{"id":359847,"date":"2024-10-26T16:48:30","date_gmt":"2024-10-26T20:48:30","guid":{"rendered":"https:\/\/francoise-lombard.com\/?page_id=359847"},"modified":"2024-12-17T16:04:35","modified_gmt":"2024-12-17T20:04:35","slug":"libraryvolume6","status":"publish","type":"page","link":"https:\/\/francoise-lombard.com\/en\/libraryvolume6\/","title":{"rendered":"libraryvolume6"},"content":{"rendered":"<p>[et_pb_section fb_built=&#8221;1&#8243; _builder_version=&#8221;4.27.2&#8243; _module_preset=&#8221;default&#8221; background_color=&#8221;#050a30&#8243; global_colors_info=&#8221;{}&#8221;][et_pb_row column_structure=&#8221;1_3,2_3&#8243; _builder_version=&#8221;4.27.2&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;1_3&#8243; _builder_version=&#8221;4.27.2&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_image src=&#8221;https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/Audio-Library-_6.jpg&#8221; title_text=&#8221;Audio-Library _6&#8243; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_image][\/et_pb_column][et_pb_column type=&#8221;2_3&#8243; _builder_version=&#8221;4.27.2&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_text _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; text_text_color=&#8221;RGBA(255,255,255,0)&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h1 class=\"et_pb_toggle_title\"><span style=\"color: #ff9900;\">VOLUME 6<\/span><\/h1>\n<h1 class=\"et_pb_toggle_title\"><span style=\"color: #ff9900;\">phrasing<\/span><\/h1>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=&#8221;1_3,2_3&#8243; _builder_version=&#8221;4.27.2&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;1_3&#8243; _builder_version=&#8221;4.27.2&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_button button_url=&#8221;https:\/\/francoise-lombard.com\/en\/libraryvolume1&#8243; button_text=&#8221;Volume 1&#8243; button_alignment=&#8221;left&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;15px&#8221; button_border_width=&#8221;3px&#8221; button_border_radius=&#8221;6px&#8221; button_icon=&#8221;&#x45;||divi||400&#8243; background_layout=&#8221;dark&#8221; custom_margin=&#8221;-2px||9px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_button button_url=&#8221;https:\/\/francoise-lombard.com\/en\/libraryvolume2&#8243; button_text=&#8221;Volume 2&#8243; button_alignment=&#8221;left&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;15px&#8221; button_border_width=&#8221;3px&#8221; button_border_radius=&#8221;6px&#8221; button_icon=&#8221;&#x45;||divi||400&#8243; background_layout=&#8221;dark&#8221; custom_margin=&#8221;-2px||9px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_button button_url=&#8221;https:\/\/francoise-lombard.com\/en\/libraryvolume3&#8243; button_text=&#8221;Volume 3&#8243; button_alignment=&#8221;left&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;15px&#8221; button_border_width=&#8221;3px&#8221; button_border_radius=&#8221;6px&#8221; button_icon=&#8221;&#x45;||divi||400&#8243; background_layout=&#8221;dark&#8221; custom_margin=&#8221;-2px||9px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_button button_url=&#8221;https:\/\/francoise-lombard.com\/en\/libraryvolume4&#8243; button_text=&#8221;Volume 4&#8243; button_alignment=&#8221;left&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;15px&#8221; button_border_width=&#8221;3px&#8221; button_border_radius=&#8221;6px&#8221; button_icon=&#8221;&#x45;||divi||400&#8243; background_layout=&#8221;dark&#8221; custom_margin=&#8221;-2px||9px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_button button_url=&#8221;https:\/\/francoise-lombard.com\/en\/libraryvolume5&#8243; button_text=&#8221;Volume 5&#8243; button_alignment=&#8221;left&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;15px&#8221; button_border_width=&#8221;3px&#8221; button_border_radius=&#8221;6px&#8221; button_icon=&#8221;&#x45;||divi||400&#8243; background_layout=&#8221;dark&#8221; custom_margin=&#8221;-2px||9px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_button button_url=&#8221;https:\/\/francoise-lombard.com\/en\/libraryvolume6&#8243; button_text=&#8221;Volume 6&#8243; button_alignment=&#8221;left&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;15px&#8221; button_border_width=&#8221;3px&#8221; button_border_radius=&#8221;6px&#8221; button_icon=&#8221;&#x45;||divi||400&#8243; background_layout=&#8221;dark&#8221; custom_margin=&#8221;-2px||9px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_button button_url=&#8221;https:\/\/francoise-lombard.com\/en\/libraryvolume7&#8243; button_text=&#8221;Volume 7&#8243; button_alignment=&#8221;left&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;15px&#8221; button_border_width=&#8221;3px&#8221; button_border_radius=&#8221;6px&#8221; button_icon=&#8221;&#x45;||divi||400&#8243; background_layout=&#8221;dark&#8221; custom_margin=&#8221;-2px||9px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_button button_url=&#8221;https:\/\/francoise-lombard.com\/en\/libraryvolume8&#8243; button_text=&#8221;Volume 8&#8243; button_alignment=&#8221;left&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;15px&#8221; button_border_width=&#8221;3px&#8221; button_border_radius=&#8221;6px&#8221; button_icon=&#8221;&#x45;||divi||400&#8243; background_layout=&#8221;dark&#8221; custom_margin=&#8221;-2px||9px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_button button_url=&#8221;https:\/\/francoise-lombard.com\/en\/libraryvolume9&#8243; button_text=&#8221;Volume 9&#8243; button_alignment=&#8221;left&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;15px&#8221; button_border_width=&#8221;3px&#8221; button_border_radius=&#8221;6px&#8221; button_icon=&#8221;&#x45;||divi||400&#8243; background_layout=&#8221;dark&#8221; custom_margin=&#8221;-2px||9px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_button button_url=&#8221;https:\/\/francoise-lombard.com\/en\/libraryvolume10&#8243; button_text=&#8221;Volume 10&#8243; button_alignment=&#8221;left&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;15px&#8221; button_border_width=&#8221;3px&#8221; button_border_radius=&#8221;6px&#8221; button_icon=&#8221;&#x45;||divi||400&#8243; background_layout=&#8221;dark&#8221; custom_margin=&#8221;-2px||9px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_button button_url=&#8221;https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/Pedagogical-guide-VOL-06-EN.pdf&#8221; url_new_window=&#8221;on&#8221; button_text=&#8221;Teaching guide 6&#8243; button_alignment=&#8221;left&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;15px&#8221; button_text_color=&#8221;#E09900&#8243; button_border_width=&#8221;3px&#8221; button_border_radius=&#8221;6px&#8221; button_icon=&#8221;&#x45;||divi||400&#8243; background_layout=&#8221;dark&#8221; custom_margin=&#8221;-2px||9px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_button button_url=&#8221;https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/Improvisation-exercises-06.pdf&#8221; url_new_window=&#8221;on&#8221; button_text=&#8221;Improvisation exercises 6&#8243; button_alignment=&#8221;left&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;15px&#8221; button_text_color=&#8221;#7CDA24&#8243; button_border_width=&#8221;3px&#8221; button_border_radius=&#8221;6px&#8221; button_icon=&#8221;&#x45;||divi||400&#8243; background_layout=&#8221;dark&#8221; custom_margin=&#8221;-2px||9px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][et_pb_button button_url=&#8221;https:\/\/francoise-lombard.com\/en\/video-1\/&#8221; button_text=&#8221;Video Library&#8221; button_alignment=&#8221;left&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_size=&#8221;15px&#8221; button_text_color=&#8221;#EDF000&#8243; button_border_width=&#8221;3px&#8221; button_border_radius=&#8221;6px&#8221; button_icon=&#8221;&#x45;||divi||400&#8243; background_layout=&#8221;dark&#8221; custom_margin=&#8221;-2px||9px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_button][\/et_pb_column][et_pb_column type=&#8221;2_3&#8243; _builder_version=&#8221;4.27.2&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_accordion open_toggle_text_color=&#8221;#000000&#8243; open_toggle_background_color=&#8221;#000000&#8243; closed_toggle_background_color=&#8221;#000000&#8243; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; toggle_text_color=&#8221;#000000&#8243; toggle_level=&#8221;h4&#8243; toggle_font=&#8221;Cairo|700|||||||&#8221; body_font=&#8221;Cairo|700|||||||&#8221; body_text_align=&#8221;left&#8221; body_text_color=&#8221;#000000&#8243; body_font_size=&#8221;16px&#8221; saved_tabs=&#8221;all&#8221; locked=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_accordion_item open=&#8221;on&#8221; open_toggle_background_color=&#8221;#000000&#8243; closed_toggle_background_color=&#8221;#000000&#8243; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<div class=\"et_pb_blurb_description\">\n<div class=\"et_pb_blurb_description\">\n<p class=\"p1\"><span style=\"color: #00ffff;\">Phrasing is the art of conducting a musical discourse. Like the phrasing of spoken language that translates thought, musical phrasing has inflection, movement, articulation, breathing, dynamics and direction that express an intention. Bodily movement and the use of space allow one to both feel the phrasing, become aware of it and express it clearly and globally. The experience of phrasing, once inscribed in the body, leads to an intimate understanding of music.<\/span><\/p>\n<\/div>\n<\/div>\n<p>[\/et_pb_accordion_item][et_pb_accordion_item title=&#8221;1A. walk in 3\/4 andante&#8221; open_toggle_text_color=&#8221;#000000&#8243; open_toggle_background_color=&#8221;#FFFFFF&#8221; closed_toggle_background_color=&#8221;#FFFFFF&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; body_font=&#8221;Cairo|700|||||||&#8221; body_text_align=&#8221;left&#8221; body_text_color=&#8221;#000000&#8243; body_font_size=&#8221;16px&#8221; global_colors_info=&#8221;{}&#8221; toggle_text_color=&#8221;#000000&#8243; toggle_level=&#8221;h4&#8243; toggle_font=&#8221;Cairo|700|||||||&#8221; open=&#8221;off&#8221;]<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-359847-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_1A-Walk-in-34-andante.mp3?_=1\" \/><a href=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_1A-Walk-in-34-andante.mp3\">https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_1A-Walk-in-34-andante.mp3<\/a><\/audio>\n<p class=\"p1\">This track has been given in two speeds: the first is faster, and suited to a child\u2019s walk. The second is at a more measured speed, and adapted to the calm, reflective walk of an adult.<\/p>\n<p class=\"p1\">Its form is a rondo: A B A C A + coda (C being a melodic variation of B). Notice the upbeat (anacrusis) of the phrases, starting on beat 3. In the A parts, the upbeat is of two eighth notes whereas in the B and C parts, it is one quarter note. If its role remains to \u201cpick up\u201d the next phrase\/part of the phrase, at the same time, it defines by anticipation its movement; it announces its energy.<\/p>\n<ul class=\"ul1\">\n<li class=\"li1\">Walk the pulsation and notice the effect of the group of three on your body: the change of leg on the downbeat gives a nice sensation of balance; change direction after the cadences. Look at your classmates while walking, greet them, enjoy the sensation of space, enjoy moving. Imagine you are going somewhere so that your phrases will have a sense of purpose.<\/li>\n<\/ul>\n<ul class=\"ul1\">\n<li class=\"li1\">Two by two: step together with a partner each time you hear the theme (A); walk alone or with someone else during part B and C.<\/li>\n<\/ul>\n<p class=\"p1\">In the context of teaching older adults (seniors), one could imagine starting with the faster version and then asking them to adapt their walk to the slower version. Walking at a slower speed will demand physical adaptation of the whole body in order to remain balanced. The slower music demands an \u201cintentional\u201d step: be aware of the melodic line which gives direction and musical intention to each phrase.<\/p>\n<p class=\"p1\">For children about 8 years and above<\/p>\n<p>[\/et_pb_accordion_item][et_pb_accordion_item title=&#8221;1B. walk in 3\/4 lento&#8221; open_toggle_text_color=&#8221;#000000&#8243; open_toggle_background_color=&#8221;#FFFFFF&#8221; closed_toggle_background_color=&#8221;#FFFFFF&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; body_font=&#8221;Cairo|700|||||||&#8221; body_text_align=&#8221;left&#8221; body_text_color=&#8221;#000000&#8243; body_font_size=&#8221;16px&#8221; global_colors_info=&#8221;{}&#8221; toggle_text_color=&#8221;#000000&#8243; toggle_level=&#8221;h4&#8243; toggle_font=&#8221;Cairo|700|||||||&#8221; open=&#8221;off&#8221;]<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-359847-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_1B-Walk-in-34-lento.mp3?_=2\" \/><a href=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_1B-Walk-in-34-lento.mp3\">https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_1B-Walk-in-34-lento.mp3<\/a><\/audio>\n<p class=\"p1\">This track has been given in two speeds: the first is faster, and suited to a child\u2019s walk. The second is at a more measured speed, and adapted to the calm, reflective walk of an adult.<\/p>\n<p class=\"p1\">Its form is a rondo: A B A C A + coda (C being a melodic variation of B). Notice the upbeat (anacrusis) of the phrases, starting on beat 3. In the A parts, the upbeat is of two eighth notes whereas in the B and C parts, it is one quarter note. If its role remains to \u201cpick up\u201d the next phrase\/part of the phrase, at the same time, it defines by anticipation its movement; it announces its energy.<\/p>\n<ul class=\"ul1\">\n<li class=\"li1\">Walk the pulsation and notice the effect of the group of three on your body: the change of leg on the downbeat gives a nice sensation of balance; change direction after the cadences. Look at your classmates while walking, greet them, enjoy the sensation of space, enjoy moving. Imagine you are going somewhere so that your phrases will have a sense of purpose.<\/li>\n<\/ul>\n<ul class=\"ul1\">\n<li class=\"li1\">Two by two: step together with a partner each time you hear the theme (A); walk alone or with someone else during part B and C.<\/li>\n<\/ul>\n<p class=\"p1\">In the context of teaching older adults (seniors), one could imagine starting with the faster version and then asking them to adapt their walk to the slower version. Walking at a slower speed will demand physical adaptation of the whole body in order to remain balanced. The slower music demands an \u201cintentional\u201d step: be aware of the melodic line which gives direction and musical intention to each phrase.<\/p>\n<p class=\"p1\">For children about 8 years and above<\/p>\n<p>[\/et_pb_accordion_item][et_pb_accordion_item title=&#8221;2. phrasing and cadence&#8221; open_toggle_text_color=&#8221;#000000&#8243; open_toggle_background_color=&#8221;#FFFFFF&#8221; closed_toggle_background_color=&#8221;#FFFFFF&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; body_font=&#8221;Cairo|700|||||||&#8221; body_text_align=&#8221;left&#8221; body_text_color=&#8221;#000000&#8243; body_font_size=&#8221;16px&#8221; global_colors_info=&#8221;{}&#8221; toggle_text_color=&#8221;#000000&#8243; toggle_level=&#8221;h4&#8243; toggle_font=&#8221;Cairo|700|||||||&#8221; open=&#8221;off&#8221;]<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-359847-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_2-Phrasing-and-cadence.mp3?_=3\" \/><a href=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_2-Phrasing-and-cadence.mp3\">https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_2-Phrasing-and-cadence.mp3<\/a><\/audio>\n<p class=\"p1\">This piece has a melodic line which is easily singable; singing with the piano will allow the students to easily identify the phrases. Feel the length of the phrases and find the two &#8220;exceptions&#8221;.<\/p>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Draw the melodic line by following its curves, its breathing and its inflections either with your arms while standing on the spot, or walking freely (&#8220;singing with your feet&#8221;). Express with your whole body and face how each phrase ends (in a verbal context, would the punctuation be a question mark, or a comma, or a dot?). Singing the phrases will clarify instinctively the \u201cpunctuation\u201d of the end of the phrase.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Pass a phrase from one person to another by stepping each note of the phrase and arriving at the person chosen on the last note. This exercise can be done in a circle or spaced freely in the room.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">One could also bring an imaginary object and present it on the last note of the phrase, with the expression related to the musical cadence. The receiver takes over and brings the next phrase to another.<\/li>\n<\/ul>\n<p class=\"p2\">\n<p class=\"p1\">8 years and up<\/p>\n<p>[\/et_pb_accordion_item][et_pb_accordion_item title=&#8221;3. phrases in 4\/4&#8243; open_toggle_text_color=&#8221;#000000&#8243; open_toggle_background_color=&#8221;#FFFFFF&#8221; closed_toggle_background_color=&#8221;#FFFFFF&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; body_font=&#8221;Cairo|700|||||||&#8221; body_text_align=&#8221;left&#8221; body_text_color=&#8221;#000000&#8243; body_font_size=&#8221;16px&#8221; global_colors_info=&#8221;{}&#8221; toggle_text_color=&#8221;#000000&#8243; toggle_level=&#8221;h4&#8243; toggle_font=&#8221;Cairo|700|||||||&#8221; open=&#8221;off&#8221;]<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-359847-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_3-Phrases-in-44.mp3?_=4\" \/><a href=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_3-Phrases-in-44.mp3\">https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_3-Phrases-in-44.mp3<\/a><\/audio>\n<p class=\"p1\">Here, the piano clearly indicates the length of the phrases by a short rest. Phrases are short, medium or long. They all begin on a strong beat (no anacrusis); they often end in an interrogative manner, with various expressive nuances that stimulate the imagination and encourage the development of an inner speech or the staging of a dialogue. Silences are also part of the music and must be as &#8220;inhabited&#8221; as the sounds.<\/p>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Move with each phrase, lying on the floor, sitting or standing. Pay attention to the length of the phrase and the expression of each ending: work on the body and theatrical expression of all these interrogative phrases. How does each person feel and express these musical nuances with their body and face?<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Develop an interaction between two people:<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">On the circle step and pass an object to someone and arrive just on time on the last note. The next person takes the object at the beginning of the new phrase and goes to someone else. Play with space and time by adapting the length of the trip to the allotted time (length of the phrase).<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">According to the same principle, the exchange can be done in pairs, in a more theatrical dialogue, without object, by developing an interior intention, as in a mime.<\/li>\n<\/ul>\n<p class=\"p3\">\n<p class=\"p1\">For children with musical experience and good listening ability<\/p>\n<p>[\/et_pb_accordion_item][et_pb_accordion_item title=&#8221;4. irregular phrases&#8221; open_toggle_text_color=&#8221;#000000&#8243; open_toggle_background_color=&#8221;#FFFFFF&#8221; closed_toggle_background_color=&#8221;#FFFFFF&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; body_font=&#8221;Cairo|700|||||||&#8221; body_text_align=&#8221;left&#8221; body_text_color=&#8221;#000000&#8243; body_font_size=&#8221;16px&#8221; global_colors_info=&#8221;{}&#8221; toggle_text_color=&#8221;#000000&#8243; toggle_level=&#8221;h4&#8243; toggle_font=&#8221;Cairo|700|||||||&#8221; open=&#8221;off&#8221;]<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-359847-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_4-Irregular-phrases.mp3?_=5\" \/><a href=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_4-Irregular-phrases.mp3\">https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_4-Irregular-phrases.mp3<\/a><\/audio>\n<p class=\"p1\">The previous tracks in this volume present phrases whose lengths are of 2 &#8211; 4 &#8211; 8 measures. This track, in 2\/4, also presents phrases of 3 measures. The structure of the phrasing is as follows:<\/p>\n<p class=\"p1\">3 measures twice, 2 measures twice, 4 measures once;<\/p>\n<p class=\"p1\">3 measures twice, 2 measures twice, 4 measures twice.<\/p>\n<p class=\"p1\">Before doing any work at all which refers to \u201ccounting\u201d measures, the teacher must allow him\/herself and the students time to listen to the music and feel the beginning, the length and the end of each phrase instinctively.<\/p>\n<ul class=\"ul1\">\n<li class=\"li1\">Clap softly the last note of each phrase. Do the same by clapping on your body:<\/li>\n<\/ul>\n<p>a) choose two different spots on your body as a point of departure and a point of arrival, and draw clearly the phrasing between one spot and the next.<\/p>\n<p>b) choose a departure point and the teacher, or a child calls the arrival spot. Make your arm and hand travel with the shape of the phrasing. Alternate right and left arm.<\/p>\n<ul class=\"ul1\">\n<li class=\"li1\">Travel with a friend and change the friend at the beginning of the next phrase. More experienced students could \u201ctravel\u201d with a friend who is not necessarily beside them, fostering eye contact.<\/li>\n<\/ul>\n<ul class=\"ul1\">\n<li class=\"li1\">In pairs : A is walking, designing with his\/her steps a path on the floor; B follows this path during the next phrase. Or B goes the opposite way.<\/li>\n<\/ul>\n<ul class=\"ul1\">\n<li class=\"li1\">Sculptures in a garden: on the spot, isolate one or two parts of the body (as directed by the teacher); move alternatively one and then the other part, changing with the phrasing. Students may then choose two different parts themselves, moving these parts freely with the music.<\/li>\n<\/ul>\n<ul class=\"ul1\">\n<li class=\"li1\">After changing its shape on the spot, the sculpture may move in space when the music suggests it. There are some phrasings that can be interpreted differently by the students: in this case, if one follows the articulation of the melody, some phrases will be felt as twice as short. But if one listens to the base line, the phrases can be heard as longer.<\/li>\n<\/ul>\n<ul class=\"ul1\">\n<li class=\"li1\">The conductor (solo) and the orchestra (tutti) move in place simultaneously: the conductor shows a direction for each phrase with his\/her arms, and the group moves with the whole body or with an isolated part of the body in the direction indicated by the conductor.<\/li>\n<\/ul>\n<p class=\"p1\">8 years and up<\/p>\n<p>[\/et_pb_accordion_item][et_pb_accordion_item title=&#8221;5. phrasing dynamic and rubato&#8221; open_toggle_text_color=&#8221;#000000&#8243; open_toggle_background_color=&#8221;#FFFFFF&#8221; closed_toggle_background_color=&#8221;#FFFFFF&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; body_font=&#8221;Cairo|700|||||||&#8221; body_text_align=&#8221;left&#8221; body_text_color=&#8221;#000000&#8243; body_font_size=&#8221;16px&#8221; global_colors_info=&#8221;{}&#8221; toggle_text_color=&#8221;#000000&#8243; toggle_level=&#8221;h4&#8243; toggle_font=&#8221;Cairo|700|||||||&#8221; open=&#8221;off&#8221;]<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-359847-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_5-Phrasing-dynamic-and-rubato.mp3?_=6\" \/><a href=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_5-Phrasing-dynamic-and-rubato.mp3\">https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_5-Phrasing-dynamic-and-rubato.mp3<\/a><\/audio>\n<p class=\"p1\">This music is particularly characterized by a sort of elasticity created by the movement of crescendo\/decrescendo, which culminates in a dynamic and melodic peak.<\/p>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Listen to the music and identify these moments. Notice that they happen in groups of 8, or 4+4.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Move freely with the changing colors of the harmonies and dynamics, allowing your body to express the rubato. Show clearly the difference between the darker dynamic (close to the ground) and the more elated (lifted up in the air). Each phrase being composed of a crescendo and a diminuendo, this feeling of increasing intensity and release needs to be felt and shown in the body.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Hold a bamboo stick 50 cm long with two hands, to help feel and shape the movements of the phrases.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Two by two, hold the stick by either end with one finger or in the palm (not grasping it); each partner in turn directs by pushing the stick according to the dynamics of the phrase.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Make a single circle with the whole class: enlarge it with the crescendo and shrink it with the diminuendo. One could also imagine the opposite movement: diminuendo = more distance, crescendo = approaching and raising arms.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Clap 8 times in one direction (expressing the musical line) and draw a line for the next 8 beats (or to the end of the phrase if it is longer). Continue by alternating the two activities and adapting the clapping\/drawing alternation to shorter phrases as well.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Step and move the way you feel; draw the phrases and dynamics in space.<\/li>\n<\/ul>\n<p class=\"p3\">Without stepping the beats, express the music through movement of the whole body suggesting the &#8220;in&#8221; and &#8220;out&#8221; (opening of the crescendo and release of the diminuendo).<\/p>\n<p class=\"p2\">\n<p class=\"p1\">9-10 years and up<\/p>\n<p>[\/et_pb_accordion_item][et_pb_accordion_item title=&#8221;6. fugato&#8221; open_toggle_text_color=&#8221;#000000&#8243; open_toggle_background_color=&#8221;#FFFFFF&#8221; closed_toggle_background_color=&#8221;#FFFFFF&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; body_font=&#8221;Cairo|700|||||||&#8221; body_text_align=&#8221;left&#8221; body_text_color=&#8221;#000000&#8243; body_font_size=&#8221;16px&#8221; global_colors_info=&#8221;{}&#8221; toggle_text_color=&#8221;#000000&#8243; toggle_level=&#8221;h4&#8243; toggle_font=&#8221;Cairo|700|||||||&#8221; open=&#8221;off&#8221;]<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-359847-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_6-Fugato.mp3?_=7\" \/><a href=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_6-Fugato.mp3\">https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_6-Fugato.mp3<\/a><\/audio>\n<p class=\"p1\">This piece is characterised by a rhythmic theme repeated many times, either in the treble or in the bass. During the first part, this theme begins always on the second beat of a four-beat measure, later on, for a few times only, it begins on the fourth beat.<\/p>\n<p class=\"p1\">This improvisation lends itself to a series of listening games and develops musical memory.<\/p>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">While seated, listen to the piece and raise your hand each time you hear the pattern. This listening exercise could already be done in pairs, with one reacting to the pattern in the treble and the other in the bass. Change roles.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">By oneself, clap the rhythmic pattern every time it is heard.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Then distinguish the bass from the treble by clapping the rhythm of the pattern on the legs (bass) or in the hands (treble).<\/li>\n<\/ul>\n<p class=\"p2\">\n<p class=\"p1\">Note that students cannot be expected to respond immediately until they are familiar with the music.<\/p>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Step beat and change direction at each pattern, by means of a circular turn. (For children, we could use the image of a roundabout, where the car enters it from one direction, follows its turn and exits in another direction).<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">In small groups, take turns and create a free movement on the rhythmic pattern only whenever it is heard, whether in the bass or the treble (we suggest small groups so children don\u2019t wait too long for a turn).<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Divide the class into two groups; one following the bass and the other the treble. Clap the rhythm when it concerns your group. Change roles.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">In pairs (A = treble, B = bass), side by side, hold hands and walk the beat together. When the pattern is heard in the treble, B makes A turn once on the spot, without letting go hands. Then continue the walk together in the same direction. Vice versa when the pattern appears in the bass. Encourage the children to aim for a beautiful quality of movement so that this exercise would resemble a dance.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Through a more conscious listening now, identify the few places where the theme begins on the fourth beat. This will necessitate that the children know how to beat four beats.<\/li>\n<\/ul>\n<p class=\"p3\">\n<p class=\"p1\">At first, the above exercises will be experienced several times with an element of surprise, but once the children know the piece well, they can anticipate the \u201cmusical turns\u201d.<\/p>\n<p class=\"p2\">\n<p class=\"p1\">This music can be used for simple exercises with younger children or for more complicated listening with an older or more experienced class.<\/p>\n<p class=\"p2\">\n<p class=\"p1\">7 years and up<\/p>\n<p>[\/et_pb_accordion_item][et_pb_accordion_item title=&#8221;7. sing back&#8221; open_toggle_text_color=&#8221;#000000&#8243; open_toggle_background_color=&#8221;#FFFFFF&#8221; closed_toggle_background_color=&#8221;#FFFFFF&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; body_font=&#8221;Cairo|700|||||||&#8221; body_text_align=&#8221;left&#8221; body_text_color=&#8221;#000000&#8243; body_font_size=&#8221;16px&#8221; global_colors_info=&#8221;{}&#8221; toggle_text_color=&#8221;#000000&#8243; toggle_level=&#8221;h4&#8243; toggle_font=&#8221;Cairo|700|||||||&#8221; open=&#8221;off&#8221;]<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-359847-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_7-Sing-back.mp3?_=8\" \/><a href=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_7-Sing-back.mp3\">https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_7-Sing-back.mp3<\/a><\/audio>\n<p class=\"p1\">This piece is a series of four phrases in 12\/8, all of the same length. The introduction played in the treble indicates the measure and the tempo. Each phrase begins with an upbeat (anacrusis). After each phrase there is an equivalent time without the melody, where the children are asked to repeat in echo what they have just heard.<\/p>\n<p class=\"p1\">This is a quick reaction and memory exercise.<\/p>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Begin by asking children to skip with the music and to stop exactly on the last beat.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Then play each phrase and they sing it back (melody and rhythm).<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Then ask them to sing and skip the four phrases in echo.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Identify the first beat by tapping on knees. For more advanced students, step the beat, beat time and sing the melody (don\u2019t forget the upbeat!)<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">As a preparation for dictation, help students to identify the last note of each phrase and the first note of the following phrase: phrase 1 ends on C and phrase 2 begins on C; phrase 2 ends on B flat and phrase 3 begins on A flat. This work is more precise and meticulous than demanded by a repetition of a phrase heard. It is suitable for more advanced students or students in a music school.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Students who are experienced in listening skills and dictation could be asked to sing back the phrases heard using the names of the notes.<\/li>\n<\/ul>\n<p class=\"p2\">\n<p class=\"p1\">The conclusion of the piece was created simply to end the exercise. It can be sung as an echo, accompanied by the piano.<\/p>\n<p class=\"p2\">\n<p class=\"p1\">8 years and up<\/p>\n<p>[\/et_pb_accordion_item][et_pb_accordion_item title=&#8221;8. quarter notes and syncopations&#8221; open_toggle_text_color=&#8221;#000000&#8243; open_toggle_background_color=&#8221;#FFFFFF&#8221; closed_toggle_background_color=&#8221;#FFFFFF&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; body_font=&#8221;Cairo|700|||||||&#8221; body_text_align=&#8221;left&#8221; body_text_color=&#8221;#000000&#8243; body_font_size=&#8221;16px&#8221; global_colors_info=&#8221;{}&#8221; toggle_text_color=&#8221;#000000&#8243; toggle_level=&#8221;h4&#8243; toggle_font=&#8221;Cairo|700|||||||&#8221; open=&#8221;off&#8221;]<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-359847-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_8-Quarter-notes-and-syncopations.mp3?_=9\" \/><a href=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_8-Quarter-notes-and-syncopations.mp3\">https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_8-Quarter-notes-and-syncopations.mp3<\/a><\/audio>\n<p class=\"p1\">This piece is constructed on the alternance of measures of 4 regular beats with measures of a syncopated pattern.<\/p>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Feel the difference between the straight quarter notes and the undulation and suspension of the syncopation by stepping what you hear (one note = one step) and pivoting either on the down beat or on beat 2 (long note) of the syncopated rhythm.<\/li>\n<\/ul>\n<p class=\"p2\">\n<p class=\"p1\">Another way of feeling the syncopation would be to step beats 1 and 4 forwards, and take a step backwards on beat 2. Find a way to emphasize the downbeat (beat 1) of the syncopated rhythm (bend knee, change direction) to avoid shifting the feeling of the downbeat to the long note.<\/p>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Step the syncopation side to side, crossing one foot in front of the other on beat 2. Adapt the use of space and energy to the tempo of the music.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Quick reaction exercise: being completely familiar with this piece, the teacher could use it as a \u201dhop\u201d exercise. Each time the teacher says \u201chop\u201d right on the first beat of a syncopated measure, the students take a step backwards (this step will fall exactly on the second beat).<\/li>\n<\/ul>\n<p class=\"p2\">\n<p class=\"p1\">Identify the structure of this piece and memorize it so that you can anticipate changes and integrate them seamlessly to appreciate them more.<\/p>\n<p class=\"p2\">\n<p class=\"p1\">Let&#8217;s imagine a 4\/4 measure at a fast tempo:<\/p>\n<p class=\"p2\">\n<p class=\"p1\">4 bars of 4 quarter notes \/ 4 bars of syncopation, four times<br \/>2 bars of 4 quarter notes \/ 2 bars of syncopation, twice<br \/>1 bar of 4 quarter notes \/ 1 bar of syncopation, eight times.<\/p>\n<p class=\"p2\">\n<p class=\"p1\">Second part identical, EXCEPT the beginning:\u00a0<\/p>\n<p class=\"p1\">4 bars of 4 quarter notes \/ 4 bars of syncopation, <b>once only<br \/><\/b>2 bars of 4 quarter notes \/ 2 bars of syncopation, twice<br \/>1 bar of 4 quarter notes \/ 1 bar of syncopation, eight times.<\/p>\n<p class=\"p2\">\n<p class=\"p1\">8 years and above<\/p>\n<p>[\/et_pb_accordion_item][et_pb_accordion_item title=&#8221;9. rhythmic canon&#8221; open_toggle_text_color=&#8221;#000000&#8243; open_toggle_background_color=&#8221;#FFFFFF&#8221; closed_toggle_background_color=&#8221;#FFFFFF&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; body_font=&#8221;Cairo|700|||||||&#8221; body_text_align=&#8221;left&#8221; body_text_color=&#8221;#000000&#8243; body_font_size=&#8221;16px&#8221; global_colors_info=&#8221;{}&#8221; toggle_text_color=&#8221;#000000&#8243; toggle_level=&#8221;h4&#8243; toggle_font=&#8221;Cairo|700|||||||&#8221; open=&#8221;off&#8221;]<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-359847-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_9-Rhythmic-canon.mp3?_=10\" \/><a href=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_9-Rhythmic-canon.mp3\">https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_9-Rhythmic-canon.mp3<\/a><\/audio>\n<p class=\"p1\">This music is in 9\/8:<span class=\"Apple-converted-space\">\u00a0 <\/span>we hear successively a rhythmic measure (active measure) and a measure of a long note (passive measure). The alternance between active and passive measures creates the possibility of exercises in canon of one measure.<\/p>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Begin quite simply by stepping beats and beat time, taking the time to listen to the rhythm and the melody. Internalize rhythm and melody by using one\u2019s interior hearing, repeating the rhythm (without voice) one measure later (rhythmic canon).<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">The next activity is to step the beats and clap the rhythm one measure later.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">Then, step the rhythm one measure later (one note value = one step, skip on the dotted patterns).<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">For advanced students: beat time while stepping the rhythm in canon.<\/li>\n<\/ul>\n<p class=\"p2\">\n<p class=\"p1\">For children with experience and good concentration skills<\/p>\n<p>[\/et_pb_accordion_item][et_pb_accordion_item title=&#8221;10. suite&#8221; open_toggle_text_color=&#8221;#000000&#8243; open_toggle_background_color=&#8221;#FFFFFF&#8221; closed_toggle_background_color=&#8221;#FFFFFF&#8221; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; body_font=&#8221;Cairo|700|||||||&#8221; body_text_align=&#8221;left&#8221; body_text_color=&#8221;#000000&#8243; body_font_size=&#8221;16px&#8221; global_colors_info=&#8221;{}&#8221; toggle_text_color=&#8221;#000000&#8243; toggle_level=&#8221;h4&#8243; toggle_font=&#8221;Cairo|700|||||||&#8221; open=&#8221;off&#8221;]<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-359847-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_10-Suite.mp3?_=11\" \/><a href=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_10-Suite.mp3\">https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_10-Suite.mp3<\/a><\/audio>\n<p class=\"p1\">This music is quite fanciful and lends itself to imaginative movement and interpretation. There are three sections. The beginning of the suite contains only one type of locomotion &#8211; the skip.\u00a0<\/p>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">During the long first sequence, the teacher needs to give instructions as the music progresses :<\/li>\n<\/ul>\n<p class=\"p1\">For example, structure it by alternating between skipping on the rhythm (trochee*) and walking (pulsation).<\/p>\n<p class=\"p1\">One can also walk two by two side by side, or face to face by taking 4 steps forward and 4 back, or follow the dynamics, coming closer together with crescendo and further apart with diminuendo (or the opposite).<\/p>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">The second part is a rhythm (anapest*) to clap or walk.<\/li>\n<\/ul>\n<p class=\"p2\">\n<ul class=\"ul1\">\n<li class=\"li1\">The third part, near the end, is playful and more complex, and can be interpreted freely, for example by imagining a story where a person is looking for someone or something and ends up disappearing in the mist &#8230;<\/li>\n<\/ul>\n<p class=\"p2\">\n<p class=\"p1\">Allow the children to imagine their own stories and create their own movements either alone or with others according to how the music inspires them.<\/p>\n<p class=\"p2\">\n<p class=\"p1\">* Trochee = long-short<\/p>\n<p class=\"p1\">* Anapest = short-short-long<\/p>\n<p class=\"p1\">(See volume 3: basic rhythms)<\/p>\n<p class=\"p2\">\n<p class=\"p1\">7 years and above<\/p>\n<p>[\/et_pb_accordion_item][\/et_pb_accordion][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=&#8221;4.27.2&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221; global_module=&#8221;360586&#8243; theme_builder_area=&#8221;post_content&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.27.2&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221; theme_builder_area=&#8221;post_content&#8221;][et_pb_divider color=&#8221;#E09900&#8243; _builder_version=&#8221;4.27.2&#8243; _module_preset=&#8221;default&#8221; custom_margin=&#8221;||10px|||&#8221; global_colors_info=&#8221;{}&#8221; theme_builder_area=&#8221;post_content&#8221;][\/et_pb_divider][et_pb_menu menu_id=&#8221;65&#8243; _builder_version=&#8221;4.27.4&#8243; _module_preset=&#8221;default&#8221; menu_text_color=&#8221;#FFFFFF&#8221; menu_font_size=&#8221;16px&#8221; background_color=&#8221;RGBA(255,255,255,0)&#8221; global_colors_info=&#8221;{}&#8221; theme_builder_area=&#8221;post_content&#8221;][\/et_pb_menu][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>VOLUME 6 phrasing Phrasing is the art of conducting a musical discourse. Like the phrasing of spoken language that translates thought, musical phrasing has inflection, movement, articulation, breathing, dynamics and direction that express an intention. Bodily movement and the use of space allow one to both feel the phrasing, become aware of it and express [&hellip;]<\/p>\n","protected":false},"author":3454,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"[et_pb_section fb_built=\"1\" _builder_version=\"4.27.2\" _module_preset=\"default\" background_color=\"#050a30\" global_colors_info=\"{}\"][et_pb_row column_structure=\"1_3,2_3\" _builder_version=\"4.27.2\" _module_preset=\"default\" global_colors_info=\"{}\"][et_pb_column type=\"1_3\" _builder_version=\"4.27.2\" _module_preset=\"default\" global_colors_info=\"{}\"][et_pb_image src=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/09\/francoise-lombard_6_FR.png\" title_text=\"francoise-lombard_6_FR\" _builder_version=\"4.27.2\" _module_preset=\"default\" global_colors_info=\"{}\"][\/et_pb_image][\/et_pb_column][et_pb_column type=\"2_3\" _builder_version=\"4.27.2\" _module_preset=\"default\" global_colors_info=\"{}\"][et_pb_text _builder_version=\"4.27.2\" _module_preset=\"default\" text_text_color=\"RGBA(255,255,255,0)\" global_colors_info=\"{}\"]\n<h1 class=\"et_pb_toggle_title\"><span style=\"color: #ff9900;\">VOLUME 6<\/span><\/h1>\n<h1 class=\"et_pb_toggle_title\"><span style=\"color: #ff9900;\">phras\u00e9<\/span><\/h1>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\"1_3,2_3\" _builder_version=\"4.27.2\" _module_preset=\"default\" global_colors_info=\"{}\"][et_pb_column type=\"1_3\" _builder_version=\"4.27.2\" _module_preset=\"default\" global_colors_info=\"{}\"][et_pb_button button_url=\"https:\/\/francoise-lombard.com\/librairievolume1\/\" button_text=\"Volume 1\" button_alignment=\"left\" _builder_version=\"4.27.2\" _module_preset=\"default\" custom_button=\"on\" button_text_size=\"15px\" button_border_width=\"3px\" button_border_radius=\"6px\" button_icon=\"&#x45;||divi||400\" 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button_url=\"https:\/\/francoise-lombard.com\/librairievolume6\/\" button_text=\"Volume 6\" button_alignment=\"left\" _builder_version=\"4.27.2\" _module_preset=\"default\" custom_button=\"on\" button_text_size=\"15px\" button_border_width=\"3px\" button_border_radius=\"6px\" button_icon=\"&#x45;||divi||400\" background_layout=\"dark\" custom_margin=\"-2px||9px||false|false\" animation_style=\"fade\" global_colors_info=\"{}\"][\/et_pb_button][et_pb_button button_url=\"https:\/\/francoise-lombard.com\/librairievolume7\/\" button_text=\"Volume 7\" button_alignment=\"left\" _builder_version=\"4.27.2\" _module_preset=\"default\" custom_button=\"on\" button_text_size=\"15px\" button_border_width=\"3px\" button_border_radius=\"6px\" button_icon=\"&#x45;||divi||400\" background_layout=\"dark\" custom_margin=\"-2px||9px||false|false\" animation_style=\"fade\" global_colors_info=\"{}\"][\/et_pb_button][et_pb_button button_url=\"https:\/\/francoise-lombard.com\/librairievolume8\/\" button_text=\"Volume 8\" button_alignment=\"left\" _builder_version=\"4.27.2\" _module_preset=\"default\" custom_button=\"on\" button_text_size=\"15px\" button_border_width=\"3px\" button_border_radius=\"6px\" button_icon=\"&#x45;||divi||400\" background_layout=\"dark\" custom_margin=\"-2px||9px||false|false\" animation_style=\"fade\" global_colors_info=\"{}\"][\/et_pb_button][et_pb_button button_url=\"https:\/\/francoise-lombard.com\/librairievolume9\/\" button_text=\"Volume 9\" button_alignment=\"left\" _builder_version=\"4.27.2\" _module_preset=\"default\" custom_button=\"on\" button_text_size=\"15px\" button_border_width=\"3px\" button_border_radius=\"6px\" button_icon=\"&#x45;||divi||400\" background_layout=\"dark\" custom_margin=\"-2px||9px||false|false\" animation_style=\"fade\" global_colors_info=\"{}\"][\/et_pb_button][et_pb_button button_url=\"https:\/\/francoise-lombard.com\/librairievolume10\/\" button_text=\"Volume 10\" button_alignment=\"left\" _builder_version=\"4.27.2\" 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custom_margin=\"-2px||9px||false|false\" animation_style=\"fade\" hover_enabled=\"0\" global_colors_info=\"{}\" sticky_enabled=\"0\"][\/et_pb_button][\/et_pb_column][et_pb_column type=\"2_3\" _builder_version=\"4.27.2\" _module_preset=\"default\" global_colors_info=\"{}\"][et_pb_accordion open_toggle_text_color=\"#000000\" open_toggle_background_color=\"#000000\" closed_toggle_background_color=\"#000000\" _builder_version=\"4.27.2\" _module_preset=\"default\" toggle_text_color=\"#000000\" toggle_level=\"h4\" toggle_font=\"Cairo|700|||||||\" body_font=\"Cairo|700|||||||\" body_text_align=\"left\" body_text_color=\"#000000\" body_font_size=\"16px\" saved_tabs=\"all\" locked=\"off\" global_colors_info=\"{}\"][et_pb_accordion_item open=\"on\" open_toggle_background_color=\"#000000\" closed_toggle_background_color=\"#000000\" _builder_version=\"4.27.2\" _module_preset=\"default\" global_colors_info=\"{}\"]\n<div class=\"et_pb_blurb_description\">\n<div class=\"et_pb_blurb_description\">\n<p class=\"p1\"><span style=\"color: #00ffff;\">Le phrase\u0301 est l\u2019art de conduire un discours musical. Comme le phrase\u0301 du langage parle\u0301 qui traduit la pense\u0301e, le phrase\u0301 musical a une inflexion, un mouvement, une articulation, une respiration, une dynamique et une direction qui expriment une intention. Le mouvement corporel et l\u2019utilisation de l\u2019espace permettent a\u0300 la fois de sentir le phrase\u0301, d\u2019en prendre conscience et de l\u2019exprimer clairement et globalement. L\u2019expe\u0301rience du phrase\u0301, une fois inscrite dans le corps, ame\u0300ne a\u0300 une compre\u0301hension intime de la musique.<\/span><\/p>\n\n<\/div>\n<\/div>\n[\/et_pb_accordion_item][et_pb_accordion_item title=\"1A. marche 3\/4 andante\" open_toggle_text_color=\"#000000\" open_toggle_background_color=\"#FFFFFF\" closed_toggle_background_color=\"#FFFFFF\" _builder_version=\"4.27.2\" _module_preset=\"default\" body_font=\"Cairo|700|||||||\" body_text_align=\"left\" body_text_color=\"#000000\" body_font_size=\"16px\" global_colors_info=\"{}\" toggle_text_color=\"#000000\" toggle_level=\"h4\" toggle_font=\"Cairo|700|||||||\" open=\"off\"]\n\n[audio mp3=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_1A-Walk-in-34-andante.mp3\"][\/audio]\n\nCette piste a \u00e9t\u00e9 donn\u00e9e en deux vitesses : la premi\u00e8re, andante, est adapt\u00e9e \u00e0 la d\u00e9marche d'un enfant. La seconde, lento, convient \u00e0 la marche calme et r\u00e9fl\u00e9chie d'un adulte.<span class=\"Apple-converted-space\">\u00a0<\/span>\n\nSa forme est un rondo\u00a0: A B A C A + coda (C est une variation de B). Chaque phrase commence par une lev\u00e9e (anacrouse) sur le 3\u00e8me temps. Dans les parties A, la lev\u00e9e est de deux croches alors que dans les parties B et C, elle est d'une noire. Si son r\u00f4le reste de \"mettre en route\" la phrase\/partie de phrase suivante, en m\u00eame temps, elle d\u00e9finit par anticipation son mouvement, elle annonce la qualit\u00e9 de son \u00e9nergie.<span class=\"Apple-converted-space\">\u00a0<\/span>\n<ul>\n \t<li>Marcher au tempo de la pulsation et sentir l'effet du groupe de trois temps sur le corps : le changement de jambe sur le temps fort (1er temps) donne une belle sensation d'\u00e9quilibre ; changer de direction apr\u00e8s les cadences. Regarder ses camarades de classe en marchant, les saluer, appr\u00e9cier la sensation de l\u2019espace et le plaisir d\u2019aller \u00e0 la rencontre des autres. Imaginer aller quelque part pour que chaque phrase ait un sens.\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>Deux par deux : marcher ensemble avec un partenaire chaque fois qu\u2019on entend le th\u00e8me A ; marcher seul ou avec quelqu'un d'autre pendant les parties B et C.<\/li>\n<\/ul>\nDans le contexte de l'enseignement aux personnes \u00e2g\u00e9es (seniors), on pourrait commencer par la version plus rapide et leur demander ensuite d'adapter leur marche \u00e0 la version plus lente. Marcher \u00e0 une vitesse plus lente demandera une adaptation physique de tout le corps afin de rester en \u00e9quilibre. La musique plus lente exige un pas \"intentionnel\"\u00a0: il s\u2019agit d\u2019\u00eatre conscient de la ligne m\u00e9lodique qui donne une direction et une intention musicale \u00e0 chaque phrase.<span class=\"Apple-converted-space\">\u00a0<\/span>\n\n8 ans et plus\n\n[\/et_pb_accordion_item][et_pb_accordion_item title=\"1B. marche 3\/4 lento\" open_toggle_text_color=\"#000000\" open_toggle_background_color=\"#FFFFFF\" closed_toggle_background_color=\"#FFFFFF\" _builder_version=\"4.27.2\" _module_preset=\"default\" body_font=\"Cairo|700|||||||\" body_text_align=\"left\" body_text_color=\"#000000\" body_font_size=\"16px\" global_colors_info=\"{}\" toggle_text_color=\"#000000\" toggle_level=\"h4\" toggle_font=\"Cairo|700|||||||\" open=\"off\"]\n\n[audio mp3=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_1B-Walk-in-34-lento.mp3\"][\/audio]\n\nCette piste a \u00e9t\u00e9 donn\u00e9e en deux vitesses : la premi\u00e8re, andante, est adapt\u00e9e \u00e0 la d\u00e9marche d'un enfant. La seconde, lento, convient \u00e0 la marche calme et r\u00e9fl\u00e9chie d'un adulte.<span class=\"Apple-converted-space\">\u00a0<\/span>\n\nSa forme est un rondo\u00a0: A B A C A + coda (C est une variation de B). Chaque phrase commence par une lev\u00e9e (anacrouse) sur le 3\u00e8me temps. Dans les parties A, la lev\u00e9e est de deux croches alors que dans les parties B et C, elle est d'une noire. Si son r\u00f4le reste de \"mettre en route\" la phrase\/partie de phrase suivante, en m\u00eame temps, elle d\u00e9finit par anticipation son mouvement, elle annonce la qualit\u00e9 de son \u00e9nergie.<span class=\"Apple-converted-space\">\u00a0<\/span>\n<ul>\n \t<li>Marcher au tempo de la pulsation et sentir l'effet du groupe de trois temps sur le corps : le changement de jambe sur le temps fort (1er temps) donne une belle sensation d'\u00e9quilibre ; changer de direction apr\u00e8s les cadences. Regarder ses camarades de classe en marchant, les saluer, appr\u00e9cier la sensation de l\u2019espace et le plaisir d\u2019aller \u00e0 la rencontre des autres. Imaginer aller quelque part pour que chaque phrase ait un sens.\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>Deux par deux : marcher ensemble avec un partenaire chaque fois qu\u2019on entend le th\u00e8me A ; marcher seul ou avec quelqu'un d'autre pendant les parties B et C.<\/li>\n<\/ul>\nDans le contexte de l'enseignement aux personnes \u00e2g\u00e9es (seniors), on pourrait commencer par la version plus rapide et leur demander ensuite d'adapter leur marche \u00e0 la version plus lente. Marcher \u00e0 une vitesse plus lente demandera une adaptation physique de tout le corps afin de rester en \u00e9quilibre. La musique plus lente exige un pas \"intentionnel\"\u00a0: il s\u2019agit d\u2019\u00eatre conscient de la ligne m\u00e9lodique qui donne une direction et une intention musicale \u00e0 chaque phrase.<span class=\"Apple-converted-space\">\u00a0<\/span>\n\n8 ans et plus\n\n[\/et_pb_accordion_item][et_pb_accordion_item title=\"2. phras\u00e9 et cadence\" open_toggle_text_color=\"#000000\" open_toggle_background_color=\"#FFFFFF\" closed_toggle_background_color=\"#FFFFFF\" _builder_version=\"4.27.2\" _module_preset=\"default\" body_font=\"Cairo|700|||||||\" body_text_align=\"left\" body_text_color=\"#000000\" body_font_size=\"16px\" global_colors_info=\"{}\" toggle_text_color=\"#000000\" toggle_level=\"h4\" toggle_font=\"Cairo|700|||||||\" open=\"off\"]\n\n[audio mp3=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_2-Phrasing-and-cadence.mp3\"][\/audio]\n\nLa ligne m\u00e9lodique de cette pi\u00e8ce se chante facilement\u00a0; en chantant avec le piano, les \u00e9l\u00e8ves pourront facilement identifier les phrases. Sentir la dur\u00e9e des phrases. Trouver les deux \u00ab\u00a0exceptions\u00a0\u00bb.<span class=\"Apple-converted-space\">\u00a0<\/span>\n<ul>\n \t<li>Dessiner la ligne m\u00e9lodique en suivant ses courbes, sa respiration et ses inflexions soit debout sur place, soit en marchant librement (\u00ab en chantant avec ses pieds \u00bb) ; exprimer avec tout le corps et le visage comment se termine chaque phrase (dans un contexte verbal, la ponctuation serait-elle un point d'interrogation, une virgule ou un point ?). Chanter chaque phrase clarifiera instinctivement la question de la ponctuation.<\/li>\n \t<li>Faire passer une phrase d'une personne \u00e0 une autre en marchant chaque note de la phrase et en arrivant \u00e0 la personne choisie sur la derni\u00e8re note. Cet exercice peut se faire en cercle ou en \u00e9tant espac\u00e9 librement dans la pi\u00e8ce.\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>On peut aussi apporter un objet imaginaire et le pr\u00e9senter sur la derni\u00e8re note de la phrase, avec l'expression li\u00e9e \u00e0 la cadence musicale. La personne qui re\u00e7oit la phrase prend le relais et pr\u00e9sente la phrase suivante \u00e0 une autre.<\/li>\n<\/ul>\n8 ans et plus\n\n[\/et_pb_accordion_item][et_pb_accordion_item title=\"3. phrases en 4\/4.mp3\" open_toggle_text_color=\"#000000\" open_toggle_background_color=\"#FFFFFF\" closed_toggle_background_color=\"#FFFFFF\" _builder_version=\"4.27.2\" _module_preset=\"default\" body_font=\"Cairo|700|||||||\" body_text_align=\"left\" body_text_color=\"#000000\" body_font_size=\"16px\" global_colors_info=\"{}\" toggle_text_color=\"#000000\" toggle_level=\"h4\" toggle_font=\"Cairo|700|||||||\" open=\"off\"]\n\n[audio mp3=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_3-Phrases-in-44.mp3\"][\/audio]\n\nIci, le piano indique clairement la dur\u00e9e des phrases par un court silence. Les phrases sont courtes, moyennes ou longues. Elles commencent toutes sur un temps fort (pas d\u2019anacrouses) ; elles terminent souvent de mani\u00e8re interrogative, avec diverses nuances expressives qui stimulent l\u2019imaginaire et incitent \u00e0 d\u00e9velopper un discours int\u00e9rieur ou la mise en sc\u00e8ne d\u2019un dialogue. Les silences font aussi partie de la musique et doivent \u00eatre autant \u00ab habit\u00e9s \u00bb que les sons.\n<ul>\n \t<li>Dessiner chaque phrase par le mouvement corporel, couch\u00e9, assis ou debout. Porter attention \u00e0 la dur\u00e9e de la phrase et \u00e0 l\u2019expression de chaque terminaison : travailler l\u2019expression corporelle et th\u00e9\u00e2trale de toutes ces phrases interrogatives. Comment chaque personne ressent-elle et exprime-t-elle avec son corps et son visage ces nuances musicales ?<\/li>\n \t<li>D\u00e9velopper une interaction entre deux personnes :\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>En cercle, marcher et passer un objet \u00e0 quelqu'un sur le dernier son de la phrase. La personne prend l'objet et, partant sur le premier son de la phrase suivante, va l'apporter \u00e0 quelqu'un d'autre. Jouer avec l'espace et le temps en adaptant la longueur du d\u00e9placement au temps imparti (la longueur de la phrase).\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>Selon le m\u00eame principe, l\u2019\u00e9change peut se faire \u00e0 deux, dans un dialogue plus th\u00e9\u00e2tral, sans objet, en d\u00e9veloppant une intention int\u00e9rieure, comme dans un mime.<\/li>\n<\/ul>\nPour les enfants ayant une exp\u00e9rience musicale et une bonne capacit\u00e9 d'\u00e9coute.\n\n[\/et_pb_accordion_item][et_pb_accordion_item title=\"4. phrases irr\u00e9guli\u00e8res\" open_toggle_text_color=\"#000000\" open_toggle_background_color=\"#FFFFFF\" closed_toggle_background_color=\"#FFFFFF\" _builder_version=\"4.27.2\" _module_preset=\"default\" body_font=\"Cairo|700|||||||\" body_text_align=\"left\" body_text_color=\"#000000\" body_font_size=\"16px\" global_colors_info=\"{}\" toggle_text_color=\"#000000\" toggle_level=\"h4\" toggle_font=\"Cairo|700|||||||\" open=\"off\"]\n\n[audio mp3=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_4-Irregular-phrases.mp3\"][\/audio]\n\nLes pistes pr\u00e9c\u00e9dentes de ce volume pr\u00e9sentent des phrases dont la longueur est de 2 - 4 - 8 mesures. Ce morceau, en 2\/4, pr\u00e9sente \u00e9galement des phrases de 3 mesures. La structure du phras\u00e9 est la suivante :\n\n3 mesures deux fois, 2 mesures deux fois, 4 mesures une fois ;\n3 mesures deux fois, 2 mesures deux fois, 4 mesures deux fois.\n\nAvant d'effectuer toute forme d\u2019analyse, l'enseignant doit se donner le temps, ainsi qu'aux \u00e9l\u00e8ves, d'\u00e9couter la musique et de sentir instinctivement le d\u00e9but, la longueur et la fin de chaque phrase.\n<ul>\n \t<li>Frapper doucement la derni\u00e8re note de chaque phrase. Faire de m\u00eame en frappant sur son corps :<\/li>\n \t<li>choisir deux points diff\u00e9rents sur le corps comme point de d\u00e9part et point d'arriv\u00e9e, et dessiner clairement le phras\u00e9 entre un point et le suivant.\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>choisir \u00e0 nouveau un point de d\u00e9part et l'enseignant, ou un enfant, d\u00e9signe le point d'arriv\u00e9e. Faire voyager le bras et la main en suivant la forme du phras\u00e9. Alterner le bras droit et le bras gauche.<\/li>\n \t<li>Marcher avec un ami et changer d'ami au d\u00e9but de la phrase suivante. Les \u00e9l\u00e8ves plus exp\u00e9riment\u00e9s peuvent marcher avec un ami qui n'est pas forc\u00e9ment \u00e0 c\u00f4t\u00e9 d'eux, en favorisant le contact par le regard.<\/li>\n \t<li>Par deux : A marche, dessinant avec ses pas un chemin sur le sol ; B suit ce chemin pendant la phrase suivante. Ou bien B fait le chemin inverse.<\/li>\n \t<li>Sculptures dans un jardin : sur place, isoler une ou deux parties du corps (selon les indications de l'enseignant) ; d\u00e9placer alternativement l'une puis l'autre partie, en changeant au fil des phrases. Les \u00e9l\u00e8ves peuvent ensuite choisir eux-m\u00eames deux parties diff\u00e9rentes, en les faisant bouger librement au gr\u00e9 de la musique.<\/li>\n \t<li>Apr\u00e8s avoir chang\u00e9 sa forme sur place, la sculpture peut se d\u00e9placer dans l'espace lorsque la musique le sugg\u00e8re. Certains phras\u00e9s peuvent \u00eatre interpr\u00e9t\u00e9s diff\u00e9remment par les \u00e9l\u00e8ves : dans ce cas, si l'on suit l'articulation de la m\u00e9lodie, certaines phrases seront ressenties comme deux fois plus courtes. Mais si l'on \u00e9coute la ligne de base, les phrases peuvent \u00eatre entendues comme plus longues.\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>Le chef d'orchestre (solo) et l'orchestre (tutti) bougent sur place simultan\u00e9ment : le chef d'orchestre indique une direction pour chaque phrase avec ses bras, et le groupe se d\u00e9place avec tout le corps ou avec une partie isol\u00e9e du corps dans la direction indiqu\u00e9e par le chef d'orchestre.<\/li>\n<\/ul>\n8 ans et plus\n\n[\/et_pb_accordion_item][et_pb_accordion_item title=\"5. phras\u00e9 nuances dynamiques et rubato\" open_toggle_text_color=\"#000000\" open_toggle_background_color=\"#FFFFFF\" closed_toggle_background_color=\"#FFFFFF\" _builder_version=\"4.27.2\" _module_preset=\"default\" body_font=\"Cairo|700|||||||\" body_text_align=\"left\" body_text_color=\"#000000\" body_font_size=\"16px\" global_colors_info=\"{}\" toggle_text_color=\"#000000\" toggle_level=\"h4\" toggle_font=\"Cairo|700|||||||\" open=\"off\"]\n\n[audio mp3=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_5-Phrasing-dynamic-and-rubato.mp3\"][\/audio]\n\nCette musique est caract\u00e9ris\u00e9e par une sorte d'\u00e9lasticit\u00e9 cr\u00e9\u00e9e par le mouvement de crescendo\/decrescendo, qui culmine dans un pic dynamique et m\u00e9lodique.\n<ul>\n \t<li>\u00c9couter la musique et trouver les temps forts (phras\u00e9 de 8 temps et parfois de 4+4).\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>Bouger de mani\u00e8re instinctive avec les changements de couleurs des harmonies (obscures, l\u00e9g\u00e8res \u2026) et les nuances dynamiques, en laissant le corps suivre le mouvement de \u00ab rubato \u00bb : plus les harmonies sont intenses, plus on est proche du sol et plus elles sont l\u00e9g\u00e8res plus on s'\u00e9l\u00e8ve. Chaque phrase \u00e9tant compos\u00e9e d'un crescendo et d'un diminuendo, ce sentiment d'intensit\u00e9 croissante et de rel\u00e2chement doit \u00eatre ressenti et exprim\u00e9 dans le corps.<\/li>\n \t<li>Tenir un b\u00e2ton de 50 cm entre ses deux mains pour sentir et donner forme au mouvement corporel.\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>Deux par deux, tenir le b\u00e2ton par l'une de ses extr\u00e9mit\u00e9s avec un doigt ou dans la paume (sans le saisir) ; chaque partenaire \u00e0 son tour initie le mouvement en poussant le b\u00e2ton selon la dynamique de la phrase.<\/li>\n \t<li>Faire un seul cercle avec toute la classe : l'agrandir avec le crescendo et le rapetisser avec le diminuendo. On pourrait aussi imaginer le mouvement oppos\u00e9\u00a0: diminuendo = plus de distance, crescendo = se rapprocher en levant les bras.<\/li>\n \t<li>Frapper 8 fois dans une direction (en exprimant la ligne musicale) et dessiner une ligne durant les 8 prochains temps, ou jusqu\u2019\u00e0 la fin de la phrase si celle-ci est plus longue. Continuer en alternant les deux activit\u00e9s et en adaptant l\u2019alternance frapper\/dessiner \u00e9galement aux phrases plus courtes.\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>Marcher et bouger comme on le sent ; dessiner les phrases et les dynamiques dans l'espace. Sans suivre les rythmes, exprimer la musique par le mouvement de tout le corps en sugg\u00e9rant l\u2019ouverture du crescendo et le rel\u00e2chement du diminuendo.<\/li>\n<\/ul>\n9-10 ans et plus\n\n[\/et_pb_accordion_item][et_pb_accordion_item title=\"6. fugato\" open_toggle_text_color=\"#000000\" open_toggle_background_color=\"#FFFFFF\" closed_toggle_background_color=\"#FFFFFF\" _builder_version=\"4.27.2\" _module_preset=\"default\" body_font=\"Cairo|700|||||||\" body_text_align=\"left\" body_text_color=\"#000000\" body_font_size=\"16px\" global_colors_info=\"{}\" toggle_text_color=\"#000000\" toggle_level=\"h4\" toggle_font=\"Cairo|700|||||||\" open=\"off\"]\n\n[audio mp3=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_6-Fugato.mp3\"][\/audio]\n\nCette pi\u00e8ce est caract\u00e9ris\u00e9e par un th\u00e8me rythmique r\u00e9p\u00e9t\u00e9 plusieurs fois, soit dans l'aigu, soit dans la basse. Dans la premi\u00e8re partie, ce th\u00e8me commence toujours sur le deuxi\u00e8me temps d'une mesure \u00e0 quatre temps, plus tard, \u00e0 quelques reprises seulement, il commence sur le quatri\u00e8me temps.<span class=\"Apple-converted-space\">\u00a0<\/span>\n\nCette improvisation se pr\u00eate \u00e0 une s\u00e9rie de jeux d'\u00e9coute et d\u00e9veloppe notamment la m\u00e9moire musicale.\n<ul>\n \t<li>Assis, lever la main chaque fois qu'on entend le motif musical.<\/li>\n<\/ul>\nCet exercice d'\u00e9coute peut d\u00e9j\u00e0 se faire \u00e0 deux, l'un r\u00e9agissant au motif dans l\u2019aigu et l'autre dans le grave. Changer les r\u00f4les.<span class=\"Apple-converted-space\">\u00a0<\/span>\n<ul>\n \t<li>Individuellement, frapper le rythme chaque fois qu\u2019on l\u2019entend.<\/li>\n \t<li>Puis distinguer le grave de l\u2019aigu en frappant le rythme du motif sur les jambes (basse) ou dans les mains (aigu).<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n<\/ul>\nNoter que l'on ne peut pas attendre des \u00e9l\u00e8ves qu'ils r\u00e9pondent imm\u00e9diatement tant qu'ils ne sont pas encore familiaris\u00e9s avec la musique.\n<ul>\n \t<li>Marcher la pulsation (un temps = un pas) et changer de direction \u00e0 chaque motif par un virage circulaire. (Pour les enfants, nous pourrions utiliser l'image d'un rond-point, o\u00f9 la voiture y entre d'une direction, suit son virage et sort dans une autre direction).\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>En petits groupes, chacun son tour cr\u00e9e un mouvement libre sur le motif, peu importe s'il est \u00e0 la basse ou au soprano. (Nous sugg\u00e9rons de petits groupes afin que chaque enfant n\u2019attende pas trop longtemps son tour.)<\/li>\n \t<li>Diviser la classe en deux groupes 1 = basse 2 = aigu : frapper le rythme quand c'est son tour ; changer les r\u00f4les.\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>Par deux (A = aigu, B = basse), c\u00f4te \u00e0 c\u00f4te, se donner la main et marcher ensemble la pulsation. Lorsque le motif est entendu dans les aigus, B fait tourner A une fois sur place, sans l\u00e2cher la main. Puis ils continuent \u00e0 marcher ensemble dans la m\u00eame direction. Vice versa lorsque le motif appara\u00eet dans les basses. Encourager les enfants \u00e0 rechercher une belle qualit\u00e9 de mouvement afin que cet exercice ressemble \u00e0 une danse.<\/li>\n \t<li>Par une \u00e9coute plus consciente maintenant, identifier les quelques endroits o\u00f9 le th\u00e8me commence sur le quatri\u00e8me temps. Pour cela, il faut que les enfants sachent battre la mesure \u00e0 quatre temps.<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n<\/ul>\nAu d\u00e9but, les exercices ci-dessus seront v\u00e9cus plusieurs fois avec un \u00e9l\u00e9ment de surprise, mais une fois que les enfants connaissent bien le morceau, ils peuvent anticiper les \"virages musicaux\".\n\nCette musique peut \u00eatre utilis\u00e9e pour des exercices simples avec de jeunes enfants, ou pour une \u00e9coute plus \u00e9labor\u00e9e avec une classe plus \u00e2g\u00e9e ou plus exp\u00e9riment\u00e9e.\n\n7 ans et plus\n\n[\/et_pb_accordion_item][et_pb_accordion_item title=\"7. chanter en \u00e9cho\" open_toggle_text_color=\"#000000\" open_toggle_background_color=\"#FFFFFF\" closed_toggle_background_color=\"#FFFFFF\" _builder_version=\"4.27.2\" _module_preset=\"default\" body_font=\"Cairo|700|||||||\" body_text_align=\"left\" body_text_color=\"#000000\" body_font_size=\"16px\" global_colors_info=\"{}\" toggle_text_color=\"#000000\" toggle_level=\"h4\" toggle_font=\"Cairo|700|||||||\" open=\"off\"]\n\n[audio mp3=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_7-Sing-back.mp3\"][\/audio]\n\nCe morceau consiste en une s\u00e9rie de quatre phrases en 12\/8, toutes de la m\u00eame longueur. L'introduction jou\u00e9e dans l'aigu indique la mesure et le tempo. Chaque phrase commence par une lev\u00e9e (anacrouse). Apr\u00e8s chaque phrase, il y a un temps \u00e9quivalent sans la m\u00e9lodie o\u00f9 les enfants sont invit\u00e9s \u00e0 r\u00e9p\u00e9ter en \u00e9cho ce qu'ils viennent d'entendre.\n\nIl s'agit d'un exercice de r\u00e9action rapide et de m\u00e9moire.<span class=\"Apple-converted-space\">\u00a0<\/span>\n<ul>\n \t<li>Commencer par demander aux enfants de sautiller avec la musique et de s'arr\u00eater exactement sur le dernier temps.\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>Jouer ensuite chaque phrase et leur demander de la chanter en \u00e9cho (m\u00e9lodie et rythme).\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>Ils pourront ensuite associer les deux activit\u00e9s : chanter et sautiller en \u00e9cho sur les quatre phrases.\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>Identifier le premier temps en frappant sur les genoux. Pour les \u00e9l\u00e8ves plus avanc\u00e9s, marcher la pulsation, battre la mesure et chanter la m\u00e9lodie (ne pas oublier la lev\u00e9e !).\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>Pour pr\u00e9parer la dict\u00e9e, aider les \u00e9l\u00e8ves \u00e0 identifier la derni\u00e8re note de chaque phrase et la premi\u00e8re note de la phrase suivante : la phrase 1 se termine sur DO et la phrase 2 commence sur DO ; la phrase 2 se termine sur SI b\u00e9mol et la phrase 3 commence sur LA b\u00e9mol. Ce travail est plus pr\u00e9cis et minutieux que ne l'exige la r\u00e9p\u00e9tition d'une phrase entendue et convient aux \u00e9l\u00e8ves plus avanc\u00e9s ou aux \u00e9l\u00e8ves d'une \u00e9cole de musique.<\/li>\n \t<li>Les \u00e9l\u00e8ves qui ont de l'exp\u00e9rience en mati\u00e8re d'\u00e9coute et de dict\u00e9e pourraient \u00eatre invit\u00e9s \u00e0 reprendre les phrases entendues en utilisant le nom des notes.<\/li>\n<\/ul>\nLa conclusion de la pi\u00e8ce a \u00e9t\u00e9 cr\u00e9\u00e9e simplement pour mettre fin \u00e0 l'exercice. On peut la chanter en \u00e9cho, accompagn\u00e9 par le piano.<span class=\"Apple-converted-space\">\u00a0<\/span>\n\n8 ans et plus\n\n[\/et_pb_accordion_item][et_pb_accordion_item title=\"8. noires et rythmes syncop\u00e9s\" open_toggle_text_color=\"#000000\" open_toggle_background_color=\"#FFFFFF\" closed_toggle_background_color=\"#FFFFFF\" _builder_version=\"4.27.2\" _module_preset=\"default\" body_font=\"Cairo|700|||||||\" body_text_align=\"left\" body_text_color=\"#000000\" body_font_size=\"16px\" global_colors_info=\"{}\" toggle_text_color=\"#000000\" toggle_level=\"h4\" toggle_font=\"Cairo|700|||||||\" open=\"off\"]\n\n[audio mp3=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_8-Quarter-notes-and-syncopations.mp3\"][\/audio]\n\nCette pi\u00e8ce est construite sur l'alternance de mesures de 4 temps r\u00e9guliers avec des mesures d'un motif syncop\u00e9.\n<ul>\n \t<li>Ressentir la diff\u00e9rence entre la lin\u00e9arit\u00e9 des noires et l'ondulation et la suspension de la syncope en marchant sur ce qu'on entend (une note = un pas) et en tournant ou en pivotant sur le deuxi\u00e8me temps (note longue) du rythme syncop\u00e9.<\/li>\n<\/ul>\nUne autre mani\u00e8re de ressentir le rythme syncop\u00e9 serait de marcher les temps 1 et 4 en avant et le temps 2 en arri\u00e8re. Trouver un moyen de souligner le premier temps (plier le genou, changer de direction) pour \u00e9viter de d\u00e9placer la sensation du temps fort vers la note longue.\n<ul>\n \t<li>Faire les pas du rythme syncop\u00e9 lat\u00e9ralement, en croisant un pied devant l'autre sur le temps 2. Adapter l'utilisation de l'\u00e9nergie et de l'espace au tempo de la musique.\n<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n \t<li>Exercice de r\u00e9action rapide\u00a0: avec une bonne connaissance de ce morceau, l\u2019enseignant-e peut l'utiliser comme un exercice de \"hop\". Chaque fois qu\u2019il\/elle dit \"hop\" sur le premier temps d\u2019une mesure syncop\u00e9e, les \u00e9l\u00e8ves font un pas en arri\u00e8re (ce pas tombe exactement sur le deuxi\u00e8me temps).<\/li>\n<\/ul>\nApprendre la structure de la pi\u00e8ce afin d'anticiper les changements et de les int\u00e9grer de mani\u00e8re fluide pour les appr\u00e9cier davantage.<span class=\"Apple-converted-space\">\u00a0<\/span>\n\nConsid\u00e9rons la mesure \u00e0 4\/4 \u00e0 un tempo rapide :\n\n4 mesures de 4 noires \/ 4 mesures de syncopes, quatre fois\n2 mesures de 4 noires \/ 2 mesures de syncopes, deux fois\n1 mesure de 4 noires \/ 1 mesure de syncope, huit fois.<span class=\"Apple-converted-space\">\u00a0<\/span>\n\nDeuxi\u00e8me partie identique, SAUF le d\u00e9but : <span class=\"Apple-converted-space\">\u00a0<\/span>\n\n4 mesures de 4 noires \/ 4 mesures de syncopes, <b>une seule fois\n<\/b>2 mesures de 4 noires \/ 2 mesures de syncopes, deux fois\n1 mesure de 4 noires \/ 1 mesure de syncope, huit fois.<span class=\"Apple-converted-space\">\u00a0<\/span>\n\n8 ans et plus\n\n[\/et_pb_accordion_item][et_pb_accordion_item title=\"9. canon rythmique\" open_toggle_text_color=\"#000000\" open_toggle_background_color=\"#FFFFFF\" closed_toggle_background_color=\"#FFFFFF\" _builder_version=\"4.27.2\" _module_preset=\"default\" body_font=\"Cairo|700|||||||\" body_text_align=\"left\" body_text_color=\"#000000\" body_font_size=\"16px\" global_colors_info=\"{}\" toggle_text_color=\"#000000\" toggle_level=\"h4\" toggle_font=\"Cairo|700|||||||\" open=\"off\"]\n\n[audio mp3=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_9-Rhythmic-canon.mp3\"][\/audio]\n\nCette musique est en 9\/8 : on entend successivement une mesure rythmique (mesure active) et une mesure d'une note longue (mesure passive). L'alternance entre les mesures actives et passives cr\u00e9e la possibilit\u00e9 d'exercices en canon d'une mesure.<span class=\"Apple-converted-space\">\u00a0<\/span>\n<ul>\n \t<li>Commencer simplement par marcher les temps et battre la mesure en prenant le temps de bien \u00e9couter le rythme et la m\u00e9lodie. Int\u00e9rioriser rythme et m\u00e9lodie - en sollicitant l\u2019\u00e9coute int\u00e9rieure - en r\u00e9p\u00e9tant le rythme (sans voix) une mesure plus tard (canon rythmique).<\/li>\n \t<li>Ensuite, marcher les temps et frapper le rythme une mesure plus tard.<\/li>\n \t<li>Puis marcher le rythme une mesure plus tard (chaque valeur = un pas, faire un sautill\u00e9 sur les rythmes point\u00e9s).<\/li>\n \t<li>Pour les \u00e9l\u00e8ves avanc\u00e9s : battre la mesure en marchant le rythme en canon.<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n<\/ul>\nPour des enfants exp\u00e9riment\u00e9s ayant une bonne capacit\u00e9 de concentration\n\n[\/et_pb_accordion_item][et_pb_accordion_item title=\"10. suite\" open_toggle_text_color=\"#000000\" open_toggle_background_color=\"#FFFFFF\" closed_toggle_background_color=\"#FFFFFF\" _builder_version=\"4.27.2\" _module_preset=\"default\" body_font=\"Cairo|700|||||||\" body_text_align=\"left\" body_text_color=\"#000000\" body_font_size=\"16px\" global_colors_info=\"{}\" toggle_text_color=\"#000000\" toggle_level=\"h4\" toggle_font=\"Cairo|700|||||||\" open=\"off\"]\n\n[audio mp3=\"https:\/\/francoise-lombard.com\/wp-content\/uploads\/2024\/11\/VOL6_10-Suite.mp3\"][\/audio]\n\nFantaisiste, cette suite fait appel \u00e0 la cr\u00e9ativit\u00e9 du mouvement et \u00e0 une interpr\u00e9tation imaginative. Elle est construite en trois sections. La premi\u00e8re ne comporte qu'une seule d\u00e9marche : le sautill\u00e9.<span class=\"Apple-converted-space\">\u00a0<\/span>\n<ul>\n \t<li>Pendant cette longue s\u00e9quence, l'enseignant doit donner des instructions au fur et \u00e0 mesure que la musique progresse. Par exemple :<span class=\"Apple-converted-space\">\u00a0 <\/span>alterner entre sautill\u00e9s (sur le rythme du troch\u00e9e*) et marche (pulsation des temps) librement dans l\u2019espace.<\/li>\n<\/ul>\nOn peut aussi marcher deux par deux, c\u00f4te \u00e0 c\u00f4te, ou face \u00e0 face en faisant 4 pas en avant et 4 en arri\u00e8re, ou encore suivre les nuances dynamiques en se rapprochant avec un crescendo et s'\u00e9loignant avec un diminuendo (ou le contraire).<span class=\"Apple-converted-space\">\u00a0<\/span>\n<ul>\n \t<li>La seconde partie est un rythme (anapeste*) \u00e0 frapper ou \u00e0 marcher.<\/li>\n \t<li>La troisi\u00e8me, proche de la fin, est ludique et plus complexe et peut \u00eatre trait\u00e9e librement, en mimant par exemple une personne qui cherche quelqu'un ou quelque chose et finit par dispara\u00eetre dans la brume ...<span class=\"Apple-converted-space\">\u00a0<\/span><\/li>\n<\/ul>\nInciter les enfants \u00e0 imaginer leurs propres histoires et cr\u00e9er leurs mouvements, seuls ou avec d'autres, en fonction de ce que la musique leur inspire.\n\n* Troch\u00e9e = long-court<span class=\"Apple-converted-space\">\n<\/span>* Anapeste = court-court-long<span class=\"Apple-converted-space\">\n<\/span>(cf volume 3 : rythmes de base)\n\n7 ans et plus\n\n[\/et_pb_accordion_item][\/et_pb_accordion][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\"4.27.2\" _module_preset=\"default\" global_colors_info=\"{}\"][et_pb_column type=\"4_4\" _builder_version=\"4.27.2\" _module_preset=\"default\" global_colors_info=\"{}\"][et_pb_divider color=\"#E09900\" _builder_version=\"4.27.2\" _module_preset=\"default\" global_colors_info=\"{}\"][\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section]","_et_gb_content_width":"","footnotes":""},"class_list":["post-359847","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/francoise-lombard.com\/en\/wp-json\/wp\/v2\/pages\/359847","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/francoise-lombard.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/francoise-lombard.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/francoise-lombard.com\/en\/wp-json\/wp\/v2\/users\/3454"}],"replies":[{"embeddable":true,"href":"https:\/\/francoise-lombard.com\/en\/wp-json\/wp\/v2\/comments?post=359847"}],"version-history":[{"count":29,"href":"https:\/\/francoise-lombard.com\/en\/wp-json\/wp\/v2\/pages\/359847\/revisions"}],"predecessor-version":[{"id":360593,"href":"https:\/\/francoise-lombard.com\/en\/wp-json\/wp\/v2\/pages\/359847\/revisions\/360593"}],"wp:attachment":[{"href":"https:\/\/francoise-lombard.com\/en\/wp-json\/wp\/v2\/media?parent=359847"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}