Sessions
Training
This course provides a entire work on the development of key components needed to conduct an instrumental or vocal band: gesture technic – Group Psychology – Self-knowledge– Scores Analisis – Orchestration and Organology.
This training is responding tonumerous and diverse demands, to conduct, to work with:
An orchestra of students (junior training orchestra for cycles..), A junior school(instrumental ensembles for auditions, concerts), Chamber music, band, symphony orchestra, choir, master’s degree, Musical training class, etc …
Training in conducting technics is above all a custom work organized with different fundamental workshops: the body language, pedagogy, analysis, harmony, orchestration, human communication, etc….
The pleasure of learning how to conduct an orchestra is, at first, to follow a rich and complete training. It is a time of selfdiscovery that constitute the wealth of the musical language. The approach and the work of conducting involve a global vision of some aspects of music studies.
Finally, a deep personal development work: develop self-knowledge qualities, communication, charisma, listening, understanding of others, of human dynamics, manage emotions, stage fright, artistic sensibility….
For this training, we ensure a constant balance between teaching theory and teaching practice.
Important: personalization of content. This course offers a job for every participantaccording to: their personal musical level, their human and musical experiences and, ofcourse, their own goals. After a personal review, the student and the teaching staff, prepare and manage his own learning during the course.
Our philosophy
The teaching principles
This training is focused around various educational activities, such as:
- Of course practical and theoretical.
- Exchanges, discussions, self-critical, discussions between trainees and coaching
- A skills review at the beginning and at the end of the course.
- Meetings with expert speakers and mentoring by professional conductors
For the conductor skills development, the work content is divided in two complementary lines defined during the different types of workshops:
HUMAN SKILLS “PERSONAL DEVELOPMENT”
- Interpersonal communication,
- Charisma,
- Study of repeat behavior
- So knowledge
- Teaching in the direction:
- The role of the leader in terms of its mission,
- Build learning a piece,
- Management of musicians (section leader, coaching, soloists ….)
- Personal Management (stress, mental, memory, preparation …)
- Time Management (rehearsal, concert)
- Philosophy and social dimension of the role of the conductor (with its musicians and the social environment)
” MUSICAL SKILLS” ” EXPERTISE “
- Job gesture: Basic gestural, motor development, link between gesture and listening,
- Working communicative energy.
- Communication Principle “transmitter / receiver”
- Management of the space / time
- Orchestration: basic principles, knowledge of instruments (own techniques, acoustic principles)
- Writing Work on works, applied organology,
- Work adaptations and arrangements …
- Study and Analysis of the partition:
gestural analysis
harmonic analysis,
Thematic analysis … - Performance hearing individual. Working harmonic and melodic hearing, relative and absolute development of hearing …
- Rhythmic Individual performance, work on the pulse (absolute and relative), change tempos, equivalencies, measurement, subdivisions, polyrhythms, compounds rhythms, irregular steps….
Training progress
It is requested to students conductors come with the complete equipment of several (minimum two) pieces for orchestra of choice (orchestration “homemade” or orchestration of publishers). Attention orchestral training is evolving every year, it is appropriate to provide equipment that is adaptable.
The work is a mixture of workshops, group lessons, individual work and orchestra rehearsals.
A sample day (The day’s program is suitable and available nightly depending on the evolution of the labor day, students are divided into groups that can be modified according to the evolution of trainees):
- 8:30 / 9:30: Roundtable (analysis and balance sheet management work done the day before, prepare the work and objectives
of the day …) - 9:30 / 10:45: basic workshops (gestural, harmony, orchestration, music history, organology or analysis)
- 10:45 / 11:45: Joint Workshop (choir, orchestra)
- 14H / 16H: basic workshops in groups (gestural applied with an instrumental ensemble, basic gestural, harmony, orchestration, analysis, or personal work)
- 4:30 p.m. / 6:30 p.m.: Additional workshops(teaching, musical culture, psychology ..)
- 8:30 p.m. / 11 pm : orchestra rehearsal. Every evening trainees lead the orchestra which consists of all participants (training of 20 to 30 people, according to the inscriptions) in order to direct application of the preparation work for the day.
The workshops
The workshops proposed bases are:
- TACKLING A SCORE? The Analysis: Consider its historical context, understanding and discover the structure of the work, define the style, interpretation and rehearsal work, harmonic analysis, thematic, orchestral, etc …
- HOW TO HEAR A SCORE? Harmony: Framing the Issues tones, modulations to understand the speech of a musical phrase, understand the relationship between singing, accompaniment, harmonic functions, etc …
- HOW TO SUBMIT A SCORE? The gestural: the role of gesture, the technical gesture, the limits of movement, etc …
- HOW TO RING A SCORE? Orchestration: Know the instruments,stamps, writing techniques for orchestra, teaching means to advance his musicians, etc …
In addition to this work, students will have music workshops annexes that enrich their vision and role of musician.
- MUSICAL CULTURE: listen and know the styles, eras and composers that have marked the history of music.
- PEDAGOGY: addressing bases on education because a good conductor must also be a good teacher.
- PSYCHOLOGY: understand the various factors of human behavior (emotion, fright, authority, listening, etc …) that is found in the work of the conductor.
Teaching staff
Philippe Fournier (Professor at the Ecole Normale de Musique de Paris) assisted by Francesc Llongueres, Jean-Pierre Prajoux and Camilo Esteban Giraldo Duque
And punctual external stakeholders participation, on specific workshops: Patrick Roger (Sofrologie), Alessandro Biscaccianti (cardiofeedback), Florent Gilfaut (computer music), Lynda Charfaoui (pedagogy and personal development),Franck Adrien (Actor), Serge Bubisutti (Legal)
Philippe Fournier
Premier Prix, Ă l’unanimitĂ©, du DiplĂ´me supĂ©rieur de direction d’orchestre de l’Ă©cole Normale de Musique de Paris, LaurĂ©at de la Fondation Yehudi Menuhin, C.A. de professeur animateur.
Il dirige depuis 1980 des cours et des stages de formation Ă la direction d’orchestre. Il fonde, en 1985, l’Orchestre symphonique Lyonnais (formation professionnelle) avec lequel il a effectuĂ© plus de 2000 concerts tant en France qu’Ă l’Ă©tranger (Allemagne, Canada, Espagne, Italie, Grèce, Angleterre, Maroc, Nouvelle-CalĂ©donie, Suisse, Hongrie, Russie, Malte, Pologne, Chine).
Il est Ă©galement chargĂ© de cours de direction Ă l’Ecole Normale de Musique de Paris.
PassionnĂ© de pĂ©dagogie, il travaille en collaboration avec de nombreux environnements sociaux diffĂ©rents (la petite enfance – les personnes handicapĂ©es- les Ă©coles de musique – les concerts commentĂ©s- le monde de l’entreprise). Philippe Fournier assure la direction pĂ©dagogique du stage.
Il est aussi Chef d’Orchestre invitĂ© auprès de grandes formations symphoniques : Orquesta Filarmonica Antoquia (Medellin Colombia) – Orchestre Symphonique de Shenzen (Chine) – Orquesta Filarmonica Nacional (Caracas-Venezuela) – Orchestre Sinfonia de MontrĂ©al – Orchestre Sinfonia de Lausanne – Ensemble Orchestral de Bruxelles – Orchestre National de Lille – Orchestre Philharmonique de l’opĂ©ra de Nice – Orchestre de l’OpĂ©ra de Dijon – Orchestre des Concerts Pasdeloup et l’Atelier Lyrique de l’OpĂ©ra Bastille – Orchestre Lamoureux – Orchestre National d’Ile de France – orchestre et les Choeurs Colonne – Orchestre National de Montpellier – Orchestre de Picardie – Orchestre de Chambre Français – Orchestre des Pays de Savoie –
Francesc Llongueres
Il a Ă©tudiĂ© la musique Ă Barcelone sa ville natale, comme pianiste, chef de choeur et d’orchestre avec les professeurs Angel Soler, Enric Rib et Antoni Ros Marb respectivement.
Après il a perfectionné ses études musicales à Würzburg (Allemagne): piano avec P. Schulz Thierbach, harmonie, contrepoint et orchestration avec et Hans B. Hummel, direction d’orchestre avec Hans REINARTZ . Postérieurement a fait ses études de composition musicale à Stuttgart (Allemagne) avec Milko Kelemen.
Il a été, aussi, élève exceptionnel de Sergiu Celibidache avec qui il a perfectionné, pendant dix ans, ses études de direction et de phénoménologie musicale. Il a été directeur artistique et fondateur de plusieurs formations: chorales (Choeur Cité de Tarragona) et orchestrales (O.de J.J.M.M.; O. de chambre de Virtèlia, Cobla Villa Olesa etc ..) et a dirigé artistiquement le Festival Internationale de Musique Cadaqués (2003-2007) et le Festival de Musique des les
cultures.
«En tant que chef invité il a dirigé plusieurs orchestres a Catalogne (O. Cité de Barcelone. O. Solistes de la Catalogne, Banda
Municipal de Musique de Barcelone , O. de Cadaqués, etc.), en Espagne (O. RTVE.; O. de Valladolid, O. de Valence etc.) et
aussi d’autres pays (World Orquestra de J.J.M.M , YMSO Londres etc.).
Actuellement, il est le chef de l’Orchestre professionnel “Barcelone Sinfonietta”. Parallèlement à son travail en tant que chef d’orchestre, il a fait un travail important dans le domaine de l’éducation. Il a été directeur de l’École de Musique Virtèlia a Barcelone depuis sa fondation et a enseigné dans divers conservatoires et centres de musique dans notre pays et à l’étranger dans les domaines de la musique de chambre, de la culture musicale, des cours de direction d’orchestre et de chœur.
Jean-Pierre Prajoux
Jean-Pierre PRAJOUX a fait ses études musicales aux conservatoires de Saint Etienne et de Lyon, où il a obtenu des distinctions pour la trompette et le cornet. Il a également suivi des cours d’analyse, d’esthétique et d’écriture musicale ; il a travaillé la direction d’orchestre avec Roger et Yves Cayrol, Dominique Ruitz et Pierre Bégou.
Directeur de plusieurs écoles de musique depuis 1985, il concrétise la formation musicale des élèves en les faisant participer à des chorales, des orchestres et des spectacles musicaux.
Depuis 1990, il dirige de nombreuses formations différentes (harmonie, orchestre symphonique, chorale, soliste instrumental ou lyrique), éventuellement groupées, pour monter des concerts et des spectacles dans un répertoire étendu (musique légère ou classique, jazz, musique moderne, lyrique …) produit partout en France, dans des tournées à l’étranger, ou lors de festivals internationaux (Allemagne, Portugal, Italie, Hollande, Suisse…) .
Camilo Esteban Giraldo Duque
Violinist, composer, conductor.
Camilo Giraldo began his training as a violinist in MedellĂn with the maestros Ruth Stella Alvarez and Hans Jurjaanz and continued in Paris with Tatiana Afanassief, Christophe Bruno and Terlecky Veronique. He then pursued a training as a conductor in Lyon and Moscow with maestros Philippe Fournier, Jean-Pierre Prajoux and Viacheslav Valeev.
He developed his career as a violinist, soloist and conductor with the MedellĂn Philharmony Orchestra, the Orquesta SinfĂłnica de Antioquia, the Orchestre Symphonique Confluences, the Orchestre de la Cite de Paris, the orchestra of the P.I Tchaikovski State Conservatory in Moscow and at the Ippolitov-Ivanov Institute, as well a other musical formations and chamber music ensembles. He is the composer, producer and editor of the film score for the colombian movie Me Llevaras en Ti.
He is also trained in commercial administration, coaching and PNL, for which he is recognized as international speaker. He aims to integrate these disciplines in order to develop and lead international academic and social change projects through music. He is currently the manager of Entre-Arte s.a.s and codirector of the symphonic corporation Confluences MedellĂn Columbia.
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