#Melbourne vocal lessons

[macproject]

Unlock Your Voice: Top Singing Coaching in Melbourne

Unlocking your voice is a transformative journey for aspiring singers, particularly in a dynamic city like Melbourne. Known for its thriving musical culture and home to a wealth of skilled vocal coaches, Melbourne provides ample opportunities for individuals looking to refine their singing abilities. In this journey, professional guidance can make all the difference. The Mac Project offers expert vocal coaching in Melbourne, helping you unlock your full vocal potential. In this blog, we will delve into the importance of singing coaching in Melbourne, the advantages of professional guidance, and how you can find the ideal coach to help you succeed.

The Importance of Singing Coaching

Singing goes beyond simply hitting the right notes; it’s about understanding your voice, mastering techniques, and building confidence. Singing coaching in Melbourne offers aspiring vocalists the essential tools to elevate their skills. A skilled coach will help you navigate various aspects of singing, including:

Breath Control: Mastering breath control is essential for sustaining notes and enhancing vocal quality.

Vocal Techniques: Coaches teach key techniques like vibrato, pitch control, and resonance, all of which are crucial for effective singing.

Performance Skills: In addition to technical skills, singing coaches help you cultivate stage presence and emotional expression, both of which are essential for delivering captivating performances.

Working with a qualified coach allows you to avoid common pitfalls and bad habits that can impede vocal growth. Professional guidance ensures you learn proper techniques from the beginning, providing a strong foundation for your singing career.

Finding the Right Singing Coach

Melbourne offers a wide variety of vocal coaches who specialize in different genres and styles. Whether you’re passionate about pop, classical, jazz, or musical theatre, there are coaches available to meet your unique interests. Here are some tips for finding the right singing coach:

Research Coaches: Seek out coaches with solid backgrounds in music education and performance. Websites like Superprof and local music schools offer valuable information about available instructors.

Read Reviews: Testimonials from former students can provide insight into a coach’s teaching style and effectiveness. Pay attention to feedback regarding their ability to enhance vocal skills and foster confidence.

Trial Lessons: Many coaches offer trial lessons, providing a great opportunity to evaluate their teaching style and compatibility before committing to regular sessions.

Consider Specializations: Some coaches specialize in areas like songwriting or audition preparation. If you have specific goals, make sure your coach aligns with those objectives.

Location and Availability: Select a coach whose location and schedule accommodate your needs. Many offer both in-person and online lessons, offering flexibility for busy schedules.

Benefits of Professional Singing Coaching

Investing in singing coaching can offer substantial benefits for aspiring vocalists:

Personalized Feedback: A coach can offer personalized guidance based on your unique voice and goals, helping you progress more effectively than through self-teaching.

Structured Learning: Professional coaching provides a structured approach to learning, ensuring you systematically cover all essential aspects of vocal training.

Confidence Building: Regular lessons help build your confidence as a performer. A supportive coach encourages you to step outside your comfort zone while offering constructive feedback.

Personalized Singing Coaching in Melbourne

In Melbourne, several institutions offer singing coaching services tailored to each student’s unique needs. These coaching centers focus not only on vocal technique but also on helping singers emotionally connect with their music. They provide a supportive environment where students can explore their voices freely, without fear of judgment. This approach is essential for building confidence and fostering creativity in singing, ensuring a well-rounded development of each student's vocal abilities.

Conclusion

Starting a journey with singing coaching in Melbourne can be one of the most rewarding decisions for any aspiring singer. With access to talented coaches who understand the nuances of vocal training, you can unlock your full potential as an artist. Take the time to research and choose a coach who aligns with your personal goals.

As you take this important step toward improving your vocal skills, dedicated platforms like The Mac Project provide valuable resources and expert guidance to support your musical journey. Embrace the opportunity to learn from professionals who are committed to helping you succeed—your voice deserves it!

[opera-ghosts]

Frances Alda sings Ave Maria - vitaphone film 1928

Fanny Jane Davis, who rose to international prominence under the stage name Frances Alda, was one of the first of a long line of New Zealand opera singers to achieve such fame. She came from a strong musical background: her maternal grandparents, Fanny and Martin Simonsen, were important opera impresarios in Australasia during the 1870s and 1880s. Five of their children, including Fanny's mother, Leonore, were professional singers, and one, Frances Saville, achieved European fame as a member of the Vienna Hofoper. Fanny's father, David Davis, a merchant, was a gifted amateur musician and some of her paternal relatives sang in J. C. Williamson's light opera companies. Such an inheritance almost predestined her for a career on the musical stage.

After Fanny Davis was born in Christchurch on 31 May 1879 David Davis objected to his wife resuming her professional career, and the couple divorced in September 1880. Thereafter, Fanny and her older brother alternately lived with relatives or accompanied their mother on tour. When Leonore Davis died in San Francisco on 29 December 1884, shortly after marrying Herman Adler, her two children finally found a stable home with their Simonsen grandparents in Melbourne.

Fanny Davis's musical gifts were apparent early. She studied both piano and violin, but her greatest enthusiasm was for singing. Although she later took lessons from the distinguished Australian tenor Armes Beaumont, much of her technical and interpretive knowledge came from listening to her beloved grandmother teach. She seems to have found her grandfather a forbidding figure. Her grandmother's untimely death in 1896 precipitated Fanny's decision to leave home and earn her own living. In March 1897 Melbourne periodicals reported her engagement by the J. C. Williamson organisation; she was billed as 'Francie Adler'.

Her professional début, in the Adelaide production of the musical extravaganza Matsa, was followed by a small role in the Australian première of the hit musical The gay Parisienne. Subsequently she appeared in pantomime, sang in productions of Gilbert and Sullivan and other light operas, and performed with the Harry Rickards variety company at Sydney's Tivoli Theatre. In August 1901 she left Australia to pursue her vocal ambitions in Europe. At this time she amended her first names from Fanny Jane to the more elegant Frances Jeanne. She also began to falsify her age, shedding four years to create the persistent fiction that she had been born in 1883.

In Paris she became a pupil of Mathilde Marchesi, who gave her the stage name 'Alda' and arranged her successful European début, at the Opéra-Comique on 15 April 1904, in the title role in Massenet's Manon. For the next three seasons she gained experience as a leading soprano at the Théâtre royale de la Monnaie, Brussels. Her career also gathered momentum elsewhere, with operatic débuts at London's Covent Garden (1906), Parma (1907), La Scala, Milan (1908), and Warsaw (1908), as well as numerous concert engagements.

On 7 December 1908 Alda made her début at the Metropolitan Opera, New York, singing Gilda in Verdi's Rigoletto. The 'Met' was home to the world's most star-studded opera company. Alda spent 22 seasons there from 1908 until her retirement from the operatic stage on 28 December 1929. During this period she gave 281 performances at the Met itself and a further 88 while touring with the company. Critics considered the finest of her 26 roles to be Mimi in Puccini's La Bohème. She sang it 80 times – a company record – partnering all the leading tenors of her era from Caruso to Gigli. Other successes included the title role in Puccini's Manon Lescaut, Nannetta in Verdi's Falstaff and Desdemona in his Otello, Margherita in Boito's Mefistofele, Marguerite in Gounod's Faust and Lady Harriet in Flotow's Martha. She also participated in the premières of several short-lived American operas.

Between Met seasons, Alda undertook extensive recital tours throughout America, and performed several times at South American opera houses. She made her gramophone début in 1910, eventually recording more than 120 titles for the Victor Talking Machine Company. These included two New Zealand items, 'Waiata Māori' and 'Hine e hine'. After retiring from the stage she took part in a pioneering series of radio productions of Puccini operas and made three short musical films. Her autobiography, Men, women and tenors, was published in 1937. Notable for its candour and writing style, the book contains much good advice for young singers. It also makes clear Alda's allegiance to New Zealand.

Although she spent very little time in the country of her birth, Alda consistently described herself as a New Zealander. After revisiting the country during an Australasian recital tour in 1927, her adherence became wholehearted. She maintained contact with several paternal relatives, and despite the precautionary acquisition of American citizenship in 1939 continued to emphasise her New Zealand origins and identify strongly with the country and its people.

Alda's decorous stage presence contrasted with her tempestuous private life. Bluntly outspoken and acutely sensitive to slights, yet impulsively generous and with a robust sense of fun, she made enemies and friends in equal proportion. She was an advocate of women's rights in the music profession, and never hesitated to resort to law on her own behalf. For much of her career she was handicapped by her marriage, at New York, on 3 April 1910, to the Met's general manager, Giulio Gatti-Casazza. His need to avoid any hint of favouritism restricted her opportunities, while she felt a continual need to prove her artistic worth – as much to herself as the public. She divorced him in 1928; they had no children. On 14 April 1941, at Charleston, South Carolina, she married New York advertising executive Ray Vir Den. Alda spent an affluent retirement, entertaining lavishly at her Long Island home and indulging in her passion for travel. She died of cerebral haemorrhage in Venice on 18 September 1952.

[newsatsix1986]

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[raisevoice]

Website: https://www.raiseyourvoice.net.au/

Address: Peakhurst, NSW, Australia

Raise Your Voice by Lea Baker offers expert vocal coaching, helping students discover their free, authentic, well produced voice.

- What I Do:

I help people find their freely produced, efficient and authentic voice. I love to teach and empower students. Each singer is different, there is no 'one size fits all'. My sessions involve lots of physical and vocal explorations, positive reinforcement and lots of encouragement.

Using actors' voice training techniques, I help singers find freedom through embodying their voice and releasing unhelpful tension.

I believe ‘trying harder’ nearly always leads to vocal difficulties. When vocalists discover the power and range of natural, organic and instinctive sounds, they grow in confidence and ease - often discovering the voice they didn’t know they had!

I help those who rely on their speaking voice for their profession, such as teachers, public speakers and call centre workers (to name a few!), avoid vocal fatigue, become more engaging to their listeners and maintain a healthy voice.

- What I Offer:

Success in learning depends on finding the right Instructor; someone who knows the subject well and understands how you learn. My teaching style is practical, holistic, non-gimmicky, and based on science. Students learn how to sing or speak optimally. Clear specific language and examples are used, leading students on a self-discovery journey.  Everyone has a voice. My job is to help you release its full potential.

Here are the four philosophies I follow:

* Trying harder will almost always lead to a deterioration in vocal improvement. It’s finding the ease in vocal use that is the key. Less is often more.

* The most freely produced and authentic singing or speaking comes from your natural, organic and instinctive voice. Often it's noticing and releasing unhelpful vocal habits & muscle tension to find that voice.

* I believe learning is about self-exploration and discovery, with guidance from your voice coach. Doing what the teacher asks to gain their approval isn’t learning.

* Training at NIDA opened up a whole new world. Using acting voice training helps singers to feel and sense their voice, rather than just hear it.

Why choose me?

* I help the student discover for themselves with guidance and targeted techniques.

* I take the time to understand the mindset of the student towards their voice and address this in my coaching.

* I teach holistically – I teach the whole person, not just their voice.

* Students get clear explanations of the ‘why’ when to comes to voice usage.

* My Teaching is underpinned by a good understanding of the science and physiology of the voice.

* Finding the unhelpful habits or traits of the student and helping them rewire these.

* Experiential learning is key, helping students to discover for themselves, no “pleasing the teacher”.

* Learning is layered. What each particular student needs at this particular time. I don’t clutter them up with lots of ‘nice to know’ stuff - it's not about how much I know, it's about what the student needs to be a better singer, speaker or performer.

* Voice lessons are either online or in person (Covid safe).

Facebook: https://www.facebook.com/raisevoice/

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[johnkatsmc5]

Baked Beans  "Babble" 2018 + "All Together Now" 2020 + "Live at SX SW " EP 2021 + "Boots N Cats" 2024 Melbourne, Australia Heavy Psych Garage, Blues Rock

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Beans "Babble" 2018

Tracklist Slow 03:36 Baked Beans - Plans 03:58 Comfortable 02:52 Ditsy Rich 04:14 Easy 04:59 Aw Yeah But Nah 03:25 Stale 03:25 Pointless 04:06 Ring Around 04:31 Over & Doubt 03:20

Beans "All Together Now" 2020 Tracklist Montgomery 03:40 Stride 05:53 Avalon Speedway 03:09 Melt 05:28 Get It Right 03:03 Repeat 02:32 Aint It 03:04 Street Troll 03:21 Lay It Out 02:52

Beans "Live at SX SW " EP 2021

Tracklist Melt 04:59 Lay It Out 03:03

Beans "Boots N Cats" 2024

Serving up eleven tracks of rhythmic garage-psych goodness, ‘Boots N Cats’ is the third full-length from Melbourne outfit Beans and the first of two albums set for release in 2024. The long-awaited follow-up to 2018’s ‘Babble’ and 2020’s ‘All Together Now’, it’s a record that finds Beans frontman (and The Murlocs drummer) Matt Blach putting percussion at centre-stage. “I’ve always wanted to make a drum-based album, dedicated around the beat first and then everything else follows”, Blach says, explaining his desire to explore “different production approaches, like hip-hop and crunched drums, and show an admiration and appreciation for the likes of The Meters, Wu-Tang and James Brown” as much as the acid-soaked 60s/70s rock you’d expect. What emerges from the beat-first approach on ‘Boots N Cats’ charts mutant garage-rock boogies ('Groove', 'Silhouette') and festival tent psychedelia ('Haunted', 'Dreaming Daisy'), by way of blissed-out funk instrumentals ('One To Four', 'Siamese Blundstone'). The line is constantly skirted between a loose, carefree vibe and interesting, meticulous musicianship – never falling into the trap of taking itself too seriously. It’s a sunny kaleidoscope of chugging guitars, driving bass-lines, soaring organs and warm, echo-soaked vocals – driven always by the tightly-wound rhythms and grooves that Blach has been in pursuit of since he was a kid: “The title of the album comes from me learning drums from my dad. He had a background of German heritage and during lessons would jokingly say ‘nein, boot’n’cats’n’ like a simple 1,2,3,4.” The songs themselves, Blach says, are “mostly based on a state of mind or place of consciousness, intended to be open to the audience’s own interpretation as well as for my own self-release.” Hence, “life’s ups and downs” are placed under the microscope on tracks like the aptly-titled opener ‘Groove’ (based on not wanting to let loose/be yourself and dance in a crowd) and lead single ‘Haunted’ (about that near-universal sense of being ‘Haunted by the fear of failure’). ‘Dreaming Daisy’ is a song for the devil on your shoulder, tackling addiction/alcoholism and “people wanting to live their life to prove right to others rather than themselves”. Elsewhere, songs like ‘Calling’ take on the paranoia of the times they were made in. It’s a suitably wonky soundtrack to “that period of Covid time where everyone, including myself, felt like they were going insane. When people were being really sensitive and reactive, calling people out over pure boredom – obviously sometimes worthy, sometimes far-fetched.” Beyond its drum focus, ‘Boots N Cats’ also marks another first for Beans, in that it was entirely written and recorded by Blach himself. Setting up a DIY studio in the garage of his North Melbourne home over the pandemic, Blach began working on the record in lieu of the full band (Jack Kong, Lachlan McKiernan, Vincent Clemenston and Mitch Rice) that he’d been jamming and tearing up Melbourne stages with under a number of different monikers since they were all 16. “We didn’t get to see each other as a band AT ALL”, Blach recalls of that time: “This is why the album came to fruition as it kept me sane and feeling productive to still be writing/recording and achieving something. Having this opportunity and time and space really got my tires turning so I basically recorded every part and engineered the entire thing myself. Not that we wanted it to be this way, but we couldn’t collaborate together during this time so it was a case of adapting.” Tracklist Groove 02:48 Toxic News 02:58 Kookaburra 03:18 Haunted 04:45 Strung Along 03:01 One To Four 04:04 Silhouette 03:27 Calling 02:32 Siamese Blundstone 03:22 Dreaming Daisy 03:10 Casio Casino 02:36 Baked Beans  "Babble" 2018 + "All Together Now" 2020 + "Live at SX SW " EP 2021 + "Boots N Cats" 2024 Melbourne, Australia Heavy Psych Garage, Blues Rock

https://johnkatsmc5.blogspot.com/2025/01/baked-beans-babble-2018-all-together.html?view=flipcard

https://johnkatsmc5.tumblr.com/post/773647827529285632/baked-beans-babble-2018-all-together-now

[kiyalearning01]

Singing Classes in Australia: Comprehensive Guide by Kiya Learning

Singing is more than fair a enthusiasm for numerous; it's a implies of expression, a pathway to certainty, and regularly a career yearning. In Australia, the interest of vocal brilliance is upheld by various instructive openings. Kiya Learning, a driving supplier within the field of instruction, offers a run of singing classes over different Australian cities. This direct investigates the benefits, structure, and openings inside Kiya Learning's singing programs, outlined to assist understudies of all ages and expertise levels accomplish their vocal potential.

The Significance of Singing Classes

Singing classes give important abilities past fair learning how to sing. They improve:

Vocal Technique: Proper training ensures that students learn how to use their voice effectively, reducing the risk of strain or damage.

Musicality: Students develop a better understanding of rhythm, pitch, and tone.

Confidence: Performing in front of others helps build self-esteem and stage presence.

Communication Skills: Singing often requires clear enunciation and expressive delivery, skills that are beneficial in everyday communication.

Emotional Expression: Through music, students can convey and process emotions in a constructive way.

Kiya Learning’s Singing Classes

Kiya Learning offers a assortment of singing classes  in Singapore custom-made to distinctive needs and interface. Whether you are a apprentice or an progressed vocalist, Kiya Learning gives a strong environment to sharpen your aptitudes. Here's a closer see at what Kiya Learning offers:

Individual Lessons: One-on-one sessions with experienced vocal coaches allow for personalized attention. These lessons focus on individual goals, such as improving vocal range, technique, and style. Students receive constructive feedback and tailored exercises to address their specific needs.

Group Classes: For those who enjoy a collaborative environment, Kiya Learning’s group classes offer a chance to learn with peers. These classes emphasize teamwork and harmony, allowing students to practice blending their voices with others. Group settings can also reduce performance anxiety and build camaraderie among students.

Specialized Programs: Kiya Learning’s specialized programs cater to specific interests and genres, including classical, pop, jazz, and musical theatre. These programs are designed to help students explore different styles and find their unique voice.

Performance Opportunities: Regular recitals and performances are integral to Kiya Learning’s curriculum. These events provide students with the chance to showcase their progress, gain stage experience, and receive feedback from an audience.

Online Classes: For those who prefer learning from the comfort of their home, Kiya Learning offers online singing classes. These virtual sessions provide flexibility and accessibility, allowing students from various locations in Australia to benefit from expert instruction.

Cities and Locations

Kiya Learning’s singing classes are available across Australia, making it convenient for students in different regions to access quality training. Here’s a brief overview of the locations where Kiya Learning operates:

Sydney: As one of Australia’s largest and most vibrant cities, Sydney offers a range of singing classes through Kiya Learning. Students in Sydney benefit from a bustling cultural scene, providing ample opportunities for live performances and networking within the music industry.

Melbourne: Known for its artistic and musical heritage, Melbourne is an ideal location for singing classes. Kiya Learning’s Melbourne programs are designed to nurture the city’s rich musical culture, offering students exposure to various genres and performance styles.

Brisbane: In Brisbane, Kiya Learning’s singing classes cater to a growing community of aspiring vocalists. The classes are tailored to suit the local culture and musical preferences, ensuring that students receive relevant and engaging instruction.

Perth: Kiya Learning’s Perth programs provide vocal training in a city known for its laid-back lifestyle and vibrant arts scene. Students in Perth benefit from personalized instruction and opportunities to perform in local events.

Adelaide: In Adelaide, Kiya Learning’s singing classes are designed to align with the city’s dynamic cultural landscape. Students have access to expert guidance and performance opportunities that reflect Adelaide’s unique musical environment.

Hobart: For students in Hobart, Kiya Learning offers singing classes that cater to the city’s intimate and supportive artistic community. These classes are designed to help students develop their vocal skills in a nurturing environment.

Canberra: Kiya Learning’s singing classes in Canberra are tailored to meet the needs of students in the nation’s capital. The programs focus on building a strong foundation in vocal technique and performance skills.

The Curriculum and Teaching Approach

Kiya Learning’s singing curriculum is designed to address all aspects of vocal training. Here’s what students can expect:

Vocal Warm-ups and Exercises: Students begin each lesson with warm-up exercises to prepare their voices for singing. These exercises focus on breath control, vocal range, and tone quality.

Technique Development: The curriculum emphasizes proper singing techniques, including posture, breath support, and articulation. Students learn how to use their voices efficiently and avoid common vocal issues.

Song Repertoire: Students have the opportunity to work on a diverse repertoire, including classical pieces, contemporary songs, and musical theatre numbers. This exposure helps them develop versatility and discover their preferred style.

Performance Skills: Training includes techniques for effective stage presence and audience engagement. Students learn how to manage performance anxiety and deliver compelling performances.

Music Theory: Basic music theory concepts are integrated into the curriculum to help students understand how music works. This knowledge enhances their ability to interpret and perform songs accurately.

Personalized Feedback: Regular assessments and feedback ensure that students are making progress and achieving their goals. Instructors provide constructive criticism and guidance to help students continually improve.

Benefits of Joining Kiya Learning’s Singing Classes

Expert Instruction: Kiya Learning’s vocal coaches are experienced professionals who bring a wealth of knowledge to their teaching. They provide personalized attention and guidance to help students achieve their best.

Flexible Scheduling: With options for individual, group, and online classes, Kiya Learning accommodates various schedules and learning preferences. This flexibility ensures that students can balance their musical training with other commitments.

Supportive Environment: The nurturing and supportive atmosphere at Kiya Learning encourages students to explore their talents and take risks. This positive environment fosters growth and confidence.

Holistic Development: Beyond vocal training, Kiya Learning’s programs promote overall personal development. Students build confidence, enhance communication skills, and develop a deeper appreciation for music.

Community and Networking: By participating in Kiya Learning’s classes, students become part of a vibrant community of music enthusiasts. They have opportunities to network with other musicians and participate in local events.

How to Enroll

Selecting in Kiya Learning's singing classes is clear. Imminent understudies can visit the Kiya Learning site to discover nitty gritty data almost course plans, areas, and expenses. Also, interested people can contact Kiya Learning straightforwardly to examine their needs and get personalized suggestions.

Conclusion

Kiya Learning's singing classes offer a comprehensive and enhancing involvement for yearning vocalists over Australia. With master instruction, a assorted educational modules, and openings for execution, understudies are well-equipped to realize their vocal objectives and explore their musical potential. Whether you are a fledgling looking to begin your singing travel or an experienced vocalist pointing to refine your abilities, Kiya Learning gives the assets and bolster required to succeed. Connect Kiya Learning's singing classes nowadays and take the another step in your melodic enterprise.

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[musicarenagh]

"Dad": A Musical Homage to Fathers by Gary Dranow Gary Dranow and The Manic Emotions' single "Dad" is more than a tune—it’s an emotional voyage that tugs at the heartstrings with its sincere homage to paternal bonds. Engulfed in rock sensibilities refined by an essential storytelling authenticity, this piece emanates warmth, wisdom, and the indelible marks of familial love. https://open.spotify.com/track/6MgqQE4xsfrn070tw2GzQT Crafting this poignant narrative are Gary Dranow alongside bandmates from corners as varied as Park City (Utah), Melbourne (Australia), and Ukraine—Chris Zoupa's electrifying guitar riffs, Jason Jones’ deep-toned bass pulses, Roman Burda's evocative violin strokes along with Klim Apalkov and Roman Kuznetsov adding layers of intricate sonic textures. This international assembly isn’t just about showcasing their geographical diversity; it speaks volumes of their unity in creating music that resonates universally. "Dad" draws its inspirational soul from a letter — possibly one filled with reflections on love lost and found through the eyes of a son to his father Harold. It’s this source material that imbues every chord change with raw emotiveness matched only by lyrical narratives reminiscent of legendary raconteurs like Bob Dylan or Neil Young—a story set against a backdrop where each note finds its place within the grand tapestry woven out of profound human emotions. The strength lies not solely in impeccable musicianship but also shines brilliantly through great male vocals that serve as both narrator and confidante. They guide listeners across trails blazed by affectionate recollections and lessons inherited from years under paternal watchfulness—a voice speaking directly to our shared experiences around family ties. [caption id="attachment_54320" align="alignnone" width="768"] "Dad": A Musical Homage to Fathers by Gary Dranow[/caption] By blending rock’s inherent intensity with flourishes that hint at Eastern European melodic richness alongside good old-fashioned Australian straightforwardness, “Dad” transcends musical genres. It instead stakes its claim firmly in hearts willing to journey back home musically—and emotionally—to spaces filled by parental figures’ silhouettes cast long into adulthood realms. In essence, Gary Dranow And The Manic Emotions have not merely composed another track; they've painstakingly painted auditory canvases where notes curve gently around memories like comforting embraces or echoes growing faded yet vital still amid life’s cacophonies. Their single stands testament—not simply to creative prowess—but more importantly - encapsulates those unspoken chords struck between fathers and sons everywhere, turning universal truths into symphonies felt deeply beyond mere hearing. Indeed “Dad” goes beyond melody or harmony—it whispers tales deeper than lyrics could tell alone while imploring us all to find solace in connections timeless against temporal lulls—an endeavor irrefutably successful ensuring it reverberates long after the final note fades into silence. Follow Gary Dranow on Website, Facebook, Twitter, Bandcamp, YouTube, Instagram and TikTok.

[themacproject1]

Maryanne McCormack is a top-rated master class vocal coach and Corporate bands Melbourne that teaches acting, dialect coaching and singing lessons. Let her help you refine your craft by calling 0409 387 274 today.

[goldenvoicestudio]

Achieve Vocal Excellence with Melbourne's Best Lessons – Golden Voice Studio

Perfect your voice with top-quality Melbourne vocal lessons at Golden Voice Studio. Our highly trained vocal coaches offer comprehensive training for singers of all skill levels. From mastering vocal techniques to enhancing performance skills, our personalized approach ensures your success. Join our vibrant community of music enthusiasts and unlock your full potential. Your journey to vocal excellence begins here—enroll in our Melbourne vocal lessons today!

[joyridingmp3]

2022

every year i (like to - don't always get to) make a list of cool things that happened to me in the year just gone. so here's a nice summary for 2022:

-getting really into succession and finding characters who i felt understood by and could relate to

-publishing more fanfics

-i got INSANELY busy at work all of a sudden and had this one month where every night i went out to restaurants with family/friends it was weird but nice

-getting to go to my best friends engagement party

-making friends with some new employees at my work and getting to become really close with them

-quitting vaping (i know, i know) and finding the MASSIVE difference it made to my energy levels. instantly feeling more alive and awake and having the energy to live!!!

-going on smoke breaks with one of my favourite coworkers throughout this year and getting the opportunity to become so close to her and get to know her a bit more

-buying mcr tickets for march

-going to my best friends wedding!!

-starting vocal lessons (something that has terrified me but i have wanted to do my whole entire life)

-spending so many weekends drunk watching mcr livestreams and having a BLAST liveblogging with the mutuals

-deciding to do more art and sketches and finding that it made me sooo happy

-finally reaching out to an old friend - something i'd wanted to do for years but was too busy letting fear make my decisions for me

-buying my own apartment and FINALLY!!!! getting to move out of my parents house after 24 years of yearning for that moment

-going to a halloween party and feeling so cool dressed up, doing an insane amount of drugs and having such a nice time

-deciding to let go of what others think and do what makes me happy which involved spending a ridiculous amount of money on impulse piercings (usually getting them before my vocal lessons)

-spending more time writing and being able to use that as a positive coping thing but also just letting myself have fun with it

-making friends with sooo many cool mutuals and joining gcs and always having so many friends to talk to <3

-hitting post limit on the last mcr livestream of the year because we were all having so much fun together

-getting my full licence and being able to listen to whatever music i want while driving. i have since spent every weekend of 2022 driving random places and exploring my local area wind in my hair with the music blasting. i got to go on so many little adventures to new places dressed however i want with a maccas large vanilla iced latte

-going on walks and listening to the most beautiful songs that change my life

-that one night my friend took me to mcdonalds and then for a drive around and i was wizard high and we sat in his car eating and having the most philosophical conversations (he's just a philosophical kind of dude i didnt even plan that)

-getting my own guitar and learning to play. it has felt so right and has felt like coming home. electricity sparks through my hand and up my arm every time i touch it.

-going to melbourne for nye and meeting up with a mutual and getting to try absinthe for the first time and go to my first gay club

-(technically this should/will be in the 2023 post) spending the first day of 2023 with a mutual of mine i'd made 10 years to the date having the time of my life

[bangbaby]

##TRIVIA !

fun facts about lucy kang . . .

LU: sees all. seriously, i've got a third eye.

she has her driver’s license.

she is left handed and her hand size is 19cm.

her accent is a little more british than australian, but she says some words with an american intonation because of how/where she was raised.

she has her own room (ensuite) in the dorm.

she curses a lot— but tries her best not to get caught on camera for the kids’ sake (though she could give less of a shit when she’s covering songs).

she tends to stumble/stutter on finding the right words to say when she’s not rapping; similarly, she can be very scatterbrained and forgetful.

she is a frequent cleaner/neat freak and cannot stand the mess the boys make (but will definitely lock herself away to avoid it).

living with her brothers and living with the members is not that different in her eyes.

more of her “naughty” side shows when she’s around people she’s comfortable with.

she is awkward (not shy) towards people she doesn’t see as friends, but is otherwise known in the industry to be extremely kind (she has never run into any problems with anyone, but personally thinks it’s hard to keep up with knowing a lot of people).

she lived in singapore for six years and melbourne for eight years before moving to korea in 2012.

when she was eight years old, she was diagnosed with atopy (a genetic condition that makes a person’s immune system more sensitive to common allergic triggers; lucy is not allergic to any foods, rather she has sensitive skin and her symptoms are a lot more severe when she’s sick).

she attended kampong-ubi kindergarten for two years, caulfield primary school for six and caulfield grammar school for two. at fifteen, she transferred to cheongdam high school and graduated after four years.

she therefore went to the same high school as bang chan and kim seungmin.

she says she was a pretty bad student— not that she was malicious or a troublemaker, but rather that she always rushed to finish her work/tests at a passable standard (even if she knew she could do better) and avoided study like the plague because it was just too boring for her.

she performed taeyang’s wedding dress for her vocal audition (rapping a self-written verse in english) and jessi’s ssenunni for her dance audition.

she was ranked poorly in her first year as a trainee, but became the company’s “secret weapon” by her debut year.

she prefers working smart and getting things done efficiently— this does make her impatient and her standards lower than they should be, but only when she’s passionate will she work extremely (maybe almost too) hard.

her hobbies involve reading, writing songs, watching anime, playing games as well as her guitar and (electronic) drums.

she is currently learning how to play the piano.

lucy can’t whistle.

her favourite colour is yellow and black (yes, she adores bees).

she has a brown toy poodle named bibi (short for jollibee) and a black toy poodle named loki that currently live with her aunt.

she loves to eat and is not a picky eater. her favourite food is pasta (jollibee).

she is a fan of all animals and insects, but has a fear of large spiders.

she is not a very strong swimmer.

she was a passionate softball player in primary and high school. she is an extremely good pitcher.

she also took taekwondo lessons during her trainee days and is good at wrestling (ssireum) as well as boxing.

despite her love for outdoor sports and group dance (as cardio is her main means of keeping fit), she considers herself more of a homebody now.

though, she does love going out to eat with friends during vacation and dislikes being completely alone.

she likes rainy days more than sunny days.

her favourite season is autumn (if not spring).

she is very close with her jyp family: twice as well as itzy (sana, jihyo, dahyun, ryujin, chaeryeong especially) are like sisters to her.

her motto: "what matters isn't if people are good or bad. what matters is if they're trying to be better today than they were yesterday".

if she wasn’t in stray kids, she says she would be in a girl group. if she wasn’t an idol, she’d be a music and/or sports teacher.

her role models are CL, IU and all of SNSD.

her “celebrity” crushes are often fictional characters, but if she had to pick someone real— it’d be elizabeth olsen or ryan reynolds.

her ideal types are either zoro or robin from one piece (even though the members would argue she’s more of a luffy or nami girl).

more to be added in the following tags:

just lucy things

lucy reacts

ask lucy

[ nav ] [ masterlist ] [ skz ] [ itzy ] ©bangbaby

[kiyalearning01]

Singing Classes in Australia

Kiya Learning gives comprehensive singing classes in Australia, advertising a special opportunity for trying vocalists to create their vocal abilities in a organized and steady environment. These classes are planned to cater to a wide extend of understudies, from tenderfoots who are fair finding their voice to progressed artists looking to refine their procedure and grow their collection. With a center on personalized instruction, Kiya Learning's singing classes point to bring out the leading in each understudy, making a difference them reach their full potential as vocalists.

Outline of Kiya Learning's Singing Classes

Kiya Learning's singing classes in Australia are accessible in different cities over Australia, counting Sydney, Melbourne, Brisbane, Perth, Adelaide, and other major areas. These classes are available to understudies of all ages, from youthful children to grown-ups, and are custom-made to meet the particular needs and goals of each person. Whether understudies are inquisitive about classical singing, modern styles, melodic theater, or pop music, Kiya Learning includes a program that can cater to their interface.

Course Structure and Educational programs

The singing classes at Kiya Learning are organized to supply a well-rounded vocal instruction. The educational programs is planned to cover the fundamental perspectives of singing, counting:

Vocal Technique: Students learn the fundamentals of vocal production, including breath control, pitch, tone, and articulation. The focus is on developing a strong, healthy vocal technique that will serve as the foundation for all styles of singing.

Ear Training and Music Theory: Understanding music theory and developing a good ear for music are crucial for any singer. Kiya Learning incorporates ear training exercises and music theory lessons into the curriculum to help students understand musical notation, harmony, and rhythm.

Repertoire Development: Students are encouraged to explore a variety of musical genres and build a diverse repertoire. Instructors work with students to choose songs that match their vocal range and style, helping them to develop their unique sound.

Performance Skills: Singing is not just about producing beautiful sounds; it's also about connecting with an audience. Kiya Learning emphasizes performance skills, including stage presence, expression, and emotional delivery. Students have opportunities to perform in recitals and concerts, gaining valuable experience and confidence.

Music Appreciation: Beyond singing, students are introduced to different musical styles, genres, and historical periods. This broader understanding of music helps students appreciate the art form and provides context for their singing practice.

Improvisation and Creativity: Creativity is encouraged through exercises in improvisation, helping students to explore their artistic side and develop their ability to adapt and innovate within a musical framework.

Teaching Methodology

Kiya Learning’s singing classes in Australia  approach to teaching singing is holistic, focusing on the overall development of the student as a singer and musician. singing classes in Australia The instructors are experienced vocal coaches who bring a wealth of knowledge and passion to their teaching. They use a variety of teaching methods, including:

One-on-One Instruction: Personalized lessons allow instructors to focus on the specific needs of each student, providing targeted feedback and guidance. This approach ensures that students progress at their own pace and receive the individual attention they need to succeed.

Group Classes: For those who enjoy a more social learning environment, group classes are available. These classes provide an opportunity for students to learn from each other, participate in group exercises, and perform in ensembles. Group singing fosters teamwork and helps students develop listening and harmonization skills.

Online Classes: Kiya Learning also offers online singing classes for students who prefer the flexibility of learning from home. These virtual classes are conducted via video conferencing platforms and are designed to replicate the experience of in-person lessons as closely as possible.

Workshops and Masterclasses: In addition to regular classes, Kiya Learning hosts workshops and masterclasses led by industry professionals and guest artists. These sessions provide students with insights into specific aspects of singing, such as advanced vocal techniques, audition preparation, and career development.

Benefits of Learning Singing with Kiya Learning

Personalized Learning Experience: Kiya Learning’s singing classes are tailored to meet the individual needs of each student. Whether a student is looking to improve their technique, prepare for a performance, or simply enjoy singing as a hobby, the instructors work closely with them to set goals and achieve them.

Experienced Instructors: The instructors at Kiya Learning are highly qualified vocal coaches with extensive experience in both teaching and performing. They bring their expertise and passion for music into the classroom, creating an inspiring learning environment.

Comprehensive Curriculum: The curriculum at Kiya Learning singing classes in Australia all aspects of singing, from technique to performance, ensuring that students receive a well-rounded education. This comprehensive approach helps students develop their skills and build confidence in their abilities.

Flexible Learning Options: With both in-person and online classes available, Kiya Learning offers flexible learning options to suit the needs of all students. Whether students prefer the traditional classroom setting or the convenience of online learning, they can find a program that fits their lifestyle.

Opportunities for Performance: Kiya Learning provides students with numerous opportunities to perform, both in class and in public settings. These performance opportunities are crucial for building confidence and gaining experience as a singer.

Supportive Community: Students at Kiya Learning become part of a supportive community of fellow singers and musicians. This sense of community fosters collaboration, encouragement, and a shared passion for music.

Who Can Benefit from Kiya Learning’s Singing Classes?

Kiya Learning’s singing classes are suitable for a wide range of students, including:

Beginners: Those who are new to singing will find a welcoming environment at Kiya Learning. The classes are designed to build a strong foundation in vocal technique and music theory, helping beginners develop their skills from the ground up.

Intermediate Singers: Students who have some experience with singing can benefit from Kiya Learning’s singing classes in Australia  intermediate classes, which focus on refining technique, expanding repertoire, and improving performance skills.

Advanced Singers: For advanced students, Kiya Learning offers specialized classes that focus on advanced vocal techniques, audition preparation, and career development. These classes are ideal for those who are serious about pursuing a career in singing.

Children and Teens: Kiya Learning offers age-appropriate singing classes for children and teenagers. These classes are designed to be fun and engaging, while also providing a solid foundation in vocal technique and music education.

Adults: Whether for personal enjoyment, professional development, or performance preparation, Kiya Learning’s adult singing classes offer a supportive environment for adults to explore their love of singing.

Professional Singers: Even professional singers can benefit from ongoing vocal training. Kiya Learning provides advanced coaching to help professionals maintain their vocal health, improve their technique, and prepare for performances.

Conclusion

Kiya Learning's singing classes in Australia offer a comprehensive and adaptable approach to vocal instruction. With a educational modules that covers all perspectives of singing, from method to execution, and a group of experienced teaches committed to making a difference understudies accomplish their objectives, Kiya Learning gives an extraordinary learning encounter for vocalists of all levels. Whether you're fair beginning your melodic journey or looking to require your singing to the following level, Kiya Learning's singing classes offer the devices, bolster, and openings you would like to succeed. Connect Kiya Learning nowadays and find the delight of singing in a strong and motivating environment.

CONTACT  US  - 

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Business Email - contact@kiyalearning.com

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[goodbysunball]

Quarantine Rock, pt. II

In this continuation of the riveting Quarantine series: mostly new, 2020 releases.

Black Curse, Endless Wound LP (Sepulchral Voice)

There’s a lot of repetition in metal band name imagery, but Black Curse might be one of the laziest monikers in recent memory. No matter: the band’s debut LP Endless Wound is an absolute crusher, a swirling mass of death metal bile accented by riffs that violently snap your head back and forth for you. The guitar player handles bass duties for Primitive Man, and there are definitely some similarities between the two groups, not least of which being filthy tone and gargantuan riffs (see the plodding “Lifeless Sanctum”). But Black Curse can thrash around with the ferocity of Salvation-era Funeral Mist, and hit a mid-tempo groove like peak Beherit, as on closer “Finality I Behold.” Those are some pretty big names to drop, but Black Curse more than deliver - Endless Curse feels methodical without sacrificing manic intensity. Real deal shit right here. My favorite metal album of the year so far. Ajna Offensive had some copies of the LP in stock for a split second, and I imagine they’ll get more eventually; alternatively, one can reserve a copy from Dark Descent now.

Femme, Ruderal Exotique LP (Bruit Direct Disques)

Femme’s Chroma from the tail-end of 2017 took over my turntable for a good many months in early 2018. The French duo’s short vignettes of noise rubbing up against each other in confined spaces and somehow, despite all the jarring changes in volume, comes together for a rather cathartic listen. Ruderal Exotique follows the same formula, though this time around they’re coming at you at 45 rpm. I’m not sure if Femme’s changed things up or I’m just accustomed to power drills and blaring, bassy synths now, but all the sounds within Ruderal Exotique hit some pleasure center in my brain. Even though they’re still arriving in jagged shards, cutting into each other abruptly or dropping out into silence on a whim, when the album’s on it’s like it’s plastering drywall all over this miserable time and giving me permission to do, think or say nothing. It’d be fair to say that most of us need that regularly, but perhaps now more than ever. Gorgeous and abrasive, these 15 wordless tracks have been a balm recently, but Ruderal Exotique is also one of the most captivating listens of the year. Surrender yourself and cop yet another winner from Bruit Direct Disques, who have kindly opened up a USA e-shop run by The Business Anacortes.

Primo!, Sogni LP (Upset the Rhythm/Anti-Fade)

The Melbourne four-piece Primo! captured my heart in 2016 with the release of Primo Cassetto, a compact release bristling with tension and full of wry observations and wiry guitar lines. The follow-up LP, Amici, was as svelte and dry but twice as breezy; the playing was peppier and the vocals were softened and harmonious. I liked Amici fine, but little was imprinted on my memory after several listens, except the songs that had already appeared on Primo Cassetto. The band’s latest LP, Sogni, presses the best parts of the earlier two releases together into the grooves. Amici lacked the slower tempos of certain tracks on the debut, and Sogni brings them back with great success: “Comedy Show” is a particular standout, musically and lyrically reminiscent of latter-day Terminals, and closer “Reverie” is a drumless and haunting send-off. “Machine” and “Love Days” are the band at their most confident, the sound fuller than ever without dumbing down the lyrics or losing the scrappiness that makes this band so goddamn charming. Part of the fuller sound is thanks to the flourishes of Al Monty on various instruments throughout the album, but the band’s songwriting overall is stronger, looser - several tracks on the B-side even include extended outros (”1000 Words,” “The Present”), the band so stuffed to the gills with lean guitar lines that they had to make some room for more. Overall Sogni is the best Primo! album to date, placing the band firmly in the lineage of bands like Animals + Men and Look Blue Go Purple, responsibly self-aware post-punk sharp as nails and threatening to dance. Perfect for spring. Stateside people should look to Forced Exposure for the LP - they’ve even got some of the limited orange vinyl from Upset the Rhythm coming in.

DJ Screw, Bigtyme Volume II All Screwed Up 2xLP (Sinecure Press)

Yes: DJ Screw remains a larger-than-life presence that, along with Pimp C, has transformed how I, and many others, approach and listen to rap - but mostly I just wanted to highlight how sublime the versions of UGK’s “Tell Me Something Good,” and especially Point Blank’s “After I Die,” are on here. (The very pricey Houston Rap deluxe bundle including this 2xLP is still available.)

Anhedonist / Spectral Voice, split 7″ (Dark Descent/Parasitic)

Highly anticipated split between two death-doom titans: the dearly departed Anhedonist, and Spectral Voice, the modern scene’s torchbearer. Anhedonist’s “Abject Darkness” is an unreleased track recorded sometime during their tenure. It’s good, full of the killer “augh!” moments I prize, but it seems to tread water and repeat itself. You can kinda see why such a meticulous band left this one on the cutting room floor. On the flip, Spectral Voice turn in a devastating seven minutes on “Ineffable Winds,” eschewing any ornate arrangements and instead loading up on 10-ton riffs. I was disappointed with this record at first, mostly because the Anhedonist side left me a bit cold, but it’s encouraging to have the newer material by Spectral Voice be the better half. A few copies of this 7″ are still available from Parasitic Records.

G2G, s/t 7″ (self-released)

Snarling, sarcastic garage punk from this Sydney trio (plus drum machine), so stern and pockmarked that it’s off-putting at first blush. The opening track “Animated Satisfaction” is dripping with contempt, needling guitar lines combining in nauseating fashion, and it’s one of my favorite songs of the year. Can you deny a line like “I’m itchy and particular with my time”? You cannot. The band utilizes group vocals but they’re uneven, the guitars reek of grunge, and the lyrics are biting and delivered in a taunting manner. The shambling "You Don’t Say Shit Right” gives a lesson on how to say “Nietzsche” properly, the masked melancholy resulting in the best garage rock ballad I’ve heard since the Whines’ “It’s Raining.” “Wrong Way Corrigan” is the only track I’m not super keen on, but the chorus of “I rode it like a dump truck/all the way to your house” is pretty catchy. Overall, a fantastic debut. Limited to 166 hand-numbered copies: unleash the beast.

M. Quake, Fall In Love With Yourself 7″ (Purely Physical)

Martina Quake put this 7″ out on Valentine’s Day this year, and it’s a pretty dope sentiment to drop on that holiday. I blindly threw this in an order from Low Company on the strength of the title alone, and I haven’t been disappointed. The A-side features snippets from an interview with Eartha Kitt, while gauzy, swirling synths play underneath her arguments against self-compromise in relationships. It’s a fine appetizer for the B-side “Dub,” those same woozy synth samples brought to the fore and getting drunk on themselves, the track transformed from instructive to indulgent, decadent. The beat never locks, both sides remaining off-kilter but lush. A mysterious and powerful little record, one I keep returning to as a sort of palette cleanser, or night cap. The 7″ is readily available in Europe from Boomkat and various other retailers; not sure if ordering from Forced Exposure will net you a copy, though.

The Native Cats, Two Creation Myths 7″ (Rough Skies)

It’s true that the Native Cats are my favorite modern band, so my bias is going to be evident, but their last two 7″ records on Rough Skies, Spiro Scratch and now Two Creation Myths, have been nothing short of brilliant. “Run With the Roses” is the best Native Cats song to date, and will almost definitely stand as the best song of the year. Chloe Escott is in fighting form, sneering and powerful, then vulnerable, then resplendent. The track is startling in its starkness, buoyed by Julian Teakle’s bass and peppered with some of Escott’s electronics, staring you down and refusing to flinch. Oof, what a dominating, masterful track; gives me chills every time. The flip is “Sanremo,” a lush ballad that the Native Cats excel at creating, akin to “C of O” and “Cowboy Builder” but bolstered by Escott’s self-assured vocal performance, theatrical without a whiff of the maudlin. Lulu’s recently reviewed the record, and I think they said it best: 

“Few bands releases feel quite as consistently considered as those of The Native Cats. Never a second wasted, nor element unslaved over, their voice is one of the most unique, engaging, and resolute of the contemporary Australian underground.”

You’re gonna need Two Creation Myths. It’s limited to 300 copies - buy it, along with everything else available, from Rough Skies.