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Aims
The contents of the present program are orientated basically in the line of the Blues, Jazz, Rock, Jazz Merger, etc. But, treating itself about the same elements, they are not exclusive of other genres; so that, of other one being the aims of the pupil, they will have the approach and the corresponding treatment.
Finally, though there is estimated a duration of the course of a level for year (from 9 to 10 months), this is flexible and adaptable to the times, capacities and needs of every pupil.
The basic aim is to satisfy the musical, expressive and creative needs of the pupil, across the knowledge of under and the resolution of his technical difficulties.
In this frame, and more specifically, other goals with trend to the professionalization are the following ones: melodic, harmonic and rhythmic authority of the instrument, good level of musical reading, creation of a personal language in the improvisation, and knowledge of the musical system.
Styles
In what to this point it refers, the study will be based on the personal preference of the pupil, which, in some cases, involves some variants both in the content and in the duration of the course of the program.
For example, if the genre in question is the popular music, in general lines, it will be emphisized more in what to paces and harmonic accompaniment refers and less regarding scales of improvisation. On the other hand, there will be exercised more the reading and the skill of fingers of straight hand if it is the classic genre that of interest for the pupil.
Contents
Skill , Pulsation, Rhythmic Reading, Bass clef, Location in the handle, Motricidad and speed, Triads, Arpeggioes of 7ma, extensions, scales pentatónica and diatonic (manners, etc.) accompaniment, Languages in different styles, Slap, functional Harmony, Analysis of improvisation, Grooves's construction.
 Program
The study of the bandoneón is approached from the following aspects:
Reading - practice of the studies, which they include : progressive Location of the notes in the keyboards opening and closing, boarding of the basic figures and his posterior development. Use of the valve. Independence of fingers and hands. Expressive elements: shades, regulators, changes of tempo.
Exercises to two or more voices and melody with accompaniment, exercising the singing with both hands.
Bibliography: " complete Method for Bandoneón "
Author: Ambros
Technique
Practice of studies to two hands, with natural notes, and in unison.
Bibliography: Method "Hanón"
Harmony
Construction of major scales, minor, intervals, triads derived from the above mentioned scales. Usual extensions. Tonal groups. Study of the chords for its function and for conduction of voices. Substitutions, embellishment. Domineering secondary, substitutes. Modal interchange.
Digest
Practice of accompaniments and arrangements for alone Bandoneón.
 The classes are focused, primeramente, in the worries and needs of the pupil. Trying to include all the aspects that he understands the study of the instrument. Using a didactic and progressive method, applying the whole material worked to musical situations. With the intention of forming not only instrumentalists but musicians.
Program
Technique
Independence and Coordination
Exercises destined for the development of the technique adapted to execute the instrument. So much in hands and feet.
Study of American Drum
Rudiments
Reading and Writing
Study of the figures and its silences, values and equivalencias.
Study of the symbols used in the musical writing
I study of compases binary (2/4, 3/4 and 4/4) and ternary (6/8, 9/8 and 12/8)
I study of metric irregular.
Musical Genres
Americans
I study on paces of:
• Rock (Rock and Roll, Pop, Rock Hard-, Heavy, etc.)
• Funk
• Blues
• Jazz
Latin Americans
I study on paces:
• Argentinians (bowlegged, chacarera, etc.)
• Afrocubanos
• Brasileros (Samba, Bossanova and Baion)
Fills and Improvisation on the seen genres
Applications
Rudiments applied to the battery, so much in fills as in improvisation.
Employment with audio material and tracks (PlayAlong, accompaniment) at the seen genres.
Auto-Perceptive Work.
(*) The program must understand to you as a detail of the topics that he understands the study of the instrument. It is not obligatory.
 General aspects
Easing (Technical).
Breathing (Types).
Corporal work (Knowledge and adjustment of the pupil y/o group to the music).
Development and emission of the voice. Diction and vocal skill.
Impostación (Vocalización).
Exercises of final touch (Audio).
Exercises and works of desinhibición individual and grupal.
Work of emotive memory.
Digest (Application of technical election of the pupil).
Pupils' samples, partial and annual concert.
Aims
1-That the pupil knows the functioning of the vocal device.
2-That the pupil develops a healthy emission .
3-That the pupil discovers his voice as "musical instrument"
4-That the pupil finds in his companions of group possibilities of contact and learning for the development of his personal work and his formation as artist.
Content
1 - vocal technique:
Easing
Breathing of the singer
Development of the voice
Diction
Final touch
2 - Corporal work
Easing
Exercises of breathing
Integration of the body in favour of the vocal emission and the interpretation.
3 - digest
Application of the vocal technique and the corporal work across the individual interpretation (to election of the pupil) and grupal.
 Aims
The classes have as purpose lead the pupil to the knowledge of the technique and the musical language necessary to execute the instrument efficiently. Besides they have as aim foment the interest of the student in the development of his own creativity and of the expressive work.
Characteristics
Technical aspect
Final touch of the instrument. Placement of the fingers correctly in the mast, exercises of intonation and sound with the arch; technique and correct execution of the same one with notes to the air and trodden. technique of pizzicato (execution with fingers of straight hand). Advance in the knowledge of the location of the notes accurately in the mast developing the study of the different positions gradually.
Musical language applied to the instrument
Reading of simple figures on compases binary and ternary together with the study of the different positions in the mast. Studies of reading in bass clef in fourth. Practices on lines of under simple on topics of popular music. I study rhythmic with bigger complexity, reading and writing.
Major scales and minor, modal scales. Tonalities. Execution and gradual practice in different sectors of the instrument. Construction of lines of dow. Walkings and rhythmic bosses of accompaniment of popular music in diverse styles.
Musical analysis
Musical forms. Harmony applied to the instrument, analysis and execution of musical simple pieces of the popular genre (Jazz, Blues, Bossanova, Afro - Cuban, etc.) and academician. Different tonalities, modulations. Execution of melodies, arrangements of topics and lines of down on the basis of the studied thing.
Improvisation
Study and practice of improvisation applying scales, arpeggioes and manners. Studies on basic form of blues and topics standards. Study and analysis of alone and walkings of counter
 General aspects
Activity in which{*whom*} participás with other pupils guided by a teacher of the school.
The aim is incorporating a practice grupal of the learned individually in your classes of instrument, is a multistylistic work, where you reinforce the individual knowledges of your instrument and acquire others in relation to the work in team.
The groups are formed in agreement to different levels and instruments.
Partial samples are organized during the year, concerts and recordings of the works realized in the year.
 Program
The contents of the present program are orientated basically in the line of the Blues, Jazz, Rock, Jazz Merger, etc. But, treating itself about the same elements, they are not exclusive of other genres ; so that, of other one being the aim of the pupil, they will have the approach and the corresponding treatment.
Finally, though there is estimated a duration of the course of a level for year (from 9 to 10 months), this is flexible and adaptable to the times, capacities and needs of every pupil.
Aims
The basic aim is to satisfy the musical, expressive and creative needs of the pupil, across the knowledge of the guitar and the resolution of his technical difficulties.
In this frame, and more specifically, other goals with trend to the professionalization are the following ones: melodic, harmonic and rhythmic authority of the instrument, good level of musical reading, creation of a personal language in the improvisation, and knowledge of the musical system.
Styles
The study will be based on the personal preference of the pupil, which, in some cases, involves some variants both in the content and in the duration of the course of the program.
For example, if the genr in question is the popular music (Floklore, Tango, Melodic, Bossanova, etc.) in general lines, it will be emphisized more in what to paces and harmonic accompaniment refers and less regarding scales of improvisation.
On the other hand, there will be exercised more the reading and the technique of fingers of straight hand if it is the classic genre that of interest for the pupil.
Level I
Basic knowledge of the guitar; corporal position and musical writing. Elementary technique of prong, and fingers of the straight hand. Exercises of for the left hand, the right and coordinated both.
Major and minor chords with ropes to the air. American coding. Major scale. 1ra position. It climbs pentatónica Minor in (five positions).
Domineering chords with ropes to the air. Progression of major traditional Blues, 12 compases. The first chords with capo. Scale of major Do (five positions), Arpeggioes, rasguido: rhythmic, tempo, rhythmic groups mas common. Concepts of accompaniment.
Basic concepts of improvisation. Improvisation with scale of major Do and pentatónica in minor. Practice of chords with capo. Power chords. Stretching fingers 1, 3 and 4.
Adjournment of major scales. Technologies of ligature. Improvisation with major scales and pentatónicas in any tonality. Improvisation on different progressions. I use of pentatónica major and minor on Blues.
Major chords with 7ma major and Semidisminuídos. Tonal functions.
Construction of alone. Development of motives. Major and minor triads.
Analysis of the works and songs studied in its structural, harmonic, melodic aspects, etc.
Content
technique, Pulsation, Rhythmic Reading, Bass clef, Location in the handle, Motricidad and speed, Triads, Arpeggioes of 7ma, extensions, scales pentatónica and diatonic (manners, etc.) accompaniment, Languages in different styles, Slap, functional Harmony, Analysis of improvisation, Grooves's construction.
General aspects
Level I
Theoretical practical course in which there is emphasized the auditory and rhythmic theoretical training of the different areas musical, as intervals, scales, chords, paces and analysis in scores of
Musical phenomenon.
Reading by means of solfeos rhythmic and melodic. (The analytical program, it is delivered to the pupils who register in the above mentioned matter, as also the materials of study and practice).
Basic managing of musical writing
Auditory practice with instruments, voices
Annual duration quarterly evaluation
Level II
Theoretical practical course, development of the pace, deepening of the auditory training.
Musical reading by means of solfeos rhythmic and melodic of advanced level. (The analytical program of this course will be dedicated to the pupils who are annotated in this level, like this way also the material of consultation and he practises)
Basic managing of musical writing
Auditory practice with instruments, voices
Annual duration, quarterly evaluation
 Aims
To provide the necessary tools to the pupil to promote, to develop and to optimize his capacity as executing pianist.
Contents
Engineering development:
• Aspects postural, muscular (easing)
• Exercises of technique (scales, arpeggioes, etc.)
Digest: The essential concept is that of variety in genres (Classic, Popularly) and styles (Rock, Jazz, Tango, Folklore, Blues, etc in the popular thing; baroque, romantic, impressionistic, etc in the classic thing).
Knowledge of style: there are studied the essential aspects of the styles before mentioned.
Development of the improvisation: Inside The language of every style.
Development of the reading: Traditional and ciphered.
Study of the harmony: it is studied to the chord and its relation contextual, implementing exercises of: cadences, cycles of villa, transport, etc.
 Program
Level I - Technology
General aim: Exercises and progressive studies to conquer obstacles and technical difficulties, taking the as as a purpose. General position of the body in relation to the instrument and position of the hands. Studies for digitar both hands and practice on scales and arpeggioes.
Exercises on technical specific difficulties.
Scales and Arpeggioes Patterns.
Applied harmony
AIM{*LENS*}: Vision on the instrument of the theoretical knowledges and of language, which the pupil is acquiring in the courses and classes. Progressive reading on the instrument. Analysis and reharmonizations.
Theory: Initiation to the reading in the first position (C, G, D, To, And and F). Notion up to triplet of corcheas and semiquavers, bind and punctiliousness. Notion of the coding. Notation of usual symbols (repetition of compass, bar of repetition, cabins). Notions of Phrase, Intro, Riffs. Beginning téticos, anacrúsicos and acephalous. Pace of the melody.
Scales and Arpeggioes: You Climb major, minor, pentatónicas and cromatics. Notion of the formation of scales. Arpeggioes triads (M, m). Relation with the chords.
Digest
AIM: Practice on a digest based on different styles, divided in levels. Reading, accompaniment, theoretical analysis and improvisation of the song-book.
Interpretation of melodies and codings. Riffs and alone. Works with bases and in group.
Level II - technique
Scales and arpeggioes
Levels studies.
Applied harmony
Theory: Reading melody and paces in triplets and in semiquavers. Notion of syncope and misadventure. Compound compass. Notions of joint (ligatures, appoggiaturas, glissados, etc.).
Scales and Arpeggioes: Visualization of intervals. Greek manners (presentation). Manners Doric (m7) and Mixolydio (7). Arpeggioes cuatríadas (7, m7, 7M, º7, O). Application of joints (ligatures, draggings, stretchings). Application of melodic resources on the scales (patterns and double notes).
Digest
Interpretation of melodies, riffs, alone and works with bases and in group.
Level III - technique
Scales and arpeggioes
Levels studies.
Applied harmony
Theory: Notions of dynamics and interpretation. You notice not - del-acorde (of step, you will help, etc.).
Scales and Arpeggioes: parallel Manners. Modal interchange (area of the subdomineering minor). Domineering. Secondary and substitutes (altered). You climb. Relation scale - chord. Tensions. Other Manners. It climbs disminuída and tonally. Application of the notes not - del-acorde (of step, you will help, etc.) on the arpeggioes. Widespread arpeggioes. Overlapping arpeggio.
Digest
Interpretation of melodies, riffs, alone and works with bases and in group. Arpeggioes.
Initiation
1 ° Knowledge of the instrument (parts that integrate it, taken care necessary).
2 ° Demostration of the possibilities of the instrument (melodies, different possible technologies, etc.).
3 ° Brief experimentation at the expense of the pupil.
4 ° preparatory Exercises.
5 ° Capture of the arch and of the violin.
6 ° You Notice " to the air ", basic managing of the arch.
7 ° Learning of the final touch of the instrument. Left hand (I begin in the first position). To learn the notes and to controlling the final touch comparing with other ropes. It is indispensable that the pupil has to this height an auditory basic training.
8 ° Learning of different melodies applying knowledge acquired up to the moment (Method Suzuki).
9 ° Books of technique: Op 1 N ° 1, Op.2 and Op.7.
10 ° Books of study (Loreaux 1 - Kayser - Dont).
11 ° You Climb in the first position, in different tonalities.
12 ° Works of different authors, of agreement to the technical level of the pupil.
Initial level
Foundation
Why Dances - movements?
The children between 4 and 7 years fit the lived time, to the perceived time. This way an activity can turn long billiard cue or cuts independently of the hourly load that he needs, in turn, the guidelines adopt to the own capacities y/o motivations, because of it a balance is needed: the classic dance implies a careful work, constructed, harmonious, disciplined, whereas the movement offers a space of freedom, and fluency, giving place to the imagination and the creation allowing the child the ideal expressive utilization of his capacities creative.
On the other hand in the first stages of the infantile thought, the royal space, one sees reduced to the dimensions perceived by the child, dimensions of which he can manage. This collaborates in turn in the perception of the space of the social space of development of the child, in his individual development and grupal, inside and out of the context of the workshop. I consider impresindible in this firstly stage a balance between both disciplines, in order that the pupil should receive of each of the necessary tools, obtaining of each one the major benefit, being useful the royal time of assimilation it basic contained inside a frame which they enjoy fullly.
Aims
That the pupil achieves:
- To develop the basic guidelines of the dance.
- To adopt specific technologies of the dance - chords to the level and the own capacities of every pupil-.
- To fit perceptive images of the spatial dimensions or of context, being unrolled nimbly and safety inside the same one.
- To realize adjustments audioperceptivos, connecting in times and it forms to the guidelines that it offers every class.
Expectations of achievement
To allow the pupil:
- Vivenciar the capacities expressive creative of if same, fomenting the taste for the dance, to be an integral part of a creative game that he allows every pupil to enjoy what it does, preserving in turn the suitability, personality and the essence of this language, which is the dance.
- To be unrolled with extent, freedom and safety, executed worked at class before a public.
Modern dance
At this discipline one is employed concretly with the expression or representation of habitual activities, expressing states of mind, habitual intentions. The used technique resorts atecnicas of other disciplines, as the contemporary dance and the jazz, since this way also it uses technologies of movement and eutonia dynamics. Movements well direccionados, expression accentuated in the hands movements and head.
Specific contents
- Exercises of elongation and stretching
- technique postural for modern dance
- Spatial directions
- Dynamics
- Accentuation
- Employment of steps and movements ruled of jazz
- Production of steps and movements from the exploration of the corporal capacities, as decentralization of movements, segmentation and movement of different parts of the body and of the whole body as a whole.
- Bases of technique of eutonia
- Games of corporal self-consciousness
- Games pantomímicos: Employments of material resources (Handkerchieves, hats, etc.) and imaginary, for the accomplishment of expressive concrete movements (Movement, detention, ceiling, blow, slide, etc.)
- Practice of the technique, across expressive games.
- Execution of the identical steps to different paces, elaborating simple choreographies.
- Interpretation of ruled choreographies.
Workshop of Tango
Initial course
The musical species Tango, it would find his space inside the folclore of Buenos Aires. The dance, of rhythmical and rhythmic pace, sends of more faithful way to the vernacular civil array.
Rich source. His music, in pace of melody and harmony, and his dance, for cadence, elegance and style, they allow to explore a wide spectrum of variants where to be unrolled inside the space, in one to travel of two, giving place so much to the creation, since to the recreation of figures.
It is necessary for the correct development of the dance, the application of technologies that provide the dancer of the position and elegance typical with the tango, for which is appealed to the employment of technologies of other disciplines.
Aims
That the pupil:
- He knows the bases where this musical species develops, making the ideal connection possible with the music and the dance.
- He acquires the necessary tools to execute the dance (Position, paths, utilization of the space, etc.).
- It can be unrolled on the base of the basic structures of this dance, inside the choreographic space, exploring in turn you form of creating and to recreate, the guidelines you specify of the dance.
Expectations of achievement
- That the pupil achieves to explore in his capacities expressively creative ways of recreating and to design own structures.
- He applies the expressive resources that he offers the dance, showing worked at the workshop, before a public.
Specific contents
- Historical review
- Integration with the music
- technique postural
- technique of step of weight
- The embrace
- Step of dance, application of the technologies
- Basic step (basic structure of the paths of dance), variants you threaten, pivots.
- Eight forward and behind. Accompaniments of the man (of pivot, with hobble, with eight behind, in parallel, etc.)
- Cadences.
- Small mills and counter
- Employment of ruled sequences.
- Production of choreographies
 Workshop for children between 6 and 13 years
General aims
Level I
To cultivate the faculty to perceive, to perceive stimulating sense of the visual investigation.
Grafismos, authority of the outline and of the line, importance of the sketch and planted previous. Study of the forms, movements and expressions in: the figure humanizes, humorous monkey, animals and objects.
Color: The First technologies, authority of the pencil and of the scoreboard, shadings, knowledge of the lights and the shades.
Level II
To wake up the power of the creation.
Basic notions of the perspective, flat and two-dimensional space.
Proportions, scenery (landscape, city and interiors) and persons' application, objects and animals of the same one.
Concept of onomatopoeia.
Color: chromatic Picture, primary and secondary colors. Study of her has change of air.
Level III
To express rationally and freely the graphical idea waking up in the pupil the development of his own style.
Study of the graphical illustration using technologies and concepts previously learned. Cartoon, accomplishment of strips. Application of text, color and effects in cards of birthday and anniversaries, in señaladotes and in free drawings.
Color: hot Colors and cold, use of diverse technologies (cardboard, paper glacé and of colors, brillantine and cellophane).
Workshop for teenagers and adults
It Introductory modulate
Part 1
Basic concepts of the drawing. The Sketch: study and application. The human body: proportions (differences between a royal and humorous drawing). Study of the humanization of inanimate objects.
Part 2
The humorous face: sketch and application. Study of the expressions. Movements and forms of rotation. Body and feminine faces: study and forms of application.
Part 3
Hands: his sketch and forms. Royal and humorous hand: differences and positions. Sketch and study of elements of daily use (his forms, movements and positions). Sceneries: interiors and exteriors. The globe or viñeta humorous (study and application).
Humorism
The humorous personage: steps for his creation, sketch and proportions. The onomatopoeia: concept and application. Animals: his anatomy and sketch; his caricaturización. Study and development of the joke (steps for his creation): the comical strip, the illustration and the unitary joke. The riot: concept, study and steps for his accomplishment. The letter: concept and creation of different humorous typographies. The semantic reinforcement: study and application. Perspective: 1,2 y3 points of escape . The perspective airea. Application of the perspective in prominent figures, objects and typography.
Cartoon
Definition of the cartoon: his differences with the portrait. The human face: study and crumbling of his parts (eyes, noses mouths, eyebrows and ears). Format and sketch of the face (continent and content). Accomplishment of the first cartoons. Construction of the first cartoon: proportions of the body. Expressions and rotation. Movements of the body and expression of the hands adapted to the cartoon, perspective. Planned, you shine and shade: study and application in the body and face.
Tale
Knowledge of the anatomy, lights and shades. The personage of tale: concept and creation. Principal and secondary prominent figures. Planes: study and application. Design and diagramming of a page of tale (planes, contrasts, lights and shades). Perspective. Development of the viñeta and the script. The icon. Foundations compositivos. Accomplishment of a lid of tale. Study of the diverse styles and outlines.
Color Study and technologies of the pencil of color, scoreboard, crayón, Chinese ink, it has change of air, water-color and pencils acuarelables (application to the drawing). Scale and keys of values. Primary and secondary, hot and cold, complementary and adjacent colors. Lights and shades, watery colors and pastry.
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Workshop of Drawing and Painting |
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 Presentation
The workshop grupal of drawing and painting to top to basic notions drinking of these to arts to the pupils.
Aims
- To value the importance drawing as structure of any artistic discipline.
- To perceive the structure compositiva that integrates a work of art.
- To recognize the materials and his correct utilization.
- To know the basic managing the tools of the drawing and the painting.
Didactic offer
The modality of workshop will be in use.
Contents
- Use and care of the tools of work.
- Prepared and election of the supports.
- Works of proportion, pace and balance.
- Study of the forms, spaces and composition of the image.
- Works of masses, light and shade applying different types of line.
- Sketches with the utilization of clear and dark producing the domineering ones, mediatintas and accents.
- Exercises of triads using shades, valuation and desaturación.
- I work with complementary colors producing passages and contrast.
- Study of the brushstroke to produce the loss of detail.
- Utilization of cheated of the support to achieve a correct vibration of the hot and cold palettes.
- Every two or three works with still life a free work will be included in where the pupil will be able to overturn the acquired knowledges.
- Polished of the compositions of personal works.
 Presentation
The Fileteado Porteño, as the tango, arose from the sea suburbs and was assimilated progressively by intellectual sectors with to run of the century XX.
This Argentine art born at the end of the century XIX lost progressively his principal supports that were the car, the truck and the group, changing his scene and happening to adorn with his particular style infinity of objects, transforming this way in an art of trestle.
It is a question of an autochthonous art, generator of cultural identity, which is getting lost for lack of people who devotes itself to him and spreads it.
Aims
- To value the importance of the sea Fileteado inside the plastic arts.
- To perceive the visual structure that composes it.
- To recognize his decorative value in the objects of daily use.
- To know the basic managing the tools of the Fileteado Porteño.
Didactic offer
The modality of workshop will be in use.
Contents
- History of the Fileteado
- His relation with the tango
- Analysis of the image
- He constructs compositiva of the image.
- Use and care of the tools of work.
- It loads, dried and armed with the paintbrush for a better yield.
- Prepared and election of the supports.
- Practice of basic outlines.
- Election of a classic design and a suitable support.
- Composition of the image to achieve an own design.
 Program Photographs Basic Course
- The cameras
- The light
- Optical photographic
- Aerial map-making
- Sensitive materials
- Lighting
- Elementary secrets
- The electronic flash
- Filters
- Special effects
- Practical works in exteriors and interiors
- Setting and composition
- The artistic photography
Photography programmes Extension course
- Social photography
- technique and development
- Composition I
- Lighting I
- Artistic and advertising portrait
- Photographic exits
- Exit grupales
- White and Black laboratory
- The developing of the movies
- Convict of the movies
- Convict of exhibition
- Positive copies
- Amplifications
 Program
Activity in which participás with other pupils guided by a teacher of the school.
Position and fingering of both hands
Final touch of the instrument
Major, minor chords and of 7ma. Domineering in 1ra. Position.
Rhythmic, rhythmic accompaniment of different styles (Rock, blues, bowlegged, bolero, jazz, ballad, bossa nongoes, etc.)
technique of left hand
technique of straight hand: fingers l, m for melodies and fingers p, l, m, to for arpeggioes.
Method of tablatura.
Universal coding
Major, minor and domineering chords with capo.
Rhythmic reading.
technique of prong.
Chords maj7,-maj7, m7, semidiminished and diminished in 1ra. Position, and transportable
You climb: Major; Minors ancient, harmonic, and melodic; pentatónica, of Blues, cromatics , diminished.
Arpeggioes: Triads and arpeggioes with 7mas, 9nas, etc.
Embellishment of chords.
Harmony: construction of chords, functions, study of the tonality, analysis of topics, progressions
More usual harmonicas.
Syncope and misadventure
Improvisation: patterns and yeites of Rock and Blues; use of the scales and the arpeggioes studied in the improvisation in different styles (Rock, Blues, Jazz, Bossanova, etc.)
Program
- Presentation of the instrument: the ropes , the box, the pegs, the handle and the frets. How to approach it. Work of position.
- The Staff and the notes: number and name of the notes, his usefulness .
- Sol's key, location and grafía. Location of the notes I concern
- Of the key. Concept of additional line.
- Introduction to the first notes to the air: Mi, Si, Sol. Ubicación en el
pentagrama. Práctica. Primera obra a dúo con la docente: “Gotas”
- Ejercicios de independencia de dedos y cuerdas. Se incorporarán las
otras cuerdas “al aire”. Ubicación en el pentagrama.
- Intensities of the music: forte, piano, etc. Games.
- The notes and its duration: the semibreve, the white one, the negress and the corchea. Rhythmic exercises.
- The second work of practice to duo with teacher: “Girasol”.
- Hearing of different folklore paces. Rhythmic exercises of accompaniment and improvisation. Presentation of new chords: my minor and minor.
- The compass: times and parts, forms of bearing, analysis. The accentuation and the double bar (the repetition)
- Incorporation of note Her{*It*}, his{*its*} location in the staff. Practice and duo *ldquo;; Arroyo*rdquo;; and *ldquo;; On the bridge of Avignon*rdquo;;.
- Song accompanied on election of the pupils.
- Trodden ropes{*strings*}: Do and Re. Location in the staff. Practice of work to duo: *ldquo;; Danza*rdquo;;. The first (optional) recording
- The negress and the corchea, duration and grafía,
- The white one and the semibreve. Practice with notes: rhythmic and melodic exercises.
- Introduction to the improvisation, exercises of progressive difficulty with the notes already studied.
- Introduction to different accentuations. Playful practice.
- The silences: usefulness{*utility*} and signs that represent her, particularities of the writing.
- Sharp{*Acute*} notes on the first rope{*string*}: Fa and Sun. Practice and location in the staff.
- Exercise of individual composition with the studied elements.
- Presentation of the chord minor Re. Auditory differences between the minor chord and the major one.
- The serious notes and to the air: My, Her{*It*} and Re. Location in the staff. Movement of the fingers as a whole. Practice of arpeggioes.
- Do's scale: location, exercises and improvisation.
- Opened final class: Presentation of the studied works (optional)
Note: The practices are grupales and the follow-up is individual. The election of songs will be in agreement to his{*its;her*} tastes and preferences.
The following this planning thought as an initial stage, in the process of formation of the actor.
Nevertheless, during his{*its*} development it{*he;she*} was adjusting to the needs and worries{*restlessnesses*} of the group in a scheme of interaction, in which it{*he;she*} will be of fundamental importance the participation of each one of his{*its;her*} members.
The following workshop is recommended to approach as a task of own{*proper*} investigation: From the reconocimiento/descubrimiento of our body, up to the different expressive possibilities of the same one, so much in individual, like collective form, rescuing always the playful aspect in his{*its*} development.
Aims
- Development of the playful capacity across a dynamical integral process of and stimulation.
- Integration and interaction across the game and the dynamics grupal.
- Discovery of the expressive capacity of the body in his{*its*} relation with the space
- Exploration of the device fonador
- Development of the sensory capacity across the expression.
Contents
- Coordination, dissociation, joint and corporal balance.
- Relation with the space: planes high, average and under{*low*}, opened and closed figure.
- Active and passive easing: tension recognition, laxity.
- Breathing: devices respiratory and fonador, sound, voice.
- Location, concentration, tour and projection of the energy.
- Expressiveness and changes of pace.
- Recognition and sensory development.
Activities
- Free movement. Rapid and slow Chamber. I work with and without elements.
- Exercises with music. Holding a permit statements.
- Exercises of concentration and breathing.
- Concentration and dosing of the air. Resonance. Projection of the voice. Intensity and height.
- I work with energy. Individual and grupal. You appear.
- Internal and external sound.
- Sensorialidad with royal{*real*} or imaginary elements
The workshop seeks to work as shooter of ideas and to generate so much the tools as the necessary containment to penetrate into the plastic work.
The axis{*axle*} is the development of the artistic expression from the direct experience in the visual language.
Having in one counts{*tells*} the current context of saturation of images, in which it{*he;she*} gives himself{*herself;itself*} the formation of the boys, the workshop focuses as alternative the development of the creativity, the participation, the concentration and the game.
Aims
- To recognize, to incorporate and to relate elements of the visual language.
- To represent symbolically ideas and emotions.
- To articulate different manners of representation for the production of personal images and the overcoming scheme and stereotypes.
- To extend and to penetrate into the aptitude to perceive sensitively and to perceive brings over of the visual qualities of diverse elements of the environment and of different images.
- To value the creative work and the personal expression inside the collective labor.
Contents
Elements of the visual language: form, space, color, light.
Organization of the form and the space. Pace.
Directions and types of line. Symmetry and asymmetry.
Value. Contrast. Temperature of the color. Visual texture.
Dimensions of the color: value - matiz-saturación.
Technologies{*Skills*}: drawing, painting, sculpture, mixed technologies{*skills*}, engraving, wall painting.
Groups for ages (5 to 12 years)
-First year-
Aims
The first stage of the workshop tendera to observing and to foment the individual possibilities of creation across different offers: free Improvisation from exterior{*foreign*} motivations (A music, an image), Games, exercises of application of certain rules (They Are those of the story, those of the poetry{*poem*}, etc.), exercises from some indicated reading, etc.
The creative work will complement itself with the reading of literary works proposed by the teacher: Stories, poems, theatre, which will be analyzed to make to observe his{*its*} construction, his{*its;her*} resources, his{*its;her*} prominent figures, and also to promote in the pupil the critical, indispensable spirit for the evolution of his{*its*} own{*proper*} production.
Grammatical and syntactic aspects will be emphisized correcting also, while the safety in the use of the own{*proper*} language, is a fundamental element for the writing.
Topics
• Introduction to the different genres.
• Since{*As;Like*} a story writes.
• The poetical language and his{*its;her*} expressive resources.
• The dialogue in the story and in the theatre.
• The construction of a personage.
Obligatory readings proposed by the teacher (Selection of stories and poems that seran you distribute opportunely)
Evaluation
The realized works are discussed and evaluated grupalmente. The idea of the discussion grupal is to promote the critique, so much on the own{*proper*} creations since{*as;like*} her{*it*} of others.
Though the teacher, obviously, corrects and orientates certain questions, the desirable evaluation is the one that each one can realize at the end of the stage as for his{*its*} own{*proper*} growth.
-Second year-
Aims
The second stage of the literary workshop, when the concepts and practices fit approached in the previous stage. One will insist besides on aspects that they do to the grammar and to the syntax. On the other hand, the treatment of the different kinds{*genres*} was complementing myself with obligatory readings to be analyzed in class. These readings place also in the idea of of integration panoramas drinking to the small pupils, it is a question of a specific literature (Argentina, Spanish woman) or of the evaluation of a certain kind{*genre*}. All that does not mean to neglect the most important side in a workshop, which is the production of text, but, on the contrary, the intention is to feed and to reinforce the individual mechanisms of creation.
Topics
• The novel: Topics, styles, search of a language, type of narrator, construction of prominent figures, narrative structure. Exercises of production.
• The poetry{*poem*}: formal Aspects and stylistic resources. Exercises of production.
• The theatre: theatrical Kinds{*Genres*}, the dramatic action, construction of prominent figures. Exercises of production.
Readings proposed by the teacher
Evaluation
The realized works are discussed and evaluated grupalmente. The idea of the discussion grupal is to promote the critique, so much on the own{*proper*} creations since{*as;like*} her{*it*} of others.
Though the teacher, obviously, corrects and orientates certain questions, the desirable evaluation is the one that each one can realize at the end of the stage as for his{*its*} own{*proper*} growth.
Coordinators: Marcos Cioffi - Facundo Lopez Burgos.
This workshop is thought for actors, dancers, acrobats, jugglers, musicians and all those artists that they are interested in the study of the rhythmic one as complement of his{*its;her*} respective disciplines.
Aims
- To develop the aptitude to understand physically the pace.
- To investigate diverse sonorous sources{*fountains*} perceiving his{*its;her*} differences (tímbricas, emission{*issue*} of the sound, duration, etc.).
- To develop the aptitude to manipulate conventional and not conventional instruments (the body, the voice, appliances, the floor{*flat*}, etc.) to be able to reproduce y/o to imitate proposed sonorities.
- To develop the creative capacity by means of technologies{*skills*} of improvisation grupal.
Activities
For the fulfillment of the raised aims{*lenses*} they were leading to themselves to end the following activities:
- Exercises of concentration.
- Synchronous exercises in treks or in round.
- Games to develop the physical coordination with and without objects.
- Repetition of rhythmic cells simple and complex offers.
- Ensamble of paces from the proposed previously.
- Games of improvisation.
- Game of the director (director's role rotates between{*among*} the pupils).
- Basic approximation to percussions instruments they are or not traditional (shakers, tambourines, keys, güiro, globes, sticks{*woods*}, chifles, etc.)
Duration of the workshop: 12 classes of 2 hours of duration each one.
It{*He;She*} fitted: 8 to 20 persons
Workshop of Theatrical Expression for children, teenagers and adults.
Encourage to inform of the stable workshop of the School of Valentín Alsina's art the duration of the same one it{*he;she*} is of two semesters, with an hourly weekly load of 2 Hs.
The Duty for all the levels is of 40 $ per month, we wait for you!!!
* The workshops will give beginning On Wednesday, the 18th of April.
It{*He;She*} consults for schedules and available days
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