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115 music teachers in Veyrier

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115 music teachers in Veyrier

Sonaloha - Lancy108€
108€Modern singing lessons and vocal coaching - Sonaloha
Trusted teacher: Free your voice! Customized singing lessons and vocal coaching. Whatever style you'd like to sing, come with or without your project, and I'll try to give you the right tools to achieve your goals. Teaching through the latest cutting-edge techniques in the field of voice. Whether you want to sing or express yourself in public, I offer you a host of techniques and tips to make your voice your ally, both in the songs you love and in your everyday speaking. Strengths: Healthy voice placement while respecting the student's needs and limitations. Creativity and personal interpretation are valued and taken seriously. Encouragement and advice to students who wish to embark on a personal musical artistic project. I had the pleasure of accompanying in my classes, certain singers who today integrate groups from the Geneva scene. Program Singing preparation techniques (relaxation, toning). The posture Breathing The support Jaw positions and opening The Twang Positions of the tongue and lips The various voice positions depending on what you want (densities) The resonances Volume Listening Harmonics (production and listening) Rhythm Interpretation (vocal games, emotions). Singing in English (pronunciation work) Improvisation Vocal effects The spoken voice (timbre, pitches, intention, rate). Public speaking (body, voice, gaze) Preparation (physical, mental and vocal) for a public performance. Study and practice of different styles of music The yoga of sound Prerequisites For all those (novices, actors, singers, speakers), who wish to explore, develop, work on their spoken or sung voice in contemporary music. Beginner, intermediate, advanced, semi-pro, pro.
Singing
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Mihalis - Geneva84€
84€Exploring music with double bass lessons from a professional player
Trusted teacher: Music is a language, a form of expression The basic goal of a teacher My aim is to initiate young people and adults to the magic world of music through this beautiful instrument. To make students capable of playing music, not just the double bass. Music comes from the musician, not the instrument. The first approach with the instrument / proper posture (for beginners). The double bass is a big instrument and one might think that it needs a lot of effort and power in order to handle/play it. But the key is to find the proper body positioning as soon as possible in order to play effortlessly. This is a key that will enable the student to unlock many doors in his musical future. There are no wrong notes. I think it is very important to learn how we can embrace our mistakes instead of correcting them as if there are no wrong notes. Music is a language, a form of expression, so in my view, we should preserve the environment of freedom and enjoyment especially for beginners. Notes are only one of the many elements of music. All of us, when we look at a musical notation, the first thing that we focus on, are the notes. Notes represent the pitch and duration of a sound, but that’s all... What about all the other elements that music consists of? Discussion and research on rhythm, dynamics, phrasing, the timbre of the sound, articulation, harmony and many others, will give/enhance student’s interpretation with a professional musical character and it will open up her/his horizon in order to collaborate in a higher level with other musicians in the future. Practicing efficiently This is one of the most important aspects and I feel very responsible as a teacher to help my students find their formula/way of efficiently practicing in order to achieve the best possible results in the shortest possible time. Formulate together a daily practice routine can be very helpful to my experience. Saving time and energy is crucial in our days/world. My ultimate goal from one point onwards is the same as that of the parent. To make my students independent, to be able to teach themselves. Creativity I believe that each of us has a lot of creativity hidden inside. I really enjoy exploring my student’s creative potential and encourage her/him to find their own inner musical voice. Uniqueness Adaptability to the individual needs and dreams of each student is one of the principals I follow in my teaching. This concerns the formulation of the daily practice routine, repertoire, proper posture, technique and many more. Suggested reading & discography There are many books and musical compositions that have changed my musical life in a better way and I wish I had read/listened to all these earlier. I would love to share some of them with my students, in the right timing (which is not the same for everyone!). Method The vehicle for my pedagogical approach is the ABRSM which is a widespread examination system. About Mihalis Mihalis comes from a musical family whose roots spread from Northern Greece to Asia Minor. As influenced by his origins as he may be, his own sound has a clear urban context, a combination that makes him one of the most aspiring and creative musicians of the new generations. As a double bass player, he is a member of the Athens Symphony Orchestra and he is participating also as a guest player to concerts of the Athens State Orchestra, which is the orchestra with the greatest reputation in Greece. His own music is a contemporary art form, blending jazz and classical influences with both electronic and Greek traditional elements in an atmospheric and groovy urban context. His first album “ Scarborough Tales” (2010) reminds a soundtrack and was the final project for his Master’s degree (MRes in Creative Music Technology - University of Hull, UK). His most recent album “World Echoes in Athens” began with a year-round field recording in open or hidden places in Athens serving as temples where immigrants went to pray. After the compositions completed, the album was used as the soundtrack of the acclaimed photographer Tassos Vrettos’s exhibition titled “Wor(th)ship”, at the Benaki Museum (2015). His band has already performed in many festivals in and outside of Greece. He was selected as “2018 Upcoming Artist” in the Athens Technopolis Jazz Festival, and last June he performed at the Summer Nostos Festival in a special performance with video art and narration and the Siberian multi-instrumentalist and composer Nadishana as a guest. In October his band performed at Fira B Festival of Spain, and the next big event is scheduled for this summer at the historical “Little Theatre of Ancient Epidaurus” for the Athens Festival.
Double bass
Karine - Geneva104€
104€Teaching of the lyrical singing, voice installation, breath control, breath control, repertoire learning in various styles.
Trusted teacher: With a beginner, I devote half of each course to technical work. I start the class with some body exercises to wake up the body and then follow up with breathing exercises. Once the body is awake and breathing has entered its cycle, I propose drumming exercises. First I make him sing vocalizations on the vowels that suit him well, then I add the consonants to these vowels. Consonants arouse sensations in the muscles of the face, make the lips vibrate and some help lift the soft palate. Once the voice is turned on, I ask the student to sing while walking so that he finds a kind of flexibility in his body and he looks for his voice from the physical movements. This gives a movement, a game that engages the body. Thanks to this approach, the body is better mobilized and the abdominal muscles participate unconsciously in the work. This also helps him to perceive his center of gravity and awakens deeper support. During class, I often approach the student to check the muscular work and the opening of the ribs and back. I fix my attention on the jaw tension and I propose exercises that can solve this problem. Thus the voice begins to free itself by taking a richer tone and a rounder tone. The course is dedicated to music learning and interpretation, incorporating technical elements as well as some vocalizations. In general, before choosing the program for the student, I take the time to get to know the type of voice of the student, his way of being, the characteristics of his personality to better adapt the genre of music and the directory. I often choose pieces that help to install the medium of the voice, especially taking into account the student's mother tongue. Having already worked on the medium of the voice, the student gradually begins to expand his vocal range. The touching and dramatic content of the chosen piece often pushes the student to engage physically and mentally in the song by expressing his own expressiveness. Italian is the language of singing par excellence because it contains pure vowels. Thanks to the Italian repertoire, I'm working on the legato, on longer sentences as well as on the phrasing, on the spirit of the piece and on the dynamics of the piece to discover how the music really exists when all the elements are found. Goals and objectives • Purpose I would like to share with my student the joy of singing, discovering his body, his voice, the pleasure of performing on stage (both in a choir and as a soloist). • Goal By remaining attentive to his desire and his aspirations, I would like to transmit to him a singing technique that will serve him as a starting point and that he knows that by increasing his singing and control abilities on himself the pleasure will be all the greater. • Main objective I would like that at the end of a year of work my student is able to manage his breath and learn to support his sentences in a consistent way to find the resonance of his voice by putting all this at the service of the interpretation through his own musicality. • Specific objective At the end of a year of work, I hope that my student will have obtained the sound of his voice in his natural tone. The autonomy of his work at home will be beneficial for his progress while continuing to go further in the discovery of music, its forms, its amenities and its dangers while cultivating its own curiosity.
Singing
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Daniel - Geneva93€
93€Flamenco guitar for all
Trusted teacher: With 18 years of experience teaching guitar and more than 20 years in socio-cultural animation, I have also successfully led many courses in schools with recognized pedagogical qualities such as The Rudolf School Steiner and the Active School, or in Andalusian associations in Geneva, Friborg, Nyon and Martigny. I also accompany the dance lessons of various dancers (living in Switzerland, Spain and France) regularly or during workshops in Spain and Switzerland: Ana la China (CH), Antonio Perujo (CH), Maud la Manuela (CH), Naomi Guerrero (CH), Melissa Salcedo (CH), Octavia de la Vega (CH), Jose Candela (Grenada), La Tati (Madrid), Carmen Ledesma (Sevilla), Manuela Carpio (Jerez), Ana Maria Lopez (Jerez), Raimundo Benitez (Grenada), Manuel Guitieres (Monpellier). My stage experience alongside local and internationally renowned artists (Enrique Bermuda "el Piculabe", Matias Lopez "el Mati", Juanillorro, Sandra Santisteban, Ana Barba, Melchor Campos, Paloma Pradal, Manolo Carmona "El Huelebien", Yolanda Almodovar, Andres Gil, Maria Bertos or Juan Manuel Cortes, Marta Themo, Stéphane Montangero) in organizations ranging from local associations to international flamenco festivals (Geneva, Mont-de-Marsan), as well as my apprenticeship with various masters ( Jose Manuel Tudela, Domingo Rubichi, Manuel Losada "el Carbonero", Agustin de la Fuente, Jesus El Guardia, Daniel Manzanas, Enrique Bermudez) and the fact that I played other musical styles (blues, rock, Brazilian music) for 12 years before diving into the world of flamenco make me a versatile guitarist and listens to others. Lessons: Over time, I have developed a method that adapts to the needs and abilities of each student to guide them progressively and playfully towards a growing autonomy. Thus, the student is led on the way towards the accompaniment of singing, dancing and composition. The technical, theoretical and rhythmic baggage it needs is introduced in a personalized way so that this last one lives it the way most in agreement with its mode of learning. Flamenco being of oral tradition we will not normally use music theory for its learning but mainly listening and imitation (however, if necessary I can also explain some rhythmic or harmonic particularities using this language for those whose understanding go through this). In order for everyone to remember what they have learned in the current lesson, I systematically devote a brief moment of video or audio recording with a slow take that includes a synthesis of explanations and a real-time take. If the student does not have anything to film or record, I can do it with my phone and send the file to him by e-mail. The latter finds in this way at any time a summary of each course. For beginners guitarists, I propose a grip of the instrument With traditional ultra - simplified melodic and rhythmic motifs, the first technical bases are thus acquired by playing rather than under the constraint of tedious exercises (which I can also propose if the student feels the need). We will gradually expand them according to the progress of the student.
Guitar
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