Compositeurs

DUSSAUT Robert

«Mr. Dussaut’s music has nothing brash, nor hermetic, nor bewildering about it. It gets straight to the point that it sets out to make; it avoids any ugliness, incoherence or […]

COVATTI-DUSSAUT Hélène

Born in Athens to an artist mother and a father stationed at the Romanian Embassy in Greece, Hélène Covatti came to France at the age of fifteen to pursue her […]

SOGNY Michel

Hungarian-born pianist, composer and Doctor of Philosophy Michel Sogny is best known for having developed a new approach to piano teaching that has enabled a generation of students of all […]

DACHEZ Christian

French composer, born in 1951. After musical studies at the CNR in Lille, he studied trombone in Paris with R. Katarzinsky, and conducting with J.-C. Hartmann. He obtained a 1st […]

COULAIS Bruno

Bruno Coulais is a French composer born in Paris on January 13, 1954, best known for his film scores. He gradually turned to the cinema, not because he wanted to, […]

TRIPLET Célia

Born in 1987, Célia Triplet studied music from an early age. After starting out on the piano, she decided to devote herself to the violin, at the age of 8, […]

DEBUSSY Claude

Claude Debussy was a French composer born in Saint-Germain-en-Laye on August 22, 1862, and died in Paris on March 25, 1918. Debussy’s Prélude à l’après-midi d’un faune, written in 1894, […]

GREIF Olivier

Born in 1950, Olivier Greif studied music at the Paris Conservatoire. He studied with Lucette Descaves for piano, Jean Hubeau for chamber music, Tony Aubin for composition, Robert Blot for […]

HUDRY David

David Hudry is a French composer who is interested in the exploration of dramaturgy using heterogeneous musical characters. Inspired by the graphic arts, especially by Klee and Kandinsky, his music […]

GARZIA Benjamin

“Lyrical, powerful and colorful”. These are the words with which conductor Alainb Altinoglu describes Benjamin Garzia’s music. This music, which draws its substance from the author’s passion for philosophy and […]

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