{"id":72,"date":"2008-03-16T15:43:17","date_gmt":"2008-03-16T15:43:17","guid":{"rendered":"https:\/\/www.compositeur-arrangeur.com\/blog\/32-comment-definir-une-bonne-orchestration\/"},"modified":"2008-03-16T15:43:17","modified_gmt":"2008-03-16T15:43:17","slug":"32-comment-definir-une-bonne-orchestration","status":"publish","type":"post","link":"https:\/\/www.compositeur-arrangeur.com\/blog\/32-comment-definir-une-bonne-orchestration\/","title":{"rendered":"Comment d\u00e9finir une bonne orchestration ?"},"content":{"rendered":"<p><\/p>\n<p>On connait tous la diff\u00e9rence entre un bon et un mauvais chasseur&#8230;<br \/>\nMais qu&rsquo;en est-il de l&rsquo;orchestration ?<\/p>\n<p>J&rsquo;ai trouv\u00e9 un article tr\u00e8s int\u00e9ressant sur le sujet, de <a href=\"http:\/\/www.musique.umontreal.ca:16080\/personnel\/Belkin\/bk.o.fr\/index.html\" target=\"_blank\" rel=\"noopener nofollow\"><ins>Alan Belkin<\/ins><\/a>, \u00e0 propos de l&rsquo;orchestration en g\u00e9n\u00e9ral.<br \/>\nJe recopie ici un extrait de cet article qui \u00e9num\u00e8re les points forts d&rsquo;une bonne orchestration et les erreurs \u00e0 na pas faire :<\/p>\n<p><strong>Une orchestration d\u00e9ficiente :<\/strong><\/p>\n<p>Alan Belkin rappelle d&rsquo;abord qu&rsquo;une orchestration jouable peut difficilement \u00eatre franchement mauvaise.<\/p>\n<p>On parlera plut\u00f4t d&rsquo;un orchestration d\u00e9ficiente en essayant d\u2019identifier les erreurs qui en sont, le plus souvent, la cause :<\/p>\n<ul>\n<li>Faiblesse des effets, r\u00e9sultant d\u2019un recours insuffisant aux ressources disponibles pour produire le caract\u00e8re d\u00e9sir\u00e9 (par exemple, un effet percussif reposant sur quelques bois et aucune percussion), ou r\u00e9sultant de gestes contradictoires (par exemple, l\u2019ajout d\u2019instruments pendant un diminuendo).<\/li>\n<p><\/p>\n<li>Fatigue auditive r\u00e9sultant de l\u2019usage exag\u00e9r\u00e9 des registres extr\u00eames ou de couleurs tr\u00e8s caract\u00e9ris\u00e9es, ou r\u00e9sultant d\u2019un manque de fondu dans les blocs harmoniques.<\/li>\n<p><\/p>\n<li>Texture \u00ab grise \u00bb souvent caus\u00e9e par un abus de doublures \u00e0 l\u2019unisson.<\/li>\n<p><\/p>\n<li>Lourdeur g\u00e9n\u00e9ralis\u00e9e (plut\u00f4t que localis\u00e9e, \u00e0 titre d\u2019effet), engendr\u00e9e par un abus de doublures ou par une surcharge du registre grave.<\/li>\n<p><\/p>\n<li>Sonorit\u00e9 g\u00e9n\u00e9ralement trop s\u00e8che, par absence d\u2019arri\u00e8re-plans r\u00e9sonant. (Une sonorit\u00e9 s\u00e8che peut convenir, \u00e0 titre d\u2019effet, mais rarement comme norme).<\/li>\n<p><\/p>\n<li>Confusion entre divers \u00e9l\u00e9ments musicaux, due \u00e0 une faible diff\u00e9rentiation des plans sonores.<\/li>\n<p><\/p>\n<li>Confusion formelle, caus\u00e9e par des changements de timbre \u00e0 des moments arbitraires, ou par des changements n\u2019offrant pas le degr\u00e9 de contraste requis.<\/li>\n<p><\/p>\n<li>Impr\u00e9cision du caract\u00e8re.<\/li>\n<p>\n<\/ul>\n<p><\/p>\n<p><strong><br \/>\nUne orchestration de qualit\u00e9 :<\/strong><\/p>\n<p>Une bonne orchestration doit :<\/p>\n<ul>\n<li>Renforcer la forme : Les changements orchestraux doivent se faire aux endroits appropri\u00e9s et pr\u00e9senter un degr\u00e9 de contraste appropri\u00e9.<\/li>\n<p><\/p>\n<li>Offrir des couleurs suffisamment fra\u00eeches et vari\u00e9es pour soutenir l\u2019int\u00e9r\u00eat.<\/li>\n<p><\/p>\n<li>Renforcer le phras\u00e9.<\/li>\n<p><\/p>\n<li>Clarifier les diff\u00e9rents \u00e9l\u00e9ments musicaux. Chaque \u00e9l\u00e9ment doit \u00eatre audible.<\/li>\n<p><\/p>\n<li>Assurer une contribution personnalis\u00e9e de chaque \u00e9l\u00e9ment, permettant ce que Richard Strauss (en r\u00e9f\u00e9rant \u00e0 la polyphonie de Wagner dans la pr\u00e9face de sa version r\u00e9vis\u00e9e du trait\u00e9 de Berlioz) appelle \u00ab l\u2019implication spirituelle des ex\u00e9cutants \u00bb.<\/li>\n<p><\/p>\n<li>Pr\u00e9voir des parties aussi faciles \u00e0 jouer que possible, en privil\u00e9giant toujours la fa\u00e7on la plus simple d\u2019obtenir l\u2019effet d\u00e9sir\u00e9.<\/li>\n<p><\/p>\n<li>Cr\u00e9er une sonorit\u00e9 riche (habituellement, en multipliant les plans sonores).<\/li>\n<p><\/p>\n<li>Pr\u00e9senter un caract\u00e8re pr\u00e9cis.<\/li>\n<p><\/p>\n<li>Utiliser efficacement la masse orchestrale.<\/li>\n<p>\n<\/ul>\n<p>Auteur : <strong>Alan Belkin<\/strong><br \/>\nSource : <a href=\"http:\/\/www.musique.umontreal.ca:16080\/personnel\/Belkin\/bk.o.fr\/index.html\" target=\"_blank\" rel=\"noopener nofollow\"><ins>http:\/\/www.musique.umontreal.ca:16080\/personnel\/Belkin\/bk.o.fr\/index.html<\/ins><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>On connait tous la diff\u00e9rence entre un bon et un mauvais chasseur&#8230; Mais qu&rsquo;en est-il de l&rsquo;orchestration ? J&rsquo;ai trouv\u00e9 un article tr\u00e8s int\u00e9ressant sur le sujet, de Alan Belkin, \u00e0 propos de l&rsquo;orchestration en g\u00e9n\u00e9ral. Je recopie ici un extrait de cet article qui \u00e9num\u00e8re les points forts d&rsquo;une bonne orchestration et les erreurs [&hellip;]<\/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-72","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\/72","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=72"}],"version-history":[{"count":0,"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/posts\/72\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/media?parent=72"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/categories?post=72"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.compositeur-arrangeur.com\/blog\/wp-json\/wp\/v2\/tags?post=72"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}