Above all, Yves RAMETTE thinks that music is, in essence, the language of the soul in his eyes, a musical phrase as accurate as the meaning of literary words. Music has the power to express the innermost feelings of the creator and does not need to move from literary or pictorial materials that must remain quite general. As a result, research does not hold the attention of experimental music because experimentation does not necessarily follow a work of art. Though attentive to everything that occurs, the composer was especially struck by the boredom that emerges from these experiences.


Music, unlike painting or architecture, takes place in time. It is essential to structure thinking, but even more importantly, to balance this construction of time. A careful study of masterpieces of the past shows that certain rules about the virtues of the "golden number" are applicable to musical composition.





Contrary to the current trend, Yves Ramette thinks that melody, in the highest sense of the term, remains a fundamental element of Musical Art. A strong supporter of a wide and continuous melody, even in lively and rhythmic movements, the composer discussed extensively the philosophy of Greek thinkers, as well as the "mystical range" of Guy d'Arezzo. Based on the total chromatic, the melody of Yves Ramette does not however proceed to the sensible ‘series’ at intervals as in some curves, an idea which the composer places great importance to in his art.





Essentially based on the resonance of sound body, it has no affinity with classical harmony and rules of its own. The research of Yves Ramette includes his use of harmonics as actual chords, and the sequence of these chords according to laws of their own, instead of each note of these chords, with the latter having paramount importance.





Here, the word refers to the inner rhythm of the phrases, rather than rhythmic pulsations. The main principle is: the musical dialectic should proceed logically, with the greatest possible freedom. As a result, the musical phrase will not be 2 or 3 or 4 time, or 6/8, 9/8 or 12/8, but will run through a constant change of measure, which is is necessary for its balance. Furthermore, the rhythmic complexity pushed to the extreme is not a concern for the composer, who thinks that in music, everything that can not be clearly perceived by the ear and transmitted to intelligence is useless. Music takes place in time is made to be heard and not to be read.





Yves Ramette believes that if form is necessary for the dialectic, (do you imagine an anarchic speech?), this form must be logical for each work, and being balanced by itself, must be free of any preconceived notion: Bach in his fugues, Beethoven in his later quartets in full consciousness.


Yves Ramette therefore follows the following principle: It is the background that determines the form and not the opposite. Symphonies therefore all have a different structure and orchestration. Within this structure, the construction is dictated by the implementation of the message:


1st symphony: 3 movements

2nd symphony: 2 linked movements

3rd symphony: 3 linked movements

4th symphony: 2 linked movements

5th symphony: 3 movements which two chained

6th symphony: 3 separate movements


In addition, from the 2nd symphony, themes appear in all movements in various forms, which reinforces the formal and spiritual unity of the work.


As this work was _ completed and deepened over the years, it is logical that the latest works are more representative than the first. However, the composer thinks that a certain unity of inspiration and style governs his various works. He also believes that beyond any explanation, music is primarily intended to move, at the highest sense. This is what he is trying to achieve in the best of its ability.