Compositeurs

MAZÉ Philippe

Philippe Mazé began his musical training with Daniel Roth and Gabriel Looren, then continued at the École Normale de Musique de Paris, where he completed classes in composition, analysis and […]

GASPAROV Alexandre

Alexander Gasparov began studying piano at the age of 5 in his native Moscow. At 21, he entered N. Sidelnikov’s composition class at the Tchaikovsky Conservatory, where he also studied […]

DUMONT Aurélien

Aurélien Dumont (b. 1980) holds a doctorate in musical composition from the SACRe program of the École Normale Supérieure de Paris, the Université Paris Sciences et Lettres and the Conservatoire […]

CHAMOUARD Philippe

Philippe Chamouard was born in Paris. He has always been keen to distance himself from any influence or school. That’s why, in 1987, he decided to destroy all his previous […]

MENUT Benoît

Energy in sounds, driven by meaning. Passionate about the close relationship between music and words, he draws constant inspiration from the latter. For the stage, he wrote Fando et Lis […]

KREMSKI Alain

Grand Prix de la Ville Paris, First Prize at the Prince Pierre de Monaco International Composition Competition (symphonic music category), First Grand Prix de Rome, Marsden Foundation (New York) and […]

CHIRIACOPOL Epaminondas

French musician of Romanian origin, born in 1952 in Bucharest. Established in France in 1979, he continues a career begun at Romanian Radio as a composer, bassoonist, teacher and musical […]

GIRAUD Suzanne

The composer Suzanne Giraud studied piano, violin, viola , piano accompaniment, conducting, composing and analysis at the Strasbourg Conservatory Afterwards, she entered the Paris Conservatory, where she received diplomas in […]

BURIAN Peter

An Austrian musician born in Vienna in 1951, Peter BURIAN began his career as conductor of the Vienna Boys’ Choir in 1975. He became Chorus Master of London’s Royal Opera […]

FERRARIS Paul

First prize for excellence in flute and chamber music, ENMD Nice Special Grand Prize awarded by this city. First prize in flute and chamber music from the CNSM in Paris. […]

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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