Agenda & Structure


Junior now registers in the Course the Pyrenean International to you of Music:





  • It will be realised, in all the cases, a work centered in the binomial body-instrument, doing special emphasis in approaching the education of the technique from the earliest ages, as it bases fundamental of a correct later evolution.
  • Also the score as code will work in depth, consequently, to decipher (reading, understanding, analysis, etc.) and the interpretation of each musical piece, focused from a possible most global point of view: aesthetic, historical, etc.
  • Whenever it is possible, pairs of alumnos/as of ages and similar levels will form that will receive the daily class of instrument in the same hour strip (having doubled, naturally, the individual time of each alumno/a), in order that they can be listened to, to work certain exercises simultaneously, to approach together the problems that can raise their respective repertoires and share and interchange experiences.


  • The writing, the reading, the musical thought and the sonorous intuition are four columns on which to sustain an integral formation of quality for the pupils, already in early ages.
  • In this matter we integrated the knowledge acquired previously by the student – in its habitual class of instrument and musical language and opened the doors to mental the intuitive knowledge and of the musical structures of our past (Pitch-Bimodal System), to the structures permanent in the oral tradition and assimilated by the written tradition western (Modal Systems) and to the sonorous possibilities derived from the Vanguards and the Post-vanguards. All this takes place in a combination balanced between the writing and the instrumental execution, in which the development of the Creativity is the way and the aim in itself, by means of a systematic and playful, spontaneous work and despite rigorous.
  • This introduction to the improvisation/composition goes directed to students of any instrumental specialty, is or not including in the supply of the course. They can register, therefore – in second modality instrument, by example students of piano or cord. But also students of flute, guitar can do it, clarinet, sax, Oboe, spins a top, bassoon… who wish to work with their own instrument in individual option and from a new approach, based in the pure creation.
  • The works written and/or worked in class by means of improvisadoras musical attitudes, will be presented to the public by the own students in Hearing of Fin de Curso.



  • This socialization of the instrumental practice favors the development of fundamental qualities for a musician, such as the understanding of the auditory relations between the instruments of the group/of the orchestra, deciphered and the reading in front of the score, the visual contact and the reactivity before the companions and the director; discovering, at the same time, a orchestral and/or camerístico basic repertoire.


  • In this matter the starting point is the intuition, an attitude of spontaneity, risk and presence, and a free ear of prejudices and strongly infused and oriented towards the aesthetic contemporaries, in its ample phantom. In this action improvisatoria the important thing is the process, the way, and not the aim or the goal.
  • The playful aspect and the respect and the love by the sonorous thing are in the base of this always only and unique, fleeting and inasible experience musical, as own music.
  • We will work the sonorous thing in his relation with other artistic expressions: texts, colors, forms, spaces, dramatic arts, etc., being the ultimate goal the accomplishment of a musical story, developed completely throughout the course.
  • In this edition of the course we will take as it bases and inspiration the literary work – a selection from stories and poems of the writer Gloria Fuertes (1917-1998).


  • The objective of this matter is the one to harness the development of the infantile mobility and the perception of the rate as corporal sensation.
  • For it the basic technique of percussion instruments as the drawer will work, djembé and congas, on own rythmical landlords of the flamenco one, Latin, African and Arab music, realising exercises of improvisation and collective creation.


  • One of the objectives of this matter is the knowledge of the own voice and its possibilities, since it is the most direct instrument to canalize our musical and emotional expressivity, working the relaxation and the corporal position, as well as the breathing, bases of the song and the musical phrasing.
  • The other is the discovery of the choir as instrument, learning to be listened to, “to fill with paste, search a common sound, refining and a musical expression; and assuming the individual responsibility and of group.
  • Also the understanding of the importance of the text in the musical work will be dedicated to special attention to the diction, emphasizing.


  • Through the conscious motor activity, the boy constructs his corporal scheme. This scheme allows him to use its body as expression tool, as well as to take brings back to consciousness of the outside world, in which it lives, and of the space that is to share with the others.
  • The corporal expression is tie to the development and the motor possibilities, and power as much the motor development as the mental one, when working them of conscious way. Through the corporal expression we learn to feel music differently and to represent it by means of the corporal emotions. The position, the face expression, the movement of the hands, etc., nonverbal ensure communications.
  • This factory must as objective provide to the student attitude and freedom as musician, help him to overcome any type of rigidity before its instrument and alleviate possible associate muscular pains to that rigidity.
  • The activities that set out in this factory are playful and funny: the main facilitators of the expression are the game, music and the movement. Here, “all bond, something that makes possible a physical liberation, psychic and emotional. Throughout the week choreographies will work, interpretative movement and free movement.

And for the smallest – students of 2 to 5 years in Kinder- Formula and its relatives:


Between the objectives of these collective classes, which the children can attend along with their relatives, it is possible to emphasize the following:

  • To foment in the boy a greater security and confidence in itself.
  • To favor the relation of attachment between the boy and the adult.
  • To offer the resources necessary to increase its capacity of communication.
  • To stimulate the diverse areas of its evolutionary development: Attention, Memory, Creativity, Imitation, Rythmical Sense, Intonation, Musical Hearing, Corporal Expression, Relaxation.
  • To discover and to experiment with the physical and sonorous qualities of the body, by means of rythmical and the corporal expression.
  • To internalise all a series of musical basic knowledge through game, the dance, the experimentation, hearing, the intonation and the sonorous discrimination.
  • To explore the qualities rythmical-musical comedies of the different families from instruments.

This matter structure around six basic subjects, one for every school day;  and each subject is going away to develop throughout three daily sessions, of 40 to 45 minutes each:

Subject 1: What I am able to do with my body?

Subject 2: Playing with the animal.

Subject 3: Everything is… round!

Subject 4: Playing with stringed instruments.

Subject 5: To cook… pizza!

Subject 6: The summer. Playing with pirates.


In addition to these matters, we offer to the pupils (as of 8 years of age) these two factories, including in the program of the course:


  • The improvisation in orchestral formation will work, with rubbed stringed instruments: violin, violates, cello and contrabass.
  • The vertical reading of the chords, the phrasing of the arc will be harnessed and the swing through the melody.
  • Aspects of the support will also work from the point of view of the rythmical guitar manouche in different styles, as the swing, the waltz, the rumba, the bossa, the bolero…, as well as its introductions and end in the different subjects.
  • Will be techniques to work the melodies and the single ones, in addition to some typical melodic and harmonic resources of the music of Django Reinhardt.
  • Finally the support by means of the “technique of chop will work, that we explained in the following point.
  • A present technique of arc exists that does not have anything to do with the traditional blows of arc, that is to say, the preplanned marches by the romantic school, and that in its development transforms the violin into a harmonic support sufficient to be able to accompany or to only accompany other instruments. This technique, invented by the Richard Green violinist in 1966, derives from a called rate chop and it is used in the American folk music, especially bluegrass. Chop is based on the rythmical use of the sound that takes place in the action to vertically lower and to raise the arc in the zone of the heel, in the greatest lower bound. We have used it as a new tool to work the support in the jazz manouche.

The Professors:

  • Albert Bello and Oriol Saña know to perfectly combine its race as interpreters with its pedagogical vocation. Its main objective is to transmit the passion by music and, especially, unexpected musics. This is perceived clearly in its activities and their way to give the classes.
  • Both have been pioneering in their field: Oriol incorporating the degree violin superior jazz; Albert initiating the first department dedicated only to the jazz manouche of the state.
  • In the last years have distributed skillful factories and classes in schools of music, conservatories, rooms and festivals, as much at national level as international, in countries as the United States (Berklee College of Music), Denmark, England, Finland, Holland, Greece, Portugal, France, Andorra, Austria…
  • They always try to obtain most important for them: to wake up in the students the curiosity by new instrumental techniques and forms of musical expression.


  • To go beyond the score, to trust the own ear, to express the personal creativity following some simple rules: this is the purpose of the factory “Piano without Score, especially playful, based on listening and the experimentation.
  • For it, rythmical and vocal games of imitation, musical ask-answers will be realised, small improvisations on agreed/a scale – first without tempo, soon with a tempo and metric certain ones and on pieces of classic music known by the students; as well as free improvisations on sonorous matters.
  • By all means, all this works of ear and by oral transmission… always without score!
  • The objective is that each student only finishes the factory with a small “toolbox that serves to him to begin to practice, or group, the improvisation jazz.

The Professor:

  • Pianist of classic formation and improvisador self-taught person, forged in a mold that has so much of Thelonious Monk as of Sergei Prokofiev, Guillaume de Chassy is considered as one of the greatest French pianists of jazz.
  • Defined by Michel Contat – critical of the French magazine Télérama- as “they gentleman of the piano, of Chassy it has touched and recorded with historical figures of the jazz as Paul Motian, Andy Sheppard, Paolo Fresu, André Minvielle, Émile Parisien, Christophe Marguet, Stéphane Kerecki and David Linx; and with great of classic music, as the pianist Brigitte Engerer and the singer Laurent Naouri.
  • The interest by other forms of artistic expression has taken to develop it projects that combine text and music, collaborating with the actresses Kristin Scott-Thomas and Vanessa Redgrave.
  • Excellent educator, is Director of the Department of Jazz of the Conservatory of Tours (France), and distributes numerous courses, skillful factories and classes, as much for students of all the ages and levels as for professors.
  • Perfectly Spanish speech, language in which will distribute this factory.


Professor Sergio Castro will distribute one masterclass of violin during the course, of an approximated duration of 4 hours, Friday 5 of July, in a schedule that we will announce opportunely.

The students will have access to masterclass who, having indicated their interest to participate in the same as active students, are selected by the professors of violin of the course. Each professor will choose to one of the students enrolled in his class; in case some of the professors considers that no of its students has the level required for it, another professor will be able to propose a second student.

The organization of the course will confirm to the selected students her participation in masterclass with a minimum advance of 24h.


The pupils, except for exceptions that we mentioned more down, will follow the following daily school program, made up of five matters.

1. - Individual specialty, to choose between 1A (Instrument) and 1B (Composition and Improvisation). Two formulas will be possible:

    • Daily individual class of 30 minutes/1 student
    • Daily class of 1 hour/2 students of levels and/or similar ages.

2. - One of these three Collectives:

    • Creative improvisation [Students of Piano].
    • Orchestra or Suzuki Group [Students of Cord]. The organization of the course will assign to each student, according to her age and/or level, one of these matters.
    • Instrumental group [Students of Battery and Percussion Laminae].

The duration of this collective class will be of 1 hour daily in the case of the Orchestra. In the case of the Creative Improvisation, of the Group of Suzuki Cord and the Instrumental Group, this duration will be proportional to the number of students who integrate each group.

3. - Education of the Voice | Choral song. Collective matter.

4. - Ethnic percussion | Rate and Mobility. Collective matter.

5- Experimental movement | Dance. Collective matter.

The duration of the class of these three collective matters will be of 1 hour daily for each, letting a 5-10 margin minutes among them – to criterion of each professor to facilitate the circulation between the different classrooms and to make possible that the following class begins with the maximum punctuality.

To these five matters it is necessary to add the mentioned Factories of Improvisation more above, for the students of Cord and Piano of 8 years in future.

The daily school schedule will oscillate, according to the age and the level of each student (and his formula of participation), between a minimum of 4h. and a maximum of 5h.; to that there is to both add factories of improvisation, that Tuesday 2 of July will be offered in the evening, in schedules that will announce opportunely.

The students in Kinder Formula will follow a specific daily school program:

1. - Individual specialty (Instrument). Two formulas will be possible:

  • Daily individual class of 20 minutes/1 student
  • Daily class of 40 minutes/2 students of levels and/or similar ages.

2. - Collective Instruments.

  • Creative improvisation [Students of Piano]. Daily class.
  • Suzuki group [Students of Cord]. Daily class.

The duration of this collective class he will be proportional to the number of students who integrate each group, oscillating between 30 and 45 minutes daily.

3. - Learning To play with Music. 

  • Three daily sessions, of 40-45 minutes each.


For the pupils:


We propose a series of activities of free time in parallel to the music course, centered especially in the environmental education – with the objective to foment in the children a one attitude of respect to the nature and of it brings back to consciousness ecological.

The activities vary every year, between diverse options:

  • Hiking in the Way of Santiago.
  • Guided routes to discover the wealth of the Pyrenean flora and fauna.
  • Visits to farms, centers of interpretation of the nature or eco-museums.
  • Visits to interest places, as the Station the International of Canfranc, or To Avalanche, center of avalanche detection.
  • Skating in line, in the track covered with the Municipal Sports centre.
  • Picnics outdoors, in the municipal swimming pool or the mount (in zones anticipated for it).
  • Factories of manualidades.
  • Games and gymkhanas.
  • Story tellers, to discover best histories and legend of the Pyrenean Aragonese.

All these activities will be coordinated by the equipment of monitors of the company SARGANTANA, qualified professionals, titleholders and with long experience in this sector.

*Sólo for the pupils enrolled in the program of Monitoraje and Actividades (to see Options of Hosting B and C).

For relatives and companions:


We offer to accompanying mothers, parents and profesores/as the possibility of participating actively in two musical activities: the factory of choir and the distributed circle of percussion, respectively, by professors Eulalia Fornells and ?ngel Pereira. In order to realise musical knowledge are not needed them; only desire to pass it well, to learn and to live new experiences through music, that soon you will be able to share with your children and/or students the rest of the year.


The Office of Tourism of Canfranc will put at the disposal of the interested families and companions a pack of activities - with very special tariffs that will be able to follow during the week of the course, and it will give complete information them on the extensive one and varied range of proposals of leisure, gastronomy, it deports, culture and nature that Canfranc and the Region of the Jacetania offer to the visitor during the summer.

For all:

GRATUITOUS ATTENDANCE to all the CONCERTS and PARALLEL ACTIVITIES (chats and conferences, sessions of cinema forum, colloquies, presentations, workshops…) of the International Festivals PYRENEAN CLASSIC and JAZZETANIA that will take place during the dates of celebration of the course.



Sponsoring and Collaborating