"The technique is just the way to transfer in your hands and feet what you have in your heart"
GM Drum School is not Gigi Morello's private school.
It is not only a school with 5 locations in Piedmont in addition to the headquarters designed to be the largest specialized headquarters for the study of drums and percussion nationwide. (12 rooms, thematic studios, study rooms, seminar room, library of study of drum methods, multimedia room, studio for recording of drum videos, 18 drums designed for rock, jazz, metal, jungle, latin etc. styles)
GM Drum School is a Music Cultural Association founded by Gigi Morello where teachers, collaborators and students share a basic philosophy.
This school of thought has nothing to do with the obligation of specific exercises or playing certain musical genres only in a specific way.
Our teachers come from different musical backgrounds, they have studied with different teachers, they teach different things, with different methodologies.
So what is this philosophy?
BASILARI AND GENERAL REPRES
We teachers and employees at Drum School believe that:
- Music and rhythm in particular is a universal basic language that unites all the peoples of the earth regardless of skin color, race, political faith, religious belief and social extraction and as such promotes to maintain peace and harmony in the World.
- We believe that through percussion it is possible to help all people, including people physically or mentally disabled, to communicate and express themselves and what they have in their hearts and souls.
- We believe that as on earth there are countless languages and spoken dialects there are also thousands of languages and musical languages, so styles or musical genres each worthy of respect and attention and that every musical language already consolidated or just in phase have the right to be preserved, taught and communicated freely by both the teacher and the musician.
- We believe that a musician has the right to express himself using his language or musical dialect with freedom, adopting styles and musical phrases that most represent what he wants to express, and that for this reason should not be criticized, categorized in a way negative or opposed in any way. We believe that a musician has the right to interpret a song or musical phrase freely according to his knowledge or musical language.
- We believe that music like art is not a competition where those who come second lose the race. We believe that art should not be subjected to judgments such as "Giorgio sounds better than Paul" but that the only judgment allowed is the personal one of the listener, who can judge whether this or that music more or less meets his tastes.
- We believe that being music Communication, it should include the respect of musicians towards other musicians and correct behavior towards others, we disapprove of the defamation of other musicians and we limit ourselves to strictly personal opinions and limited to the individual's personal musical taste without misspoke about it, although they could be from other schools of thought and socio-cultural reality.
- We believe that a musician should be allowed to broaden his cultural and musical horizons through musical communication with other musicians, and that he should be able to be informed of new techniques, styles, languages regardless of stylistic ideas and without vetoes of partisan or musical faction, either motivated by fundamentalist schools of musical thought, or by lobbying interests of interest.
- We believe that the individual has the right to profess his personal, political and/or religious ideas through the lyrics of the songs he composes or interprets, or in his look. We give the individual the freedom to express these ideas that we do not support, merely supporting the musical side of the composition.
TECNIC AND DIDACTIC
- We believe that technique and independence are secondary to music, but we also believe that a superior technique can allow a musician greater freedom of expression.
- We believe that high-level speed and independence are not indispensable for making music, but that they are indispensable in some musical styles.
- We believe that how people learn to speak first and then read and write, they should follow the same sequence in learning to understand a musical score. We believe that people should first understand the concept of musical notes and then read and represent them on paper. We believe it is unnatural to teach to read music before we are even able to "speak" it.
- We believe that comprehensible language should be used in the teaching of sulphedo, and that names taken from the classical school such as "minimum" or "melted" or others should be replaced by simple and relative understanding terms, such as 1/4 , 1/8, 1/16 etc., where knowing the simple basis of numerical operations one can arrive at a relative and conceptual understanding of the terms and therefore a practical application.
- We believe that pure theory and technique should always be combined and studied in association and with a right balance to practical or stylistic application. We do not believe that years of study of theory, rudiments or a rhythmic figuration without practical application serve only to make the study heavy and to lose the desire and interest of the student.
- We believe that a grade or degree assessment or a "right and wrong" is correct only if it relates to specific technical topics such as technical execution, rhythmic precision, speed and other subjects that can be effectively measured but never on topics subject to personal language or style.
- We believe that a teacher should not be able to either personalize or personalize the way a student plays. We believe that technique and independence or basic phrases should include combinations that include the full spectrum of rhythmic possibilities, leaving the student to use those that most meet his musical needs and tastes while able technically all of them.
- We believe that when a teacher teaches a specific rhythm or musical phrase he should categorize it as a musical style and not give it as an absolute model for the student to perform to consider that he has learned to play the instrument. Example: Having all pupils learn their favorite rhythms and categorize it as "the way to learn the instrument" is not accepted unless categorized as the musical style of the teacher or musician who uses the rhythm or musical phrase. The teacher must make it possible for the student to create personal rhythms and musical phrases by the student, and only in the study of musical styles do they learn patterns of rhythm and musical phrase, but they must be categorized as such.
- We believe that a teacher should openly acknowledge with the student his possible mistakes and that he should delegate to another teacher the pupil in case his technical or stylistic preparation as a teacher is lacking in a certain field necessary for the preparation of the student, putting aside personal interests.
RIGHTS OF THE MUSICIAN AND PROJECTS TO SOCIO-CULTURAL
- We believe that a musician should not be favoured or opposed for his affiliation, affiliation or sympathy towards a political party, religion, ethnicity or other type of association with a cultural, entrepreneurial entity, etc. We disapprove of entities and associations that favor or oppose musicians or teachers because they are similar to their ideas or interests and interests outside of musical ones.
- We believe that a Musician should be safeguarded and that he should be allowed to exercise his passion by studying his instrument and that he should not be limited by unjust decisions or that his rights to play and to increase his technical preparation and "I'm not going to go into the details of what happened," he said.
- We believe that drums are a truly musical instrument comparable to instruments such as the piano, guitar, violin, and as such has the right to be recognized by the institutions as a full-fledged and recognized instrument officially by the state in the same way as other "officially teachable" instruments such as classical percussion. We believe that a drummer should not be obliged to study an instrument that has little to do with drums, such as vibraphone or others in order to be recognized as a qualified teacher or musician. In the same way we believe that an electric guitarist does not have to forcibly learn to play classical guitar using only specific techniques of fingers, sound and phrasing in order to be considered a master of the guitar.
- We believe that a drummer who studies for years with commitment this fantastic instrument has the right to a moral and economic recognition comparable to that obtained by a professional in the field of fine arts such as cinema, theater and communication generally.
- We believe that music education should be available to everyone and that people can receive a grant or scholarship as in all other artistic activities, even if they wish to play an instrument that is not "officially recognized" and that they can cultivate their musical education with all the accuracy and professionalism and the school subjects and grants that are allocated to other "noble" instruments, and that this should include all facets of music teaching , such as technique, musical styles, ensemble music, sulpmy, ear training, sound study, basic public relations techniques and marketing needed to enter the music world as a true professional and any other education that may be necessary.
- We believe that we must fight in a legal and civil way to obtain these rights in the institutions, to obtain the teaching of this instrument in state schools, and that the study of this recognized instrument is equated and recognized for rights and prerogatives to other instruments, and that musical education is not recognized only if it is accomplished on styles such as jazz or classical music, but that includes all facets of music and musical styles.
- We believe that any member of the association has the right to ensure that another member of the Association, including his teacher, respects these principles, and has the right to point them out in the event of a criminal or unwillingness to correct to report to the Governing Council in order for the person to be admonished or in the extremes excluded from the association.