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Crédits

Publication manager : Jean Paul Secher
Les Editions musicales Artchipel
1, rue des Marronniers F – 77250 Villemer
SARL E.M.A. with capital of €15,000 – RCS Melun 497 589 804 00036
APE : 5920Z / TVA : FR49497589804
Téléphone : + 33 (0) 1 64 23 36 77
E-mail : [email protected]
Website : www.artchipel.net
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The sketches, photos and illustrations on this website are provided for information purposes only and are not contractually binding. Any reproduction or representation, even partial, by any means whatsoever, of the pages published on this website, and made without the written authorization of the publisher, is illegal and constitutes an infringement. Reproduction, even partial, of articles and illustrations published on the Editions Musicales Artchipel website is prohibited without prior agreement.

Privacy Policy

Introduction

In the course of its business, EMA, whose head office is located at 1, rue des Marronniers 77250 Villemer, collects and processes information, some of which is referred to as “personal data”. EMA attaches great importance to the respect of privacy, and only uses data in a responsible and confidential manner and for a specific purpose.

Personal data

On the www.artchipel.net website, 2 types of data may be collected:

Data transmitted directly
These data are those that you transmit to us directly, via a contact form or by direct contact by email. Mandatory fields in the contact form are SARL EMA Jean-Paul SECHER 1, rue des Marronniers 77250 Villemer Contact: [email protected] / 01 64 23 36 77.

Automatically collected data
During your visits, once you have given your consent, we may collect “web analytics” type information relating to your browsing, the duration of your visit, your IP address, your browser type and version. The technology used is the cookie.

Data usage

The data you send us directly will be used to contact you again and/or in connection with your request. Web analytics” data is collected anonymously (by recording anonymous IP addresses) by Google Analytics, and enables us to measure the audience of our website, consultations and possible errors in order to constantly improve the user experience. This data is used by EMA, which is responsible for data processing, and will never be transferred to a third party or used for purposes other than those detailed above.

Legal basis

Personal data is collected in the context of pre-contractual and contractual measures and sales.

Personal account data is saved in the legitimate interests of Artchipel, to provide a better browsing experience for its users.

Where necessary, personal data is only collected with the compulsory consent of the user. This consent is validly obtained (buttons and checkboxes), free, clear and unequivocal.

Storage period

Data will be saved for a maximum of 3 years of inactivity.

Cookies

Here is the list of cookies used and their purpose:

Google Analytics cookies (exhaustive list) : [ga]
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Your rights concerning personal data

You have the right to consult, modify or delete all your personal data. You may also withdraw your consent to the processing of your data.

Contact for the Data Protection Officer

Jean-Paul Secher – [email protected] – 01 64 23 36 77

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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Pedagogy
Le Piano Symétrique (volumes 1 ,2 & 3)
Type: Pedagogy
Instrument: Solos, piano
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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