Introduction English

André Hajdu composed, in Paris, a book for guitar called "MICROCOSMOS for GUITAR". These are small pieces designed to learn how to play the guitar in the most musical way possible.

This title refers to the title of the books composed by Béla Bartók: "MICROCOSMOS for PIANO".

André Hadju was a pupil of Anton Kodaly who, together with Béla Bartók, revolutionized musical education in Hungary, giving to this day the greatest musicians.

How to get into music without worrying about language or grammar?

How to eliminate the difficulties of a child or an amateur wanting to study the music sincerely?

In the school system of many countries, political thought institutes a selection. For example, the amateur, before beginning to practice his instrument must learn to read music for 3 years, passed by the classes of music theory, which allows the system to eliminate many candidates. These candidates do not always have the patience to wait for a hypothetical entry into the class of the instrument to abandon their project.

My experience within these institutions has allowed me to understand and analyze the violence of a system that forces students to think about the finality rather than the way that leads to the pleasure of learning.

The mother tongue is learned gently in a relationship created between the Mother and the child. In this relationship, speech is learned before writing.

The transmission link (the parents, the teacher then) must pass from hand to hand, without violence, as in a relay race.

Thus the transmission (the relay) will be assimilated in an organic way by the beginner and the music lover. A transmitter is one that removes small pebbles, small difficulties on the road of knowledge and tradition and thus facilitates the way.

In this sense, my pedagogical efforts and my research led me to create this BLOG, based on "MICROCOSMOS for GUITAR" thinking of a way, which I would like the most effective, to clean the road to the future musician guitarist.

I seek and continue to imagine an aid to the integration of this double act "reading and listening". See, watch, hear, and listen.

The vision, with its faster rhythm, allows a grasp of the movement that the slow speed of listening does not allow.

Concentrate the neophyte on the memory and integration of the instrument with the body in a gentle way, expand its possibilities, learn to memorize in pleasure and not in constraint, draw attention to the awareness of the gesture for the Memorize, are the objectives to be achieved.

The word of explanation can disrupt learning; even create a barrier between the pupil and the teacher.

Indeed, in music education, speech can create tensions and blockages if it is misinterpreted. Rather, it is a matter of establishing a truly audio-visual relationship: Audio because the musician must pay attention to what he hears and visual because he must understand the score and follow the indications.

We will therefore pay close attention to listening and viewing.

Various considerations must be taken into account:

- teach by serving as a visual example so that the amateur visually memorizes the gestures. Note the importance of mirror neurons.

- Sensitize the amateur to the difference between the fast speed of vision and the slower one of listening

- Clean the way of "know-how"

Clearing the path of "know-how" is eliminating the fear of making mistakes.

This fear that everyone feels in front of something he would like to be able to do without knowing "how".

In this work, I attach importance to the priority of "be careful".

To eliminate the violence of body movements in the face of new gestures that must adapt to a new instrument, we must think of the instrument as an extension of the body and the hand.

It is also necessary to learn not to rush to reach the goal, to learn to take time: time, rhythm, movement are the skeletons of music.

When it comes time to play, it is good to cleanse his mind of all views and recorded images on the different ways of playing the guitar, open and create his own sound.

Sterile imitation does not help to discover one's own world.

The transmitter must remove the stones from this path. It is to the person who takes responsibility to transmit that task.

For him, it is a matter of making knowledge pass without the ambiguity of the word.

In my opinion, music does not fit into the areas where knowledge is transmitted by words.

He is bringing the future musician to feel and not to understand in order to cause it to open to non-verbal language, the language of music. The latter gives access to another area of ​​knowledge.

Because of this, musical experience is another type of communicative experience.

In artistic practice, we cannot use the word perfection. We should think of the word "excellence".

The idea of ​​perfection is linked to the anguish of passing time, the fear of making a mistake, the thought of totality and finality.

In spite of himself the artist tends to the unfinished.

Living music is not protected by the risk of making a mistake.

The artist is not an engineer who produces a finished and renewable object at leisure. He is a fragile man walking like a tightrope walker on a tightrope.

It is by miracle that its product, if it is a product, can succeed.

If music is a language, it is non-verbal and does not mean.

It is a language that does not deal with meaning, as with the meaning of a word.

The codes of music are simple: a string produces a sound called a note.

One should feel by listening to the music of the human voice that speaks.

Do not focus solely on the meaning of words but on the music with which these words are articulated, the living sound of each individual being unique. Each living being possesses a sound that distinguishes it from all others.

Transmission is the duty to help the amateur to transform, to metamorphose, to improve slowly without brutality, in the softness, that which helps to blossom each personality.

At first, the amateur cannot memorize everything, because there are many notions to assimilate: calm his body, know how to direct his vision and his listening, find a comfortable position, etc ....

In this BLOG, without leaving the spirit of music, I play as simply as possible. I introduce the piece by playing with small rhythmic formulas; I take my time to progress gradually in continuity, flow and pleasure.

Reading and understanding a guitar score is complicated. I try to overcome these obstacles by making the memory act so that the score becomes a painting like a picture of painting that is contemplated.

This action will make it easier to memorize all these codes.

In Western education, the body has been ignored since Descartes and his insistence on separating the body from the spirit. This duality killed a lot of talent.

I chose to teach from André Hadju's book to pay homage to him, a tribute to his friendship and patience.