group lessons

Alexander technique

During these weeks in Forum Musikae 2016 we will work together to improve your body awareness and control of your movements using the Alexander Technique. This will help to avoid muscle overload, improve your stability and projection and control your reactions on stage by your physicality.

If you know the work of previous years, you probably want to repeat because every year is different. If this is your first time, imagine a dynamic, fun classes, you will awaken curiosity and desire to learn more about how the control over your body is immediately reflected in the quality of your sound or improving your technique.

Program

We use group dynamics to explore how it is done your body, how you use and how it responds when guides with attention, inhibition and the characteristics of the Alexander Technique addresses. We'll put it into practice with dynamic for:

Projecting your presence in space;

Increase your confidence;

Watching relationship with your instrument with new eyes.

Enjoy is important. You have to bring a hand towel, socks and comfortable working clothes on the floor. Also a notebook, pen and your instrument.

During these three weeks have the chance to receive individual Alexander Technique sessions at a reduced price. If you want to know the potential of this work or you have a specific problem, this is a good opportunity. These sessions are not included in the registrationof  Forum Musikae and you can register for them on the first day of the workshop talking directly to me.

María de Marcos

Maria de Marcos is a specialist and professor of Alexander Technique. He trained at the Alexander Techniek Centrum (Amsterdam, Netherlands) with Paul Versteeg and Tessa Marwick. She is professor in Forum Musikae since 2014 and is a professor in the Master of Music Performance of Alfonso X University (Madrid, Spain) in the subjects of Physiology Musician, Control stage fright and Advanced Techniques Postural Control. It also develops teaching at his studio in Madrid and courses for companies throughout Spain.

More information:, wwww.mariademarcos.com

To know more:

Julliard School of Music, Alexander Technique as a method of improving

https://www.youtube.com/watch?v=hwKkbl-EzfQ

British Medical Journal, proven The Alexander Technique

https://www.youtube.com/watch?v=coVXuDjHrfM

 

Francisco Santiago, opera singer, professor of Education and Vocal interpretation of the Faculty of Music and Performing Arts UAX

The course is aimed at students who want to improve their vocal emission and achieve a technique that songbirds obtimice their capabilities in a practical way, because all students must sing at least one aria or a song lyric or Zarzuela

OBJECTIVES

· Know the different timbres and sound of each type of voice possibilities.

· Know and control the breathing mechanism applied to the vocal technique.

· Learn to recognize and locate bodily tensions preventing emission free and flexible.

· Improve coordination to achieve diction and appropriate sound projection.

· Apply the historical, aesthetic, analytical and language skills needed to get a proper interpretation to each style.

· Understanding how muscle memory to apply it in a practical way our work methodology.

· Learn basic techniques of study and testing to get the best possible performance of individual working time.

· Apply practically vocalization exercises in musical works under study.

CONTENTS

· Types of voice timbres and sonic characteristics. Suitable repertoire.

· Anatomy of voice: The respiratory system applied to singing. The controlled expiration relationship between the diaphragm and the core muscles and accessories of breathing. Support. Voice resonators.

· Breathing exercises and muscle toning awareness.

·Vowels and consonants. The articulation in singing. The clarity of diction.

· Study of technical and study skills. Work on the different types of memory.

· Style: Interpretive Appropriateness from the historical and aesthetic from the elements of music: harmony and melody, phrasing, dynamics, "tempo", rhythm, polyphonic balance, timbre and color, character.

· The relationship between text and music.
Alexander Technique

Alexander technique

During these weeks in Forum Musikae 2016 we will work together to improve your body awareness and control of your movements using the Alexander Technique. This will help to avoid muscle overload, improve your stability and projection and control your reactions on stage by your physicality.

If you know the work of previous years, you probably want to repeat because every year is different. If this is your first time, imagine a dynamic, fun classes, you will awaken curiosity and desire to learn more about how the control over your body is immediately reflected in the quality of your sound or improving your technique.

Program

We use group dynamics to explore how it is done your body, how you use and how it responds when guides with attention, inhibition and the characteristics of the Alexander Technique addresses. We'll put it into practice with dynamic for:

Projecting your presence in space;

Increase your confidence;

Watching relationship with your instrument with new eyes.

Enjoy is important. You have to bring a hand towel, socks and comfortable working clothes on the floor. Also a notebook, pen and your instrument.

During these three weeks have the chance to receive individual Alexander Technique sessions at a reduced price. If you want to know the potential of this work or you have a specific problem, this is a good opportunity. These sessions are not included in the registrationof  Forum Musikae and you can register for them on the first day of the workshop talking directly to me.

María de Marcos

Maria de Marcos is a specialist and professor of Alexander Technique. He trained at the Alexander Techniek Centrum (Amsterdam, Netherlands) with Paul Versteeg and Tessa Marwick. She is professor in Forum Musikae since 2014 and is a professor in the Master of Music Performance of Alfonso X University (Madrid, Spain) in the subjects of Physiology Musician, Control stage fright and Advanced Techniques Postural Control. It also develops teaching at his studio in Madrid and courses for companies throughout Spain.

More information:, wwww.mariademarcos.com

To know more:

Julliard School of Music, Alexander Technique as a method of improving

https://www.youtube.com/watch?v=hwKkbl-EzfQ

British Medical Journal, proven The Alexander Technique

https://www.youtube.com/watch?v=coVXuDjHrfM

 

Vocal Training

Francisco Santiago, opera singer, professor of Education and Vocal interpretation of the Faculty of Music and Performing Arts UAX

The course is aimed at students who want to improve their vocal emission and achieve a technique that songbirds obtimice their capabilities in a practical way, because all students must sing at least one aria or a song lyric or Zarzuela

OBJECTIVES

· Know the different timbres and sound of each type of voice possibilities.

· Know and control the breathing mechanism applied to the vocal technique.

· Learn to recognize and locate bodily tensions preventing emission free and flexible.

· Improve coordination to achieve diction and appropriate sound projection.

· Apply the historical, aesthetic, analytical and language skills needed to get a proper interpretation to each style.

· Understanding how muscle memory to apply it in a practical way our work methodology.

· Learn basic techniques of study and testing to get the best possible performance of individual working time.

· Apply practically vocalization exercises in musical works under study.

CONTENTS

· Types of voice timbres and sonic characteristics. Suitable repertoire.

· Anatomy of voice: The respiratory system applied to singing. The controlled expiration relationship between the diaphragm and the core muscles and accessories of breathing. Support. Voice resonators.

· Breathing exercises and muscle toning awareness.

·Vowels and consonants. The articulation in singing. The clarity of diction.

· Study of technical and study skills. Work on the different types of memory.

· Style: Interpretive Appropriateness from the historical and aesthetic from the elements of music: harmony and melody, phrasing, dynamics, "tempo", rhythm, polyphonic balance, timbre and color, character.

· The relationship between text and music.