Translated by Google
Music Class,
From 30 £ /h
I am an eclectic and curious musician, before any contrabassist. I am also a composer and arranger.
After a master of sociology I make the decision to train myself professionally; I return simultaneously to the conservatory of Agen in jazz and conservatory of Bordeaux in classical to learn bass.
Then, in 2014, I confirm a National Superior Professional Musician Diploma at the Pole Supérieur Paris Boulogne Billancourt through the training at the Didier Lockwood Music Center.
I was trained retrospectively by Jean-Paul Macé, Kent Carter, Gilles Naturel, Marc-Michel Lebevillon, Cristian Diaz, Jean Michel Charbonel, Chris Jennings, Cristophe Dal-sasso, and Carine Bonnefoy (for writing).
All these people have nourished my love and passion for music, which remains for me a long way to explore in search of new knowledge.
It is the diversity of cultures and the wealth of knowledge that drives me to continue to study everything within my reach.
I'm interested in jazz, classical music, Indian music, rock and electronic music ...
I hate taboos and separations between the musical worlds and I think that everyone wins to share their knowledge and their modes of operation.
My way of thinking about learning Music:
I prefer to stay on a principle of pleasure and sharing specific to music.
I find it important to adapt to feed the motivation of the student, especially for young people with whom it is very important to have a fun approach.
Too many students leave demotivated classes of music schools or conservatory; that I practiced for 5 years (since despite my criticisms I still have a prize of jazz conservatory and I followed the training to obtain the DE of jazz which is a diploma of pedagogy).
This involves learning the mechanisms based on improvisation, understanding chords, rhythm and melody.
Regarding the repertoire I am based on the culture of the students, after all they are the main concerned! So the choices of the pieces depend on the desires and the tastes.
The mode of learning depends on the musical style approached, for example I will not make music theory to someone who wants to play the AC / DC (unless he wishes) conversely a person who wants to address jazz can hardly do without notions about harmony.
The purpose of this approach is to develop the independence of the student. The teacher is there to accompany the student at the beginning; he must not become a guardian who can sometimes be transformed over the years into a crutch!
This is my way of seeing pedagogy!
After a master of sociology I make the decision to train myself professionally; I return simultaneously to the conservatory of Agen in jazz and conservatory of Bordeaux in classical to learn bass.
Then, in 2014, I confirm a National Superior Professional Musician Diploma at the Pole Supérieur Paris Boulogne Billancourt through the training at the Didier Lockwood Music Center.
I was trained retrospectively by Jean-Paul Macé, Kent Carter, Gilles Naturel, Marc-Michel Lebevillon, Cristian Diaz, Jean Michel Charbonel, Chris Jennings, Cristophe Dal-sasso, and Carine Bonnefoy (for writing).
All these people have nourished my love and passion for music, which remains for me a long way to explore in search of new knowledge.
It is the diversity of cultures and the wealth of knowledge that drives me to continue to study everything within my reach.
I'm interested in jazz, classical music, Indian music, rock and electronic music ...
I hate taboos and separations between the musical worlds and I think that everyone wins to share their knowledge and their modes of operation.
My way of thinking about learning Music:
I prefer to stay on a principle of pleasure and sharing specific to music.
I find it important to adapt to feed the motivation of the student, especially for young people with whom it is very important to have a fun approach.
Too many students leave demotivated classes of music schools or conservatory; that I practiced for 5 years (since despite my criticisms I still have a prize of jazz conservatory and I followed the training to obtain the DE of jazz which is a diploma of pedagogy).
This involves learning the mechanisms based on improvisation, understanding chords, rhythm and melody.
Regarding the repertoire I am based on the culture of the students, after all they are the main concerned! So the choices of the pieces depend on the desires and the tastes.
The mode of learning depends on the musical style approached, for example I will not make music theory to someone who wants to play the AC / DC (unless he wishes) conversely a person who wants to address jazz can hardly do without notions about harmony.
The purpose of this approach is to develop the independence of the student. The teacher is there to accompany the student at the beginning; he must not become a guardian who can sometimes be transformed over the years into a crutch!
This is my way of seeing pedagogy!
Location
At student's location :
- Around Montreuil, France
At teacher's location :
- Rue des Fédérés, 93100 Montreuil, France
About Me
I am an eclectic and curious musician, before any contrabassist. I am also a composer, arranger and guitarist.
I can offer you lessons in double bass, guitar, harmony, arrangement and writing.
After a master of sociology I make the decision to train myself professionally; I return simultaneously to the conservatory of Agen in jazz and conservatory of Bordeaux in classical to learn bass.
Then I validate in 2014 a National Superior Professional Diploma of Musician at Pole Superior Paris Boulogne Billancourt through the training at the Music Center Didier Lockwood.
I was trained retrospectively by Jean-Paul Macé, Kent Carter, Gilles Naturel, Marc-Michel Lebevillon, Cristian Diaz, Jean Michel Charbonel, Chris Jennings, Cristophe Dal-sasso, and Carine Bonnefoy (for writing).
All these people have nourished my love and passion for music, which remains for me a long way to explore in search of new knowledge.
It is the diversity of cultures and the wealth of knowledge that drives me to continue to study everything within my reach.
I'm interested in jazz, classical music, Indian music, rock and electronic music ...
I hate taboos and separations between the musical worlds and I think that everyone wins to share their knowledge and their modes of operation.
My influences are as diverse as my career since I take so much pleasure to listen to Mingus, Lili Boulanger, Bjork, The silver mount zion or The Bad Plus etc ...
My way of thinking about learning Music:
I prefer to stay on a principle of pleasure and sharing specific to music.
I find it important to adapt to feed the motivation of the student, especially for young people with whom it is very important to have a fun approach.
Too many students leave demotivated classes of music schools or conservatory; that I practiced for 5 years (since despite my criticisms I still have a prize of jazz conservatory and I followed the training to obtain the DE of jazz which is a diploma of pedagogy).
It is possible to organize classes in pairs or trinomials by level and age groups. This is to directly develop a collective approach to music, and thus allow the student to integrate easily into a music group.
Riding a small group or being able to play quickly with another unknown individual is an asset in itself.
This involves learning the mechanisms based on improvisation, understanding chords, rhythm and melody.
Regarding the repertoire I am based on the culture of the students, after all they are the main concerned! So the choices of the pieces depend on the desires and the tastes.
The mode of learning depends on the musical style approached, for example I will not make music theory to someone who wants to play the AC / DC (unless he wishes) conversely a person who wants to address jazz can hardly do without notions about harmony.
The purpose of this approach is to develop the independence of the student. The teacher is there to accompany the student at the beginning; he must not become a guardian who can sometimes be transformed over the years into a crutch!
This is my way of seeing pedagogy!
I can offer you lessons in double bass, guitar, harmony, arrangement and writing.
After a master of sociology I make the decision to train myself professionally; I return simultaneously to the conservatory of Agen in jazz and conservatory of Bordeaux in classical to learn bass.
Then I validate in 2014 a National Superior Professional Diploma of Musician at Pole Superior Paris Boulogne Billancourt through the training at the Music Center Didier Lockwood.
I was trained retrospectively by Jean-Paul Macé, Kent Carter, Gilles Naturel, Marc-Michel Lebevillon, Cristian Diaz, Jean Michel Charbonel, Chris Jennings, Cristophe Dal-sasso, and Carine Bonnefoy (for writing).
All these people have nourished my love and passion for music, which remains for me a long way to explore in search of new knowledge.
It is the diversity of cultures and the wealth of knowledge that drives me to continue to study everything within my reach.
I'm interested in jazz, classical music, Indian music, rock and electronic music ...
I hate taboos and separations between the musical worlds and I think that everyone wins to share their knowledge and their modes of operation.
My influences are as diverse as my career since I take so much pleasure to listen to Mingus, Lili Boulanger, Bjork, The silver mount zion or The Bad Plus etc ...
My way of thinking about learning Music:
I prefer to stay on a principle of pleasure and sharing specific to music.
I find it important to adapt to feed the motivation of the student, especially for young people with whom it is very important to have a fun approach.
Too many students leave demotivated classes of music schools or conservatory; that I practiced for 5 years (since despite my criticisms I still have a prize of jazz conservatory and I followed the training to obtain the DE of jazz which is a diploma of pedagogy).
It is possible to organize classes in pairs or trinomials by level and age groups. This is to directly develop a collective approach to music, and thus allow the student to integrate easily into a music group.
Riding a small group or being able to play quickly with another unknown individual is an asset in itself.
This involves learning the mechanisms based on improvisation, understanding chords, rhythm and melody.
Regarding the repertoire I am based on the culture of the students, after all they are the main concerned! So the choices of the pieces depend on the desires and the tastes.
The mode of learning depends on the musical style approached, for example I will not make music theory to someone who wants to play the AC / DC (unless he wishes) conversely a person who wants to address jazz can hardly do without notions about harmony.
The purpose of this approach is to develop the independence of the student. The teacher is there to accompany the student at the beginning; he must not become a guardian who can sometimes be transformed over the years into a crutch!
This is my way of seeing pedagogy!
Education
Diploma:
Master's degree in Sociology
Dem Double Bass Jazz
Training at DE Jazz
DNSPM Jazz
My way of thinking about learning Music:
I prefer to stay on a principle of pleasure and sharing specific to music.
I find it important to adapt to feed the motivation of the student, especially for young people with whom it is very important to have a fun approach.
Too many students leave demotivated classes of music schools or conservatory; that I practiced for 5 years (since despite my criticisms I still have a prize of jazz conservatory and I followed the training to obtain the DE of jazz which is a diploma of pedagogy).
It is possible to organize classes in pairs or trinomials by level and age groups. This is to directly develop a collective approach to music, and thus allow the student to integrate easily into a music group.
Riding a small group or being able to play quickly with another unknown individual is an asset in itself.
This involves learning the mechanisms based on improvisation, understanding chords, rhythm and melody.
Regarding the repertoire I am based on the culture of the students, after all they are the main concerned! So the choices of the pieces depend on the desires and the tastes.
The mode of learning depends on the musical style approached, for example I will not make music theory to someone who wants to play the AC / DC (unless he wishes) conversely a person who wants to address jazz can hardly do without notions about harmony.
The purpose of this approach is to develop the independence of the student. The teacher is there to accompany the student at the beginning; he must not become a guardian who can sometimes be transformed over the years into a crutch!
This is my way of seeing pedagogy!
Master's degree in Sociology
Dem Double Bass Jazz
Training at DE Jazz
DNSPM Jazz
My way of thinking about learning Music:
I prefer to stay on a principle of pleasure and sharing specific to music.
I find it important to adapt to feed the motivation of the student, especially for young people with whom it is very important to have a fun approach.
Too many students leave demotivated classes of music schools or conservatory; that I practiced for 5 years (since despite my criticisms I still have a prize of jazz conservatory and I followed the training to obtain the DE of jazz which is a diploma of pedagogy).
It is possible to organize classes in pairs or trinomials by level and age groups. This is to directly develop a collective approach to music, and thus allow the student to integrate easily into a music group.
Riding a small group or being able to play quickly with another unknown individual is an asset in itself.
This involves learning the mechanisms based on improvisation, understanding chords, rhythm and melody.
Regarding the repertoire I am based on the culture of the students, after all they are the main concerned! So the choices of the pieces depend on the desires and the tastes.
The mode of learning depends on the musical style approached, for example I will not make music theory to someone who wants to play the AC / DC (unless he wishes) conversely a person who wants to address jazz can hardly do without notions about harmony.
The purpose of this approach is to develop the independence of the student. The teacher is there to accompany the student at the beginning; he must not become a guardian who can sometimes be transformed over the years into a crutch!
This is my way of seeing pedagogy!
Experience / Qualifications
Many project and disc made in very different styles.
Jazz, classical, arabic music, electro jazz, rock, post rock
Jazz, classical, arabic music, electro jazz, rock, post rock
Age
Children (7-12 years old)
Teenagers (13-17 years old)
Adults (18-64 years old)
Seniors (65+ years old)
Student level
Beginner
Intermediate
Advanced
Duration
30 minutes
60 minutes
The class is taught in
French
English
Spanish
Reviews
Availability of a typical week
(GMT -05:00)
New York
At teacher's location
At student's home
Mon
Tue
Wed
Thu
Fri
Sat
Sun
00-04
04-08
08-12
12-16
16-20
20-24
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