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City of residence: Foggia
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Sent April 16, 2012 - 21:36
PREAMBLE:
Artistic profile
Giuseppe Perna, pianist, like many European colleagues, has moved from the avant-garde of the '60s and '70s emerging from dodecaphony and post-Webern serialism, through the combination of neoclassicism and modal harmony, and has gradually transformed into an improviser in a style that combines contemporary classicism and avant-garde modal jazz. The musical and melodic poetics of Giuseppe Perna, as he defines it himself, is "an attempt at immersion into myself to be able to touch beauty".
Free modal improvisation escapes the predictable and pushes toward the unknown of a performance where the typical orchestration proposed by official modernity weakens due to the obscuring of the musical element of tonal gravitation.
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I will use SOME of G. Russell's concepts expressed in his book "Lydian Chromatic Concept of Tonal Organization" (hereafter referred to as Lccoto). These concepts will be expressed:
-IN A SUCCINCT FORM
-EXCLUSIVELY FOR PROPEDEUTIC PURPOSES TOWARDS ACHIEVING THE PROPOSED CULTURAL OBJECTIVE at points 2,3,4.
Those who wish to deepen their knowledge of G. Russell's work must purchase his book: "Lydian Chromatic Concept of Tonal Organization" - CONCEPT PUBLISHING COMPANY - BROOKLINE - MASSACHUSETTS -
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The educational project will be organized into the following phases:
1) Use of the CONCEPT in Tonal Harmony
2) Study of Modal Harmony
3) Study of Chromatic Harmony on a modal basis
4) Study of Modal Harmony with simultaneous use of multiple modes.
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-The historical framework of modal music will be carried out independently by those attending the seminars.
-I will propose listening to MY pieces and MY musical examples, because they are more closely aligned with my teaching and consequently more useful.
-It is useful for everyone to listen to modal music by other authors.
-My teaching will contain elements of common cultural knowledge and personal elements.
-Everything I publish and the pieces of my composition are covered by copyright.
-I am not a great pianist nor a composer, but rather a concert pianist improviser within the modal field.
-The study of Modal Harmony is demanding, and to carry it forward requires time, great passion, and perhaps even a change in mentality.
-The frequency of the seminars will be more or less weekly and will anyway be linked to the learning and maturation of the topics covered.
- The study of Modal Harmony requires basic knowledge in the field of harmony in general (scales, chords, concept of tonality, etc....).
- The study of Modal Harmony, and indeed of harmony in general, is independent of the instrument used.
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