Correr á la Dalcroze - Desplazamientos para aprender

Hello, in this lesson we're going to talk about what running is, that we all know what It is a matter of course, but we have to identify the important elements of this The first is that we must be able to learn from the past. Displacements were always what Dalcross took as his best I could control our motor skills so I could learn from them. I thought at some point in my breathing, but my breathing didn't. We can control everything to a certain extent, but we have to control everything. There are physical consequences that don't help us. Breathes, but also there is no form, say, natural of power And walking, palmar, that kind of movements are all So that's what we're gonna work on in this lesson. First let's see what's running. What's the fundamental difference between walking and running? You can run very slowly and you can walk very fast, but there's something that does There's something different when you're running than when you're walking. What happens to the body when you run doesn't happen when you walk. You're running there's a moment, always there's a moment when your body is Floating is that floating that gives the feeling of running. eliminate the corridors, the marchers when they start float, because as much float as they're running. Now, for example, if I start running, I'll start running. Normally my arms do this, but I'm gonna need my arms inside of A class of cross, I'm gonna need to palmear, I'm gonna need to palmear Do other things, then I need my arms to be neutral. Doesn't mean they're gonna be stuck here all the time, that's different. Neutral is really that they're free, that they go As you usually do when you're arrested, So you have to start, because this is what you're going to activate, the legs. Then you start working on what's the speed, the precision, etc. Now let's see what's going to fall first. The heel is what's going to get you moving, but When you run first with your heel, it would be too painful. And this isn't for you to be remembering all the time, you know? You have to know, because you have to see what your students are doing. So you can observe how they're doing. You start playing this for your students, don't turn to see them in their faces, Look at the feet, look at the feet and see that everyone has to fall. If there's anyone who's falling out of that moment, you'll see it immediately, So, as we've seen in the examples, let's talk about the What's the real difference between what's floating and what's floating? We're doing between walking and running. To trample, or not to confuse, rather to trample is a form of Running involves many ways of doing it, but what is It's important, sea, so we have it as a definition, so you know What you have to look for in your students, not to tell them, that's not You have to be repeating them, but you must know what you have. Then, you have to look for that when you're in the middle of the road. They're running, they're floating, there's a moment when they're lifting the Two feet of the floor, and you gotta make sure the arms aren't taking too much. Action for this, because normally we do, because we are beings Humans, we do this for a matter of balance, but we have to Try to keep your arms, not completely sideways, like this. Lord of the Dance, but they're moving without the arms moving. We're balancing, because sometimes we can use our arms for other things, Then we have to be able to dissociate that, and your music must be It's consistent with the kind of movement you want. Let's say this is the speed you want now. And this activity you have to do to prepare yourself for how you're going to do it. After you can do this same activity with your students, But you need to do it first, so you know how your melodies are gonna be. When you're improvising on the piano. Well, then now comes the piano work. Be motivated by what you play, so they can run, and besides, That's very important. So, let's start with that. Let's start with this left hand, which has to move quite a bit, because There are options for this. But there are options to do so. And then we can make it simpler or more complicated, etc. Okay, let's see the speed now. For me it will be easier, although you can also make a career, A three-speed race, and also a very interesting result. But if you notice, always what I'm still doing is doing the identical rhythms in both And when I have the same rhythms in both hands, it helps me to make the students So, now that I have this rhythm, I'm gonna go to the gym and I'm gonna go to the gym. Determined between the two, let's see how I can work my left hand and how I can I'll start by doing this, and if you don't have much freedom in the world, I'll start by doing this. The piano, then we'll do this. A simple melody in this hand, but as here I'm going to stay in the do sol, Then I'm not gonna go do anything completely tonal in the mayor's office, Because it's going to be very flattering. Then I'll try to do something that has dissonance, I need to hear that tension, that relaxation in the music. You look like you're playing with the pure sun, with that sun, if I'm playing with the sun, I've got this dissonance in my head. And also me from certain movement distinct, So my students can walk differently too. But the joke is that you don't do such crazy things, at least not at first, Because if you start out too crazy from the beginning, they won't know what to do. It's like I'm moving here, I'm moving there. The melody will be driving the movement and the left hand will be motivating Now let's tell you what I did here. If I play legato music, as fast as I play it, I'm going to keep walking, I'm going to keep walking fast. That quality of the ones we were seeing before, of how you see the difference between walking and running, I can even slow down. This is the only thing I can do, just put it on the floor. So, yeah, but I'm going to have a huge variety in sonority. And yes I want to be a little more inventive. And after I can also try to improve, not to improve, Excuse me, to develop the melody a little more, I can put double notes. Well, then that's the way I can be developing something to run, But you're not always going to stay in that sun. For example, if you're in school, don't go to school. Silvia del Bianco, she said, modulation by terraces. You can go, for example, if you want to. And then you do it over there. Then you're in a relationship. And speaking of those who have relation to the sun, Then get something simple after practice. It's easier, because I have to do it, after me, I do it. We're doing five parallels, for God's sake. No, it's not that, it's the fifth parallel, double the third, all of that. The only rules of harmony that we have are suggestions, really. It is that when there are links of chords, you have to keep the common notes and move From there, everything else is suggestion. can use, double thirds, make parallel quintas, parallel quintas and octaves, But of course he did it justified, and obviously because he was Beethoven, right? Then, Sorry for that noise there, experiment with different quintas, or no, You're going to be fine Pink Floyd after, You can do it too. And I'm almost always holding this like a pedal. And well, that's what you can do, how you can support yourself with improvised music to run. Very important, making the improvised music will serve you very much precisely for, because that, So that, in order to adapt to the pace of your students, that your students adapt too, They learn to react, and they're not just doing it with recorded music. Remember that the most important thing about all these activities is that they are practical. Only if you know how to do it, you'll develop the reflexes you need to You can implement it inside your classroom, or even use it for your compositions or Always remember that you have to be watching your students. You can only focus on what you're playing on the piano. It's what's happening to your students so you know how to correct them. Finally, speaking of corrections, remember always to know which are the corrections you want You have to identify the difficulties that will arise with your students, What works well for group A won't work for group B. So you have to be watching all the time how it's going to work. We use improvised music, because with improvisation we can always adapt. We can also use recorded music, but we need to be ready to put it on. Pause, turn down the volume, so you don't cut the music very abruptly, because then the Music becomes a tool too useful. It's a tool, but when I work through music, the aesthetic content, The aesthetic message of the music is important too.