F. Couperin?


The love of historical music is often a complacent escape. In this case, I was looking for an approach that takes into account the time difference: Extensive waiver of ornaments, an exchange of the instrument (a rhodes piano instead of harpsichord), and smart variations ... ◊ ‘Classical’.

Why Couperin? I was curious what remains.

Helge Nov. 2013


(Almost) no theory - just conceptual scales



Tonality is no basis for me. In my concept, tones form an abstract continuum. And it can be selected for a piece, 32, 12, 8, 4 - no matter!

I used in earlier compositions a scale, especially in the 'cocktails': c# / d# / e / f / g / a / b (german: h) / c#. It does not matter what tone to start with, or how sounds are called.

In the current â—Š trio-project I have taken up this scale and added another: 'Come a little closer' contains in addition and in contrast c / d / e / f / f# or gb / g# / a# / b (german h) / c

Both scales have a special property: they show two consecutive half steps (d# / e / f - e / f / f# or gb). Other scales of this type have already been created ...

Helge Oct. 2013

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