"Being convinced wrong, to become masters of oneself."
Alberto Tenzi was born in Milan on April 25, 1962. Multi-instrumentalist, singer and teacher. At the age of eleven he finds himself behind a hundred live performances alongside Pippo Baudo, Gabriella Farinon, Cochi and Renato, Franco Franchi and Ciccio Ingrassia, Macario, The Cats of Vicolo Miracoli, Mago Zurlì and Richetto, Celentano, Rosanna Fratello, Daniele Piombi, Franco Nebbia, Franco Rosi ...
SUBJECT 1: RHYTHM FOR SINGERS
It is very important for singers to be able to express themselves rhythmically with ease, especially in the lexical context of the different genres of modern music. The path is characterized by the execution of rhythmic readings to be performed on easily available percussion instruments and on one's own body.
Experiential analysis of the main rhythmic designs of modern musical styles, through the understanding of the different instrumental languages. Construction of rhythms for percussion, through listening and analysis of musical arrangements. Music theory of the rules governing the rhythm.
This path greatly improves and stimulates one's motor independence, in order to make one's ability to produce rhythm more natural and instinctive.
Performing solo rhythms and rhythms combined with multiple sections of multiple people to play drum-like patterns.
SUBJECT 2: BACKING VOCALS
Every solo singer must always be able to harmonize in the context of vocal arrangements, in order to improve the perception of their melodic and harmonic role. Within a choir it is necessary to know how to intone different secondary and complementary vocal lines, harmonious with the melody of the piece.
The path includes the study of covers arranged in new a cappella versions (voices only) without or with the aid of backing tracks.
Harmonization exercises for several voices in the major and minor scales, in order to become familiar with the group and understand the potential of the vocal ensemble.
For the study of the a cappella pieces the teacher will provide:
During the meetings the single voices will be rehearsed individually, then in groups in unison and finally, in progressive relation until reaching the complete simultaneous performance of all the parts.
Particular attention will be given to the general intonation and to the timbral-dynamic relationships.
The experience of knowing how to work in a choir also facilitates the creative aspect in knowing how to invent and improvise melodic variations on the theme of a piece.
The personalization and characterization of a melody is determined by the expressive, timbral, dynamic and rhythmic interpretation, but sometimes it can also make use of melodic variations on the theme.
SUBJECT 3: VOICE TECHNIQUE FOR SINGERS
The best technique is always the one that allows us to obtain the maximum result with the least effort and expenditure of energy. By always applying this principle, you are able to avoid harmful behaviors to your voice and vocal cords.
The study of vocal technique allows you to make the best use of:
Through this path one is able to discover and progressively learn about the natural characteristics of one's voice and the sounds that are often hidden within us, up to the place where the key is found that can definitively open the door.
SUBJECT 4: MUSICAL THEORY
The study of music theory is to be considered on a par with the study of grammar in the spoken language.
The study of musical writing is not to be considered the end, the goal to be achieved, but rather a training tool through which the mechanisms that govern musical language can be acquired, understood and rationalized.
For this purpose, didactic material written by the teacher will be provided.
Each topic treated will be supported by practical and experiential exercises through vocalization and, if necessary, exercises of practical harmonization in groups.
SUBJECT 5: PREPARATION OF FINAL EXAMINATIONS IN THE RECORDING STUDIO
The work that takes place during a session in the recording studio is highly educational, as it allows you to verify the real quality level achieved.
In addition to this, it allows, through continuous listening to one's own recording, to improve and further refine one's technical and expressive qualities. The type of work is supported by the teacher who will follow the entire performance in real time with great attention and meticulousness, making a continuous screening of intonation, intention, interpretation and timing of the entire execution.
The work done in the recording studio is a continuous training ground that allows you to test every single element of your personal vocal preparation.
For this reason it is always a moment of inner research that progressively leads to a greater capacity and artistic maturity.