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Antonio Ciacca Pianista,compositore,direttore e didatta è tra le figure più complete della scena newyorchese contemporanea. Nato in Germania, e' cresciuto in italia e si e' formato negli Stati Uniti. Diplomato in pianoforte presso il Conservatorio "G.B.Martini" di Bologna, ha studiato con Steve Grossman, Barry Harrys, Jaky Byard e ha collaborato con i grandi del jazz quali Steve Lacy, Benny Golson, Wynton Marsalis and James Moody, fra tanti altri. Dal 2007 al 2011, e' stato Direttore della programmazione del Jazz at Lincoln Center. Accanto ad un intensa attività concertistica e discografica, che lo ha portato a pubblicare sette album a suo nome e suonare regolarmente in tutti i jazz clubs e luoghi di musica di New York e sui palchi più prestigiosi del mondo,dalla Carnegie Hall al Teatro Regio di Parma da Lincoln Center alla BimHuis di Amsterdam. Ciacca ha sviluppato un’attività didattica che lo ha portato all’incarico più prestigioso che un didatta della musica può aspirare: entrare nella facoltà della Juilliard School di New York.Attualmente insegna e tiene masterclasses presso Berklee College of Music,New York University, Paris Conservatoire, University of Manitoba Canada. La grande affluenza alle sue masterclasses consolida e sottolinea la fama di didatta internazionale del poliedrico musicista pugliese ormai residente da anni a New York. Oltre ad essere il primo italiano a ricoprire un ruolo dirigenziale al Lincoln Center e primo docente italiano alla Juilliard School, il pianista è un grande scopritore di talenti che incoraggia a proseguire gli studi nei college americani. È Artist in Residence al Pierre Hotel di New York e direttore artistico dell’Italian Jazz Days, il festival Jazz dedicato ai grandi maestri del jazz italo-americani, durante il quale non pochi affermati jazzisti italiani hanno avuto occasione di esibirsi e farsi conoscere in Usa. La sua carriera è di respiro mondiale, con tours internazionali e come instancabile promotore del jazz. La partecipazione al workshop verrà attestata con certificati ad opera “TWINSMUSIC” di New York. Tali attestati possono essere utilizzabili anche per la richiesta di attribuzione di eventuali crediti formativi CFU o in varie attività concorsual i. Il numero dei partecipanti previsto è limitato a 20, è consigliabile affrettarsi a prenotare. la quota per partecipare al w orkshop di Antonio Ciacca e' 220 euro, 300 euro se si vuole alloggiare a La Spezia presso Oratorio Don Bosco di a Spezia. Il corso di Antonio Ciacca si svolgerà secondo i seguenti programmi e orari: Morning: piano/vocal class Aferrnoon: Combo class Ciacca began his career as a sideman for such acclaimed jazz artists as Art Farmer, James Moody, Lee Konitz, Jonny Griffin, Mark Murphy, Dave Liebman, Steve Grossman, who he cites as his mentor and he invited him as the special guest in his Album "Lagos Blues", Motema Records. He performed all around the world his arrangements and his own music, that is going recorded by many jazz artists. In 2007, Ciacca’s extensive music industry experience and comprehensive artistic vision led to his being tapped to take on the position of Director of Programming at Jazz at Lincoln Center, where he worked closely with JALC Artistic Director Wynton Marsalis until June 2011. From 2009 to 2012 Ciacca has been instructor at Juilliard School in New York teaching Business of Jazz. He composed more then 100 songs collected in two books: “The Music of Antonio Ciacca “Vol. 1”and “Vol.2”. Other own compositions : Chocolate Suite for Jazz quartet (2011), Stabat Mater for soprano, alto two violins, viola, cello bass and continuo (2011), Aria for String Orchestra (2012), Orsara Suite for 7 instruments (2012), Settimino (2013), String Quartet in F (2014), Magnificat for soprano, alto , tenor and orchestra (2015), Symphony n.1 in G minor (2015), Piano and Violin Sonata n.1 (2015), MLK Suite, for Choir and Orchestra (2016) Currently the New York-based pianist and composer Ciacca enjoys is working on his new compositions and his tours all around the world. The workshop offers an overview of jazz styles by forging an historical perspective with an in-depth analysis of each style. Through original examples, musical scores, recordings, and video, this workshop provides enormous educational growth for participants. Day One: The Jazz Pianist Outline of Discussion Topics 1) Piano technique: Daily routine, posture, practice skills, goal-setting strategies, basic classical tonal harmony, jazz harmony, scales, chords voicing 2) Basic Jazz Repertoire: The American Song Book, Ellington, Monk, Parker, Silver, Golson, Shorter 3) Basic music-reading skills, basic song structures in Jazz (12-bar blues, 16-bar blues, AAB and AABA song forms) 4) The Jazz notation: oral vs written Listening and Analysis Session: -Cole Porter, “Night and Day”(ABA) -Duke Ellington, ”Sophisticated Lady” (AABA) -T. Monk, ”Crepuscule with Nellie” (Through-composed piece) -C.Parker, ” Ah-leu-cha” (Counterpoint) -H.Silver, ”Moon Rays” (Textures) -B.Golson, ” Fair Weather” (Counterpoint) -W.Shorter, ”Fee-Fi-Fo-Fum” (AABA) Day Two: The Improviser Outline of Discussion Topics 1) Definition of improvisation and solo (tonal) 2) Melodic and harmonic improvisation (modal) 3) Rhythmic improvisation 4) Contemporary improvisation elements Listening and Analysis Session: -Coleman Hawkins, “Body and Soul” -Art Tatum, “Sweet Lorraine” -Roy Eldridge, ”Stardust” -Miles Davis, ”So What” -Lee Konitz, ”These Foolish Things” -J.Coltrane, “Impressions” -J.Byard, “Berlin Piano Workshop 65” -O. Coleman, “Jane” Day Three: The Arranger/Composer Outline of Discussion Topics 1) Basic arranging/composing elements: Intros, codas, interludes, vamps, transitions, shout choruses, 2) Re-harmonization of a melody, Contrafact (new melodies on pre-existing harmonic progressions) 3) Arranging for instruments: solo, duo, trio, quartet, quintet, and sextet 4) The oral arrangement 5) The source of the music: fake books vs original manuscripts Listening and Analysis session: -D.Gillespie, ”A night in Tunisia” -A.Jamal, “Darn that Dream” -G.Russell, “Ezz-Thetic” -Evans-Hall, “I’ve Got You under My Skin” -A.Blakey and the Jazz Messengers, ”Pensativa” -Strayhorn, ”Take the 'A' Train" -Wes Montgomery, ”Four on Six” Day Four: The Performer Outline of Discussion Topics 1) The Repertoire: originals vs standards 2) The stage set up, microphones, monitors, the sound man 3) Rehearsals technique 4) The show, the set list, featuring band members 5) Role and expectations: leader, music director Listening and Analysis session: -Dave Liebman, “Day and Nite” -Sam Rivers, “Fuschia Song Swing -B.Golson, ” Blues March” -C.Basie, ”Cute” Day Five: The Recording Artist Outline of Discussion Topics 1) The studio time and audio recording: the recording engineer, mixing, editing, mastering, the record producer 2) The concept (record title, song list) 3) Video recording for commercial and promotional use (e.g., YouTube) 4) Live recording (audio and video) Listening and Analysis session: -Ellington/Coltrane, ”The Feeling of Jazz” -T. Monk-Jon Hendricks, ”In Walked Bud” -Ella Fitzgerald, ”Cole Porter Songbook” -Oscar Peterson, ”Tristeza on Piano” -S.Rollins, “Sony Meets Hawk” -Duke/Mingus/Roach, ”Money Jungle” -B.Powell, ”The Amazing Bud Powell” |