- version française
The fourth exercise is a dictation.
A description was written by listening to an original track.
You will have to follow it as closely as possible in order to reproduce the model track.
The timings below are expressed in minutes and seconds as mm:ss.
You will give a title to your production.
You will indicate your first and last name.
Send your work by March 13, 2021.
Productions will be peer-reviewed before publication.
Send your file to firstname.lastname@example.org before the deadline.
A dark synthesizer plays a conjunct melodic cadence, in a legato playing style.
At the same time, a very short and fast sequence of notes is played by another synthesizer as a loop. This sequence, whose timbre is slightly modulated over time, can be heard as a background pad on which the melody is placed.
The melody continues in a clearly higher pitch.
The modulation of the pad becomes sharper, it gradually evolves to a brighter and more aggressive sound.
The melody stops and the pad dampens without completely disappearing.
New sounds appear one after each other : male voices holding long spaced notes, metallic sound effects begin to play, and a rainstick comes in.
The pad continues to emit a few gurgles from time to time, then disappears.
A xylophone ran through a noticeable reverb plays a musical pattern as a loop. Metallic percussions quickly join and a regular pulsation begins to become apparent.
Strange descending intonations, perhaps human voices or animal cries, are also briefly heard.
The metallic percussions now play a fairly complex rhythm, clearly marking a beat of 109 bpm.
The male voices disappear and are replaced by low bowed strings, always with long legato notes, along with the xylophone now playing some melodic variations.
Descending intonations also occur several times, in the same way than their first occurence.
The metallic percussions are replaced by a sustained flow of serious and less aggressive sounds reminding of congas.
The melody and the bass rise slightly in tension before disappearing, while new instruments come to replace them : some kinds of bells play some notes on a constant flow of sixteenth notes and a saturated guitar played in palm mute in the bass play alternatively a funk strumming first, a djent-style rhythm, or even both at the same time.
A strange weeping can also be heard at one point.
Followed by a distant rumble.
The bells and congas stop. Various Hi-Hat sounds now provide the rhythm part.
A new two-note loop is played in unison by strings and a choir. More discreet, very high and very short notes are heard on each half-beat.
Many synthetic sounds evoking very diverse cries are heard, constituting a rather tumultuous ensemble.
Everything stops and instantly gives way to the return of the xylophone, bells, congas as well as metallic sound effects.
A brief scraping sound now marks each beat. The cries are not constantly there anymore but intervene in a punctual and less agitated way.
Two choir voices perform a high-pitched counterpoint.
The phrase previously sung by the choir is repeated identically, and two other deeper voices join the counterpoint. The whole becomes really jarring and the xylophone seems to modify its play style to go even more in this direction.
Bells, congas and metallic sounds stop.
A grotesque noise, then the xylophone also stops. At this point we only hear the choir and the scraping noise.
Short synthetic ascending sound at the end of the choir phrase.
Very short silence.
End of the track and of the dictation.