Marcelo Pretto


A self-taught singer, he took sporadic private guitar lessons with Ìtalo Perón and electric double bass with Cláudio Bertrami, as well as courses in perception and harmony with Ricardo Breim and supplementary courses with Antonio Placer and Meredith Monk, artists with whom he still maintains contact. Also as part of his work as a soloist, he was invited by the French singer Camille to open her tour in various cities in France in March 2006, and he was invited by a group of musicians in New Zealand to participate in the concerts of the project OE:Brazil, which brought together renowned Brazilian and New Zealand musicians. Since 2000, he has given workshops in a wide variety of contexts…in Brazil and abroad: in the outskirts of São Paulo (in São Miguel Paulista, within the group Ética e Arte, from 2000 to 2002), for the dance group Alana in Brasília, for theatrical groups, such as Jogando no Quintal, and in various schools. In France, both at the festival mentioned above and at other times such as the Year of Brazil in France and on other occasions, as well, plus other places such as Spain, Portugal, United States or Lebanon (in these last mentioned places, with the Barbatuques).In 2010, he gave workshops in Paris, Toulouse, Bordeaux, Lyon and Grenoble (France). Now and then he works as an actor, as at the event about Monteiro Lobato (Sesc Pompéia,1996), Lorca na Rua (with Romero de Andrade, 1998), the opening of the exhibition of 500 years (at Ibirapuera in 2000, with Romero de Andrade, again) and participations as an actor in the Companhia do Latão. He also made a one-month trip for cultural research to Mali and Burkina Faso, in the company of the great African actor Sotigüi Kouyaté in December 2003/January 2004. 


  EVERYBODY SINGS   RHYTHM, IMPROVISATION, LISTENING, REPERTORY PRACTICE   This work basically consists in an intuitive and direct contact with your own voice... Instead of theoretical classes, you will be given practical experience, with the main goal of coming in contact with the elements listed in the subtitle of this work. My main starting point is my own experience with the two groups I have worked in for more than twelve years... Os Barbatuques (a corporal percussion group) and A Barca (a group whose repertoire is the result of research and travels that revolve around Brazil’s immense popular culture).   1) Rhythm: I believe that rhythm is fundamental to sustaining a song and making it flow...Therefore, there will be exercises in concentration, coordination and the learning of patterns and grooves, using corporal percussion, vocal percussion and singing...   2) Improvisation: As a complement to the more coordinated and disciplined work of learning corporal and vocal percussion, there is the important work of improvisation that counterbalances the previous part, applying the sounds learned and opening up space for the participants to use the imagination and creative force we all possess...and here I may make use of some accessories that stimulate musical games, such as a loop pedal and sound-making objects such as the Jew’s harp and others...   3) Listening: A fundamental and many times underestimated part of the work of musical learning and training is “listening to music”, which ranges from the very relaxed and most pleasurable to the most attentive and analytical possible...Many pieces of music will be presented for you to listen to, and of course, the whole emphasis is on the human voice!!...   4) Repertory practice: In this part, traditional Brazilian songs will be featured, in which, of course, the main thing will not be the accent, a perfected intonation, but rather the contact with the song forms of past generations, with the collective practice of spontaneous and bold singing, without any of the limitations of academic song. 


16.12.1114:3017:00WorkshopMarcelo Pretto
17.12.1114:3017:00WorkshopMarcelo Pretto
18.12.1114:3017:00WorkshopMarcelo Pretto