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
Mouthpiece instruments Trumpet
Trombone
Horn
Hunting horn
Tuba
Prescription instruments... Mouthpiece and reed instruments
Saxophone
Clarinet
Flute
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.
Robert Pichaureau
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Robert Pichaureau was born in Chinon in 1918. He studied at the Tours Conservatory in the class of Marcel PAPAIX, himself a student of Masters Eugène Foveau (student of Merri Franquin) and Joseph Albus of Toulouse. In 1936, he joined the Conservatoire National Supérieur de Musique de Paris as an auditor and worked with the master Eugène Foveau. He then made a career at the flugelhorn desk of the Musique de l’Air.
At the same time, he devoted himself to teaching, which led him to become interested in the new techniques brought by American musicians in 1945. The super-high pitch is in fact a common thing in the jazz or variety arrangements of these orchestras.What many only skim over, he studies in depth, applying it with his students.
This led him, after decades of practice, to become the doctor for instrumentalists in difficulty. The musicians who do the job knew well that they could count on him to put them back in place in the event of a slump. He taught at the Lilas music school and directed the Brétigny-sur-Orge music school in the Paris region. After his retirement in the 1990s, he settled in Gratens, south of Toulouse, where he continued his teaching until his death in February 1999.
A word can sometimes lead to the opposite meaning, Robert Pichaureau was aware of this, and he always refused to freeze the results of his research in the form of a method. He preferred the lively exchange of the lesson where listening was as important as speaking. Above all, he did not want his method to be misinterpreted and misused.
"Years of solitary research led me to analyze and understand the unconscious work of our body when we vibrate an instrument. Subsequently, years of teaching allowed me to verify and apply the results of my research It took a lot of patience to be able to locate the cause of our problems: the students who come to see me encounter apparently insoluble problems, otherwise they would not come, and they ask me to solve them very quickly. In fact, it’s not that easy.”
"I listened to what I played. What mattered to me - and to my teachers - was what came out of the instrument. My experience later proved to me what a fundamental error this is. what I was missing was important, this is what today I call the base: the root of sound. I had to analyze the problems of sound production for 10 years, before arriving at it! discover the secret. I had been on the wrong path from the start of my studies. You have to focus your mind on much more concrete things than on the sound itself".
In music, we cannot be satisfied with approximations, we cannot erase, correct, complete, what is played is played. In order to achieve great security, we will have to go through a very special apprenticeship: it is essential to know ourselves well.