The course is open to all instrumentalists, singers, and established ensembles.

SOLO PIANO – piano class (max 6 students / individual lessons of 45 minutes per day)
ENSEMBLE – open to all instrumentalists and singers (collective lessons of 5 hours per day)

All students enrolled in the course will be accepted as active participants. However, it is required to attend on August 19th (at 6:00 PM) for an introductory interview with the instructor.

During the registration process, students must submit a curriculum detailing their studies.

Ensembles formed for at least one year can benefit from reductions in their reserved tuition fee (reduced by 45% to €95 for each member).

Students from Siena Jazz are exempt from paying the tuition fee (€175).

All students, including those from Siena Jazz, are required to pay the registration fee (€48).

Lessons will be in the form of workshops dedicated to research based specifically on approaches to improvisation, both traditional and those influenced by fusion and new music.

The methodological syntax will be based on direct musical experience, linked to instrumental action, different compositional techniques, and a wide range of creative and expressive forms. It aims to be an alternative complementarity to normal study courses based on representation, assimilation, and repetition of models and styles.

It adopts a performance method, which is committed to accompanying all musicians who have decided to make music their profession and art through their most difficult and decisive period. These musicians need an autonomous environment free of pressures from the circuit where they can experiment through continuous practice and research experiences, both individually and with groups, to reach a more complex yet more joyful, articulated and informed musical maturity.

The lessons will explore the following:
–  learning how to listen to and recognise musical material: the four parameters;
–  learning how to build and manage the creative process without established models;
–  examining the relationship between mindful listening and reaction;
–  defining different levels of autoresonance and musical perception;
–  developing a complementary instinct among musicians in their instrumental action;
–  building musical balances within a group more quickly;
–  acquiring the ability to recognise, develop and create a dialogue between thematic forms, accompanying narrative subjects and developing them semantically within morphological structures: the three narrative parameters.

Once the learning phase has been completed, there comes the moment to create an identity for oneself by dealing with the musical experience experimentally. This task requires delving deeply and is often put off indefinitely by musicians; it explores compositional awareness and develops technical/instrumental expertise to the same degree. The purpose is to negotiate the most dynamic future possibilities for the world of music through on-the-spot composition, experimenting with different ways of conceiving an improvisation performance.