Station F.M. Book 3

The paths that lead to musical interpretation are multiple, but all have as their only origin: the oral. It is therefore essential and essential for any pupil who begins his musical training to start singing, speaking, saying aloud, in other words, to "oralize" the music in order to better appropriate it and then be able to read it and write it. In order to acquire this language and to allow the student to live these moments of lessons in the pleasure of discovery, each notion is approached by an original song written in a different style, opening up fields of knowledge useful for its future development. musical.

SOMMAIRE DES CHANTS

Leçon I (dans le style de S.Rachmaninov)

Leçon 2 (dans le style de la période classique (1750-1830))

Leçon 3 (dans le style d’une « impératrice » de M. Ravel)

Leçon 4 (dans le style d’un « petit galop »)

Leçon 5 (dans le style klezmer)

Leçon 6 (dans le style de C. Saint-Saëns)

Leçon 7 (dans le style d’A. Dvorjack et d’un western)

Leçon 8 (dans le style de J. Haydn)

Leçon 9 (dans le style d’une danse allemande de W.A. Mozart)

Leçon 10 (dans le style d’une chanson de marin)

Leçon 11 (dans le style d’une chanson engagée)

Leçon 12 (dans le style de J. Williams)

Leçon 13 (dans le style de L. v. Beethoven)

Leçon 14 (dans le style d’une valse d’orgue de barbarie)

Leçon 15 (dans le style d’une berceuse hawaïnenne)