From an early age, Krisyan has always been interested in music composition.
It started in the Yeye period, like many young people, with pieces of the style of the variety (Slow ..).
With ball orchestras, he composed boleros, beguines, rampa cadences, and salsa.
Since 1972, he is interested only gwoka.
He composed traditional pieces and others more evolutionary.
First for small formations (KAFÉ, KATOURÉ) then for large orchestra (Ensemble Musical Knights Saint-Georges, CLASSI-KA, GWADLOUP-SENFONI).
His approach is simple, to a melody he adds a rhythm, then a line of melodic bass. Then he adds the other instruments (violins, cellos, double bass, trumpets, sax, oboe ... and steel-pan.
He also tried the biguine-ka with a work that allowed him to get a second prize of the competition of biguines.
From an early age, Krisyan has always been interested in music composition.
It started in the Yeye period, like many young people, with pieces of the style of the variety (Slow ..).
With ball orchestras, he composed boleros, beguines, rampa cadences, and salsa.
Since 1972, he is interested only gwoka.
He composed traditional pieces and others more evolutionary.
First for small formations (KAFÉ, KATOURÉ) then for large orchestra (Ensemble Musical Knights Saint-Georges, CLASSI-KA, GWADLOUP-SENFONI).
His approach is simple, to a melody he adds a rhythm, then a line of melodic bass. Then he adds the other instruments (violins, cellos, double bass, trumpets, sax, oboe ... and steel-pan.
He also tried the biguine-ka with a work that allowed him to get a second prize of the competition of biguines.
Dès son plus jeune âge, Krisyan s’est toujours intéressée à la composition musicale.
Il a commencé à l’époque « Yéyé », comme beaucoup de jeunes, avec des morceaux du style de la variété (Slow..).
Avec des orchestres de bals, il compose des boléros, des biguines, des cadences rampa et de la salsa.
Depuis 1972, il ne s’intéresse qu’au gwoka.
Il a composé des pièces traditionnelles et d’autres plus évolutives.
D’abord pour de petites formations (KAFÉ, KATOURÉ) puis pour de grands orchestres (Ensemble Musical Chevalier Saint-Georges, CLASSI-KA, GWADLOUP-SENFONI).
Son approche est simple, à une mélodie il ajoute un rythme, puis une ligne de basse mélodique. Puis il ajoute les autres instruments (violons, violoncelles, contrebasse, trompettes, saxophone, hautbois... et steel-pan.
Il s’essaya également à la biguine-ka avec une œuvre qui lui permit d’obtenir un second prix du concours de biguines.