Les stages intensifs de 3 jours consécutifs
Méthode " No-Pressing" pour les instruments à vent
D'après les découvertes pédagogiques et philosophiques de Robert Pichaureau
Un antidouleur pour les instrumentistes à vent
A universal pedagogy that works for all wind instruments and singing
Mouthpiece instruments Trumpet
Trombone
Horn
Hunting horn
Tuba
Prescription instruments... Mouthpiece and reed instruments
Saxophone
Clarinet
Oboe
Bassoon
Bombarde
Day of discovery of sharing and exchange which allows you to get to know Robert Pichaureau, his philosophy, his discoveries, his remedies and start practicing the first exercises on yourself. Where does lip pain come from? How does this hinder progress? What are the physiological and physical consequences on musicians? How to get rid of this suffering What does this mean once removed? How to now access the super-high pitch without suffering and develop your detached sound. individual and personalized analysis of your instrumental playing and awareness of your individual problems.
A unique educational approach
A painkiller for wind instrumentalists
Robert Pichaureau did not write any method and his teaching was above all oral, evolving and personalized according to each student. It is a lively exchange where listening is as important as speaking. Knowledge frozen in writing is not enough. The present moment, the exchange, the listening, the inner and emotional feelings of the students are at the heart of this teaching. Oral transmission and therefore the presence of a teacher experienced in this teaching method is essential for a good understanding and the correct application to oneself of what is taught. The letting go which liberates the artist, sought by many musicians in construction, becomes completely natural and even a goal by working in this way.
Robert Pichaureau said it: “To teach well you must be in the shoes of your student, and listen to their feelings and emotions”.
Concerning learning a wind instrument and singing, he discovered that there was a rational and emotional philosophical process of the mind to arrive at knowledge of oneself, one's body and one's instrument. Robert Pichaureau demonstrated that our body was the true instrument, and that knowledge of its functioning during the production of sound allows us to become aware of the intimate link between our body and our instrument.
After years of relentless research, he developed an innovative learning method, extremely effective as a painkiller, and virtually foolproof for those who have difficulties and suffer. By following his advice, using his remedies and practicing his exercises, the lip pain usually felt in 95% of wind instrumentalists disappears, never to return. Freed from this pain, wind instrumentalists are able to let go, feel free and discover new inner and musical sensations. New skills are developed, such as, for example, fully exploiting the entire range of your instrument (particularly the super-treble range, which is very often inaccessible to brass instruments). Endurance is also increased.
Only the pleasure and desire to play that guide our steps should count.
For all Wind Instruments
Robert Pichaureau made fundamental discoveries concerning breathing, relaxation and bodily balance. They are common to all wind, brass or woodwind instruments without distinction. The technical specificities specific to each instrument, the philosophical principle and the basic exercises remain the same. Whether for a mouthpiece or reed instrument, the body remains the real instrument and functions in a similar way.
“Discoveries applicable to everyone”
“The body, our true instrument”
Meet Robert Pichaureau, with his philosophy, his method, his discoveries and his remedies.
Practice the first pain relief exercises.
Why your body is the real instrument.
What happens in your body when sound is produced and how to take control of it.
Why do 95% of wind players have sore lips? What are the psychological and physiological consequences? How did they get there?
How to get rid of sore lips, doubts and physical suffering.
What does it bring to the musician once the suffering is removed?
How to now access the super-high pitch without suffering and develop your detached sound.
Individual and personalized analysis of your instrumental playing and awareness of your individual problems.
Where are you in relation to your instrument, its use and its suffering?
What solutions can the method bring you and for what concrete results.
The intensive side of the courses significantly accelerates the understanding and integration of the method. The effects are immediate on your instrumental playing, and the lip pain linked to playing the instrument disappears immediately after the first course.
The simple knowledge of the discoveries and the practice of Robert Pichaureau's first exercises on the functioning of the body during the production of sound allow us to glimpse for everyone a progression and a musical development this time without barriers, without suffering, where the pleasure of playing and inner sensations count more than the instrument itself.
The courses allow you to know how to resolve your problems and your difficulties, by following a gradual teaching, adapted to your personality and your musical level. There is no miracle recipe, you still have to work diligently, but always with desire and pleasure.
Do you want to teach this magnificent method? This training is for you.
The results on your beginning students will be surprising. You will make them want to learn, and they will be happy to practice their instrument without suffering and flourish without barriers. But not without work...!
You will know how to “repair” and “care for” musicians who have already played an instrument and who are experiencing suffering and difficulties. Damaged by bad teaching or by life, they will find listening, comfort, understanding and competence from you. You will be able to give them real solutions to their problems and difficulties by offering effective remedies and exercises proven for several decades.
“If you take in stupid air, you will expel stupid air and you will suffer. Instead, take some music and enjoy yourself.” “The secret is that you have to play without thinking. Thought kills the desire, and without desire there is no balance.”
Robert Pichaureau
“the musical movement of the wind player is almost entirely internal and must be divined and felt by the teachers. To play, an instrumentalist must be totally imbued with a passion for music. The vibrations of the body should be stronger than those of the instrument. »
Robert Pichaureau
“The advice I was given was of little use: Work, it will come! This is what people kept telling me. In fact, I was working, but unfortunately I only had the desire to work and progress, so I lacked the balance and the instructions, because the desire is not enough. I could never complete a study - a question of resistance - I got tired too quickly."
Robert Pichaureau
“I listened to what I played. What mattered to me - and to my teachers - was what came out of the instrument. My experience subsequently proved to me what a fundamental error this is. What I lacked was important, it is what today I call the base: the root of sound! I had been on the wrong path from the start of my studies. You have to concentrate your mind on things that are much more concrete than the sound itself.”
Robert Pichaureau
Internships and private lessons
For Wind instrumentalists
and singers
Tel : + 33 06 16 72 28 91
Training supervised by
Vincent Molères
Student of Robert Pichaureau Trainer for 40 years
Trumpeter Concertist