gabriela | Gabriela Labanda

Musical precision dwells in the creative brain

by gabriela | Nov 6, 2025 | ALTO RENDIMIENTO, CURIOSIDAD, FLUIDEZ MUSICAL, PEDAGOGÍA MUSICAL, Prácticas eficientes

Every concert, every performance is a spontaneous act.Sufficient stability. Enough flexibility. A game with gravity and acoustics.Every time you go on stage, you recreate your sound.You do not present a written book or a finished recording.It is a living body that...

Cornelius Reid: When Singing Organizes the Body

by gabriela | Nov 1, 2025 | ALTO RENDIMIENTO, FLUIDEZ MUSICAL, PEDAGOGÍA VOCAL, Prácticas eficientes, PRESENCIA, SALUD DEL MÚSICO, SALUD VOCAL, TÉCNICA VOCAL

Two paths towards functional voice integration Why this matters? Because singing efficiency and expression emerge only when the nervous system receives the right sensory cues — whether through movement or sound. Because knowing how the voice self‑organizes...

The movement that reveals the music, if your reflexes allow it.

by gabriela | Nov 1, 2025 | ALTO RENDIMIENTO, ANSIEDAD ESCÉNICA, FLUIDEZ MUSICAL, PEDAGOGÍA MUSICAL, PEDAGOGÍA VOCAL, Prácticas eficientes, SALUD DEL MÚSICO, SALUD VOCAL

Nervous system and protective movements in music Mario Stefano Pietrodarchi, bandoneon player, not only “plays” the bandoneon.He arches his spine, pulling his head back.And the opposite: he flexes his spine and shrinks.He lifts one knee.He keeps one leg...

Learning music with borrowed brains

by gabriela | Oct 27, 2025 | ALTO RENDIMIENTO, CURIOSIDAD, FLUIDEZ MUSICAL, PEDAGOGÍA MUSICAL, PEDAGOGÍA VOCAL, Prácticas eficientes

The power of groups in learning and rehabilitation Waiting until we feel ready to show up is not an option. Trying to grow or heal completely on our own often leads to isolation. It can leave us in a vacuum where curiosity shuts down. A participant in one of my groups...

Not Repetition, but Re-Creation.

by gabriela | Oct 25, 2025 | ALTO RENDIMIENTO, ANSIEDAD ESCÉNICA, FLUIDEZ MUSICAL, PEDAGOGÍA MUSICAL, PEDAGOGÍA VOCAL, Prácticas eficientes

The feeling of disruption as a possibility. In an interview, clarinetist Christine Carter recounts: “In my training I was taught to avoid mistakes. Perhaps the most common version is this: play something perfectly ten times, make a mistake… and feel like...

« Older Entries

Next Entries »