THE MUSIC DISCOURSE

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This course will mainly deal with how to organize our musical influences in an introspective and artistic point of view, emphasizing in ‘micro’ and ‘macro’ aspects of music.


Description

In a concert program or in a record production, we should pay attention not only to the usual ‘micro’ criteria that deals with specific melodies, cyclic harmonic progressions or specific grooves, but also with an episodic -‘macro’- criteria. This more global criteria guarantees greater depth and a good balance of counterweights in the musical proposal (which type of repertoire makes up the concert program, how it is ordered, in which way a concert or album can be expressively spreaded…). The most important tools to achieve a good dialectical relationship between micro and macro are continuity and contrast; two factors that will be very present during the master classes – either with improvised melodies, chord positions for accompaniments, formal structures, textures … –

This course will also illustrate the extraordinary permeable nature of jazz music. This allows to drink from sources as diverse as the most avant-garde experimentation, the so-called root music, European classical music, mathematical thought and of course the jazz tradition itself based on a permanent re-vision and re-creation of itself. However, the emphasis during the classes will be precisely on how to organize such amount of influences under a personal and artistically relevant prism.

 


Abe Rábade

I was born in Compostela (Galiza) on September 8, 1977. I started studying music when I was 4 with the Kódaly method -a learning mode in which creativity and intuition prevail. I continued my training at the jazz center “Estudio escola de música”, also in Compostela.

In 1995 I continued my studies in the USA, where I obtained a Cum Laude degree in Jazz Composition and Piano Performance by Berklee College of Music (Boston) in 1999.

I am a musician because I think that music is one of the deepest ways for esthetic communication. I try never to lose this principle in those projects I undertake.

My first instrument is the piano, the second the drums. I write music and I’m a teacher in two centers in Galicia and Portugal.

Since 1996 I lead a trio of acoustic jazz, which is currently formed by Pablo Martín Caminero on double bass and Bruno Pedroso on drums. I also usually do concerts and recordings with wider musical formats, from the Jazz Quintet to the Symphony Orchestra.

Between 2001 and 2018 I have led almost 20 albums.

Some of the musicians with whom I act and / or grable are: Jesus Santandreu, Miguel Zenón, Bob Mintzer, Perico Sambeat, Chris Kase, Avishai Cohen, Alan Ferber, Toni Belenguer, Kurt Rosenwinkel, Nuno Ferreira, Antonio Serrano, Albert Sanz, Sinne E, Claudia Acuña, Deborah Carter, Mísia, Guadi Galego, Carlos Barretto, Paco Charlín, Javier Colina, Terri Lyne Carrington, Bill Goodwin, Jeff Williams, Skip Hadden, Jeff Ballard and Mário Barreiros.

I also had the opportunity to play in most Jazz Festivals in Spain and I offered concerts in Paris and Toulouse (France), Berlin, Munich and Kiel (Germany), Lausanne (Switzerland), Porto, Lisbon and Madeira (Portugal), Tangier (Morocco), Boston, New York, Rochester and Cleveland (USA), Birmingham (UK), Havana (Cuba), Helsinki (Finland), Salvador de Bahia and Belo Horizonte (Brazil), Santiago de Chile (Chile), San Salvador (El Salvador), San José (Costa Rica), Guatemala City (Guatemala), Oaxaca, Acapulco and Mexico City (Mexico) and Macao (China).

• 30 March, 2018

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