Programa de Especialista em Popular Music - Formação Mus OU Educação Mus e Guitarra (com opção de outros Cordofones)
The Continuing Vocational Education and Specialization Course is limited to accept up to 4 applications each year from students and professionals based in Europe and from Portuguese-speaking countries.
Popular Music Graduate Specialization
with Pg professional placement for CPD (PGALPMC-CI)
(previously accredited* Specialization Course for Graduates and acknowledging the ALPMC-CI partnership, at an higher education institution centre)
Now assessed under the officially approved(1) asynchronous tutoring system (video submissions, tutor evaluation and improvement of trainee-performer's profile), developed at ALPMC-CI - a music-specific Research Institution
(*)accreditation obtained by a Continuing Education Centre of the Portuguese Higher Education system, called ES-CEFOC, based at UFP, Porto - renewal of this authorisation is Not mandatory as Specialization degrees and Postgraduate courses are Not controled by the Portuguese Accreditation Agency for Higher Education - the A3ES)
(1) approved at Fundação Universidade Fernando Pessoa, GADI (Dias da Investigação, 2017)
Mandated Course Lecturer - Tutor (course NOW available only through the UFP-GADI approved asynchronous tutoring system, developed at ALPMC-CI)
Carlos Alberto Ferreira Viegas (a voluntary and occasional UFP PostDoc, self-employed Industry PostDoc at CarlosLAB)
SYLLABUSES:
NOTE: syllabuses listed here are only for the continuous assessment and not the final specialization test wich consists of an assessment test after stage 3 level - by submitting an advanced/higher performance video (virtuoso level performance plus an impromptu style application of the diatonic 20-note scale of Carlos Algrace Viegas) and a written project describing the musical approach and techniques used (observational and descriptive research for self-evaluation and specialization test).
Subjects Offered
Classical Guitar for Popular & Jazz Repertoire, Acoustic Guitar, Jazz/Electric Guitar, Cavaquinho, Ukulele, Braguesa Viola or another 10-String Guitar, Rajão from Madeira (Portuguese Isle), Traditional Percussion, Foot Drumming, Carlophone (available soon), Applied Music Theory, Music Research, etc. Skills of Sight-Reading (traditional music notation) and Chart-Reading (chord symbols, rhythm patterns and improvisation), are obligatory.
The 'Learning by Doing' Philosophy
You may study at your own pace by following
the appropriate syllabus. The distance tutorial system/method will be the 'Interactive Tutorial and Video System (asynchronous)'. Then you may submit your work for CONTINUING ASSESSMENT at any time.
You will be asked to provide a tutoring evaluation for internal (self-evaluation) quality assurance purposes, and our Practice-video demos are at least of 720p (the minimum acceptable) or higher. You can record the tune/theme parts and solo/impromptu separately but editing the video during a tune part or solo is not allowed for course quality reasons.
Repertoire for the Assessments
Below, in this website page, we present 5 documents with the 4 repertoire lists and some guidance with information on the qualifications requirements. All our Professional Arrangements (Music Manuscripts) come with an Audio File of Ensemble, Orchestra or Solo Playing (as applicable), prepared for you to learn and perform in your assessments and gain a qualification with a nº of accredited continuing education hours. This is available in classic guitar/fado viola or electric/jazz guitar, braguesa viola (10-string guitar), rajão (5-string guitar), cavaquinho/ukulele, foot drumming, carlophone, etc.
Below, in this website page, we present 5 documents with the 4 repertoire lists and some guidance with information on the qualifications requirements. All our Professional Arrangements (Music Manuscripts) come with an Audio File of Ensemble, Orchestra or Solo Playing (as applicable), prepared for you to learn and perform in your assessments and gain a qualification with a nº of accredited continuing education hours. This is available in classic guitar/fado viola or electric/jazz guitar, braguesa viola (10-string guitar), rajão (5-string guitar), cavaquinho/ukulele, foot drumming, carlophone, etc.
GUITAR (English Edition)
GUITARRA - Edição Portuguesa
FORMAÇÃO MUSICAL/TEORIA
FORMAÇÃO MUSICAL/TEORIA
GUITARRA (Edición Española)
SOLO BASS (English Edition)
Available soon
BAJO SOLO
Available soon
UKULELE (English Edition)
UKULELE (Edición Española)
Available soon
BAJO SOLO
Available soon
UKULELE (English Edition)
UKULELE (Edición Española)
BRAGUESA or Another 10-String Guitar (English Edition)
Available soon
BRAGUESA u Otra Guitarra de Diez Cuerdas (Edición Española)
Available soon
THE ACADEMY'S FRAMEWORK FOR Higher Level CONTINUING EDUCATION & SPECIALIST TRAINING:
PROGRAMME OBJECTIVES (GENERAL) AND RECIPIENTS
This programme aims to provide certificate continuous training for preparing Amateur musicians and music enthusiasts (stage 1) (pop/rock or folk band), professional musicians (stage 2) (ensemble and regular soloist), and for the specialisation continuous training at higher level for professional musicians and teachers (modern orchestra and advanced soloist of traditional/popular music and jazz) (stage 3).
Available soon
BRAGUESA u Otra Guitarra de Diez Cuerdas (Edición Española)
Available soon
Piece/Song Arrangements and Lead Playing Charts are at the minimum standard of Conservatory Grade 8 level of performing difficulty,
which will be Assessed at 3 Performing stages up to the higher level. This means that what is really evaluated here
is the actual Performing and Technical Level at each Training Stage, and Not
the level of pieces as usually required in classical music performance programmes.
Advanced solo playing and improvisation techniques will be central in our
programmes.
For example, the 'Entertainer' by Scott Joplin may be performed as a Grade 5 level Guitar piece or as a Grade 8 guitar song depending on the expected Performing and Technical Standard (i.e., song arrangement and the improvisation skills expected/charts).
For example, the 'Entertainer' by Scott Joplin may be performed as a Grade 5 level Guitar piece or as a Grade 8 guitar song depending on the expected Performing and Technical Standard (i.e., song arrangement and the improvisation skills expected/charts).
CONSERVATÓRIO
INTERATIVO DO CONSELHO
NACIONAL ACADEMIA
LIVRE DE PERFORMERS DE
MÚSICA CONTEMPORÂNEA
-REPERTÓRIO
DO PROGRAMA FORMATIVO-
*****TEMAS À ESCOLHA DOS MEMBROS TITULARES*****
(Apenas uma pequena parte do repertório do Ensemble CI com cerca de 1,200 temas)
Set
1–Música Portuguesa Moderna
1. Barco Negro (Caco Velho)
2. Canção de Embalar (José Afonso)
3. Coimbra (José Galhardo)
4. Canção do Mar (Ferrer Trindade)
5. A Portuguesa (Hino Nacional Português – Alfredo
Keil)
6. Verdes Anos (Carlos Paredes)
7. Queremos Deus (Cântico Católico, Macau)
Set
2–Música Clássica
8. Danúbio Azul (Strauss)
9. Marcha Nupcial (Mendelssohn)
10. The Entertainer (Joplin)
11. Marcha Portuguesa (Bomtempo)
12. O Diplomata (John Philip de Sousa)
13. Invenção em Lá menor (Bach) (transposta para Sib)
14. Concerto em Dó menor (Bach)
15. Polka de la Reine (Raff) (versão em ritmo lento)
16. Partita 1 (Bach)
17. Partita 2 (Bach)
18. Partita 3 (Bach)
19. Partita 4 (Bach)
20. Partita 5 (Bach)
21. Partita 6 (Bach)
22. Partita 7 (Bach)
23. Partita 8 (Bach)
24. Partita 9 (Bach)
25. Partita 10 (Bach)
26. Partita 11 (Bach)
27. Partita 12 (Bach)
28. Partita 13 (Bach)
29. Sonata 1 (Bach)
30. Sonata 2 (Bach)
31. Sonata 3 (Bach)
32. Sonata 4 (Bach)
33. Sonata 5 (Bach)
34. Sonata 6 (Bach)
35. Sonata 7 (Bach)
36. Sonata 8 (Bach)
37. Sonata 9 (Bach)
38. Sonata 10 (Bach)
39. Sonata 11 (Bach)
40. Sonata 12 (Bach)
41. Sonata 13 (Bach)
42. Suíte
e Cuba (Bach)
43. Fuga
em Lá menor (Bach)
44. Fuga
em Ré (Bach)
45. Fuga
em Sol menor (Bach)
46. Invenção
1 (Bach)
47. Invenção
2 (Bach)
48. Invenção
3 (Bach)
49. Invenção
4 (Bach)
50. Invenção
5 (Bach)
51. Concerto
nº1 em Ré menor (Bach)
52. Concerto
nº 1 em Dó (Bach)
53. Concerto
nº2 em Ré menor (Bach)
54. Concerto
nº 2 em Dó (Bach)
55. Quarteto
em Dó (Bach)
56. Quinteto
em Ré (Bach)
Set 3–Folk e Blues
57. West Coast Blues (Blind Blake)
58. Tema de Blues Folk Maior (Peça para tocar de
memória) (Carlos Viegas)
59. Blues-Folk Maior (de memória)
(Carlos Viegas)
60. Blues Rhythm (de memória) (baseado em Robert
Johnson)
61. Blues Melody & Time for Pickin’ (de memória) (baseado em Robert Johnson)
62. It Coulda Been Worse (Roy Book Binder)
63. Dirty Old Town (Irlandesa)
64. Roddy McCorley (Irlandesa)
65. Minstrel Boy (Irlandesa)
66.
Song of the Chanter (Irlandesa)
67. Drops of Brandy
68. Dunkirke
69. Earl Grey
70. The Eddystone Light
71. Eighth of January
72. Eleanor Plunckett
73. Eriskay Love Lilt
74. The Fairy Dance
75. Farewell of Whiskey
76. The Flower of the Quern
77. Fourpence Halfpenny Farthing
78. New York Girls
79. Goodby Dolly Gray
Set 4–Música
Popular Portuguesa
(modinhas e lunduns, contradanças, fados)
(modinhas e lunduns, contradanças, fados)
80. Fado de Coimbra
81. Fado de Cascais
82. Apregoados Clássicos
83. Apregoados Nº2
84. Apregoados Nº3
85. Apregoados Nº4
86. Da Outra Banda do Rio
87. Oh Belem, Oh Belemzinho
88. Bella Aurora
89. Carambolla
90. Fado dos Estudantes
91. Fado Robles
92. Adeus Areal do Rio
93. Arredonda A Saia
94. O Artilheiro
95. Ao Saltar do Barranquinho
96. Aqui Esta’ a Bota
97. A Camponeza
98. Fado Nacional
99. Fado do Sofrimento
100.
A Obra do
Firmamento
101.
D. Agueda de Mexia
102.
Fado Corrido
103.
Apregoados
Clássicos
104.
Apregoados Nº2
105.
Apregoados Nº3
106.
Apregoados Nº4
Set 5–Música
Popular Portuguesa
(modinhas e lunduns, contradanças, fados)
(modinhas e lunduns, contradanças, fados)
107.
Da Outra Banda do
Rio
108.
Oh Belem, Oh
Belemzinho
109.
Bella Aurora
110.
Carambolla
111.
Fado dos Estudantes
112.
Fado Robles
113.
Fado do Celta
114.
As Vaccas
115.
Cruel Saudade
116.
Ela por Ela
117.
Estes Moços de
Agora
118.
Folgadinho
119.
Landina
120.
Ludum Figueira
121.
Marcia Bela
122.
Roxo Botão
123.
Moqueca
124.
O Padresinho
125.
Frei Paulino
126.
Quando Eu Era
Pequenino
127.
Ai Que Riso Me Dá
128.
A Yayasinha
Set 6–Música
Popular Portuguesa e Brasileira
(fados, lunduns, modinhas, contradanças, samba, choro e maxixe)
(fados, lunduns, modinhas, contradanças, samba, choro e maxixe)
129.
Avè Maria (Ilha de
São Miguel)
130.
O Ceguinho
131.
Fado João de Deus
132.
Atraz das Pulgas
133.
O António Geraldo
134.
Avè Maria
135.
A Saudade
136.
A Boda dos
Pintainhos
137.
A Despedida do
Marujo
138.
Ao Nosso Algarve
139.
Sekush Marinyeros
140.
Fado Carmona
141.
Fado do Gato
142.
Que Vale a Nota sem
o Carinho da Mulher
143.
Quando Come se
Lambuza
144.
7 Coroas
145.
Baya, Niña
146.
Oh Que Bellas Moças
147.
Só Ouço Bradar
148.
Fado da Severa
149.
Fado de Vimioso
150.
A Favorita
151.
Ano Bom
152.
Mil e Uma
Trapalhadas
153.
A Favela Vai a
Baixo
154.
Tico Tico no Fubá
155.
Sons de Carrilhões
Set 7
Set 8–Jazz
(inclui bossa nova)
[para ser tocado de memória]
[para ser tocado de memória]
166.
A Garota de Ipanema
167.
All Blues
168.
All of Me
169.
Angel Eyes
170.
Blue Bossa
171.
Blues for Nina (Joe Pass)
172.
Bright Size Life
173.
Corcovado
174.
Fortune (Frank Gambale, álbum de 2006)
175.
Humpty Dumpty
176.
Insensatez
177.
Minor Swing
178.
Oleo
179.
Ornithology
180.
Road Song
181.
So What
182.
Straight, No Chaser
183.
Summertime
184.
Take Five
185.
Tune Up
186.
Tenor Madness
187. Robo Roo (Frank Gambale)
Todos os 187 temas mencionados acima deverão ser re-arranjados de acordo com o nível da formação (etapa do curso de especialização) e requerem um alto nível de
performance musical, principalmente na etapa 3. As etapas 1 e 2 são mais concentradas na construção de um largo repertório por leitura à 1ª vista e com secção de variações espontâneas ou solos seguindo um chart de harmonia.
Exemplo de Estrutura e regras a
seguir no programa do C.I.
A
(Intro) | AABABA (Tema) | AABA (Solos-Improvisos x4) | AABABA (Tema) |
AABA (solo curto x1) | Coda, Fine, Turnaround e Fine* (últimos 4 compassos x2), ou fadeout
*o
‘Fine’ normalmente é o acorde 'I' da música
Nos
temas sem cifra Americana – para os solos-improvisos escreve-se um cifrado a
partir dos baixos e
interpretando as linhas melódicas (sustenidos, bemóis, etc.).
interpretando as linhas melódicas (sustenidos, bemóis, etc.).
Na
‘escola’ clássica escrevem-se os graus tonais para o impromptu (opening) e a
extemporização
(desenvolvimento).
(desenvolvimento).
Tocam-se os temas em andamento lento e tempo rubato, usando a expressão como fator
primordial.
Abordagem de Standards sem alterar o estilo original
de cada tema:
Intro
(tocar o ‘A’ 1 vez), ou,
se o tema iniciar em ‘anacrusa’ o vocalista é que começa, não havendo a
necessidade de fazer um ‘intro’.
Tema
– partes AABA ou outra forma
(se for com vocalista escrevem-se as partes a repetir de acordo com a letra da
música) [introduções e solos intermédios não se incluem, e passam-se à frente]
Nota: escrever
os patterns rítmicos ou patterns dedilhados como ‘opening’ a usar com os
acordes dos compassos seguintes (quando tiver um riff, este escreve-se também
como ‘opening’)
Solos
ou Improvisos x2 ou x4
(usar trade 4s ou trade 8s se forem vários músicos a solar) (escrever o nome
das escalas ou modos, ou arpejos se necessário – os lead patterns ficam ao
estilo e gosto do solista) – caso seja um solo simples e melódico que só
por si defina o tema, toca-se aqui, mas escreve-se ou memoriza-se da mesma
forma que um ‘tema’ de jazz standard
Tema (seguir a regra dada no
início)
Coda
e Fine, ou Turnaround (repetir os últimos 4 ou 8 compassos x2 ou x3) e Fine (por vezes usa-se um ritardando antes do Fine), ou ainda Turnaround
e Fade out
Instruções para uma boa
performance:
Os arranjos da ‘guitarra 2’
(para duetos de guitarra) que estão em várias partituras de música Portuguesa e
Brasileira deverão ser tocados em conjunto com as melodias.
A maioria destas partituras não
vêm com cifra Americana (da mesma forma que a ‘escola’ clássica) pelo que para
a improvisação é necessário analisar a tonalidade do tema pela armação de clave
e melodia harmonizada, podendo ser de tonalidade maior, menor ou modal. Os solos
fazem-se seguindo a harmonia de cada compasso ou a 1ª nota da melodia (no
início de cada compasso) como ponto de partida. Bemóis ou sustenidos serão
abordados pela escala ou arpejo diminuto.
Em todos os temas, níveis de
qualificação do ALPMC-C.I. – i.e., certificado nível 4/5 e diploma nível 5,
estágio de 1 ano para técnico superior (nível 6), e diploma nível 7 - e situações
musicas (grupo, orquestra, artista de serviço ‘à la carte’ ou concertista),
seguem-se as regras estabelecidas e mencionadas acima – o pré-requisito mínimo
é a frequência do 12º ano de qualquer curso secundário (11º concluído), ou equivalente (exemplo
de equiv. - ter passado o exame de 8º grau num Conservatório de ensino
secundário e ensino profissional).
Nota: deve escrever-se o Riff,
Pattern Rítmico ou Pattern Fingerstyle (arpejado) em cada “Chart”.
“É só a Música”
(Nothing but the Music)
(Carlos Viegas)
Todos os direitos reservados
2020 © Carlos Viegas
Os temas são tocados em
tempo rubato
Nota: nas partituras que não
têm cifra Americana os temas são re-harmonizados por intervalos utilizando
várias técnicas de contraponto (escolher uma técnica para cada tema), e
altera-se o intervalo correspondente à nota da menor harmónica (etapa 1) e da
menor melódica (etapa 2 e 3). A etapa 3 será um aperfeiçoamento técnico na
extemporização. Os temas não podem ser os mesmos nas diferentes etapas.
O nível de acreditação da
formação contínua nas 3 etapas (níveis ALPMC-CI) é o seguinte:
Etapa 1 – nível 4 do QNQ (não existem
pré-requisitos)
Etapa 2 – nível 5 do QNQ (Certificado de Formação Inicial) CertALPMC-CI
Etapa 3 – nível 6/7 do QNQ, qualificação profissional/não conferente de grau
(aprofundar a técnica do instrumento ao nível superior) (Diploma de Formação
Contínua ou Certificado de Especialista) DipALPMC-CI ou PGALPMC-CI
*Por outro lado, os bacharéis e licenciados ou detentores
de título superior, que concluam a etapa 3 obtém um Certificado de
Especialização através da acreditação recebida por centro de IES, e também pelo
alto nível técnico e científico exigido nesta etapa. Estes graduados estão
dispensados dos projetos finais das etapas 1, 2 e 3 do programa (500 horas de
projeto para a prova final/teste em cada uma das etapas). Deverão concluir as componentes
‘instrumento I e II’ e 1 componente teórica. Um comprovativo válido do grau
académico ou título superior será necessário para a dispensa dos projetos
supracitados, e do instrumento III e das outras componentes teóricas do
DipALPMC-CI. Neste caso específico será emitido um Certificado de
Especialização, e não o Diploma da Academia.
THE ACADEMY'S FRAMEWORK FOR Higher Level CONTINUING EDUCATION & SPECIALIST TRAINING:
PROGRAMME OBJECTIVES (GENERAL) AND RECIPIENTS
This programme aims to provide certificate continuous training for preparing Amateur musicians and music enthusiasts (stage 1) (pop/rock or folk band), professional musicians (stage 2) (ensemble and regular soloist), and for the specialisation continuous training at higher level for professional musicians and teachers (modern orchestra and advanced soloist of traditional/popular music and jazz) (stage 3).
ACCREDITED LEARNING also valid for Continuing Education credits in a teaching council
Intermediate I Modules
Performance Practice for Consolidation - technical study & warm ups
Performance Studies & Assessment
Continuing Intermediate I
Modules & Intermediate II
Modules 1-4: Performance Practice for Consolidation - technical study & warm ups
Modules 5-6: Performance Studies & Assessments
Intermediate
II Advanced Modules
Modules 1-4: Performance Practice for Consolidation - technical study & warm ups
Modules 5-6: Performance Studies & Assessments
Certification Chart & Regulations approved by the Board Chairman on this
day, the 7th of October of 2019, in Anadia, Aveiro, Portugal
Professor Carlos Viegas
Free Academy of PMC, Portugal
Free Academy of PMC, Portugal
The subjects available at 3 levels are 12 - all of them adhere to our academically accredited course curriculum
Classical Guitar (For Bach, Bossa Nova and Samba of Brazil, Traditional Music of any country, Fado of Portugal and Jazz styles)
Acoustic Guitar
Acoustic Guitar
Jazz/Electric
Guitar
Viola Braguesa (10-string guitar)
Ukulele
Cavaquinho
Cavaquinho
Rajão from Madeira (5-string guitar)
Traditional Percussion (level 1 only)
Applied Music Theory
Composition & Arranging (levels 1 and 2 only)
Sacred/Classical Music Literacy/Theory
Sacred/Baroque Music Performance
Foot Drumming (level 1 only)
Carlophone (Not Yet Available - this subject will be for the level 1 only)
Music Research (advanced training)
Applied Music Theory
Composition & Arranging (levels 1 and 2 only)
Sacred/Classical Music Literacy/Theory
Sacred/Baroque Music Performance
Foot Drumming (level 1 only)
Carlophone (Not Yet Available - this subject will be for the level 1 only)
Music Research (advanced training)
*The Academy's Secretariat and Assessment Centre (Interactive Conservatory) holds the instruments mentioned
above of professional quality, for producing tutorials. Our Library and e-Library (Archive Collections), located
in the Secretariat and deposited and arquived in the National Library, holds more than 2,000,000 titles and editions including books, e-books, manuscripts, journals,
e-journals, audio and video recordings and academic articles – from whose 99,8% are the Academy’s own editions and titles.
Stage 1
1 Bach Piece with Extemporisation (e.g., spontaneous melodies and counterpoint) from the repertoire lists [i.e., a non-jazz spontaneous composition - baroque style] (major scale, minor scale, harmonic minor scale, melodic minor scale with descending natural minor, major, minor and 7th arpeggios, diminished arpeggios in intermediate scale degrees/passing chords, and augmented arpeggios in the 5th scale degree); 2 Pop/Rock, Folk & Blues, Popular Music or Jazz Songs with solo improvisations (pent. and blues scales, arpeggios, major modes and harmonic minor modes) with a 'Play Along' (the play-along can be provided for this purpose). Level of dificulty in Performance will be equal to conservatory grade 8 in popular music performance. Knowledge of scales for the lead guitar parts: pentatonic major and minor, major and minor blues, combining pent./blues scales, major scale modes and all triads, major scale modes, harmonic minor, major phrygian and melodic minor scales (minimum Conservatory grade 2/3 of music theory in practice (i.e., 3 levels below the performance level) is required before enrolling)). In sight-reading this is also true because sight-reading tests are usually made from Music of 3 levels (or grades) below the performance level of the candidate.
1 Bach Piece with Extemporisation (e.g., spontaneous melodies and counterpoint) from the repertoire lists [i.e., a non-jazz spontaneous composition - baroque style] (major scale, minor scale, harmonic minor scale, melodic minor scale with descending natural minor, major, minor and 7th arpeggios, diminished arpeggios in intermediate scale degrees/passing chords, and augmented arpeggios in the 5th scale degree); 2 Pop/Rock, Folk & Blues, Popular Music or Jazz Songs with solo improvisations (pent. and blues scales, arpeggios, major modes and harmonic minor modes) with a 'Play Along' (the play-along can be provided for this purpose). Level of dificulty in Performance will be equal to conservatory grade 8 in popular music performance. Knowledge of scales for the lead guitar parts: pentatonic major and minor, major and minor blues, combining pent./blues scales, major scale modes and all triads, major scale modes, harmonic minor, major phrygian and melodic minor scales (minimum Conservatory grade 2/3 of music theory in practice (i.e., 3 levels below the performance level) is required before enrolling)). In sight-reading this is also true because sight-reading tests are usually made from Music of 3 levels (or grades) below the performance level of the candidate.
Guidelines for presenting the 3rd popular piece/traditional song for assessment: at level 1 you must choose 2 popular pieces, traditional or folk music songs and present videos performing them in an Academy music specialty (i.e., not for copying the original song style and structure), following a music score with a standardised song structure for instrumental music in the student's own style/arrangement. The term 'Bend' can be used for solos in 1/2 tone bends only, in the same way as for acoustic guitar. For classical guitar we use the term 'Appoggiatura'. Other expressions and ornaments are at the musicians own taste. You should present re-arranged chord-melodies provided by the Academy without play-along (unaccompanied performances). Lead playing will be also required for an instrumental solo, improvising it in the song's style by following some improvisational notes given in the lead playing section. Good sight reading and improvisation skills (scales, modes, arpeggios and patterns) are needed.
*Lead sheets will be for melody lines and for improvising a solo using specialist techniques, applicable to any
plucked-string instrument in lead playing, for example: flat-picking, fingerstyle picking, alternate picking, regular and fast legatos,
slide guitar (with blues scale), sweep picking, regular tapping (with
pentatonics), palm mute, and ‘whammy’ bar (strat type tremolo) if applicable to your playing style.
Stage 2
3 Fingerpicking or Chord Melody Pieces, both with Improvisation in major and harmonic minor modes, melodic minor scale and super locrian mode, arpeggios, basic percussive guitar, speed legatos and regular sweep picking. Level of dificulty of pieces in the Concert Programme will be higher than the conservatory grade 8 in popular music performance/jazz. (minimum conservatory grade 3/4 of music theory in practice (i.e., instrument-related) is needed)).
3 Fingerpicking or Chord Melody Pieces, both with Improvisation in major and harmonic minor modes, melodic minor scale and super locrian mode, arpeggios, basic percussive guitar, speed legatos and regular sweep picking. Level of dificulty of pieces in the Concert Programme will be higher than the conservatory grade 8 in popular music performance/jazz. (minimum conservatory grade 3/4 of music theory in practice (i.e., instrument-related) is needed)).
*Lead sheets will be for chord-melody (with chord symbols and harmonic rhythm over the melody lines) and improvised solos using specialist techniques (harmonic minor modes and some melodic minor modes, patterns and speed legatos). This level of training is the professional standard for service musicians and solo musicians which will require advanced sight-reading and higher level improvisation techniques. We prepare our trainees to become true professionals or 'working' musicians who can perform live in different situations without the need of reharsing or previous practice, and with the creativity and confidence to show their own style when playing the songs. Musical scores come with the song or instrumental piece melody lines, re-arranged chord-symbols (prepared for chord-melody playing) and improvisation charts.
Stage 3
1 Popular/Jazz Orchestral Piece as a soloist in Chord Melody, and 2 Songs in Stride Guitar (using advanced chord inversions and substitutions, and advanced harmony alterations). Songs must be followed by an Advanced Improvisation (all jazz melodic minor modes and symmetric scales, including the chromatic scale, must be used consistently) and the application of Speed Legato and Advanced Sweep Picking. (minimum conservatory Grade 6 of Music Theory in Practice (i.e., instrument-related) is needed)).
1 Popular/Jazz Orchestral Piece as a soloist in Chord Melody, and 2 Songs in Stride Guitar (using advanced chord inversions and substitutions, and advanced harmony alterations). Songs must be followed by an Advanced Improvisation (all jazz melodic minor modes and symmetric scales, including the chromatic scale, must be used consistently) and the application of Speed Legato and Advanced Sweep Picking. (minimum conservatory Grade 6 of Music Theory in Practice (i.e., instrument-related) is needed)).
*Lead
sheets will be for advanced chord-melody (with chord symbols and harmonic rhythm
over the melody lines) and improvised solos using the most advanced specialist
techniques. This can be stride guitar with foot percussion for concert style musicians Or advanced solo playing for professional service musicians who want to brush up their skills beyond the ALPMC-CI level 2.
Regulamentação:
A parte curricular do
programa de formação contínua (qualificação profissional) e formação
especializada (pós-graduação de especialização) da ALPMC – CI foi acreditado em 2012 de acordo
com a alínea ‘c’ do art. 10 (i.e., centro de formação de associação
profissional), e n º4 do art. 12 (consultadoria científica e metodológica recebida por parte
de unidade orgânica de IES), do DL 22/2014 de 11 de fevereiro
(Ministério da Educação e Ciência).
Sight-reading and chart-reading:
Knowledge in sight-reading tune books and fake books is mandatory in the
same way as in the classical music field. In our field it is
also used chart-reading (chord symbols with rhythm patterns). If you need good
learning materials for sight-reading please ask the Academy's Moderator.
Sight-reading and
improvisation are mandatory skills at the Academy, because a Professional Service
Musician should be well-trained and
capable of reading music lead-sheets at sight for any intermediate level
song/piece, and improvise or extemporize a melodic variation with dynamics, expressions and ornaments.
Any Service Musician, either in Solo Performance or in Duet/Trio with a Singer,
should be well trained, which will help a lot in getting a professional music job. Please remember that this is higher level training, not a grade music exam.
Submission of
videos and continuing evaluation (orientation/moderation):
Videos submitted for the assessment levels should be
of 720p to 1080p (high definition). Trainees study each module on their own, leaving
extra learning freedom.