so that they can accordingly. Prospective students ing. For example, drummers will learn from, the cultural points that gave birth of Western Popular music and the history of and influences display it in giving feedback to peers shall also be assessed on their stick technique and hand/foot coordina- to them and their lasting influence on the that styles such as Blues, Jazz, Folk, Gospel, Rock ‘n’ Roll, • Stay in time as a group, without the aid of a teacher knowledge of music theory; at tion. Guitarists will learn scales, bar music that came afterwards. Soul and many others have had on the music that we listen • Develop their ear so that they can pick out other level 1 little to no theory knowl- chords, fingering techniques (left hand) to and make today. instrument parts in order to keep in time in a live edge is required, as we will teach and strumming techniques (right hand) Keyboard setting and tell when they are out of tune with the rest them from the very basics. building harmonic and rhythmic abilities. 5 These classes focus on basic Music Production of the band Bass guitar students will learn right and keyboard techniques and By the end of Level 1 a successful student should be able to: • Play with any ensemble outside of school displaying left hand techniques and rhythm. Vocal arrangement skills as more often than • Display a high level of fluency with the use of the professionalism and dedication that it takes to students will understand the body as an not a producer’s main instrument will DAW, having a basic ability to edit, record, synthesise, succeed instrument and how to control breath- be a midi keyboard. These lessons are sequence, understand signal flow, mix projects and ing and tone. Keyboard students will designed to feed directly into the music use sampling All performance students during their time in level one will learn scales, posture and correct hand production lessons and skills studied will • Develop a basic understanding of the physics of have the opportunity to perform at 15 school organized gigs technique. be transferable across the two subjects. recording in order to explain why certain techniques and put their names forward to audition for place- are used over others ments on gigs in the wider music scene. Music Production • Identify broad genre definitions and compose to those 6 Music production is a combi- genres nation of teaching techniques • Give constructive peer feedback and verbalise their and skills needed to manipulate logic and own ideas in order to pitch them to others similar digital software tools. Students • A level of competency in computing skills will also show their proficiency through- out the term on various assignments. In addition to software sequencing skills students will learn recording skills and basic mixing.
38 • TSM 2015/16 2015/16 TSM • 39 music instrument Keyboards By the end of Level 1 a successful student producer should be able to: • Play all Major and Minor triads Pro Level 1 • Play all Major scales and Harmonic minor scales • Interpret Lead sheets to be able to play with other musicians • Play Left hand arpeggios with a right hand melody • Play two handed triads. • Develop an appreciation of style
Students will have the opportunity to play the keyboard parts for songs like “Let it Be” by the Beatles, “Lay, Lady, Guitar Lay” by Bob Dylan, “Great Balls of Fire” by Jerry Lee Lewis By the end of Level 1 a successful student should be able to: and “Sympathy for the Devil” by the Rolling Stones. • Play major and minor pentatonic and full scales • Have an understanding of the CAGED system • Play all major and minor chords in all keys Drums • Read and interpret lead sheets By the end of Level 1 a successful student should be able to: • Develop technique through the use of appropriate • Read and write rhythmic notation up to and including exercises semi-quavers • A basic ability to improvise using the scales studied • Play all the basic rudiments • Develop an understanding of the guitars role in • Develop knowledge of different technique and be able different styles to use correct playing techniques • Develop basic rhythms and timing through the use of • Transcribe parts and form different grooves and beats the metronome • Develop internal rhythm through the use of the • Develop an appreciation of style metronome • Develop an appreciation of style Students will have the opportunity to learn the riffs from songs like “You Really Got Me” by the Kinks, “Sunshine of Students will have the opportunity to learn grooves to songs Your Love” by Cream and “Bo Diddley” by Bo Diddley. Stu- Learning Outcomes for Level 1 like “Fly Away” by Lenny Kravitz, “Hard to Handle” by Otis dents will also have the opportunity to learn lead and solo Redding, “That’ll be the Day” by Buddy Holly and the Crick- parts from songs like “Black Night” by Deep Purple, “Roll Vocals ets and “War Pigs” by Black Sabbath Over Beethoven” by Chuck Berry and “Wish You Were Here” By the end of Level 1 a successful student should be able to: by Pink Floyd. • Identify and recreate the styles and techniques appro- Bass priate to the genre being studied (linked to ensemble By the end of Level 1 a successful student should be able to: and History modules) and explore them in extra • Develop technique so that playing is comfortable and repertoire pieces safe • Sing all major and minor scales • Play major and minor scales • Match their singing pitch to that of any note played to • Play to a metronome to develop internal rhythm and them timing • Develop their posture to facilitate better vocal health • Explain the importance of what the rhythm section through the use of the Alexander technique does and be able to work with a drummer • Practise three point breathing technique to improve • Develop a knowledge of different basses and pickups singing technique and manipulate them to get the right tone for stylistic • Recognise the different parts of their singing voice and purposes how to use them • Build and play triads in a variety of positions and utilising open strings Students will have the opportunity to learn the lead vocals • Develop an appreciation of style for songs like “Strange Fruit” by Billie Holiday, “That’s Life” by Frank Sinatra, “Heartbreak Hotel” by Elvis Presley Students will have the opportunity to learn the bass lines and “Where Did Our Love Go” by Diana Ross and from songs like “Heard it Through the Grapevine” by Marvin the Supremes. Gaye, “I Got You” by James Brown, “Stand By Me” by Ben E. King, “Iron Man” by Black Sabbath and “Fever” by Peggy Lee.
40 • TSM 2015/16 2015/16 TSM • 41 music instrument Learning outcomes for Vocals producer By the end of Level 2 a successful student should Level 2 build on their knowledge from Level 1 to be able to: Pro Level 2 • Identify and recreate the styles and techniques appro- Music Theory and Ear Training priate to the genre being studied and integrate them By the end of Level 2 a successful student should be able to: with their own interpretation of the source material • Be able to aurally identify all triads and development of their own stylistic traits • Use extended chords • Sing all major, minor and modal scales this course combines the study • Have a knowledge of modes, how they are linked to the • Explore techniques and personal development through of all the pro performer level major scale and what they are used for the understanding of extra repertoire 2 modules + 2 music production • Develop a basic knowledge of harmony through • Recreate and improvise instrumental lead lines and modules extending chords and harmonising with simple notate the sung part melodies • Develop singing style in a safe and secure environment By level 2 students would have already conducive to the ability to participate in accurate peer experienced a basic knowledge of History and Context of Music and self assessment instrument and music production By the end of the Music History and Context of Music course • Stretch and develop their vocal range either from their own experience or a successful student should be able to: having completed level 1. During level • Develop an understanding of the history of recorded music Students will have the opportunity to learn the lead vocals 2 students will be focusing on their • Identify the most prominent genres of music from the for songs like “Purple Rain” by Prince, “Black Hole Sun” by core instrument whilst taking further history of popular music since 1910, and describe the Soundgarden, “I Feel Love” by Donna Summer and “One 2 music production electives. features of those particular genres Love” by Bob Marley. • Assess the importance of different genres to the develop- ment of popular music and where we find ourselves today • Examine how culture and society influenced genres and some of the most prominent artists from the last 100 years • Continuously develop knowledge of the links between dif- Keyboard Entry ferent styles of music through the history of popular music By the end of Level 2 a successful student should build on Requirements their knowledge from Level 1 to be able to: Students will have the opportunity to study the continued • Sight-read from the stave in both the Treble and development of Western Popular music and the history of Bass clef A prospective student entering at and influences that styles such as Reggae, Disco, Punk, • Play all the major and minor triads and extend them level 2 will have some experience Rap, Grunge, Krautrock and many others have to seventh chords as a player and show the drive to had on the music that we listen to and make today. • Use and understand basic harmony continue developing. Again stu- • Play well with left and right hands together dents will have to prepare a piece • Play all major and natural, harmonic and melodic from the given list so that we at minor scales from memory TSM can assess ability. Students • Play Blues/Jazz bass lines with the left hand and have entering at level 2 be able to play a basic grasp of improvisation to a metronome and show some • Play with style that is appropriate to the piece using ability to sight-read. Level 2 stu- appropriate rhythmic, phrasing and dynamic choices dents need to have some theoreti- cal knowledge and be familiar with Students will have the opportunity to learn the keyboard basic concepts such as the cycle parts for songs like “Goodbye Yellow Brick Road” by Elton of fifths, scales, triads, chords, John, “Autobahn” by Kraftwerk, “You to me are Everything” rhythmic notation and bass and by the Real Thing and “No More Heroes” by the treble clefs. Stranglers.
Core modules are as per Level 1 but taught at the next level of study and with addi- tional electives.
42 • TSM 2015/16 2015/16 TSM • 43 music music instrument instrument producer producer Pro Level 2 Pro Level 3
Level 3 Pro Performer Producer
Learning Outcomes for Level 2 Level 3 Pro Performer Producer is an advanced course aimed at students who Drums wish to take their musical and production By the end of Level 2 a successful student should build on skills to a higher level. their knowledge from Level 1 to be able to: • Develop control over the instrument through playing of varying tempos • Play more advanced rudiments through the study of Etudes • Apply rudiments in a wide variety of settings • Develop a knowledge of working drummers and study the styles and techniques that they use • Develop the skills to interpret lead sheets Level 3 is made up of 4 core modules, • Develop more advanced playing of polyrhythms private lessons + 4 Electives • Play with style that is appropriate to the piece using Entry appropriate rhythmic, phrasing and dynamic choices Requirements Jazz Rhythm & Blues Students will have the opportunity to learn the grooves for 1 The module includes learning 3 Rhythm & Blues is at the songs like “Billie Jean” by Michael Jackson, “Smells Like A prospective student entering key repertoire from swing to heart of much of the greatest Teen Spirit” by Nirvana, “(Poor Mi) Israelites” by at level 3 will show proficiency bebop to modern, chord and scale work, American music of the past sixty years. Desmond Dekker and “Ladies Night” by Kool and on their instrument, have a good groove concepts, listening, and soloing. This module is designed to help students the Gang. knowledge of music theory and There will be an emphasis on traditional develop accuracy and authenticity as a knowledge of a wide range of jazz harmony, chord tones, chord exten- a player, and expose them to masters Bass Guitar styles of music. They will possess sions, developing individual style, playing within the field. The module will cover By the end of Level 2 a successful student should build on By the end of Level 2 a successful student should build on the ability to be independent in interesting melodic lines, jazz feel and artists from the 60s through present day their knowledge from Level 1 to be able to: their knowledge from Level 1 to be able to: their study and have a strong idea swing, and fusion concepts. Students R&B performers. • Play Bass lines from chord symbols • Play all modes of where they want to take their should be able to both support and lead • Build and play extended chords • Play extended chords (6th and 7th) and have a musicianship as a professional as the ensemble with knowledge of tune Latin • Develop a knowledge of double bass techniques knowledge of common chord progressions the level 3 modules are designed form. 4 (Afro Cuban, Brazilian, Carib- • Play arpeggiated chords and utilise octaves in playing • Fluently use all studied scales to improvise for students to study specialized bean) This module is designed • Develop a range of Bass playing techniques suited to a Notate guitar lines areas that students want to work Rock and Blues as an overview of Latin music and the wider variety of genres • Develop technique to play complex and syncopated in. 2 This module will explore the concepts and techniques necessary for • Develop a strong internal rhythm and recognise where rhythms using both finger style and plectrum playing history of Blues in the Missis- elementary performance. Styles include the pulse of a variety of styles of music lies • Play with style that is appropriate to the piece using sippi delta, move into Chicago, and end bossa nova, samba, reggae, calypso, cer- • Play all Modes appropriate rhythmic, phrasing and dynamic choices up all across America as various regional tain Afro-Cuban genres, Latin-rock, and • Play with style that is appropriate to the piece using approaches are examined. Students flamenco. Topics to be covered include: appropriate rhythmic, phrasing and dynamic choices Students will have the opportunity to learn the riffs for will then see how blues emerged into a historical overview; significant artists songs like “Good Times” by Chic, “Refugee” by Tom Petty rock and roll. Areas of study will include in each of these styles; key repertoire; Students will have the opportunity to learn the Bass lines & the Heartbreakers, “God Save the Queen” by the Sex repertoire stretching from mid-twentieth basic rhythms of each style and how to to songs like “Billie Jean” by Michael Jackson, “Stir it Up” Pistols and “The Jean Genie” by David Bowie. They will century to present, rhythm section skills, interpret them onto your instruments; by Bob Marley, “Red Rain” by Peter Gabriel and “Good also be given the opportunity to learn the lead and solos chord structure, and tone. In addi- and how to groove and interact with the Times” by Chic. from songs like “Purple Rain” by Prince, “Alive” by Pearl tion the student will be exposed to the ensemble in the language of particular Jam, “Some Might Say” by Oasis and “Purple Haze” by Jimi roots of this music and learn a variety of traditions. Hendrix. approaches to feel and form.
44 • TSM 2015/16 2015/16 TSM • 45 Entry Requirements
The student should have an aptitude for physics, maths and electronics.
This course is Creative Mixing & Multi-Microphone made up of 3 Mastering 6 Techniques This module is aimed more This module will dive into 8 core modules from the studio point of view but can also the more complex and advanced miking
lend itself very well to live sound mixing. techniques that can be used on and off Practical Studio The student will be taught how to analyze stage. There will be detailed coverage 1 Engineering a mix and come up with a direction to take of different kinds of popular and iconic The objective of this module is the mix in. In addition to this, the student microphones used in the live and record- to go into the fundamentals of sound and will also be able to mix an acoustic band, ing industry and the students will be basics of studio engineering. Students are a jazz band, a rock or pop band, an elec- introduced to their unique characteristics. introduced to sound theory, frequency, tronic act, and more. The module will also Topics like phasing in microphones and hearing, decibels and more in the initial cover basic software based mastering tips listening for phase will be explored. Mid stage. After which the course veers and techniques Zone, Distant and Stereo Miking tech- towards more practically oriented topics niques shall also be spotlighted. like understanding loudspeakers and Live Sound Mixing microphones, basic miking techniques, 4 The objective here is to Stage Sound signal flow, mixer basics, basic electron- improve on the live mixing 7 Students will get to familiar- ics, digital audio basics and fundamentals skills of an engineer. The importance of ize themselves with setting up of DAW. organizing one’s mixing environment will proper stage mixes, from both from FOH be focused upon. Topics covered include: and MOH positions (depending on the Live Sound in depth Equalization Techniques, Reverb venue size and type of console). Position- 2 Engineering : Basics & Delay applications, Automation and ing of the console, creating individual Pro Sound This module will give the Recall settings and dynamic processing. monitor mixes and avoiding stage feed- engineer an introduction to live sound There will be pro tips on Drums, Vocals back are some of the topics that will be engineering. Duties of a sound engineer, and other instruments. There will also be covered in this module. COURSE health and safety, preparing stage plots a special session on mixing. / tech riders, Time Management, Sound Basic Acoustics & Check etc., are some of the basic topics Ear Training for Mix 8 System Design The Pro Sound course at TSM aims to develop a wide that will be covered. In addition, students 5 Engineers Designed to give live sound range of skills in the area of sound recording and will be coached through what an engineer The focus in this module is engineers a brief overview of room mixing; be it live or studio. This 8 module course will needs to know about set up on stage, to expose young engineers to different acoustics and sound outdoors. Topics like equip students with the skills to make careers in set up speakers and amplifiers, set up production styles and genres of music. modes, harmonics, sound pressure levels the area of stage sound and studio engineering. wedges and in-ear monitors, ring out the Critical analysis of such styles will be and standing waves will be covered. In system and more. They will be shown how carried out so that the student becomes addition to this the student will also learn a live mixing console works and how to more adept and familiar with a wide vari- how to spec out the right system for a get a proper stage sound covering drums, ety of music. This would ultimately result venue and successfully tune it to get the bass, guitar, vocals and keys. They will in making them much more versatile and best possible results. There will be tutori- also be shown how to successfully record aimed at improving the sonic sensibil- als on setting up delay stacks and other and mix their shows. ity of the engineer. World music, jazz, practical applications that every student blues, contemporary music, electronic must know. music are some of the styles that will be covered. Electives In addition to the core course above, students are encouraged to choose additional Elective modules to enhance their musical learning. These Electives can be chosen from any of the Production, Performer and DJ modules.
46 • TSM 2015/16 2015/16 TSM • 47 Entry Requirements
All students must have some basic knowledge and understanding of what a DJ does and the equipment they use. They must also have some understanding of what beats and bars are. No academic quali- fications are required though basic computer skills are essential. The DJ school is an extremely popular part of TSM.
A course is made up of four of the following Pro DJ electives
DJ 101 (Vinyl DJ) Course 1 This module makes the students learn and apply their skills on the traditional setup The DJ Course at TSM is designed to give an aspiring DJ a of 2 Technics turntables and 1 mixer. The head start by giving tuition led by professionals from the in-depth approach of the material covers Indian and International DJ scene. Courses are designed all aspects of mixing, as well as music to cover all aspects of DJ mastery and are suitable theory and the functionality of the oldest not just for aspiring DJ’s but also for musicians and DJ console configuration. producers. DJ 202 (CD DJ) 2 The Pioneer Pro DJ line has been at the forefront of digital DJing for many years. The CD DJ module will give learners a chance to learn & understand the Rekordbox prepa- ration tool along with legendary Pioneer DJ 404 (Traktor DVS) specific features like looping, hot cues 4 This module shows students & FX on international standard console how to harness the endless equipment models like CDJ2000 NXS, power & possibilities of digital DJing by CDJ900, DJM2000 NXS & DJM 850. learning Native Instruments’ Traktor DJing software. Mix tracks from your DJ 303 (Turntablism) computer music collections with the 3 A module specifically hands on approach & simplicity of designed for students who timecode vinyl & CDs. wish to study the art of scratch DJing. Special emphasis is given on scratching techniques, beat juggling combos, one Electives deck drumming & sampling. In addition to the core course above, This module is designed to enhance students are encouraged to choose the skillsets of the student and bring a additional Elective modules to enhance degree of versatility, not just during solo their musical learning. These Electives performances but also by being part of a can be chosen from any of the Produc- band or a live act. tion, Performer and sound modules.
48 • TSM 2015/16 2015/16 TSM • 49 Additional Electives
As well as taking Electives from the core modules of each course, students can also opt for the following:
Electronic Music Indian Rhythms 1 Production Skills 1 3 Journey into the world of Students will learn the history Indian rhythm and percus- of electronic music by listening to exam- sion instruments, incorporating salient ples that highlight the important people, features of the traditional guru-shishya technology and techniques associated (master disciple) and institutionalised with electronic music. Students will systems of teaching Hindustani music. be taught to analyse and compose in a Students will need to incorporate the variety of electronic music styles to gain a training imparted as part of this course in deep understanding of the many aspects their chosen area of specialisation. The Ableton for Producers of contemporary music including beats, course provokes students into adopting 5 Understand and explore the harmonic bass lines, groove melodies, an interdisciplinary approach to the study vast powerful features of synthesis, audio/MIDI editing, effects of music while concentrating on their Ableton Live as a DJ tool through this processing, sound design, form, perfor- chosen medium. module. Create flawless DJ sets by learn- mance and mixing. Simple styles like ing popular MIDI controller interfaces for trance and electro will be explored. Discovery of Indian Ableton Live, like Akai APC40 & 4 Music Novation’s Launchpad. Indian Raags India has been home to diverse 2 The highly nuanced and musical systems, genres and styles. Here Maschine for complex methods of improvi- we introduce musicians and composers to 6 Producers sation and elaboration in Hindustani the vast expanse of this music, dispelling Native Instrument’s Maschine classical music are explored and studied existing notions of hierarchy, purity and has been quite a revolutionary piece here. Referring to techniques that have authenticity. Audio, visual and textual ref- of hardware and software which has evolved over many decades by the great erences will form an integral part of the changed sampling, beat making, compos- masters of differing gharanas, this coursework and basic practical training ing and performing live over the past few module explores methods of elaboration will also supplement theory. years. This module guarantees a definite of vistaar keeping mind pace, raag and edge in making your DJ sets, edits, bandish structures in context to compo- remixes and productions sound in your sition. Students will study raags from own signature style. various different perspectives.
50 • TSM 2015/16 2015/16 TSM • 51 REAL WORK TSM EXPERIENCe PLACEMENTS
WITH EXCLUSIVE WORK PLACEMENTS FOR STUDENTS Below is a selection of TSM student placements. TO COMBINE PRACTICAL STUDY, REAL LIVE WORK EXPERIENCE AND THE OPPORTUNITY TO NETWORK WITH EMPLOYERS, TSM IS LEADING THE WAY IN CREATING CAREER PATHS IN TODAY’S MUSIC INDUSTRY. TSM ALSO OFFERS EACH STUDENT THE OPPORTUNITY TO LEARN HOW THE INTERNATIONAL • BLUE FROG AND INDIAN MUSIC INDUSTRY WORKS SO THAT THEY • HARD ROCK CAFÉ CAN MONETIZE THEIR CHOSEN DISCIPLINE. • THE LITTLE DOOR • SUNBURN • ONLY MUCH LOUDER (NH7 WEEKENDER) • MUMBAI FARMERS MARKET • HUNGAMA • INDIAN EXPRESS • WESTERN OUTDOOR INTERACTIVE • ZERO (BAND) • WALAS ON VELOS (DOCUMENTARY) • HULLA GULLA PROJECT • BACARDI NH7 WEEKENDER • INDIGO DELI Our Industry Placement team focuses • INDIGO solely on giving students the oppor- • ART HOP FESTIVAL tunity to take what they have learnt • THE GREEN PEOPLE OF INDIA and apply it in today’s modern music • THE WHITE OWL industry. This ensures that, on com- • RED FM 93.5 pletion of their respective courses, • TIMES CELEBRATE BANDRA students are not only proficient musi- • THE DEN cians but also industry-ready with • CHEVAL plenty of experience to work as true • UTV DISNEY professionals. Our Founders have • CAFÉ INFINITO collectively spent over 4 decades in • THE SECRET GARDEN FESTIVAL the music business and have built • PRITHVI THEATRE many enviable relationships and • PALM EXPO 2014 contacts within the industry. The • THE LITTLE DOOR, ANDHERI True School of Music currently has • PHOENIX MILLS LTD. strong tie-ups with the likes of UTV, • THE MAHINDRA BLUES FESTIVAL Disney, Sunburn, Hungama, Blue Frog • INROOM RECORDS and Hard Rock Cafe to name a few. • URBAN BEATZ PROJECT The Industry Placement team offers • BOMBAY GYMKHANA students a range of opportunities from • MIXTAPED acoustic sets, music festival perfor- • AMERICAN WOMEN’S CLUB mances, studio sessions, apprentice- ships, background score work and ad film jingles.
52 • TSM 2015/16 2015/16 TSM • 53 INTERNATIONAL FACULTY
The Faculty at The True School of TSM faculty Music is world-class. It has been past and present sourced from the USA, United Kingdom, France, The Netherlands, Italy, Brazil, • PAWAN BENJAMIN JAZZ AMERICAN Australia, Japan and of course, • SEAN RICHEY GUITAR AMERICAN India. Each faculty member is a music • LOIC SANLAVILLE SOUND ENGINEERING FRENCH scholar with many years of musical • JEFF KOCH BASS AMERICAN education as well as a wealth of • ANGELO DI LORETO KEYBOARD AMERICAN commercial experience.and present. • PHILLIPE LEMM DRUMS DUTCH • JELLE VISSER MUSIC PRODUCTION DUTCH • ANDREA WOOD VOCALS AMERICAN • KEDAR SAKHARKAR DJ INDIAN • URI SOLANKI DJ INDIAN • REJI RAVINDRAN DJ INDIAN • APURV ISAAC GUITAR INDIAN • HOMI RUSTUMJI BASS BRITISH • YOHAN MARSHALL DRUMS INDIAN • JOCELYN TYLER MEDINA VOCALS AMERICAN • LAUREN FALLS BASS AMERICAN • KELLY POWERS KEYBOARD AMERICAN • MIKE MITCHELL DRUMS AMERICAN • RUBEN CRONIE MUSIC PRODUCTION DUTCH • NATALIE UNWALLA KEYBOARDS AUSTRALIAN • HIDEAKI TOKUNAGA GUITAR JAPANESE • GOURI RANJITH VOCALS INDIAN • LAURENS BEIJER MUSIC PRODUCTION DUTCH • MARCO ZENINI BASS ITALIAN • AKI SPADARO KEYBOARD ITALIAN • SIM VIRDI VOCALS BRITISH • ANDREW SHILLITO GUITAR AMERICAN WORLD-CLASS • BRENO VIRICIMO BASS BRAZILIAN TEACHING • BHAKTI RICHARD KLEIN VOCALS AMERICAN • NIRMIT SHAH MUSIC PRODUCTION INDIAN • LIZANNE DESILVA KEYBOARD INDIAN • SAROSH SIDHVA GUITAR INDIAN • KARUN KANNAMPILLY DRUMS INDIAN • AGNEYA CHIKTE DRUMS INDIAN • JAYAKRISHNAN UNNITHAN KEYBOARD INDIAN • VIVEK KHATI GUITAR INDIAN • SHARIK HASAN KEYBOARD AMERICAN • MARILENA PARADISI VOCALS ITALIAN • PRIYAL SHAH VOCALS INDIAN • MEDHA SAHI VOCALS INDIAN • JONAS KROPER DRUMS GERMAN • HEBE JONES VOCALS BRITISH • FRANCESCO BECKER-SCHIAVO GUITAR BRITISH • TIM HERRING MUSIC PRODUCTION BRITISH For information about the current faculty, visit www.trueschool.in
54 • TSM 2015/16 2015/16 TSM • 55 STATE OF THE ART FACILITIES
Our 15000 square feet state of the art facility is located in the heart of Mumbai and has world class classrooms designed for theory and practical MUSIC PRODUCTION lessons, recording studios, individual customised workstations, practice rooms, comprehensive music library and an auditorium for live gigs. musical equipment supporters AUDITORIUM We are privileged to have the support of the leading players in the industry to provide our students with the best instruments, musical equipment and supplies that they need to become a KEYBOARD ROOM professional musician.
• ROLAND • PEARL STUDIO • PIONEER • NATIVE INSTRUMENT • GIBSON • FENDER • WASHBURN • PEAVEY • APPLE COMPUTERS • NOVATION • AVID • YAMAHA • ABLETON 15000 SQ FT • MAPEX dedicated to • BOSS GUITAR ROOM DRUM ROOM music • SOUNDCRAFT • JBL • AKG • SENNHEISER DJ ROOM • STEINER • SOLID STATE LOGIC • DYNAUDIO • NEUMANN • ROYER
56 • TSM 2015/16 2015/16 TSM • 57 MASTER CLASSES
TSM attracts big names from the music industry making master classes an integral part of our student experience. Here is a list of some of the best master classes our students have had the honor of attending at TSM.
top master classes HELD AT TSM so far
• Deconstructing Miles Davis: Kind Of Blue Tsm Faculty • Mattias Duplessey Mattias Duplessey • Dj Masters: Jim Dunloop Jim Dunloop • Deconstructing Dilla Laurens Beijer • Dj Masters: Beatboxing Soul Rock • Creative Music Production Techniques Nuphlo • Dj Masters: Marc Hype Marc Hype • Machine On Earth (NEuromotor) Neuromotor • Art Of Sampling Jelle Visser • How To Land A Gig Girish «Bobby» Talwar • Jobim & The Brazilian Songbook Tsm Faculty • Taal, Taufiq And Tsm Taufiq Qureshi • Composing Music With Glitches, • The Body As A Musical Instrument Marilena Paradisi Sonic Artifacts & Noises Jelle Visser • Art Of Looping (Lil Rhys & Woodnote) Lil Rhys & Woodnote • Dj Masters: Dj Angelo • Maschine & Beyond Reji Ravindran (From Scratching To Mixing) Dj Angelo • Careers In Music Industry Abhinay Deo • Kyle Shepherd Trio Kyle Shepherd Trio Ehsaan Noorani • Plaistow Plaistow Louiz Banks, Gino Banks & Sheldon D’Silva • Tweaking Guitar Sound Enrico Sesselego Shubha Mudgal & Aneesh Pradhan • Blues & Rock Tsm Faculty Indian Ocean & Ranjit Barot • Breaking The Beat (Pawas) Pawas • MASTER CLASS DEREK TRUCKS & SUSAN • Dynamics Of Rhythm Tsm Faculty PANDIT CHITRESH DAS • The Ellington Songbook Pawan Benjamin DJ SARASA • Watch Your Voice • LIVE JAM SESSION MATHIAS DUPLESSY, MUKHTIYAR ALI & (Vocal Health Master class) Jocelyn Tyler Medina BASTIEN (FINDING FANNY) • Lowdown On Uk Bass Music Asa, Engine-Earz And • THE SPEECH LEVEL SINGING METHOD MARILENA PARADISI Foreign Beggars • INSIDE TRAKTOR DJ URI AND GRIZZLY ADAMS • Secret Of Afro-American Music Aki Spadaro • D’ANGELO’S VOODOO JONAS KROPER • Carnatic Classical Music Goes • MUSIC FOR MOTION PICTURE MAARTEN BUNING Contemporary Chandana Bala • THE SAXOPHONE - JAZZ AND INDIA MUSIC DR SANDY EVANS • Musica Brasiliera Breno Viricimo • BULGARIAN TRADITIONAL MUSIC MIHAIL IVANOV • All Aboard The Blues Train Pawan Benjamin • THE ARNE JANSEN TRIO ARNE JANSEN, ANDREAS EDELMANN • The Dynamics Of Live Sound Loïc Sanlaville AND ERIC SCHAEFER
58 • TSM 2015/16 2015/16 TSM • 59 TSM LOVES AMCHI mumbai
The True School of Music is located in the heart of Mumbai, a vibrant and stimulating city also considered as the entertainment capital of India.
Accommodation options in Mumbai
Mumbai is a wonderful city to live REASONS and students come from far and TO STUDY IN wide to study with us. We work hard to make sure that students find MUMBAI accommodation that suits them. Below are some suggestions of Mumbai is home to options. Actual accommodation Bollywood, the world’s is dependent on availability and 1 biggest film industry. budget.
Shared PG accommodation: The city has a vibrant indie scene, Ranging from approx. Rs. 4,000/- with many musicians and artists living (For 6) to Rs. 12,000/- per month in Mumbai and also brands looking 2 Shared Independent Rooms: to collaborate with them for events. Ranging from approx. Rs. 10,000/- to Rs. 18,000/- per month It is also one of the largest creators Independent Rooms: of Advertisements in Asia. Ranging from approx. Rs. 15,000/- 3 per month onwards. Apartment Sharing: Ranging from approx. Rs. 30,000/- Mumbai is big on the global map. per month onwards Many international artists visit and 4 live in Mumbai on a regular basis.
Being the entertainment capital of the country, Mumbai has a diverse Location 5 range of events happening everyday. and directions to TSM Mumbai is also India’s food capital ADDRESS 107 Sun Mill Compound, 6 and boasts of an amazing nightlife. Lower Parel, Mumbai 400013 DIRECTIONS Enter the Sun Mill Compound gate opposite Phoenix Mills Gate 2 on Tulsi This megapolis has an excellent public transport Pipe Road and follow the TSM logo signage system. Every part of Mumbai is well-connected through a winding lane. 7 making it possible to reach your destination easily.
60 • TSM 2015/16 2015/16 TSM • 61 REGISTER Open Days ONLINE You can HOW TO pre-register to attend one of our Open Days on the APPLY TSM website
You can fill in the online application form on our website and we will schedule an interview TSM holds Open Days throughout and audition with one of our faculty. the year offering you the chance to see the TSM facilities, talk to our world class tutors, attend demo classes, audition with us and ask any questions that you might have.
During the Open Day we also have live performances from student and Our counsellors and Founders tutor bands and career seminars by will meet with you and guide FIND veterans from the music industry. TSM COUNSELLING you through our prospectus. staff, tutors and current students are They will then create a tailor all on hand to answer any questions made program that suits your YOUR and provide any career/course guidance you may need. needs. TRUE Students will be assessed and then recommended for a level CALLING of study. There are various AUDITIONING entry requirements (see course information for more details). Students should also be fluent in English as all courses will be taught in English only.
You can then complete the enrollment by paying the fee ENROLLMENT amount specified and by submitting the necessary documents. Need Help? You will be given an Acceptance For information or assis- letter along with an acceptance tance with the application kit which includes the course form, procedure and fee, ACCEPTANCE details, enrollment form, the do get in touch with our term dates, the fee structure specialised counsellors. and terms and conditions. They will take you through the entire process making it fun and easy for you.
62 • TSM 2015/16 2015/16 TSM • 63 FOUNDATION Indian Music Courses
The True School of Music Indian classical music pro- DJ courses COURSES gram authored by Shubha Mudgal and Aneesh Pradhan will expose students to traditional teaching methods We also offer Foundation DJ courses aimed at any age within a contemporary framework. TSM’s Indian classi- group wishing to learn DJ techniques. The True School of Music presents the Foundation School, a part-time music cal music program incorporates salient features of the focused suite of courses designed for all age groups. Budding musicians can traditional guru-shishya parampara (master and disci- Tuesday: take courses in music performance, production, Indian Classical and DJ. ple mode) and institutionalized systems of teaching. 8:00pm - 9:00pm Traktor Junior Wednesday: Under Indian music, students can choose from the tabla, 8:00pm - 9:00pm Traktor Adult sitar, flute, harmonium and vocals. For Foundation course fees, please contact Indian Vocals the admissions department at TSM. Western Music This course provides basic training in Hindustani vocal Workshops technique and raag presentation. It acquaints the student Timetable with forms such as khayal, thumri, dadra, and seasonal Music forms like kajri, chaiti and hori. Production TSM Kids Age Group: 8 - 12 years Timings for Foundation Indian Vocals: Workshops Duration: 1.5 hours Tuesday: 4:00pm - 5.30pm 45 minutes instrument tuition Wednesday: 4:00pm - 5.30pm Our Foundation Production + 45 minutes performance courses are designed for any age Day and Time: Indian Tabla group wishing to learn the funda- • Saturday: 9.30 am - 11 am This course provides basic training in tabla technique and mentals of Music Production. or 11.30 am - 1 pm taal presentation in solo performance. Students will gain Please contact the admissions • Sunday: 9.30 am - 11 am experience in accompaniment to vocal and instrumen- department for session or 11.30 am - 1 pm tal music. They will also receive guidance to accompany times. Instruments: Guitar, Bass, Kathak dance. Vocal compositions taught to them, will Drums, Vocals and Keys provide a window to understanding raag.
TSM Juniors Indian Flute Age Group: 13 - 17 years This course provides basic training in technique for the Duration: 1.5 hours bansuri or the Indian bamboo flute. Students will study Music Performance 45 minutes instrument tuition raag presentation through the main facets of instrumental Workshops + 45 minutes performance solo performance, namely aalaap, jod, jhala, and gat. Vocal Day and Time: compositions will also be taught and students will gain • Monday: 6 pm - 7.30 pm experience in reproducing vocal ornamentation and Western Music Workshops • Tuesday: 6 pm - 7.30 pm compositions on the bansuri. Instrumental compositions Instruments: Guitar, Bass, inspired by vocal forms like thumri and dadra will also be These music workshops introduce western music to Drums, Vocals and Keys taught. students in a fun and engaging way. Students gain the quality of a full-time music course with the flexibility TSM Adults Indian Harmonium of a hobby class. There’s really nothing quite like it Age Group: 18+ years This course provides basic training in technique for the because, though it is a part-time course, students of Duration: 1.5 hours harmonium. It acquaints students with methods of raag the Foundation School learn from professional musi- 45 minutes instrument tuition presentation through vocal compositions reproduced on cians, get opportunities to perform at TSM’s state-of- + 45 minutes performance the instrument and through compositions specially created the-art auditorium and get access to all the resources Day and Time: for harmonium solo performance. Students will also be within TSM’s 15,000 sq. ft facility. • Monday: 8 pm - 9.30 pm encouraged to accompany vocal recitals and tabla solo. • Tuesday: 8 pm - 9.30 pm Instrumental compositions inspired by vocal forms like Each performance session is workshop based. The first • Wednesday: 6 pm to 7.30 pm thumri and dadra will also be taught. 45 minutes concentrates on instrumentation, the second or 8 pm - 9.30 pm 45 minutes is all about performance. Students learn Instruments: Guitar, Bass, western repertoire that they play in a band format week Drums, Vocals and Keys in week out. All of this instruction culminates in an end of term performance to family and friends.
64 • TSM 2015/16 2015/16 TSM • 65 tsm supporters
Ehsaan NOORANI THANK YOU
• Abhinay Deo • Chandana Bala • Clinton Cerejo ABHINAY DEO • Derek TruckS • Dominique Cerejo • Ehsaan Noorani • Federic Talaa • Gino Banks • Monica Dogra FEDERIC TALAA • Indian Ocean AKA NEUROMOTOR • Louiz Banks DEREK TRUCKS • Lucky Ali • Mikey Mccleary • Ranjit Barot • Roberto Narain • Salim Merchant • Sheldon D’silva • Shubha Mudgal TAUFIQ QURESHI • Taufiq Qureshi • Aneesh Pradhan RANJIT BAROT CLINTON CEREJO
MONICA DOGRA
LOUIZ BANKS LUCKY ALI
SALIM MERCHANT GINO BANKS ROBERTO NARAIN
SUBHA MUDGAL
INDIAN OCEAN , MIKEY McCLEARY SHELDON D SILVA ANEESH PRADHAN
66 • TSM 2015/16 THE PEOPLE BEHIND STUDENT LIFE CYCLE TSm HUMAN RESOURCE SANAH KHAN | DANIELA DENNIS | SAROSH SIDHVA | MARLOUS STRUIJK SWATI CHURADIYA
ADMINISTRATION DIPIKA DAYAL | DISHA RAHEJA
VIDEO INDUSTRY KAVAL CHAUDHARI TOP MANAGEMENT RELATIONS FINANCE NITIN CHANDY | ASHUTOSH PHATAK | JULIA LEGGETT REUEL BENEDICT SHEENA LAWRENCE HARSHADA KUBAL | BHAVIK DOSHI
IT DEPT FACILITIES ANIL BHARTI ANKIT YADAV | TUSHAR BORSE | MANDAR DESHPANDE KISHORE BANAN | ABHISHEK CHANDA
THE BEST TEAM EVER !
MARKETING OFFICE BOYS RAFIQ PATNI | RUCHITA DOSHI | JHANVI BHATT | LIZANNE DESILVA | NISHANT MODY SALIM | NITESH | SANDESH | DALBIR 68 • TSM 2015/16 2015/16 TSM • 69 70 • TSM 2015/16