MUSICAL STUDIES
ARRANGEMENT, WRITING
This arrangement course allows students to acquire the fundamental techniques of writing for small and medium ensembles.
First, the concepts are given in a theoretical manner with concrete examples, listening and realizations made in class. Then the students must put their knowledge into practice by making arrangements that will then be played in assessment.
The material covered covers all the needs necessary to be autonomous and competent in the management of a small/medium ensemble: general instrumentation and specificities of the instruments, study of the form, writing for winds (homorhythmic writing, backgrounds, counterpoint, etc.), writing for rhythm section, vocal arrangements… but also work methodology, organization and planning, realization of scores and layout, group direction…
Solid harmonic notions are necessary. In addition, this course prepares for the study of writing for large formations.
Simon Cochard
Stéphane Guillaume
HARMONY
This course aims to transmit initial notions to build a common foundation and will be studied using many concrete examples and ear training directly related to the subjects. Subsequently, at an advanced level, harmony lessons in this second year will be constantly related to listening work, practice and playing conditions, composition and arrangement.
Jean-Michel Charbonnel
RHYTHM
Working on rhythm is not reserved for drummers and percussionists, any musician worthy of the name must have a clear conception of the notions of pulse, tempo and setting. He must be able to adapt to all rhythmic styles, play with groove (swing), and have a solid notion of form. This course will allow you to acquire and solidify all the essential elements for a musician today.
This course will be worked through singing (vocalization of rhythm) and dancing (feet, hands), physical sensation of the perception of rhythm.
André Charlier
Pierre Perchaud
EAR
The objective of this course is to help students perfect their “relative” ear (intervals, chords, cadences) but also what is called the “instinctive” ear (modes, colors) in order to manage, subsequently, the real situation of the collective game.
This course is organized according to two configurations:
1) The students are “at the table”, without an instrument:
The teacher is at the piano and they must concentrate on what they hear (oral or written exercises)
2) The students have their instrument in hand:
They must improvise and respond to each other while respecting the rules of the game stated by the teacher (harmonic, melodic framing, tonal, modal improvisation, etc.)