A practical workshop on how to approach composition and how to manipulate easy musical elements in order to create music. Start exploring your instrument, in order to inventi music and to compose personal pieces, using and enhancing your instrumental skills.

Some goals of the project are:

• to compose themselves a personal composition using also different music elements;
• to manipulate the musical elements;
• to improve your instrumental skills improvising and creating on the instrument;
• to improvise with their own instrument in order to discover and to compose music;
• to be able to perform the composed musical piece;

... and much more!

A Workshop for deepening your compositional skills, starting from musical analysis and listening to repertoire pieces. Together we will discover how to manipulate musical elements to make each composition unique and special. We will discover together some secrets of writing and various forms of notation.

we will learn together how to choose the right tools to create the right colors, how to mix melody and harmony, how to use the right articulations, how to create a basic structure of a composition, how to overcome the block of the creative moment, how to best manipulate the elements already present without always having to invent new ones, how to argue your music ... 

this and much more at our composition workshop!

What are you waiting for?

Make your musical ideas come true!

Who said that to write music you need years of study?

Who said that the composition is a difficul discipline just for few people?

Everyone can compose ... How? Just following some easy steps!

Rhythm, melody, harmony ... a musicla piece consists of many musical elements, which, if well mixed together, can create wonderful colors.

Do you want to discover the secrets of these colors?

Than come and enjoy the musical creation with us! 

You will learn, how you can manipulate and mix together different musical elements, in order to compose small musical composition.

You can come with your instrument, enjoying the practical experience of sound manipulation and instrumental performance, or you can just learn the theoretical basis of composition without instrument.

Ear- Training is one of the most important disciplines in the study curricula in universities and academies of music. It develops our earing skills and allows us to become better musicians, composers, improvisers and educators. Once we know what you are hearing, we will be able to sing it, to play it and to transcribe it as well. When for example we are composing we may reproduce and write faster our musical idea and we will be helped indirectly from our earing skills when our inputs can be suddenly transformed in tones, intervals, chords, chord progressions and so on.

In our course we will work and develop our earing skills with our instrument. We will do many examples and exercises and we will also sing and play together. We will do imitation, transcriptions and dictations, working on scales, modes, tonalities. We will also work on pieces and forms. We will analyse forms of pieces and try to recognize them with our ears: we will hear and write down Voicings and chord-progressions.

We can work on the following points:

• we hear and transcribe musical motifs we hear and transcribe phrases;
• we hear and transcribe musical periods we hear and transcribe Rhythm;
• we hear and transcribe chord-progressions;
• we hear and transcribe structures, forms, instrumentations.

In this workshop the participant will work with basic and advanced elements to cross different disciplines. Each musician/performer in the group will be able to use his/her own skills/knowledge to improvise and create a kind of dialogue between the other group members.

Through analytical, exploratory, dialogic and discovery methods, the group members are enabled to work together as well as individually. Why should students improvise? How can they do it? What kind of interaction is possible between different types of improvisation? How can teachers involve students more actively in the learning and teaching process?
The intention of the workshop is to analyze improvisation outside a specific stylistic musical context.

You can choose to enjoy and analyze the world of improvisation with a focus on jazz and popular music, or to explore in a broader sense by combining several different languages (from classical to contemporary music, jazz, pop).

Improvisation in the sense of "creating or presenting something without preparation, on the spur of the moment" is situated in the field of tension between one's own artistic worlds of learning and experience, which have each produced a personal repertoire of expressive possibilities. The ensemble directed by Angelo Tatone explores these "figures" in a personal, but also genre-specific sense and thus develops a repertoire of possibilities for action in the group. The final step is the communication of these experiences to an audience, which goes beyond a mere presentation - active participation is aimed for.
In the most diverse artistic genres there is - historically and currently - improvisation with different degrees of freedom. At the beginning of the implementation phase, selected concepts from the various fields from which the ensemble members come are examined. After that, the focus is on the exploration of patterns, initially that of internalized patterns. The resulting pattern concepts are expected to include polymetric, polyrhythmic and polytonal elements. A basic aesthetic idea will be the motivic development. In the spontaneous interaction, the focus will be on interaction based on a constantly receptive listening and seeing, which will evoke a gestural and/or tonal reaction to impulses from other members of the ensemble.

This workshop aims to give to the participants the right tools in order to approach improvisation and link it with the composition. This is a good opportunity for beginners in order to discover this fields for the first time and also for advanced, in order to improve their skills.

Some goals of the project are:

• Recognize and master the various aspects of improvisation.
• Being able to perform and lead improvisation yourself.
• Recognize the relationship between improvisation and composition.
• Historical digression, through various improvisation models.
• Practical examples and exercises Learning the different models of improvisation in literature and music history, through listening and score analysis and practical examples on the instrument.
• Experiments on free improvisation and transforming them into composition.