Compositeurs

LELOUP Samuel

Samuel Leloup is a French composer, violinist and orchestrator. Holder of a master’s degree in violin as well as prizes for harmony, orchestration and film music composition, he performs regularly […]

ROLLAND Grégoire

Composer and organist Grégoire Rolland holds a Master’s degree in composition (harmony, counterpoint, fugue), a prize for analysis, a Master’s degree in organ and a prize for orchestration from the […]

ARANGO-PRADA Daniel

Born in Colombia in 1987, Daniel Arango-Prada currently resides in France, where he devotes his activity as a composer to instrumental music, electroacoustic music, mixed music and music for images. […]

FUSTÉ-LAMBEZAT Michel

Born in Bordeaux in 1934, Michel Fusté-Lambezat studied solfeggio and oboe at the Bordeaux Conservatoire, then entered the Conservatoire National Supérieur de Musique de Paris, where he took classes in […]

LEIBOWITZ René

TROLLET Vincent

Artist member of the Académie de France in Madrid, Casa de Velazquez, from 2013 to 2014, selected by the Institut Français du Maroc for an artistic residency in 2015 in […]

FARHANG Alireza

Alireza Farhang is a Franco-Iranian composer who lives and works in France. Co-founder of the Ensemble Inicia! and the Association of Iranian Composers of Contemporary Music (ACIMC), his works have […]

POPINEAU François

Composer, arranger, orchestrator, teacher and jazz pianist, François Popineau divides his time between teaching, performing, composing, harmonic pedagogy, arranging and orchestration + conducting. His many musical activities include teaching […]

BESINGRAND Jean-Patrick

Originally from Bordeaux, Jean-Patrick Besingrand (b. 1985) is a French composer and musicologist based in Washington DC and New York. From his formative years as a keyboardist and guitarist in […]

LACAZE Sophie

After graduating in engineering, Sophie Lacaze turned to music. After graduating in composition from the Ecole Normale de Musique de Paris, she continued her studies in Italy with Franco Donatoni […]

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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