The Isobematic Language in the Work Asas by Christopher Bochmann

Isobematic language, as a system based on a single unit of the same size (half-tone), has strong repercussions on fingering, registers, articulation and, consequently, on the sound produced by the various instruments. Writing or composing using isobematic language means organizing pitches (interval construction), rhythms, dynamics, articulations according to the sum of more or less “spaces of equal size”. The accordion, portable aerophone invented and patented in 1829 by Cyrill Damian in Austria, emerges in the 21st century as one of the most versatile instruments in the history of music [1] has unique characteristics to perform this kink of language: keyboard buttons (half-tones) disposition, simetry, direct aptitude to transpose stuff, among others. The piece Asas, composed by Christopher Bochmann, it’s a work written for accordion, soprano voice, saxophone, viola and cello based on this new language and a good example of the accordion integration in the panorama of contemporary music and in the performative relationship with other instruments. The purpose of this article is to analyze the new work regarding some idiosyncrasies of the isobematic language and the role of the accordion among the other classical instruments.