{"id":298,"date":"2009-05-20T23:28:30","date_gmt":"2009-05-20T23:28:30","guid":{"rendered":"https:\/\/www.compositeur-arrangeur.com\/blog\/162-crescendo-diminuendo-quelques-exemples-dans-la-musique-de-film\/"},"modified":"2021-06-08T12:55:56","modified_gmt":"2021-06-08T12:55:56","slug":"162-crescendo-diminuendo-quelques-exemples-dans-la-musique-de-film","status":"publish","type":"post","link":"https:\/\/www.compositeur-arrangeur.com\/blog\/162-crescendo-diminuendo-quelques-exemples-dans-la-musique-de-film\/","title":{"rendered":"Crescendo-decrescendo, quelques exemples dans la musique de film."},"content":{"rendered":"<p>\nDans certaines <a href=\"http:\/\/www.goldenscore.fr\/\" target=\"_blank\" rel=\"noopener nofollow\">bandes originales<\/a>, il n&rsquo;est pas rare d&rsquo;entendre des poses de sons (de une ou plusieurs notes) partant d&rsquo;une <a href=\"http:\/\/fr.wikipedia.org\/wiki\/Nuance_(solf%C3%A8ge)\" target=\"_blank\" rel=\"noopener nofollow\">nuance<\/a> piano, montant vers le Forte et redescendant vers un faible volume sonore. Je trouve que \u00e7a donne un c\u00f4t\u00e9 inqui\u00e9tant, surtout si c&rsquo;est jou\u00e9 dans les graves et si c&rsquo;est r\u00e9p\u00e9t\u00e9 plusieurs fois.<\/p>\n<p><\/p>\n<div align=\"center\"><strong><ins>Notation<\/ins> :<\/strong><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-content\/uploads\/2021\/06\/pfp-notation.jpg\" alt=\"pfp crescendo diminuendo\" \/><\/p>\n<p>\n<strong><ins>Onde de trois crescendo-decrescendo<\/ins> :<\/strong><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-content\/uploads\/2021\/06\/pfp-onde.jpg\" alt=\"pfp crescendo diminuendo\" \/><\/p>\n<p><\/div>\n<p><strong>Quelques exemples extraits de ma minuscule collection de BO :<\/strong><\/p>\n<p><strong>Kiss The Girls<\/strong> (Mark Isham)<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-298-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/pfp_kiss_the_girls.mp3?_=1\" \/><a href=\"https:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/pfp_kiss_the_girls.mp3\" rel=\"nofollow noopener\" target=\"_blank\">https:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/pfp_kiss_the_girls.mp3<\/a><\/audio>\n<p><strong>What Lies Beneath<\/strong> (Alan Silvestri)<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-298-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/pfp_apparences.mp3?_=2\" \/><a href=\"https:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/pfp_apparences.mp3\" rel=\"nofollow noopener\" target=\"_blank\">https:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/pfp_apparences.mp3<\/a><\/audio>\n<p><strong>L&rsquo;homme en noir<\/strong> (Tanguy Follio)<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-298-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/pfp_hommes_en_noir.mp3?_=3\" \/><a href=\"https:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/pfp_hommes_en_noir.mp3\" rel=\"nofollow noopener\" target=\"_blank\">https:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/pfp_hommes_en_noir.mp3<\/a><\/audio>\n<p><strong>Interview With The Vampire<\/strong> (Elliot Goldenthal)<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-298-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/vampire.mp3?_=4\" \/><a href=\"https:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/vampire.mp3\" rel=\"nofollow noopener\" target=\"_blank\">https:\/\/www.latroika.com\/mp3\/tanguy-follio\/blog\/vampire.mp3<\/a><\/audio>\n<p>C\u00f4t\u00e9 programmation, il existe dans les banques de sons des samples cl\u00e9 en main proposant des notes jou\u00e9es en pfp (piano-forte-piano), mais c&rsquo;est valable sur une seule note&#8230;<br \/>\n Pour simuler un <a href=\"http:\/\/www.piano-play-it.com\/dynamics-music.html\" target=\"_blank\" rel=\"noopener nofollow\">crescendo diminuendo<\/a> sur un groupe de notes, on utilisera le contr\u00f4leur de volume (ou d&rsquo;expression), et pourquoi pas essayer de faire varier le timbre de l&rsquo;instrument en modifiant la brillance (contr\u00f4leur Brightness, pour les sons Roland GS ou <a href=\"http:\/\/www.francepianos.com\/midi.htm\" target=\"_blank\" rel=\"noopener nofollow\">Yamaha XG<\/a> par ex..), ou bien jouer avec les filtres <a href=\"http:\/\/www.youtube.com\/watch?v=241jPW87FFk\" target=\"_blank\" rel=\"noopener nofollow\">Cut-off<\/a> et r\u00e9sonance. <\/p>\n<p>Dans <a href=\"http:\/\/www.synful.com\/SynfulOrchestra.htm\" target=\"_blank\" rel=\"noopener nofollow\">Synful<\/a>, il est tr\u00e8s facile de faire varier le timbre sur les notes MIDI, en utilisant le contr\u00f4leur cc103 \u00ab\u00a0Harmonic Tilt\u00a0\u00bb. Si je veux faire un crescendo de trompettes, j&rsquo;augmente l&rsquo;intensit\u00e9 sonore (de Piano \u00e0 Forte) et je modifie respectivement la teinte du son (de mate \u00e0 brillante). En effet, plus on souffle fort dans un cuivre (trompette, trombone etc&#8230;), plus le son devient brillant.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Dans certaines bandes originales, il n&rsquo;est pas rare d&rsquo;entendre des poses de sons (de une ou plusieurs notes) partant d&rsquo;une nuance piano, montant vers le Forte et redescendant vers un faible volume sonore. Je trouve que \u00e7a donne un c\u00f4t\u00e9 inqui\u00e9tant, surtout si c&rsquo;est jou\u00e9 dans les graves et si c&rsquo;est r\u00e9p\u00e9t\u00e9 plusieurs fois. Notation [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":299,"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-298","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-orchestration-notation"],"_links":{"self":[{"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/posts\/298","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=298"}],"version-history":[{"count":1,"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/posts\/298\/revisions"}],"predecessor-version":[{"id":575,"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/posts\/298\/revisions\/575"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/media\/299"}],"wp:attachment":[{"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/media?parent=298"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/categories?post=298"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/tags?post=298"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}