Le format de ces stages est similaire aux formats des stages qui ont fait le succès du CNIMA en France au cours de ses 27 années d’existence.

Le stage se déclinera autour

-de cours privés intensifs

-de cours collectifs exposant la Méthode Mornet. 

-d’un travail spécifique sur la musique de votre choix.

-de la préparation du concert de fin de stage.

-de repas collectifs à midi cuisinés par un chef newyorkais

Voici ce que pourra vous apporter le stage:

-Libérer votre expression musicale.

-Développer votre oreille.

-Apprendre les secrets du phrasé en utilisant votre soufflet pour produire un son riche.

-Jouer en nuances en utilisant une variété d'articulations.

Le planning du stage

• Lundi après-midi : Brève orientation, puis une courte vidéo est réalisée du morceau sur lequel vous allez travailler pendant la semaine. Ensuite, premier cours collectif, suivi de cours particuliers.

• Du mardi au vendredi : les participants bénéficient de deux cours en groupe et de deux cours privés par jour. Les déjeuners (du mardi au vendredi) sont inclus dans le prix de l'atelier.

• Vendredi après-midi : dernier cours collectif, puis vidéos de « l'après » sont réalisées pour chaque élève.

• Vendredi soir : un récital de fin de stage au cours duquel chacun présentera les morceaux travaillées au cours de la semaine, suivi d'une prestation professionnelle de Nathalie Boucheix. (Les participants sont fortement encouragés, mais pas obligés, à se produire lors du récital.)

• Samedi : La dernière matinée du stage au cours de laquelle les vidéos avant et après de vos progrès sont visionnées. Une une analyse détaillée de vos points forts et des domaines sur lesquels vous pouvez vous concentrer dans vos pratiques et concerts post-stages.

Frais de scolarité

Si inscription avant le 20 avril 2024, les frais de scolarité sont de 650 $

Les frais de scolarité normaux sont de 750 $

Pré-inscription : Vous pouvez réserver votre place d'atelier avec un dépôt de pré-inscription non remboursable de 200 $. Vous pouvez vous préinscrire jusqu'au 20 avril 2024

Inscription complète : Vous pouvez vous inscrire et payer la totalité du montant à tout moment.

Modalités de paiement

Sur le formulaire d'inscription, indiquez-nous comment vous souhaitez payer.

Voici les options :

Paypal/Venmo – avec Paypal/Venmo, vous pouvez choisir d'utiliser votre crédit/solde Paypal/Venmo ou une carte de crédit, mais ils facturent des frais de 3,5 % que nous devons vous répercuter, votre prix total sera donc plus élevé que ceux-là. énumérés ci-dessus. Si vous choisissez Paypal ou Venmo, nous vous enverrons une facture Paypal/Venmo.

Zelle – l'option la plus pratique, sans frais cachés.

Chèque – si vous choisissez d’envoyer un chèque, vous recevrez une adresse postale pour le paiement.

Politique d'annulation

Si vous choisissez l'option de pré-inscription avec le dépôt de 200 $ et que vous devez annuler, ces frais sont remboursables jusqu'au 20 avril 2024. Après le 20 avril 2024, les 200 $ ne sont pas remboursables.

Si vous payez le stage dans son intégralité, le stage est  remboursable jusqu'au 20 avril 2024. Après le 20 avril 2024, 200 $ d'inscription ne sont pas remboursables. Après le 6 mai 2024, 50 % de votre inscription est remboursable.

Carte cadeau
Offrez une carte cadeau!
Contribuer au stage à hauteur de $200 ou plus!

Payment options:

Zelle
Scan QR code or go to Zelle app

and enter cnimausa@gmail.com

No extra charge with Zelle!

Paypal or Venmo
Paypal account: cnimausa@gmail.com

Venmo account: Click here 
There is an extra 3.5% fee when you use PayPal or Venmo, so please send a total of $207.

Plus sur le CNIMA et la méthode Jacques Mornet

Testimonials

"CNIMA in New Orleans was one of the best intensive accordion experiences I have had. Each day we attended two group lectures with accordions on our laps, and then had two individual lessons. It’s hard to say which was better. The opportunity of quietly sitting in during others’ individual lessons was extraordinary. The effect upon each of us of five intensive days was documented in before and after videos. If you love accordion, whatever your level of musicality, you will benefit from instructors Jacques Mornet and Nathalie Boucheix, as well as fellow students. "
Ian Blair Fries, M.D., Florida

"Everything about this workshop was fantastic! Instructors, instruction, observation, logistics, location, food!

 It was a pleasure and a privilege learning from Jacques and Nathalie. I learned about real musicality using proper air flow, and appropriate touch of the keys. Learning opportunities were continuous as we were encouraged to observe each other's individual lessons, making our days as full and focused as we wished. Recordings were prepared on the first and last day---a huge learning tool. Organization, administration, and logistics were the best. The Garden District was an absolutely perfect place to be."

Donna Kaspar, California

"Jacques to me on the first day: "First we have to fix this (bellows cycles matched to musical phrases), then we can get to work!" That was a huge step for me: playing without bellows 'hiccups'. Jacques and Nathalie were both so enthusiastic to pull the deepest beautiful music out of my playing. The workshop really improved my comfort level for playing in public (and their advice was to do it as often as possible). The workshop was a type of musical heaven, really-- surrounded by avid students, attending each others' classes and performances, getting professional tips on everything from attacks and phrasing to posture. And so many cool accordions!"

Mark Cain, Arkansas

"An unbelievable, marvelous experience! After 15+ years of admiring the accordion, followed by 30+ years of self-instruction, the two top teachers of CNIMA (the world’s finest accordionschool), crossed the Atlantic and shared with me their patient and detailed methodology,reforming my technique and reinvigorating my love of the instrument. With their guidance, Ihave learned how to play with greater musicality and renewed enthusiasm."

William H. Robichaux, MD Tulane Medical School, New Orleans, Louisiana

"The CNIMA workshop in New Orleans was so inspiring. The instructors’ love of the accordion and of music was obvious and they were able to convey that to the students via their knowledge, personalities, and patience. The CNIMA concept of musicality -- the way the body moves with the accordion, proper use of the bellows, exploring dynamics, etc. -- makes even the simplest of songs sound like a masterpiece. I would definitely attend another CNIMA workshop."

 Loretta Palagi, Washington

"Being a complete beginner in accordion I didn’t really know if the workshop was going to be useful for me. I can say that it was one of the best musical experiences I have ever had. The approach from Jacques and Nathalie during the workshop focuses a lot on producing a beautiful sound with your instrument rather than musical complexity. Moreover, I really enjoyed meeting all this wonderful people at the workshop. Everyone with different levels of proficiency but everyone learning, sharing and enjoying the workshop. For me New Orleans was a great location to have this workshop. I was able to drive (and didn’t have to carry my accordion on the plane), but also the fact that New Orleans has so much to offer in terms of music was wonderful."

Alberto Rivas, Texas

"I especially appreciated how Jacques and Nathalie went out of their way to tailor the instruction to the students' interests and skills. As an example, Jacques noticed a couple of us were interested in jazz and gave us customized instruction of his deconstructed approach to jazz articulations. I love how the entire workshop is built around concepts related to articulation and expression of each note on the instrument, a very refreshing orientation given that much of the accordion world outside CNIMA is what I'll call an articulation wasteland, giving far too little heed to the critical aspects of sound that form CNIMA's core tenets.

For me the material fell pretty cleanly into two categories:

 First there was technical advice about what and how to practice challenging material, and I found this advice immediately useful because I always have a mental list of tunes I can barely play and I'm always looking for help with them. I was able to apply the juicy bits of their advice and see the benefits immediately, which is remarkable. One specific principle I still use regularly is to practice difficult passages not only slowly, but with all the different types of articulation. Instantly and consistently helpful!

 Second there was what I'll call articulation choreography, i.e., specific ways to move the body and the instrument according to the rhythms in the music's melody. This material I found more opaque, harder to absorb quickly. The material is important and worth teaching in a workshop of any length, but it seems like the depth of this material presents challenges for both instructors and students a one-week curriculum. The limited time afforded me no opportunity to learn the reasons behind some of the practices: I often wondered why I ought to move this specific way for this specific rhythm rather than some other way, and my learning style benefits a lot from understanding the reasons behind things. I suspect more repetition and more time will clarify a lot of that for me, and until then it's a little hard for me to retain everything without looking back at my photos of the whiteboard from our sessions.

 So I love that we got instruction that paid off immediately, AND I love that Nathalie and Jacques did not shy away from material that would require additional follow-up and give us more of a longer-term payoff.

 Having the workshop in New Orleans seemed perfect to me. I love the musical and cultural character of that place, and I could see some effort on the part of the CNIMA organizers to connect with the community. I look forward to more of that in the future as CNIMA's connection to New Orleans takes hold more deeply. And I dream of studying the full curriculum someday in Auvergne!"
Robert Kennedy, California

"I really enjoyed learning at CNIMA in NOLA. 

Jacques and Nathalie were wonderful teachers. I learned how to use my upper body when you play accordion. That made accordion sound much more personal. I met wonderful people there and they were very friendly. Great experience, I am willing to learn more of their techniques."

Mariko Venema, Michigan