POPULAR MUSIC PERFORMANCEMUSIC PRODUCTION SONGWRITING

ONE YEAR DIPLOMA

EUROPE’S MOST CONNECTED

MUSIC COLLEGE

YOUR MUSIC CAREER STARTS HERE BIMM.CO.UK

WELCOME

BIMM London as many of you will know, previously incorporated Tech Music School, a prestigious and long standing leader in modern music education, founded in 1983. Together, the BIMM organisation and Tech Music School amalgamated their strengths and proudly opened a new site in Fulham in September 2013. As a result we are an innovative, forward thinking, dedicated institute priding ourselves on delivering high quality music education and ensuring professional standards are met by our tutors, staff and students.

You have joined us at a very exciting time! We have spent the summer developing the facilities, growing our team of music industry experts, increasing performance and employment opportunities and expanding the already large musical connectivity we have with the industry. This is to ensure that all of our students get the best experience possible while studying with us.

As College Principal, I would like to take this opportunity to again welcome you on board, and urge you to get involved. This can be anything from auditioning for our gigs, to setting up your own, from networking to helping. Try to use us up and your time here as much as you can. Be creatively adventurous, collaborate, make connections, earn the respect of your peers and tutors while also returning it. We hope you will make life-long friendships and develop skills that you will thrive off.

Being able to indulge a passion and develop your talent is one of the greatest gifts of all, so enjoy it. Have fun!

All the best for the coming year, and I look forward to meeting and working with as many of you as possible.

JULIA RUZICKA College Principal – BIMM London

WELCOME! WE ARE THRILLED THAT YOU HAVE CHOSEN BIMM LONDON AS YOUR PLACE FOR PROFESSIONAL MUSICAL DEVELOPMENT AND STUDIES. THE WHOLE TEAM HERE ARE VERY MUCH LOOKING FORWARD TO MEETING YOU AND ARE EXCITED TO BE A PART OF YOUR WONDERFUL CAREER IN MUSIC.

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04 INTRODUCTION05 INDUCTION AND ENROLMENT06 COURSE INFORMATION07 DIPLOMA IN POPULAR MUSIC PERFORMANCE08 DIPLOMA IN POPULAR MUSIC PERFORMANCE BASS09 DIPLOMA IN POPULAR MUSIC PERFORMANCE DRUMS10 DIPLOMA IN POPULAR MUSIC PERFORMANCE GUITAR12 DIPLOMA IN POPULAR MUSIC PERFORMANCE VOCALS14 DIPLOMA IN MUSIC PRODUCTION15 DIPLOMA IN SONGWRITING17 STUDENT SUPPORT

CONTENTS

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INTRODUCTIONTHE PEARSON BTEC AWARD CERTIFICATEThe Edexcel award is a recognised Level 3 qualificationwithin the national qualifications framework which, ifsuccessfully obtained will gain you access onto the3 year BMus or BA courses run at BIMM London(subject to grades and a progression interview ifrequired), as well as higher education courses at otherinstitutions. Without this part of the qualification youwill not be eligible to apply for the degree unless youhave 160 points over two or more completed ‘A’ Levels(A2), or their equivalent (please ask the office for further details).

USEFUL CONTACTS

Please feel free to contact any of us before the day for any questions you may have.

ADMISSIONS: application and pre-enrolment questions admissions@bimm.co.ukSTUDENT SUPPORT: housing and enrolment day questions studentsupportlondon@bimm.co.ukMICHELLE HUMPHREYS: freshers events/tickets michellehumphreys@bimm.co.ukFINANCE: tuition fees/student finance questions financeenquiries@bimm.co.uk

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INDUCTION AND ENROLMENTAT THE INDUCTION DAY YOU WILL BE ISSUED WITH YOUR TIMETABLE FOR THE TERM.

In order to prepare you for studying at the College you will need to attend an induction session arranged for you in the last 2 weeks of September. You should aim to be ready to attend the College from 19th September. Here you will meet key members of staff, be given important information about the College and your course (including timetables and access to College systems), and have the opportunity to look around our premises. It is essential that you attend this session so please be aware that you will need to be flexible with your plans to get the best experience. Exact dates and times will be confirmed via email by mid-August so please keep us updated if your contact details change. There will also be a full programme of Freshers events during this time.

TERM DATES

ENROLMENT AND INDUCTION FORTNIGHT: 18th September 2017 - 29th September 2017

TERM 1: 2nd October 2017 - 8th December 2017TERM 2: 8th January 2018 - 16th March 2018TERM 3: 9th April 2018 - 15th June 2018

RE-SIT WEEK: 13th-17th August 2018

PRE-ENROLMENT FOR YOUR COURSEAll students are required to confirm their details with us by completing a pre-enrolment form which we will send to you electronically. All instructions and communication will be by email so it is important you keep us informed of any email address changes and check them frequently for updates! We will contact you in the summer with instructions on how you can successfully pre-enrol.In preparation for the pre-enrolment process and to be ready for your enrolment day at BIMM London please gather and take important note of the following items:

Be ready to confirm tuition fee payment. You have to provide BIMM with proof of ID. This will be in the form of colour scans of passport/driving license/citizen card. One of these will be required for successful enrolment. Please get your ID scanned and ready.

Have a passport style photo ready to scan and email across that will be used for your student ID card.

Make sure you have your academic qualifications available to you! Ready to scan and provide at enrolment.

And again, once you receive your pre-enrolment form by email, please make sure to fill it out and return to the instructed address to ensure a smooth and complete enrolment at BIMM London.

COURSE INFORMATION

One Year Diploma

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POPULAR MUSIC PERFORMANCECOURSE LEADER KELLY LETHBRIDGE

Welcome to The Popular Music Performance course here at BIMM London. You are entering one of the most creative and exciting performance courses in London where you will be taught by some of the most respected musicians. Our amazing faculty of tutors here will provide you with no less than a fantastic tool kit that any working musician/artist will need.

Here at BIMM London, you will be provided with the opportunity to be whoever you want to be – whether that is a recording artist or session player.

During this course you will be able to study everything a working and developing musician will need. Our incredible performance and rehearsal rooms here use the world’s best leading industry standard equipment for you to use.

You will have the opportunity to make industry connections and collaborate with other musicians within the college, attend some of the most exciting master classes & events and enjoy London’s buzz.

This will be a great journey for you with many prospects. Get ready to get connected and get involved in some of the amazing opportunities we have in store for you.

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YOU ARE ENTERING ONE OF THE MOST CREATIVE AND EXCITING PERFORMANCE COURSES IN LONDON WHERE YOU WILL BE TAUGHT BY SOME OF THE MOST RESPECTED MUSICIANS.

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POPULAR MUSIC PERFORMANCE BASS HEAD OF BASS ANDREW MCKINNEY

Being a bass player at BIMM means you are instantly plugged into a huge range of exciting opportunities – for learning, creating, performing and recording both on the course and in the professional music industry.

With the demand for versatile professional bass players across the music industry today, there are so many opportunities available. To highlight this fact some of our recent graduates are playing with Jessie J, One Direction and Mark Owen from Take That. Artists worked with this year also include Dido and Jamelia.

The course will provide you with high quality tuition to ensure that you are at the top of your game and able to excel in all the areas the industry demands. Technique, theory, reading, styles, performance, rhythm section, composing, arranging, music technology and music industry are all covered in depth by experienced industry professionals, enabling you to make the most of your career as an in-demand pro bass player.

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ESSENTIAL EQUIPMENT

Bass and lead

Tuner

Metronome / Metronome App (Pro Metronome)

Headphones & 1/4 jack input

Manuscript paper and stationery

Spare strings

Ear plugs

RECOMMENDED READING Slutsky, A ‘Dr Licks’ (1996) Standing in the Shadowsof Motown: The Life and Music of Legendary BassistJames Jamerson. Hal Leonard. Wyatt, C & Schroeder, K (1998) A Comprehensive Source for All Musicians. Hal Leonard.

Willis, G (1997) Fingerboard Harmony For Bass. (1998) Ultimate Eartraining for Guitar and Bass. Hal Leonard.

Clayton, S (2005) Ultimate Slap Bass. Bassline Publishing.

Hrehovcsik, W (1998) Music Reading for Bass –The Complete Guide. Hal Leonard.

Tindall, T (1995) What Duck Done. Bass is Bodacious.

ABRSM (2011) Double Bass SpecimenSight-Reading Tests Grades 1-5 & Double Bass SpecimenSight-Reading Tests Grades 6-8. OUP. Friedland, E (2004) Bass Grooves: Develop YourGroove & Play Like the Pros in Any Style. Backbeat Books. Goldsby, J (2002) The Jazz Bass Book: Techniqueand Tradition. Backbeat Books. Please note that this is a recommended reading list and therefore not essential.

RECOMMENDED EQUIPMENT

Sibelius (Avid)

Logic Pro X (Apple)

Transcribe (Seventh String Software)

All students are strongly advised to wear ear protection when in class, practising or performing. Student discount is available from our endorsees Read Audio.

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HEAD OF DRUMS ERIK STAMS

For aspiring drummers there is no better place in Europe to study than BIMM London. Centrally located, the opportunities afforded to our students are second to none.

The tutors are all experienced, working musicians themselves with a broad base of skill, talent and knowledge. The courses are designed to help you find your own unique musical voice and give each musician the skills and knowledge necessary to succeed in the music business. Technique, theory, reading, styles, performance, rhythm section, composing, arranging, music technology and music industry are all covered in depth by our experienced industry professionals. Celebrating its 30th anniversary this year with a brand new building in Fulham Broadway, there really is no other serious choice.

ESSENTIAL EQUIPMENT

Sticks and brushes

Practice pad

Headphones & 1/4 jack input

Stationery and manuscript paper

Metronome / Metronome App (Pro Metronome)

Ear plugs

RECOMMENDED READING

Stone, G.L. (22 May 2009) Stick Control. Alfred Publishing. Bellson, Louis (Mar 2000) The Modern Reading Textin 4/4. Alfred Publishing.

Reed, Ted (1997) Syncopation. Alfred Publishing. Wyatt, C & Schroeder, K (1998) A Comprehensive Source for All Musicians. Hal Leonard.

Chaffee, G (Mar 2000) Time Functioning Patterns. Alfred Publishing.

Riley, John (27 Jun 2005) The Art of Bop Drumming. Alfred Publishing.

Greb, Benny (2012) The Language of Drumming. Hal Leonard. Zoro, (31 Dec 1998) The Commandments of RnBDrumming. Warner Bros. Chester, G. (1998) New Breed. Hal Leonard

Malabe, F. (Mar 1997) Afro-Cuban Rhythms forDrumset. Warner Brothers.

DuDuka de Fonseca/ Riley, J (Oct 1993) Brazilian Rhythms for Drumset. Alfred Publishing.

Rich, B/ Adler, H (28 Feb 2006) Buddy Rich’sModern Interpretation of Snare Drum Rudiments. Amsco Music; Revised edition.

Please note that this is a recommended reading list and therefore not essential.

POPULAR MUSIC PERFORMANCE DRUMS

Diploma in

RECOMMENDED EQUIPMENT

Sibelius (Avid)

Logic Pro X (Apple)

Transcribe (Seventh String Software)

All students are strongly advised to wear ear protection when in class, practising or performing. Student discount is available from our endorsees Read Audio.

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HEAD OF GUITAR JOHN WHEATCROFT

All of our courses here at BIMM are custom designed to provide you with the skills you need to succeed as a contemporary guitarist.

You’ll learn the technical and conceptual skills to allow you to fully develop as a unique artist and by teaching you how to study, practice and apply these skills you’ll become truly self-sufficient. Most guitarists go around in circles, practising and therefore playing the same old things. You attempt to break out of this pattern by buying a new guitar DVD, surfing the internet or learning some licks from a magazine. The problem is that as this information is rarely covered in any depth with no means of progression or conceptual understanding, when you pick up the guitar in a playing situation nothing comes out. You’re back to square one again!

To make real improvement requires focus, depth of understanding and real attention to detail. This needs to be in all areas, such as:

• Technique Left hand, right hand and coordination exercises and concepts, looking at posture, efficiency of motion and tone production

• Rhythm How this crucially effects everything we play• Fretboard skills A systematic approach to allow you to know where

you are and where you are going at all times• Styles Understanding the building blocks used to create classic and

contemporary styles, allowing you to perform, create and improvise with authority and authenticity

• Musicality This include skills such as interpreting tunes, improvisation skills, interplay with the band and creating effective guitar parts

• General Musicianship Crucial skills such as Reading, Transcribing, Composing and Arranging, Developing you ear with Aural training and a solid grasp of theory

• Music Technology and Studio Practical experience and technical understanding allowing you to create and record your own music and to function as a guitarist in the recording studio

ESSENTIAL EQUIPMENT

Guitar and lead

Tuner

Metronome/Metronome app (Pro Metronome)

Headphones & 1/4 jack input

Stationery and manuscript paper

Spare strings

Ear plugs

Capo

Slide

Various plectrums

POPULAR MUSIC PERFORMANCE GUITAR

Diploma in

RECOMMENDED EQUIPMENT

Sibelius (Avid)

Logic Pro X (Apple)

Transcribe (Seventh String Software)

All students are strongly advised to wear ear protection when in class, practising or performing. Student discount is available from our endorsees Read Audio.

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RECOMMENDED READING

Buckingham, B. (1998) Rhythm Guitar: The Complete Guide. USA: Musician’s Institute

Leavitt, W. (1999) A Modern Method for Guitar Volumes 1-3. Boston: Berklee Press Publications

Goodrick, M. (1986) The Advancing Guitarist. USA: Hal Leonard

Green, B. (1987) The Inner Game of Music. London: Pan Publications Greene, T. (1971) Chord Chemistry. USA: Alfred Publishing Company

Govan, G. (2002) Creative Guitar: Cutting Edge Techniques – Volume 1 & 2. London: Sanctuary

Oakes, D. (1998) Music Reading for Guitar. USA: Musician’s Institute Satriani, J (1996) Guitar Secrets. USA: Cherry Lane Publishing

Szymczak, M. (1986) Berklee Contemporary Guitar Rhythms. Boston: Berklee Press Publications Wheatcroft, J. (2008) Improvising Blues Guitar. London: Schott.

Wyatt, C & Schroeder, K (1998) A Comprehensive Source for All Musicians. Hal Leonard.

Here at BIMM London we break each topic down into its conceptual and technical elements and present a progressive practise strategy allowing you to obtain these skills with a complete understanding and total mastery. You can have the confidence that your skills are now based on understanding a topic in depth, allowing you to perform with greater conviction and authority whilst taking satisfaction with the fact that you are now going in the right direction.

REMEMBER THE OLD EXPRESSION ‘IT’S EASY IF YOU KNOW HOW’. WELL AT BIMM WE’LL SHOW YOU HOW!

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HEAD OF VOCALS LISA LAUDAT Congratulations and welcome to London, to BIMM London and to the vocal department. Nowhere compares to the progressive and eclectic hub that is London; the heart of the music industry.

HERE IS WHERE YOU CAN BE WHOEVER YOU WANT TO BE WITHOUT BEING JUDGED FOR IT – A REAL GIFT FOR THE CREATIVE SOUL – AND WHERE INSPIRATION LIES AROUND EVERY CORNER. In addition, when you come to BIMM London you automatically become a member of an exclusive global family with roots in Spain, Sweden, Italy, Germany, Korea, Japan, France, Malta, Russia, Poland, Australia, Denmark, South Africa, Finland, Colombia… you will make friends and connections that you will keep for a lifetime.

You are probably here because you have a passion for singing and want to make it your career. All the tutors in the BIMM vocal faculty feel exactly the same way. We are all working musicians, performers and writers, and we want to share our experience, knowledge and deep love of the craft of singing with you.

We won’t pretend it’s going to be easy – you will need to work hard to realise the potential both you and we know you possess – but it will be worth it when you acquire the skill and confidence you need to get ahead of the competition and make music your life-path.

Thank you for joining us. Enjoy!

ESSENTIAL EQUIPMENT

Microphone and lead

Manuscript book and stationery

Keyboard

Ear plugs

Headphones & 1/4 jack input

Access to computer and internet

Recording device (Although not compulsory, it would also be beneficial to have a smartphone or iPad)

POPULAR MUSIC PERFORMANCE VOCALS

Diploma in

RECOMMENDED EQUIPMENT

Sibelius (Avid)

Logic Pro X (Apple)

Transcribe (Seventh String Software)

All students are strongly advised to wear ear protection when in class, practising or performing. Student discount is available from our endorsees Read Audio.

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RECOMMENDED READING

VOCAL TECHNIQUE

Baxter, M. (1990) The Rock-n-Roll Singer’s Survival Manual Hal Leonard

Bunch Dayme, M. (2009) Dynamics of the Singing VoiceFifth Edition New York: SpringerWien

Chapman, J. L. (2012) Singing and Teaching Singing –A Holistic Approach to Classical Voice Abingdon: Plural

Publishing Inc.

Harrison, P. T. (2006) The Human Nature of the Singing Voice: Exploring a Holistic Basis for Sound Teaching and Learning Edinburgh: Dunedin Academic Press

Love, R. (1999) Set Your Voice Free Little, Brown and Company

McKinney, J. C. (1994) The Diagnosis and Correction of Vocal Faults Illinois: Waveland Press

Peckham, A (2006) Vocal Workouts for the Contemporary Singer Boston: Berklee Press

Sadolin, C. (2000) Complete Vocal Technique Copenhagen: Shout Publishing

Soto-Morettini, D (2006) Popular Singing: A Practical Guide to: Pop, Jazz, Blues, Rock, Country and GospelLondon: A & C Black

Vennard, W. (1968) Singing – the Mechanism and the Technic Carl Fischer

Zangger Borch, D (2005) Ultimate Vocal VoyageNotfabriken Music Publishing

PERFORMANCE AND PRACTICE

Bourne, E. J (2005) The Anxiety and Phobia Workbook4th Ed Oakland: New Harbinger Publications Inc.

Coyle, D. (2009) The Talent Code London: Random House

Csikszentmihalyi, M. (1992, 2002) Flow London: Rider

Csikszentmihalyi, M. (1996) Creativity: Flow and thePsychology of Discovery and InventionNew York: Harper Collins

Emmons, S. and Thomas, A. (1998) Power Performance for Singers Oxford University Press

Green, L. (2002) How Popular Musicians Learn: A Way Ahead for Music Education Aldershot: Ashgate

Green, B. & Gallwey, W. T. (1986) The Inner Game of Music New York: Doubleday & Co

Wyatt, C & Schroeder, K (1998) A Comprehensive Source for All Musicians. Hal Leonard.

Please note that this is a recommended reading list and therefore not essential.

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MUSIC PRODUCTION COURSE LEADER RAY TOVEY

Congratulations and welcome to music production at BIMM. London is one of the greatest cities in the world and the hub for the creative industries in the UK and beyond.

DURING YOUR TIME AT THE BIMM LONDON YOU WILL BE TAUGHT BY SOME OF THE UK’S LEADING SPECIALISTS, ATTEND A NUMBER OF MASTER CLASSES FROM INDUSTRY EXPERTS AND PRODUCE A PORTFOLIO OF CREATIVE WORK using industry standard software such as Pro Tools, Logic Pro and Ableton Live. You will be given the opportunity to work with some of the finest up and coming performers, songwriters, creative musicians and music business students around. Be sure to experience as much as possible during your time here, take advantage of our excellent facilities; including our impressive studios and tech suites. This is the perfect opportunity for you to make connections, collaborate, learn and create in one of the most exciting and vibrant creative cities in the world. Get creative!

ESSENTIAL EQUIPMENT

Manuscript book & notepad

Headphones & 1/4 jack input

Earplugs

Access to computer

External hard drive

RECOMMENDED READING

TEXTSOwsinski, B. (2009) The Recording Engineer’s Handbook. New York: Music Sales Limited.

Massey, H. (2000) Behind the Glass. San Francisco:

Backbeat Books.

Koryat, K. (2008) Guerilla Home Recording: How to Get Great Sound from Any Studio. New York: Hal Leonard.

Simone Corelli, 2013. Pro Tools in One Hour (coffee break included). 1 Edition. CreateSpace Independent Publishing Platform.

JOURNALS/MAGAZINESMusicTech. Anthem Publishing Ltd. • Sound On Sound. SOS

Publications Group. • FutureMusic. Future Publishing Ltd

WEBSITESSound On Sound www.soundonsound.comGearslutz forums www.gearslutz.com/boardTape Op Message Board www.messageboard.tapeop.comAbleton website www.ableton.comAvid Pro Audio Community www.duc.avid.com

Diploma in

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SONGWRITING COURSE LEADER PHIL BAXTER

THE SONGWRITING DEGREE AT BIMM LONDON IS DESIGNED TO GIVE YOU THE SUPPORT YOU NEED TO DEVELOP YOUR VOICE AS A SONGWRITER. WHETHER YOU WANT TO BECOME AN ARTIST/SONGWRITER OR WRITE FOR OTHERS, WE WILL GIVE YOU THE SKILLS TO ESTABLISH A LASTING CAREER IN THE CONTEMPORARY MUSIC INDUSTRY.

The high-quality recording studio complex and industry standard programming and recording technology within the building is free for you to use throughout your course. Taking you from the fundamentals of ‘traditional’ song construction to composing for film, the course provides a challenging yet vital and exciting set of experiences, geared towards shaping you into an adaptable employable writer as well as a developed artistic voice. Our small but passionate faculty, all of whom have had years of commercial and artistic writing and performance experience, aim for a culture of open, positive encouragement. Using both organic classroom environments and extracurricular showcasing opportunities, you will be encouraged to regularly show your work. Teamed with your specialist classes you will also explore the ever-evolving music industry, looking at practical career frameworks and commercial opportunities afforded to you as a writer.

ESSENTIAL EQUIPMENT

Recording device

Manuscript paper

Metronome

Headphones with 1/4" jack adaptor

Diploma in

RECOMMENDED EQUIPMENT

External Hard Drive

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RECOMMENDED READING

VOCAL TECHNIQUEZollo, P. (2003) Songwriters on Songwriting. New York: Da Capo

Pattison, P (1991) Essential Guide to Lyric Form andStructure: Tools and Techniques for Writing BetterLyrics. New York: Hal Leonard Corporation

Rooksby, R (2006) Lyrics: Writing Better Wordsfor Your Songs.Pattison, P (1992) Songwriting: Essential Guideto Rhyming. New York: Hal Leonard Corporation

Shipton, A (2013) Nilsson: The Life of a SingerSongwriter. Oxford University Press

Levitin, D (2008) The World in Six Songs:How the Musical Brain Created Human Nature.Perricone, P. (2000) Melody in Songwriting.USA: Berklee Press Publications

Leonard Cohen (2006) Book of Longing. Penguin

JOURNALS/MAGAZINESMusic Week (Main UK Industry Magazine) M Magazine (PRS’ Magazine)Mojo MagazineNMEQ MagazineThe Guardian Guide (Saturdays)

WEBSITES/BLOGSPRS www.prsformusic.comPPL www.ppluk.comBASCA basca.org.ukSONGLINES www.songlines.co.ukAUDIOBOOM (MUSIC SECTION)audioboom.comOPEN MICS IN LONDON www.richardgregory.org.uk/music/openmic/london-circuit.htmThe Quietus www.thequietus.comDrowned in Sound www.drownedinsound.comFact www.factmag.comPitchfork www.pitchfork.comThe Line of Best Fit www.thelineofbestfit.comThe 405 www.thefourohfive.comThe Guardian Music www.theguardian.com/musicClashmusic www.clashmusic.com

TWITTER@thebpi@ppluk@CMU@songlinesmag@basca_uk@theivors@musicweeknews@m_magazineprs

@prsformusic@prsfoundation@uk_music@aim_uk@recordoftheday@officialcharts@guardianmusic

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STUDENT SUPPORT

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PASTORAL SUPPORTThe Student Support team holds individual one-on-one sessions with students to discuss any issue they may be struggling with. These sessions can include any topic, ranging from personal issues, attendance & assessment related queries, booking in for one of the services or any special considerations we may need to take into account for your course and/or exams. We actively encourage students to book appointments and to come and meet us at any point during their studies for extra support.

STUDENT SUPPORT SERVICESWe are committed to helping students fulfil their potential during their time at BIMM London and place emphasis on supporting the development of our students both academically and personally. With this in mind, the Student Support Team are available at every step of the student journey to offer confidential support and guidance on issues such as stress, alcohol and drugs, disability and learning support, family/relationship problems, mental health and anxiety issues as well as on-going academic and practical learning support and advice. We also offer a wide range of additional support services that are designed to meet students’ academic and welfare needs and enrich the BIMM London experience.

ACADEMIC TUTORIALSStudents are encouraged to book regular individual tutorials to work on technique, master their academic writing and discuss their skills development. Tutorials give students a unique opportunity to be individually guided by the most experienced industry professionals in the country.

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BIMM London is committed to a policy of equal opportunities for students and provides confidential advice and support to students with disabilities and specific learning difficulties. We have an in-house study skills specialist available for individual support.

If students indicate on their application and/or pre-enrolment form that they require further support, then a member of the Student Support Team will contact them before the start of the academic year for an individual consultation.

We work with students with a wide range ofdisabilities, including but by no means restricted to:• Specific Learning Difficulties (such as dyslexia,

dyspraxia, ADHD)• Mental Health Difficulties (such as depression,

bi-polar disorder)• Long-term medical conditions (such as HIV,

cancer, multiple sclerosis)• Unseen disabilities (such as diabetes, asthma,

epilepsy)• Sensory impairments (such as visual impairment,

hearing impairment)• Mobility or physical impairments (such as

paralysis, arthritis).

Our Music Health specialist holds free sessions to deal with musical related injuries and the prevention of injuries, such as repetitive strain injury, hand and arm pains, neck & back pains, tension & headaches, posture, voice & hearing problems, nutrition as well as general fitness.

DISABILITY AND LEARNING SUPPORT

MUSIC HEALTH

PERFORMANCE PSYCHOLOGYOur Performance Psychology specialist runs a number of workshops and one-on-one sessions throughout the academic year which are free and open to all students. Performance Psychology tackles anything ranging from stage fright and anxiety to managing stress and procrastination as well as performance preparation and lyric learning techniques. This subject will enable students to perform at their very best on stage and in the business world. 1:1, small group vocal confidence classes and masterclasses are available throughout the year

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ENGLISH AS A FOREIGN LANGUAGE – WORKSHOPSThe workshops are designed for non-English speaking students of all abilities and will focus on all areas of language learning - conversation, pronunciation, intonation, grammar, listening and reading, whilst also proving support with essay planning and structure. In addition, the workshops will build confidence and help students to feel comfortable using slang and informal English.

COUNSELLINGThe BIMM London Counselling service is available via a free and confidential provision which offers the opportunity to explore a wide range of emotional and psychological issues. The BIMM London Counsellor is hugely experienced and abides by the British Association for Counselling Code of Ethics. We also provide our students with helpful links to external counselling support, as the demand for in-house counselling is extremely high at peak times.

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YOUR MUSIC CAREER STARTS HERE

Barclay House, Effie Rd, Fulham, London SW6 1EN

(UK) 0208 749 3131(INT) +44 208 749 3131

london@bimm.co.uk

BRITISH & IRISH MODERN MUSIC INSTITUTE BIMM.CO.UK

BIMM London

WE’RE HERE TO HELP YOU THROUGHOUT YOUR TIME AT BIMM LONDON

We are committed to helping you throughout your

studies with us at BIMM London and offer a wide

range of support services designed to meet your

academic and welfare needs, don’t hesitate to

speak to us whenever required: T: 0208 749 3131 E: studentsupportlondon@bimm.co.uk

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