{"id":261,"date":"2009-05-29T00:34:50","date_gmt":"2009-05-29T00:34:50","guid":{"rendered":"https:\/\/www.compositeur-arrangeur.com\/blog\/140-exemples-de-transitions-dans-la-musique-de-film\/"},"modified":"2009-05-29T00:34:50","modified_gmt":"2009-05-29T00:34:50","slug":"140-exemples-de-transitions-dans-la-musique-de-film","status":"publish","type":"post","link":"https:\/\/www.compositeur-arrangeur.com\/blog\/140-exemples-de-transitions-dans-la-musique-de-film\/","title":{"rendered":"Quelques exemples de transition entre deux segments musicaux"},"content":{"rendered":"

\nIl existe certainement de nombreuses mani\u00e8res de raccorder 2 segments musicaux (permettant souvent d’\u00e9viter une simple juxtaposition). Je suppose que chaque compositeur a ses petits secrets de fabrication. <\/p>\n

Ci-dessous, \u00e0 partir de 2 portions orchestrales, je me suis amus\u00e9 \u00e0 appliquer diff\u00e9rentes sortes de transition. Vous verrez qu’il s’agit pour la plupart de raccords de type \u00ab\u00a0chevauchement par un ou plusieurs instruments\u00a0\u00bb, mais pas seulement… <\/p>\n

Voici les 2 portions :
\n(d\u00e9sol\u00e9 pour l’aspect rudimentaire de cette maquette, je n’ai pas eu le temps de l’orchestrer bien comme il faut…)<\/p>\n

Segment n\u00b01<\/strong><\/p>\n

Segment n\u00b02<\/strong><\/p>\nhttps:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/partie2.mp3<\/a><\/audio>\n

<\/p>\n

Juxtaposition (sans transition)<\/strong><\/p>\nhttps:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/juxtaposees.mp3<\/a><\/audio>\n

<\/p>\n

Transition par chevauchement par divers instruments<\/ins> :<\/strong><\/p>\n

Cymbale (crescendo)<\/p>\nhttps:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/avec_cymbales.mp3<\/a><\/audio>\n

Harpe (glissando)<\/p>\nhttps:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/avec_harpe.mp3<\/a><\/audio>\n

Timbales (notes) + harpe (glissando)<\/p>\nhttps:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/avec_harpe_timbales.mp3<\/a><\/audio>\n

Rip de cors + Harpe (glissando aigu)<\/p>\nhttps:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/avec_harpe_cors.mp3<\/a><\/audio>\n

<\/p>\n

Un petit effet qui me para\u00eet sympa est de faire arriver un petit crescendo de cymbales juste avant la jonction des 2 parties, tout en diminuant l’intensit\u00e9 orchestrale \u00e0 cet endroit, pour repartir ensuite sur la deuxi\u00e8me partie (dans l’exemple ci-dessous, j’ai enlev\u00e9 la premi\u00e8re note du deuxi\u00e8me segment).<\/p>\n

Ecouter :<\/strong><\/p>\nhttps:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/sans_premier_temps.mp3<\/a><\/audio>\n

<\/p>\n

Dans l’exemple suivant, j’ai juste d\u00e9marr\u00e9 le segment n\u00b02 une mesure plus t\u00f4t. Rien de bien compliqu\u00e9, mais parfois \u00e7a peut dynamiser l’ensemble (\u00e0 tester sur les images). <\/p>\n

Ecouter :<\/strong><\/p>\nhttps:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/temps_mordu.mp3<\/a><\/audio>\n","protected":false},"excerpt":{"rendered":"

Il existe certainement de nombreuses mani\u00e8res de raccorder 2 segments musicaux (permettant souvent d’\u00e9viter une simple juxtaposition). Je suppose que chaque compositeur a ses petits secrets de fabrication. Ci-dessous, \u00e0 partir de 2 portions orchestrales, je me suis amus\u00e9 \u00e0 appliquer diff\u00e9rentes sortes de transition. Vous verrez qu’il s’agit pour la plupart de raccords de […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[9],"tags":[],"class_list":["post-261","post","type-post","status-publish","format-standard","hentry","category-orchestration-notation"],"_links":{"self":[{"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/posts\/261","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/comments?post=261"}],"version-history":[{"count":0,"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/posts\/261\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/media?parent=261"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/categories?post=261"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/tags?post=261"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}