Crónicas Dalcrozianas / Aprende a dar clases de música

Hello, welcome to the Dalcrossian Chronicles of this month of April. I'll be working with rhythms generated from four corneas. After that we can change them to cuatro negras, cuatro blancas, cuatro semicorcheas, whatever. But let's start with this base because what's important is the experience. The important thing is not to know many things, but to be able to do them well. And the most important thing within Dalcross rhythm is the connection we have between the body and the intellect. So let's start with the first experience, which can be many, can be different. You can imagine the experiences you want. The point is that I chose this moment because it made me feel good to present it here in the Dalcrossian Chronicles. So what. Always when I start with my students, especially now more than before, Because when I have students who are online, students who are here in person And who have lost the habit of moving around the salon, I'm stressing to you how important movement is to make that connection. Because the answers can only be quick if we think about them. But the most important thing is that we meet them through our movement. So let's start this exercise by just putting our feet in a parallel shape. It's very important that they're not like this, that they're in parallel. And we started doing this side and that side. One side and the other. Look how my arms are completely motionless. Only when I move to one side, my arms come. Sometimes I hit my feet, sometimes I don't. And I'm not separating the tips because otherwise I'd be exerting too much force from here, from the center. All I want is a balance. In my head I'm separating this balance already in four. And now I'm going to throw my arms. And when there's a swing in the arms, then there's a bigger bend in the knees. Here I can sing what I want. But the idea is always that you feel that impulse. And now I'm going to do it from the piano. Then I ask them to continue with this impulse, but I'm going to the piano. And so I can continue for a little longer, but that depends on how they're doing. What's important is that I can see. But how I did the improvisation we'll talk about in the next video. Now we're going to finish our whole experience. Once I've done it already at the piano, then I start asking you, now let's do this. I'm not telling you how much. I'm not doing it intellectually. I'm just saying, let's do it. And I'll start doing with them. And then I ask them to count how much you're making. I'm doing four on each side. Very well, but they're going to find him. The idea is not to tell. The idea is that they remember by their muscle memory. One, two, three, four. Or even that they make it count. That's the most important thing. They're moving to make that connection. Now here at the piano I'm gonna do something a little different. I'll be doing the same. But now I'm going to ask them to continue. You can sit down right now. And they're still playing. But with those palms that keep them moving. In the space. So that the one stays here, the four stays here. Let them have it differentiated. And after I tell you, the number I say, that number doesn't go to Palm. For example, if I say El Cuatro. O el dos. I know. O el tres. I know. Now, I did this here in order of difficulty. The hardest part is getting the three of them out at the end. The easiest thing is to remove the four. And then he comes back to take the back. The one is the most difficult. But let me see a meter. Because I'm not going to use it. And they'd have to be making that move. The one, Pam, Pam. Tam, Pam, Pam. I'm going to go. And after I go to the analysis. Now I've got you here. Then I ask them how many palmas I've been doing. But let's tell you. Let's see. Hazlo with me. How many palms am I doing on each side? Four of them. Then I write here. What do you say now? Count me in. One, two, three. What's the biggest number? Two, three. The three. Then I do one, two, three. What if I do this? Un, two... For example, excuse me. What I didn't say is that the three come to the four. It's not like the cuatro has magically disappeared. But the three became great because they started at the four. One, two, four. Who's who? The two of them started at three. Then, one, two, four. What's the big deal? Well, then. And finally... Count it out loud. One, three, four. It may take you a while to do it like this, or sea, so fast. Here I am doing it almost, almost by magic. But it works. And it works that they're saying it and they're finding it that way. Now let's see how you see this in music, in musical language. I'm gonna take this as a parameter. Whose son? I'm going to take the four corcheas. So, this is thinking that we already know something about musical reading, about rhythmic reading. Ojo, please. So, here, these two are equal to these two? - I know. Is this the same as this? - No, I'm not going. This is bigger. Which is bigger than the corchea? The black one. If I say corcheas, I see a negro. If I say octavo, then yes I go to Los Cuartos. But it's corches, niggers or octavos y cuartos. No mixing up of names because if not then we'll mix up. Now, here we go to leave this for the final. Because like I said, it's the hardest. Let's go to one, three, four. Where is la negra? La negra is at the beginning. And where are the corches? Las Corcheas are in the final. Then, one, three, four. And here where is the negro? La negra is in the middle. Then, not completely in the middle, but that's what happens. And it's flanked by two corches, which I can write like this. And so I got the rhythms. Always when I say el cuatro, it's the only one that has two syllables. The one I can tell you, works fine. El cuatro, all I do is say cuatro, cuatro. Like I'm flying like this, like I don't want the thing to happen. But it's four. So only to feel much lighter And that there be no confusion here that there is another rhythm. And that's how I work the rhythms of four corchias. This has many derivations and has many nuances that are working. But this is basically. I hope this works for you. And, please, if you have any questions, doubts or comments, No more thoughts and write it down here. Or send us an email with information about the Cillito Arte. And there we also have a lot of resources at your disposal. - I'll see you later.