Bruno - Profe de violonchelo - Schenectady
1ra clase gratis
Bruno - Profe de violonchelo - Schenectady

Es el mejor de los profes. Calidad del perfil, excelencia del diploma, respuesta garantizada. Bruno organizará cuidadosamente tu primera clase de Violonchelo.

Bruno

Es el mejor de los profes. Calidad del perfil, excelencia del diploma, respuesta garantizada. Bruno organizará cuidadosamente tu primera clase de Violonchelo.

  • Tarifa $3006
  • Respuesta 1h
  • Alumnos

    Número de alumnos que Bruno ha acompañado desde que se unió a Superprof

    50+

    Número de alumnos que Bruno ha acompañado desde que se unió a Superprof

Bruno - Profe de violonchelo - Schenectady
  • 5 (50 opiniones)

$3006/h

1ra clase gratis

Contactá al profe

1ra clase gratis

1ra clase gratis

  • Violonchelo

Violoncellista galardonado, graduado con honores en los EE.UU. y más de 10 años de experiencia docente da clases online a estudiantes de todas las edades.

  • Violonchelo

Modalidad de la clase

Embajador

Es lo máximo dentro de los profesores. Perfil de calidad, diploma validado, respuesta garantizada. Bruno organizará cuidadosamente tu primera clase Violonchelo.

Sobre Bruno

Graduado con honores de la Universidad del Sur de Mississippi (EE.UU.) donde ha estudiado gracias a una beca completa, el cellista, cantante e improvisador Bruno D'Ambrosio cuenta con una amplia participación discográfica que va desde la música contemporánea hasta el world music, el folklore y el tango.

En 2013 recibió el Premio Carlos Gardel (equivalente argentino a los Premios Grammy) al mejor álbum “Instrumental – Fusión – World Music” por el trabajo “Subversiones” junto al Ensamble Chancho a Cuerda, y varios compositores argentinos de renombre le han dedicado piezas para el instrumento, entre ellos Horacio Lavandera, Evelyn Frosini, Guillermo Jorge Zalcman, Julián Galay y Ariel Hagman.

Ha colaborado con artistas internacionales como Nadja Salerno-Sonnenberg, Deborah Voigt, Stanimir Todorov, Amit Peled, Liliana Herrero, Iñaki Urlezaga y Eleonora Cassano en teatros tanto del norte como del sur del continente americano, y se ha desempeñado como guía de fila y solista en varias ocasiones con orquestas de Brasil y Argentina.

Desde 2016 interpreta un repertorio de canciones de autoras y autores latinoamericanos acompañándose con su violoncello, habiéndose presentado en salas de EE.UU., Colombia, Brasil y Argentina.

Bruno cuenta con más de 10 años de experiencia docente, habiendo enseñado tanto de forma privada como en distintas instituciones. En 2018 y 2019 dictó talleres de tango en el multicultural Festival Ocobo, en Ibagué, Colombia, representando a la Universidad del Sur de Mississippi. En 2019 estuvo a cargo, junto al Ensamble GEAM, de la tercera edición de “Residencias”, una semana de trabajo intensivo en el Centro de Experimentación del Teatro Colón de Buenos Aires, ofreciendo programas de conciertos, actividades educativas, de extensión y laboratorios de experimentación en diversas formaciones junto a jóvenes compositores, directores y estudiantes. En 2022 dictó el taller “Improvisación de solos de tango” en la segunda edición del Festival Puntal – El violonchelo en las músicas populares en el Conservatorio Superior de Música Manuel de Falla.

Ver más

Acerca de la clase

  • Todos los niveles
  • Español

Todos idiomas hablados para las clases :

Español

El contenido de las clases suele variar dependiendo de los intereses de cada estudiante. Algunas personas eligen la receta tradicional de repertorio académico complementado por escalas, ejercicios y estudios, mientras que otras prefieren un enfoque basado en piezas populares y canciones, desarrollando sus habilidades a partir de éstas.

Independientemente del camino que elijamos, uno de los ejes principales será el desarrollo de una técnica sana, cultivando una postura eutónica y hábitos de práctica saludables, aplicando las pautas de cuidado muscular proporcionadas por médicos especializados y las enseñanzas de distintas disciplinas de trabajo corporal.

Buscaremos entender los conceptos mecánicos detrás de la técnica del instrumento, para que cada estudiante pueda experimentar con los parámetros en juego y pueda llegar al resultado deseado frente a diferentes desafíos, sin tener que depender de la imitación del docente y ganando así mayor independencia en su proceso de aprendizaje.

Nos serviremos de la improvisación como herramienta para trabajar la técnica de una manera dinámica, pudiendo eventualmente desligarnos de ejercicios escritos, y la utilizaremos también como un medio para desarrollar nuestra capacidad interpretativa y de expresión personal. En un espíritu similar, podremos usar la voz como un complemento en nuestro proceso de aprendizaje, como así aprender a cantar y acompañarnos con el violoncello.

Trabajaremos la lectoescritura y aprenderemos teoría y análisis musical, pudiendo así leer ejercicios y canciones y desglozar cómo éstas están construídas. A su vez, quienes tengan la inquietud de crear sus propias músicas (algo que suele surgir a partir del trabajo de improvisación) podrán volcarlas al papel.

Como el resto de las artes, la música es comunicación. Y, en la mayoría de los casos, es un arte discursiva: somos actrices y actores cuyo medio de expresión es el sonido de nuestros instrumentos. Utilizando recursos del teatro y el canto, buscaremos aquello que cada estudiante quiera decir y cultivaremos las herramientas para que pueda transmitir su mensaje de manera plena. Todo esto en un diálogo con las ideas de quien haya creado cada música, generado a través del conocimiento teórico y el contexto histórico.

Ver más

Precios

Tarifa

  • $3006

Precios de packs

  • 5 hrs. $15029
  • 10 hrs. $30059

clase gratis

La primera clase gratis con Bruno les permitirá conocerse y precisarle tus necesidades para las siguientes clases.

  • 1h

online

  • $3006/h

Video de Bruno

Saber más sobre Bruno

Saber más sobre Bruno

  • When did you first develop a passion for music and your favourite instrument?

    My first musical love was the Adagio sostenuto from Beethoven's Sonata No. 14, Quasi una fantasia (widely known as the “Moonlight Sonata”). My grandpa, an amateur pianist, taught me the first few bars; it was in that moment, as a child with very little knowledge about music, that I understood how different notes in the bass (the left hand on the piano) would give a different “meaning” to the exact same notes in the melody (the right hand on the piano).

    When I was in high school, one of my dearest friends had a broken “charango” (a string instrument from the Andes similar to a mandolin); I borrowed it, fixed it (the best I could) and began teaching myself how to play it. Since it was a small instrument, I would take it everywhere, playing in the school breaks, walking down the street, or on my way to the arts institute I used to attend. Through improvising and composing intuitively, that instrument became my harmony teacher, and certainly earned me some funny nicknames like “Charango Man” and “Little Charango”.

    That same friend who lent me the charango, some time later, began learning in his bass guitar lessons one of the movements from J.S. Bach's Six Suites for Unaccompanied Cello. I totally fell in love with those pieces, and soon after, I started borrowing my sister's guitar to tune it as a cello and learn the preludes to Suites I and II. My other sister started learning violin, which made me really curious about the use of the bow. At some point, I literally began dreaming about playing the cello and getting to produce and hear the lowest tones on the C string. Not long after, I started lessons and happily spent all my teenage savings on my first cello.
  • Is there a particular type of music or artist that you listen to on a loop without it driving you crazy?

    If there is a type of music I can listen to all day, that is definitely MPB, which in Portuguese stands for Brazilian Popular Music, and within its universe, the Bossa Nova genre. Artists like Tom Jobim, Chico Buarque, Caetano Veloso, Gilberto Gil, João Gilberto, Hermeto Pascoal... their music just puts me in a good mood.
  • Explain to us the most difficult or riveting course you could personally give to a student of music.

    I certainly feel passionate about teaching many different aspects of cello playing, but there is one thing that I find incredibly rewarding every time, and that is working on interpretation and scenic performance from a theatrical perspective. I like to think of us, musicians, as actors and actresses who communicate through the sound of their instruments and their body language.

    When I sit in front of an audience and play a solo, I like to think that I'm singing a song to them through the cello, and I focus on what I want to say more than on anything else. That is why I love to help my students to find that message that is genuine to them in each piece and give them the tools to convey that message, to tell that story.
  • What do you think is the most complicated instrument to master and why?

    I believe the most complicated instrument to master (and probably most academic musicians would agree with me) is the symphony orchestra. Conductors have the responsibility of bringing to life the most complex and refined literature, which in some cases takes years to study and perfect its understanding.

    Once they know what they want to achieve musically in each piece, they need to know how to lead the orchestra towards that goal; in other words, they need to know each instrument of the orchestra in enough depth so they can communicate with effective technical precision with each musician. All that, while expressing with their body language the character of each piece and opening their hearts so they can, with their passion, inspire each player of the orchestra and bring them into communion with the audience.
  • What are your keys to success?

    It all gets down to the way we practice and whether we acknowledge how our brains actually work. Every time we perform an action (let's say, play a short group of notes) we fire a specific circuit, a series of connections between neurons. The more we fire that exact circuit, the more it gets insulated by a tissue called myelin, which makes the signal travel faster and with more precision. To make this myelin build-up most efficient, we need to fire that circuit many times in a short period of time. So, if for example we have five minutes to practice a one minute piece, instead of attempting five run-throughs, we would learn it much better if we played each measure four times, and then at the end we did just one run-through.

    Another aspect of this is that our focus during a high intensity practice drops exponentially after 45 minutes. So it is most efficient to practice no more than 45 minutes and take a break of at least 15 minutes (during which we should stretch our muscles) before going back to playing. If we stop while we are still relatively fresh, it takes us much less time to recover.

    Last but not least, we need to keep ourselves interested and motivated. Switching back and forth between different things (for example, some technical work and repertoire) will keep us better engaged at all times.

    When teaching, we need to apply these same concepts, from the detailed work measure by measure, to managing our students' energy and motivation throughout the lesson and their learning journey.
  • Name three musicians you dream of meeting in your favourite bar in the early hours of the morning. Explain why.

    I would love to meet Johann Sebastian Bach and get to talk about his process writing the Six Suites for Unaccompanied Cello. I would love to ask him about whether he conceived them as one larger piece, what he wanted to tell in the whole series and in each one of them, and whether he got to experiment together with a cellist or just by himself the materials for some very intricate and well written passages.

    I would also love to meet Nadia Boulanger and talk about her years teaching young students Ástor Piazzolla, Egberto Gismonti, and Aaron Copland (now all major legends of the last fifty years of music). I would be delighted to hear her stories about being the first woman to conduct a considerable number of major orchestras along the United States and Europe.

    Last but not least, I would love to meet Daniel Barenboim and talk about the first years of his wonderful project for understanding and peace West-Eastern Divan Orchestra. I would love to ask him about his thoughts on the present times and the future of social inclusion and peace efforts through artistic pedagogical projects.
  • Provide a valuable anecdote related to music or your days at music school.

    During my last year of college, I wrote and staged a multidisciplinary work with a great dancer and choreographer I had met in my freshman year at USM. The play was dedicated to a fellow cellist and friend who had died of asthma quietly in her home the spring before, overwhelmed by her increasing healthcare debt. The dancer's character represented my friend, and the piece, built on Bach's Suite No. 2, depicted her last moments of struggle with a worsening sickness and financial condition.

    Since the premiere unintentionally coincided with the anniversary of my friend's passing, I didn't feel like sharing with my teachers and friends who were attending the performance what and who the play was actually about. The dancer and I introduced ourselves before the performance, making it clear (to my mind in that moment) that characters and performers were distinct, and what was being said was scripted and being acted.

    During the play, which portrayed a dance choreography to Suite No. 2, the dancer's character showed increasing signs of her illness, asked by my character in different moments if she was okay and whether she wanted to continue. After a second to last movement interrupted by her symptoms, she makes it clear that seeking help was not an option for her, and that she wanted to finish the play. After dancing an impeccable last movement, she collapses on the floor, and the blackout comes as my character cries for help.

    That evening, as the lights went back on, we discovered to our surprise that my cello teacher had gotten up and approached the dancer to check whether she was okay, and later a friend confessed to me that she even got to dial 911. The feeling that we shared with the dancer at those events was truly difficult to describe, between shame and awe at witnessing how the so-called “fourth wall” for a moment, indeed, had vanished.
  • What are the little touches that make you a Superprof in music?

    I believe there are different aspects of my work that add extra value to what I do. One is my flexibility and versatility to adapt to my students' needs and interests. I have been challenging the concept of talent my entire career as a teacher; traditionally, if a student had problems to understand and learn what you were explaining to them, that meant that they didn't have enough talent; to me, that only means one thing: I need to do a better job at teaching them and guide them through their learning process.

    Also, motivation is a key component (if not the key component) of a successful learning experience, so I always encourage my students to choose a repertoire that is most relevant to them, whether that is the most traditional syllabus of a classical institution or the latest discography sounding in radios and social media; one or the other, I would adapt them (often transcribing them myself) to meet the current needs of my students, whether that means simplifying the parts or actually making them more complex to push my students' technical boundaries.

    I would add one last thing: perhaps because of being an airplane pilot (my other passion from childhood) and coming from a family of engineers, I found myself spending these last ten years trying to reach a deeper understanding of the mechanics involved in cello playing, especially regarding the sound emission (the hardest thing both to learn and teach). I like to build with my students, little by little, a clear conceptual framework so they have the tools to explore on their own each aspect of the technique of the instrument and find answers by themselves.
--
--

Profesores de Violonchelo similares

  • Romina

    Atlántida & online

    5 (1 opiniones)
    • $750/h
    • 1ra clase gratis
  • Eugenia

    Montevideo & online

    Nueva
    • $450/h
    • 1ra clase gratis
  • Einar Gerardo

    Ciudad de México, México & online

    5 (44 opiniones)
    • $709/h
    • 1ra clase gratis
  • Gabriel

    CDMX y área metropolitana, México & online

    5 (96 opiniones)
    • $946/h
    • 1ra clase gratis
  • Montserrat

    Ciudad de México, México & online

    5 (17 opiniones)
    • $1418/h
  • Adrián

    Fuengirola, España & online

    5 (18 opiniones)
    • $1404/h
    • 1ra clase gratis
  • Miriam

    Gent, Flandes (Bélgica) & online

    5 (23 opiniones)
    • $1404/h
    • 1ra clase gratis
  • Paolo

    Paris 13e, Francia & online

    5 (22 opiniones)
    • $2339/h
    • 1ra clase gratis
  • Francisco Javier

    Madrid, España & online

    5 (23 opiniones)
    • $1404/h
  • Angélica

    Barcelona, España & online

    5 (21 opiniones)
    • $1872/h
    • 1ra clase gratis
  • Walter

    Guadalajara, México & online

    5 (9 opiniones)
    • $591/h
    • 1ra clase gratis
  • BEATRIZ

    Guadalupe, México & online

    5 (22 opiniones)
    • $946/h
  • Pablo

    London, Reino Unido & online

    5 (15 opiniones)
    • $3270/h
  • Irene

    Málaga, España & online

    5 (77 opiniones)
    • $1404/h
  • Roser

    Valencia, España & online

    5 (9 opiniones)
    • $1170/h
    • 1ra clase gratis
  • Jenifer

    Ciudad de México, México & online

    5 (14 opiniones)
    • $946/h
  • Joseluis

    Bogotá, Colombia & online

    5 (10 opiniones)
    • $911/h
    • 1ra clase gratis
  • Raquel

    Itacorubi, Brasil & online

    4.9 (15 opiniones)
    • $619/h
  • Sam

    Centro Histórico, Brasil & online

    5 (15 opiniones)
    • $774/h
    • 1ra clase gratis
  • Alba

    Madrid, España & online

    5 (13 opiniones)
    • $2339/h
  • Ver los profesores de violonchelo