Archives of this auteur: Agence Glanum

Création mondiale

18 December 2012

Création de D’Alentours II pour 2 saxophones altos et piano de Christian Dachez Ensemble Saxiana Festival Musique pour tous, Chesnay

Création mondiale

1 December 2012

Création de Univers I pour Saxophone Baryton de Christian Dachez par Nicolas Prost à Rouillac (16)

Création

13 November 2012

Création de Livre d’Esquisses de David Hudry par l’ensemble Konvergence Concert hall in the church of st. Vavřinec, Prague

Création

12 November 2012

Création de Les Villes invisibles de Bruno Coulais 7e Prix France Musique-Sacem de la musique de film au Trianon de Paris, orchestre de Radio France, dir. Wilson Hermanto

Création mondiale

26 October 2012

Création de Les Mots d’aprèspour accordéon, de Christian Dachez par Fanny Vicens Aux rencontres internationales Accordéon et culture de Dignes-les-Bains

Création

12 October 2012

Création de Por mayo de Christian Dachez Résonances contemporaines, Temple Lanterne – 69001 LYON Chœur de chambre ImagÔ, dir. Manuel Simonnet

Création mondiale

12 October 2012

Création de Por Mayon pour deux voix de Christian Dachez Ensemble ImagÔ, dir. Manuel Simonnet Au Temple Lanterne de Lyon

Création

12 August 2012

Création de …Tant qu’il fait jour pour voix de baryton, piano, flûte et violoncelle, de Christian Dachez Alain Buet et l’Ensemble du Paradis Domaine des Enclos, Deauville (14)

Concert

11 August 2012

Quatuor à cordes de François Meïmoun par le Quatuor Ardeo Eglise de Chorges (05), 21h

Concert

10 August 2012

Quatuor à cordes de François Meïmoun par le Quatuor Ardeo Château de Montmaur (05), 21h

Score
Le Piano Symétrique (volumes 1, 2, 3 & 4)
REIBEL Guy
Type: Score
Instrument: piano, Solos
Special offer 45€ instead of 56€ for the purchase of all 4 volumes.
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Score
Le Piano Symétrique (volumes 1 ,2 & 3)
REIBEL Guy
Type: Score
Instrument: piano, Solos
The piano, a symmetrical body of sound a new look at the instrument The piano is the benchmark instrument for musicians. With its perfect mechanics, exact tuning, melodic and harmonic interplay, the ability to play every conceivable chord, and almost infinite range, it is a perfect instrument, the culmination of hundreds of years of evolution, for which countless works have been written, culminating in the 19th century and a prodigious progression in virtuosity. The instrument has conquered the planet, and is universally used in all musical genres. Its tempered keyboard seems to fix the musical scale forever, bringing music to a kind of “terminus”. What’s more, its keyboard configuration is totally adapted to tonal music, and since the twentieth century, composers have had to trick their way out of tonal language.

I propose an approach in which we strive to forget the glorious history of the piano, its repertoire and all the playing habits that are linked to its habitual practice. A vast program, undertaken with modesty but conviction. Indeed, if we forget everything and look at this instrument like a Martian accidentally landing on Earth, it presents itself as a body of sound offering visual symmetry starting from the center (C – D ), with white keys regularly arranged on both sides, but perfect symmetry in the succession of white and black keys on either side of this center. If, on the other hand, we observe that our two hands placed flat on a table are also symmetrical, with the two thumbs facing each other, the first idea is not to set up a scale with both hands playing in parallel (the left hand linking the sounds starting with the little finger, the right with the thumb), as this way of playing is less spontaneous than playing in mirror, with both hands using the same fingering. If you apply this symmetrical playing style to both hands, the playing is much more natural and easier for a beginner, and produces musical results that may be disconcerting at first, but are astonishingly rich, eliminating the many clichés, and discover a wide variety of melodic and harmonic modes developed in contemporary music since Debussy and Messiaen, in particular the chromatic mode, the tonal scale, mode 2, the acoustic mode and all the more well-known plainchant modes (D, E, F, G, A). The door is open to new adventures with very direct access. This is the experiment conducted at the École de Musique de Colomiers with Marc Jamond, Director, teachers Catherine Gérin, Pascale Monteil, Ruth Atienza Platon and their students, to whom this series of notebooks is dedicated.
Guy Reibel
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