Emmanuelle Somer

Primary Instrument: Oboe

Born: January 5, 1972    

Emmanuelle Somer

Emmanuelle SOMER

oboe, English horn, Bb, Eb and bass clarinets, soprano and tenor saxophones; sound ingenieur, composition, film music

Emmanuelle Somer is born January 5, 1972 in Brussels, with French and Dutch citizenships.

She graduated from the European School, speaking French, English, Dutch and German fluently.

As a teenager, she played piano, recorder, oboe, saxophone and drums.

She studied with Paul Dombrecht at Brussels Koninklijk Conservatorium, where she got degrees in oboe, English horn, solfege and chamber music. She also studied free improvisation with Fabrizio Cassol (Aka Moon), Michel Massot (Tous Dehors) and Garret List. She later toured and played in Europe with Michel Massot, Stephane Galland, Kris Defoort, Pierre van Dormael, Claudio Puntin......
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Primary Instrument:

Saint Dyé sur Loire

Willing to teach:
Advanced students only.

Taught in the US, France, Belgium, Japan and Russia - specialist in teaching improvisation techniques - also jazz harmony, rhythm, jazz history, ear training, instruments. Please see for my improvisation techniques masterclasses.

Clinic/Workshop Information:
How to develop a solo ? How to develop a motive ? How to build a climax ? How to provoke a group playing ? How to control ones���­ improvisation ? How to build ones���­ own language ? How to develop ones���­ technique for musical purposes ? How to develop ones���­ rhythmic sense? How to understand and make use of polyrhythms ? You will find countless answers to those questions and other ones throughout this intensive 3-day-masterclass (3 hours a day), in active and creative ways, and for long term study. Informations and registration: Emmanuelle Somer, tel/fax (F) : 00 33 9 54 77 95 53 E-mail : Limited places per session!!! Price : 120 Euros/3days. Minimum 4 students. Group prices on request. Private instruction and group sessions on request. During these masterclasses, Emmanuelle SOMER offers her broad and professional knowledge to all musicians, classical, baroque, contemporary, jazz, folkloric; highly professional and enthusiastic beginners simultaneously take part in the courses, mutually inspiring each other thanks to such different backgrounds. She proposes teachings and techniques beyond what is traditionally taught at even the greatest Conservatories, beyond scales, licks, exercises and other solfeges. Her techniques are intimately bound to music itself, immediate and efficient to its service, thus nicer and easier to study, inspiring and rapidly useful. Rhythm is approached among others with the Indian talas method, immediately and definitely developing the awareness, precision, feeling, and polyrhythmical abilities of the student. Swing is approched under different angles, thanks to simple but efficient exercices, enriching for beginners as much as professionals, jazz, classical and folkloric individuals. The motivic development topic, one of Emmanuelle���­s favorites and broadest, is extremely flensed through countless and precise exercises, analysis of standards and improvisation performances, musical examples, transcriptions, listenings and immediate application on ones���­ instrument. This motivic development is not only to be used by the soloist, but as well by the rhythm section comping, by the improviser in the heart of the group, and through collective improvisation. These motives are rythmic, melodic, harmonic, sonoric (effets), expressive (nuances, flatterzunge, tessiture, articulation), specific to each instrument (technical effects), inspired by classical and contemporary composition, musics of te entire world, and immediately used for spontaneous improvisation. Thanks to the motivic development, awareness of the space, architectural construction of a solo, conviction put in every note, memorization of their place in the musical dialogue, suggestion towards rhythm section, dialogue using a common language, these motives will become such stronger phrases, stories, solos, climaxes, for a greater enjoyment not only for the soloist, but for the group as well and finally to the audience which will be attracted and magnetized by such intensity and conviction in the musical experience. During these classes, Emmanuelle uses musical examples of John Coltrane, John Zorn, Bill Evans, Dave Douglas, Eric Dolphy, Trilok Gurtu, Bill Frisell, Kenny Werner, Beethoven, Stravinsky, Messiaen, Scriabine, Penderecki, Dave Holland, Robin Eubanks, John McLaughlin, as well as the cultural origins of the musics of the world. All suggested exercises open countless doors to the student���­s imagination, who will be able to use them immediately and to develop them by him/herself, intelligently and in a long term. Classes open to all instruments. Minimum level required : good basic knowledge of one���­s instrument (intonation, tessiture, basic technique) and of the musical vocabulary (rhythm, notes, words like crescendo, jazz chords). Bring your instrument, a real book if you have one, paper and pencil. Minimum of 4 students per group. What is needed for the realization of a session : a medium classroom, a piano or keyboard + amplifier, a CD player, electric wires, chairs.

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oboe, English horn, bass and piccolo clarinets, soprano and tenor saxophone; composition, improvisation, sound ingeniering, CD producing, film scoring, teaching

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