The regular pedagogical activity begins as of the 3 years in the School of Music. The movement through game, the knowledge of the corporal structure, the mobility, the rate, the intonation, the auditory education, the instrumental practice with small percussion, the musical story, the song, hearing, etc. conceived as a divertimento, allows the student to introduce itself in a new and attractive world in which, of progressive form, it will be able to reach the level necessary to surpass the diverse cycles of musical education.

In our center we used the methodologies to the service of the learning of our students; Orff, for the learning of the musical language, Willems, for the auditory formation, Dalcroze, for the rythmical internalization or Kodaly. They are all of them habitual methodologies in our classrooms to work with alumnos/as as of the 2 years of age.

Our formation includes concerts of students, in whom they are become familiar with the scene and the public. Also, we have periodic Hearing organized by the different seminaries, in which the totality acts of the students of each instrument.

Within this essentially practical formation, we emphasized the importance of €œthe intelligent€ study of the musical language and its gradual application in the handling and learning of the instrument. As soon as the student discovers why he serves to the knowledge as the solf¨ge - musical language, he stops being for him a barren study to become a possibility of experimentation with his instrument in which he applies the learned slight knowledge and he develops practically aspects as the intonation, the metric one, dynamics or the theory, aspects all these worked in the classroom of musical language.

Taking here special relevance the importance of the methodologies used for this learning, on the one hand, and the one of the song on the other. We put in practice therefore, methods of learning adapted so much to the students and their characteristics as the nature of the concepts to learn. That the students sing acquires special importance since the different sections live from the musical theory of a constant and direct way.

Suzuki method

We approach in the Experimental School of Music the project to teach to as much violin as cello following the Suzuki method. This project is born with the illusion from being able to offer another methodologic alternative in the instruments of arc for all those children and parents who want to turn music into a pillar of their lives being followed this methodology.
Through Suzuki method we want to do to them contributor than it is a musical education. This goes beyond training professionals then is not that one the objective. In the first place we cause that they share time of life since they realise together a same activity. It means that they are learning to communicate, developing to the love and the mutual self-esteem.
Our objective is that amen and enjoy music being conscious of the sacrifice, certainty and dedication that it requires.

The professors

Our professors to apply this method are Ana Delgado and Pablo Chica, titleholders in violin and cello respectively, and specialists in the Suzuki methodology. They as much develop an ample work in the pedagogical scope as interpretative.
Since professors have received lessons of recognized educators of the international scope as Arantza Lopez, Eulalia Subir¡, Carey Beth Hockett, Sarah Nolan and Barbara Parham.

When to begin

Like the learning of any language, the more small is the more facility must to learn it. For this reason, he is vitally important that the children begin the sooner, from the 3 years of age, naturalizing therefore the language of music.
It is fundamental that the instrument with that they work is of the measures adapted for the boy. To rent an instrument can be the economic option.