This course teaches the fundamentals of jazz writing and harmony. Through listening, students learn to analyse an extract or a work, and grasp the tools specific to jazz aesthetics and songs (numbers, form, harmony, voicings, etc.). By the end of the course, they will have mastered the practical aspects of composition, arranging and orchestration. Introduced to the various techniques of arranging, the specific languages of improvisation and, more broadly, writing for various small ensembles, students are invited to apply this knowledge to the production of original pieces composed, arranged and orchestrated for a redefined instrumentation.

Knowledge of the jazz idiom in the various phases of its evolution.

This discipline trains pianists in the specific techniques of accompanying classical and contemporary dance. Depending on their musical background, performers are introduced to or perfect improvisation based on a body shape or suggestion. They also learn to use percussion instruments and electronic instruments, particularly to accompany contemporary dance classes. Accompanying pianists forge their own personal musical aesthetic, and learn to decipher movement as a musical pattern, exploring in depth the relationship between music and dance. Far from limiting themselves to the specific ballet repertoire, pianists learn to adapt the entire musical repertoire to the demands of accompanying movement. The Conservatoire's dance classes and performances are a valuable resource in this respect.

This discipline trains pianists in the specific techniques of accompanying classical and contemporary dance. Depending on their musical background, performers are introduced to or perfect improvisation based on a body shape or suggestion. They also learn to use percussion instruments and electronic instruments, particularly to accompany contemporary dance classes. Accompanying pianists forge their own personal musical aesthetic, and learn to decipher movement as a musical pattern, exploring in depth the relationship between music and dance. Far from limiting themselves to the specific ballet repertoire, pianists learn to adapt the entire musical repertoire to the demands of accompanying movement. The Conservatoire's dance classes and performances are a valuable resource in this respect.

As part of a dual course in harpsichord and basso continuo, this course trains harpsichordists to interpret the full range of styles in the ensemble music repertoires of the seventeenth and eighteenth centuries. Theoretical sources, treatises, early texts and facsimiles help students to understand the thinking of the period, and even to learn the partimento technique as a first step towards improvisation. By the end of the course, instrumentalists will be able to give a historically informed interpretation of any type of text. This learning is a real professional asset, whether as part of a concert activity or as a teacher. In this course, which covers the various aspects and development of the basso continuo of the seventeenth and eighteenth centuries, performers acquire the fundamental skills needed to tackle these repertoires on any type of keyboard instrument (organ, fortepiano).