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Teacher

Maria Grazia
Fontana

“In perfect balance”

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Biography

Maria Grazia Fontana he graduated in piano in 1983 at the S. Cecilia Conservatory of Music in Rome. 

Since 1978 he has carried out the professional activity of pianist, keyboardist e vocalist, implementing a process of in-depth study and research on vocality that is still uninterrupted, constantly evolving and open to contamination between genres…

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Educational Programme

MATTER: SINGING ON STAGE

 

METHOD

The work in the classroom will be set up in an inverse manner compared to traditional programming and therefore starting from the SONG/MELODIC FRAGMENT/SOUND OR VOCAL ACTIVITY, to walk backwards until it is completely dismantled, grasping all its constituent aspects through a detailed technical-expressive analysis and theoretical, ranging from listening to practice, passing through notation, without losing sight of emotionality and therefore the root, of the existence of sound which originates from the need to communicate moods.

To go into detail, after having verified the vocal characteristics and background of experience of the individual students, we will proceed to give them a series of basic exercises aimed at building the foundations for the control and support of the sound: breathing, use of the diaphragm, timbral quality, homogeneity of sound. Some exercises will concern pure technique, others will be of applied technique (extrapolation of the rhythmic/melodic fragment dismantled from the piece, rendered technical, worked on and reassembled on the original piece). Exercises for intonation and extension will be carried out. 

Guided listening and stylistic analysis of various vocals to assimilate their preferred characteristics; personal application and re-elaboration of the same, to develop one's own style enriched with further data, which makes it more competitive. Rhythmic/theoretical analysis of technical exercises for greater awareness and use of specific technical language. The concept of harmony developed through the superposition of melodic fragments that proceed in parallel and/or in opposite motion. The ability to harmonize independently without getting confused in following the most "catchy" melodic lines. All these exercises will be applied to the pieces worked from time to time, chosen based on the potential and textures of the students. At the same time, the content in expressive/emotional terms will be analyzed and treated in a detailed manner, an area in which the technique is abandoned, if metabolised, to leave room for pathos pure and simple. The unifying and therapeutic power of music will thus be understood more easily and the space for verification will be continuous and constant. 

The path will end with the development of several shared songs, as a summary of the work carried out, demonstrating the skills acquired. The students will emotionally experience being on the stage to overcome the most important test: communicating one's emotions to others.

EDUCATIONAL OBJECTIVES

The aim of the course will be provide students with the broadest possible knowledge of the multiple skills required for professionally approached solo and ensemble singing.

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