Compositeurs

MASSOT Olivier

Olivier Massot (1966) began his musical education at an early age as a bugler in brass bands and harmonies in his native Belgium. Today, he is bassoon soloist with the […]

CHÉPÉLOV Pierre

Pierre Chépélov holds five awards from the Paris C.N.S.M. (in writing, orchestration and analysis), and has also studied choral conducting, basso continuo and early music in general. His catalog includes […]

MAŘATKA Kryštof

Czech composer Kryštof Mařatka lives and works in Prague and Paris. The versatility that marks his artistic activities, carried out between several countries, is often seen as a strong link […]

CHAYNES Charles

Charles Chaynes est né à Toulouse le 11 juillet 1925 de parents musiciens, professeurs au Conservatoire de cette ville, et mort le 24 juin 2016 à Saint-Mandé. Dès son plus […]

PETITGIRARD Laurent

Born in 1950, Laurent Petitgirard studied piano with Serge Petitgirard and composition with Alain Kremski. An eclectic musician, his career as a composer of symphonic music (more than twenty works, […]

BUTIN Patrick

Patrick Butin divides his time between teaching in various structures, music publishing, composition, conducting and musicology. After studying piano and percussion at the Conservatoire du XVIII° arrondissement de Paris, he […]

REIBEL Guy

Guy Reibel develops his research and creative activities around a central idea: that of the human musician, who indissolubly combines and creation. Stimulating and developing the creative abilities in young […]

DUBOIS Lancelot

Born in Paris in 1979, Lancelot Dubois began his music studies at the age of five. He studies choral singing, traverse flute, chamber music, harmony, music analysis, counterpoint, music history, […]

CARREÑO Juan Pablo

Trained in Colombia, the United States and France, Juan Pablo Carreño studied composition at the Javeriana University in Bogotá with Guillermo Gaviria and Harold Vásquez, graduating in 2003. The same […]

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 […]

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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Our Composers