Compositeurs

HALIMI Inès

Inès Halimi is a multi-talented artist: composer, singer, pianist, author and actress. actress. Artistic director of Compagnie …Sans Oublier…, she creates and produces multidisciplinary shows.As a composer, her melody Quiero, […]

FEREZ Fabrice

Fabrice Ferez is principal oboe of the Orchestre Victor Hugo, professor at the Conservatoire du Grand Besançon and co-director of the TETRAKTYS ensemble. Composer, arranger and conductor, he loves to […]

BORDALEJO Tomás

After moving to Paris in 2005, Tomás Bordalejo attended the Conservatoire de Gennevilliers, then the CRR de Paris and the Pôle Supérieur de Création Boulogne-Billancourt. His meeting with composer Bernard […]

VALLET-TESSIER François

After a degree in percussion from the Université de Montréal, François Vallet-Tessier obtained his Master’s degree from the Conservatoire National Supérieur de Musique de Paris. At the same time, he […]

CALMEL Olivier

Composer, orchestrator and pianist, Olivier Calmel studied harmony, counterpoint, fugue-writing, and orchestration under Guillaume Connesson. The majority of his works are commissions for soloists, ensembles and orchestras such as Radio […]

WATANABE Rikako

After obtaining her Master’s degree in composition at the Kunitachi University of Music in Tokyo, Rikako WATANABE was attracted by traditional French writing, and went on to study at the […]

ACHENBERG David

Resolutely rooted in the history of music, the work of David Achenberg also cultivates a liberating amnesia. This unique cocktail produces an astonishing mix of styles that finds its balance […]

BRAUD Augustin

Born in 1994, Augustin Braud spends most of his life between Poitiers and Paris, France. After having studied drums and percussion for more than fifteen years and starting composition while […]

AGOBET Jean-Louis

French composer born in 1968, Jean-Louis Agobet began studying composition in 1983. After attending composition courses in Aix-en-Provence Conservatory with Michel Pascal, Jean-Louis Agobet studied with Jacques Charpentier in Nice […]

SIVAK Gabriel

Gabriel Sivak is a Franco-Argentinian composer born in 1979 and living in Paris. He studied composition and musicology at the Sorbonne and at the Pôle supérieur Paris-Boulogne, where he obtained, […]

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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Our Composers