"In perfect balance"
Maria Grazia Fontana he graduated in piano in 1983 at the S. Cecilia Conservatory of Music in Rome.
Since 1978 he has been carrying out the professional activity of pianist, keyboard player e vocalist, implementing a process of in-depth study and research on vocality that is still uninterrupted, in continuous evolution and open to contamination between genres ...
The work in the classroom will be set up in an inverse way compared to traditional programming and therefore starting from the SONG / MELODIC FRAGMENT / SOUND OR VOCAL ACTIVITY, to walk backwards until it is completely disassembled, capturing all the constitutive aspects through a capillary technical-expressive analysis. and theoretical, ranging from listening to practice, passing through notation, without losing sight of the emotionality and therefore the root, of the existence of sound that originates from the need to communicate moods.
To go into detail, after verifying the vocal characteristics and the experience background 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 sound: breathing, use of the diaphragm, timbre quality, sound homogeneity. Some exercises will concern pure technique, others will be of applied technique (extrapolation of the rhythmic / melodic fragment removed from the piece, made technical, worked and reassembled on the original piece). There will be exercises for intonation, for extension.
Guided listening and stylistic analysis of various voices to assimilate their favorite characteristics; application and personal re-elaboration of the same, in order to develop one's own style enriched with further data, which make it more competitive. Rhythmic / theoretical analysis of technical exercises for greater awareness and use of a specific technical language. The concept of harmony matured through the superimposition of melodic fragments that proceed parallel and / or by opposite motion. The ability to autonomously harmonize 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 on the basis of the potential and texture of the students. At the same time, the content in expressive / emotional terms will be analyzed and treated in a capillary way, an area in which the technique is abandoned, if metabolized, to leave room for pathos plain and simple. The aggregating 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 done, demonstrating the skills acquired. Students will emotionally experience being on the stage to pass the most important test: communicating your emotions to others.
Goal of the course will be to provide students with the widest possible knowledge of the many skills they need in professionally approached solo and ensemble singing.