Learning the specific Bulgarian repertoires of the Djura Gaida and the Kaba Gaida, historical-cultural context, evolution of the tradition and current practices of an emblematic instrument.
Possibility to lend instruments but specify this sufficiently well in advance. The teacher can also plan a review of the instruments before the master class.
TRAINING PLAN / EDUCATIONAL CONTENT
For your information, the different parts of the training plan will not be addressed in the chronological order as per below.
- Brief overview of Bulgaria’s history
- Synthetic presentation of Bulgarian music:
> instruments, evolution, regional styles
> the main rhythms used in Bulgarian music
> the directory of the gaida
- Presentation of the instrument :
> types of gaidas, tones
> maintenance and adjustment advice
> grip and game mode (closed/open fingering, staccato, ornamentation…)
- Short interview with each participant (level evaluation, expectation on the master class)
- Learning 2 to 6 pieces per master class, depending on levels and number of participants :
> Learning the melodic line (without drone)
> Addition of ornaments (without drone)
> Possible variations (without drone)
> Solo performance with the drone
Possibility of collaboration with other workshops (Bulgarian polyphonic singing, percussion, kaval).
>> ON-LINE PRE-REGISTRATION <<
>> RATES & REGISTRATION PROCESS <<
- From 11 years old
- All levels are accepted, even beginners. An initial distribution will be made according to the following criteria:
- Beginner = A musician who has never played bagpipes of any kind.
- Intermediate = musician who already has the mastery of bagpipes and/or gaida
- An assessment will be made at the start of the master class to assign students by level.
Have a Djura Gaida in G or a Kaba Gaida in E and in a good working order (pocket that does not leak and functional reeds, just instrument).
MASLINKI – PADUSHKO HORO
BELINTASH – SABAZII
Originally from Brittany, Emmanuel Frin trained with the best biniou and bombarde players. He has been practicing Breton music for many years in different contexts (festoù-noz, concerts…) and in various formations, from the most current (with the Gallo singer Bertran Obree) to the most traditional (duet with the famous bombard player Erwan Hamon). He studied Bulgarian traditional music and language at the Academy of Music and Dance Arts in Plovdiv, studying with masters such as Nikola Iliev (Clarinet), Valentin Raikov (Saxophone), Maria Stoyanova, Stephane Yanev, Kostadin Atanassov (Gaida). His deep knowledge of the instrumental repertoire, Bulgarian musicians, different styles and the evolution of Bulgarian music has been praised by the famous musicologist Manol Todorov. Considered as a specialist of Bulgarian music and gaïda in France, he is at the origin of Topolovo, a group which includes Kalinka Vulcheva, ex-soloist of the Mystère des Voix Bulgares. He also founded the Bulgarian music quartet Maslinki. At the same time, Emmanuel regularly gives master classes in Bulgarian music in conservatories (Brest, Caen…) and at the Cité de la Musique in Marseille. He is one of the few non-Bulgarian players to master the Gaida, both in his instrumental practice and in his reed-making.