Be(at) the Rhythm - A comprehensive approach to rhythmic training through voice and body-based exercises
From 42.84 £ /h
While rhythm is a core element of strong musicianship, developing a solid rhythmic foundation through voice and body is sometimes completely overlooked. In particular, the use of voice and body — key to embodiment — is neither automatic nor self-evident as a way to internalize rhythm, and too often reading rhythmic solfège is the only path explored.
In these lessons, we will practice rhythm through the understanding and application of Konnakol (South Indian Carnatic rhythmic solfège) alongside other techniques and approaches, in order to conceive of rhythm in different ways and integrate it into performance.
We will work on rhythmic freedom and embodiment, internal pulse and timing, subdivisions and grouping, phrasing and patterns displacement, cross-rhythms, odd meters, and different feels. You will come away with new ideas, improve your timing, greater independence in your playing, and obtain a set of tools to practice self-sufficiently.
Be(at) the Rhythm is designed for both singers and instrumentalists who want to better embody rhythm, enlarge their vocabulary of rhythmic concepts, and improve overall rhythmic awareness.
The lessons will be tailored to each student.
I will adapt to your learning pace while keeping you challenged at the same time. You will receive regular feedback, advice, and guidance.
[For instrumentalists: I will support you in translating and applying these techniques to your instrument.]
In these lessons, we will practice rhythm through the understanding and application of Konnakol (South Indian Carnatic rhythmic solfège) alongside other techniques and approaches, in order to conceive of rhythm in different ways and integrate it into performance.
We will work on rhythmic freedom and embodiment, internal pulse and timing, subdivisions and grouping, phrasing and patterns displacement, cross-rhythms, odd meters, and different feels. You will come away with new ideas, improve your timing, greater independence in your playing, and obtain a set of tools to practice self-sufficiently.
Be(at) the Rhythm is designed for both singers and instrumentalists who want to better embody rhythm, enlarge their vocabulary of rhythmic concepts, and improve overall rhythmic awareness.
The lessons will be tailored to each student.
I will adapt to your learning pace while keeping you challenged at the same time. You will receive regular feedback, advice, and guidance.
[For instrumentalists: I will support you in translating and applying these techniques to your instrument.]
Extra information
Contact me before the first lesson for all practical details. Pricing varies, as this class can also be taught in groups of up to 5 participants.
Location
At teacher's location :
- Smiley's Barbershop, Stille Veerkade, The Hague, Netherlands
About Me
Hello! My name is Cristiano, and I am an Italian multi-instrumentalist, composer, music theorist, and educator based in The Hague.
I specialize in jazz and improvised music, but throughout my musical journey I have embraced and performed many different styles including Blues, Folk, Classical, Contemporary, Fusion, Prog, Rock, Pop, and World Music. Over the years, I have studied violin, guitar, singing, composition, and improvisation with internationally renowned musicians across Europe and abroad. After several years of artistic development, I specialized in Music Education at the Royal Conservatoire of The Hague, where I later taught for ten years.
Since 2009, I have worked with students of different ages, levels, and musical backgrounds, helping them develop their creativity, musical awareness, skills, and confidence.
My teaching approach combines technical development with aural training, embodiment, musical sensitivity, interaction, and ear–instrument connection. Rather than focusing only on mechanical repetition, I aim to help students understand music deeply while developing their own artistic voice in a creative and supportive environment.
Whether you are a beginner, an advanced musician, or simply curious about improvisation and creativity in music, I look forward to sharing my passion with you in one of my classes!
I specialize in jazz and improvised music, but throughout my musical journey I have embraced and performed many different styles including Blues, Folk, Classical, Contemporary, Fusion, Prog, Rock, Pop, and World Music. Over the years, I have studied violin, guitar, singing, composition, and improvisation with internationally renowned musicians across Europe and abroad. After several years of artistic development, I specialized in Music Education at the Royal Conservatoire of The Hague, where I later taught for ten years.
Since 2009, I have worked with students of different ages, levels, and musical backgrounds, helping them develop their creativity, musical awareness, skills, and confidence.
My teaching approach combines technical development with aural training, embodiment, musical sensitivity, interaction, and ear–instrument connection. Rather than focusing only on mechanical repetition, I aim to help students understand music deeply while developing their own artistic voice in a creative and supportive environment.
Whether you are a beginner, an advanced musician, or simply curious about improvisation and creativity in music, I look forward to sharing my passion with you in one of my classes!
Education
- Master Degree in Music Education – Royal Conservatoire of The Hague
(specialization in Jazz Guitar and ensemble-leading)
- Master Degree in Jazz Violin & Improvised Music – C.M.D.L. Paris
- Bachelor Degree in Philosophy – La Sapienza University of Rome
(specialization in Jazz Guitar and ensemble-leading)
- Master Degree in Jazz Violin & Improvised Music – C.M.D.L. Paris
- Bachelor Degree in Philosophy – La Sapienza University of Rome
Experience / Qualifications
I have been teaching since 2009 through private lessons, workshops, ensemble coaching, and masterclasses for both instrumentalists and singers.
From 2015 to 2025, I taught in several departments at the Royal Conservatoire of The Hague as a primary instrument teacher, ensemble coach, researcher, and lecturer. I have also collaborated with institutions including CODARTS Rotterdam, and the Academy of the Concertgebouworkest Amsterdam.
My teaching experience ranges from beginners to professional musicians, with a particular focus on improvisation, ensemble interaction, ear training, composition, and creative music-making.
As a performer, I have been active since 2007, leading and collaborating on a wide range of musical projects in different genres and settings, from intimate violin-guitar duos to large ensemble productions across Italy, France, Spain, Poland, and the Netherlands.
Currently, I am mostly engaged in interdisciplinary collaborations that merge music and dance, as I am focusing my artistic development on the interplay between sound and movement in improvised performances.
From 2015 to 2025, I taught in several departments at the Royal Conservatoire of The Hague as a primary instrument teacher, ensemble coach, researcher, and lecturer. I have also collaborated with institutions including CODARTS Rotterdam, and the Academy of the Concertgebouworkest Amsterdam.
My teaching experience ranges from beginners to professional musicians, with a particular focus on improvisation, ensemble interaction, ear training, composition, and creative music-making.
As a performer, I have been active since 2007, leading and collaborating on a wide range of musical projects in different genres and settings, from intimate violin-guitar duos to large ensemble productions across Italy, France, Spain, Poland, and the Netherlands.
Currently, I am mostly engaged in interdisciplinary collaborations that merge music and dance, as I am focusing my artistic development on the interplay between sound and movement in improvised performances.
Age
Teenagers (13-17 years old)
Adults (18-64 years old)
Seniors (65+ years old)
Student level
Beginner
Intermediate
Advanced
Duration
45 minutes
60 minutes
90 minutes
The class is taught in
English
Italian
French
Reviews
Availability of a typical week
(GMT -04:00)
New York
At teacher's location
Mon
Tue
Wed
Thu
Fri
Sat
Sun
00-04
04-08
08-12
12-16
16-20
20-24
The ability to improvise is not a natural skill that we are born with.
It is an understandable chain of tools that can be learned and practiced into performance. Improvisation is something that requires discipline as much as freedom, and in fact, it stems from the understanding of sounds, the music's natural grammar.
Violin is mostly seen as a melodic instrument but it can be otherwise. Outside of the classical world, rhythm reigns and the violin can be a leading rhythmical instrument too, providing solid grooves and accompaniments or challenging your fellow musicians with percussive sounds.
Furthermore, to be proficient in specific styles, it is not enough to just play scales and patterns but it is necessary to learn the colors of the proper harmonical framework which is part of an idiom.
In 10 years of teaching, I developed an approach that rethinks the function of fingerboard visualization allowing you to transpose in any key with great facility and to understand the logic behind the shapes of any chord on the fingerboard.
In these lessons, I will help you to rethink the violin out of the box, as a powerful rhythmical and harmonical instrument while deepening your melodic ability (soloing) related to the styles you want to play: Jazz, Blues, Fusion, Pop, Rock, Brazilian, World Music. [According to the style we will also be working with loops and effects]
This class is designed for musicians who already have good tecnichal knoledge of their instrument [bachelor degree on string instrument] but addresses both beginner and advanced players in relation to the field of improvised music.
The lessons will be custom made for each student. Whether you are a beginner or an advanced player I will work to adapt to your learning rhythm while keeping you challenged at the same time. You will receive regular feedback, advice, and guidance and materials.
Don't hesitate to contact me for more details!
It is an understandable chain of tools that can be learned and practiced into performance. Improvisation is something that requires discipline as much as freedom, and in fact, it stems from the understanding of sounds, the music's natural grammar.
Violin is mostly seen as a melodic instrument but it can be otherwise. Outside of the classical world, rhythm reigns and the violin can be a leading rhythmical instrument too, providing solid grooves and accompaniments or challenging your fellow musicians with percussive sounds.
Furthermore, to be proficient in specific styles, it is not enough to just play scales and patterns but it is necessary to learn the colors of the proper harmonical framework which is part of an idiom.
In 10 years of teaching, I developed an approach that rethinks the function of fingerboard visualization allowing you to transpose in any key with great facility and to understand the logic behind the shapes of any chord on the fingerboard.
In these lessons, I will help you to rethink the violin out of the box, as a powerful rhythmical and harmonical instrument while deepening your melodic ability (soloing) related to the styles you want to play: Jazz, Blues, Fusion, Pop, Rock, Brazilian, World Music. [According to the style we will also be working with loops and effects]
This class is designed for musicians who already have good tecnichal knoledge of their instrument [bachelor degree on string instrument] but addresses both beginner and advanced players in relation to the field of improvised music.
The lessons will be custom made for each student. Whether you are a beginner or an advanced player I will work to adapt to your learning rhythm while keeping you challenged at the same time. You will receive regular feedback, advice, and guidance and materials.
Don't hesitate to contact me for more details!
What is music theory? Is it just one theory? What do we do with it? How come so many of the greatest musicians didn't even know the name of the notes?
Let's dispel the myth. They may, in fact, have lacked the names, but "knowing" in music means something else than a dusty stockpile of information and labels. Their ears, their voice, and their hands "know" very well.
We can conceive music theory as a way to bring order into the endless realm of sound possibilities. Naming and conceptualizing these possibilities is useful in many ways. I like to think of it in two directions: on the one hand, theory provides us with an overarching understanding of what we have done with music, allowing us to generalize and repeat certain principles in other contexts (reflective element); on the other hand, it can also open us up to new sound combinations as we theorize and create concepts we haven't yet heard in music (generative element). One point remains crucial: music theories come from musical practice and return to musical practice. Theories are most useful when they serve music-making, but remain empty speculation without it.
In these lessons, I will help you navigate music theories and what to do with them. I will show you a plurality of approaches to systematizing sound relationships that will best serve the music you love to play or want to compose.
The lessons will be custom made for each student. Whether you are a beginner who simply wants a little help getting the basics right, or a cultivated musician fond of music theory who wants to explore advanced and complex concepts out of the box, I will provide you with ideas, materials, and exercises. I will adapt to your learning rhythm while keeping you challenged. You will receive regular feedback, advice, and guidance.
Let's dispel the myth. They may, in fact, have lacked the names, but "knowing" in music means something else than a dusty stockpile of information and labels. Their ears, their voice, and their hands "know" very well.
We can conceive music theory as a way to bring order into the endless realm of sound possibilities. Naming and conceptualizing these possibilities is useful in many ways. I like to think of it in two directions: on the one hand, theory provides us with an overarching understanding of what we have done with music, allowing us to generalize and repeat certain principles in other contexts (reflective element); on the other hand, it can also open us up to new sound combinations as we theorize and create concepts we haven't yet heard in music (generative element). One point remains crucial: music theories come from musical practice and return to musical practice. Theories are most useful when they serve music-making, but remain empty speculation without it.
In these lessons, I will help you navigate music theories and what to do with them. I will show you a plurality of approaches to systematizing sound relationships that will best serve the music you love to play or want to compose.
The lessons will be custom made for each student. Whether you are a beginner who simply wants a little help getting the basics right, or a cultivated musician fond of music theory who wants to explore advanced and complex concepts out of the box, I will provide you with ideas, materials, and exercises. I will adapt to your learning rhythm while keeping you challenged. You will receive regular feedback, advice, and guidance.
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