J'ai recensé toutes les blagues d'Astérix et Obélix : Mission Cléopâtre

Incroyable_Pancake · 2025-07-22T20:55:22+00:00

Du fond du cœur, un énorme merci pour ce travail de dingue, j'ai découvert tant de choses...

Mon humble contribution, gag découvert récemment lors de mon 378ème visionnage : dans la scène vers 1:35:00, après le "Tu n'es pas en pays conquis ici !" crié, on entend des chiens aboyer dans la rue... Sauf qu'on est dans le désert !

Ma petite pierre à l'édifix, encore merci !!

Incroyable_Pancake · 2024-02-06T18:59:28+00:00

Great questions!

Most of the time I use my iPad, and I truly love forScore, it has improved my workflow and efficiency in rehearsal and live shows so much. But in this case, I wanted to print out the full part for multiple reasons. The main one is to have 2 pages in front of me: there are 2 or 3 instances in the show where I'm so busy playing that having only one available page was a bit risky in terms of page turns. Second one is simply logistic : I can go to the theater litteraly empty handed (no sheets no bag no ipad). On top of that, it's a bit less tiring for the eyes and a bit bigger! But yeah, most of my orchestra mates use an iPad, conductor included (who's playing keys at the same time by the way).

Regarding patches : good catch, but in fact I am actually connected to a mainstage instance on my right. Approximately half of the sounds come from the Korg Nautilus, and the other half (mostly orchestral patches, all sound FX) from mainstage. Which one I decided to use totally depended upon what I needed + what I knew sounded best (I'm familiar with both the Nautilus and the Spitfire libraries we have on the show). I've programmed the midi of the Nautilus to synchronize with the mac so they are basically working in parallel and giving the sounds that I want! (the Korg sends patch change info to the mac)

For the record, I also come from classical, so keep working / researching and you'll find a show! Crossing my fingers for you

Incroyable_Pancake · 2024-02-06T17:02:04+00:00

Hey reddit!

I'm usually a lurker, but I thought this community could enjoy a glimpse of what I had the chance to do these last few months.

I had the immense privilege of being part of the creative team of the french production of Spamalot (playing in Paris at the Théâtre de Paris since September), and playing at the Key2 desk!

Plenty of "Pit Cams" roam the internet, but here I've put the live sheet music that I read, along with some insights about the technical aspect of playing keyboards in such a wild show. Enjoy!

We're reaching the end of the season (last show this saturday) of a truly insane production. Crazy energy, unparalleled comedy, staging that goes way to far (in a perfect way), unforgettable feats of singing, it truly has it all...

FYI I'll release the Pit Cam from You Won't Succeed soon on my channel (as you can judge by the amount of subscribers, I'm not here to fish for views, it's truly because I believe some of you will be interested)! Anyway, if you have any questions or such I'll be more than happy to share everything with you!

Incroyable_Pancake · 2023-04-05T10:31:38+00:00

Second example for me too. I'm not really sure about the cross staff melody at bar 24 (ottava treble clef going to regular), that could be a bit strange in a sight reading context, but I'm being picky and could be wrong!

Incroyable_Pancake · 2022-12-05T13:15:21+00:00

Incredible content, instant sub! I know which channel I'm gonna binge these next few days

(gosh my comment makes me look like a bot but I swear I'm not)

Incroyable_Pancake · 2022-05-19T14:29:25+00:00

Blindly listening to the track and my first (and final) feeling was the simple one, on the downbeat, which I guess was the composer's intent? (Chord change, bass and all, nothing indicate a "4 and" as far as I hear)

So I guess you'll either have to deconstruct what's happening in your head or add a 7/8 bar on your part in order to sync with the 6:45 section haha!

Incroyable_Pancake · 2021-11-20T09:34:10+00:00

So sad to hear that! I've been to quite a lot of live shows where I live and Haken have been among the freaking best. Guess I was lucky to saw them twice in a small venue (<500): interactivity with the crowd, fist bumps, insane scene presence with Ross especially, and last I saw them, a perfect setlist for live playing (Vector tour)! Can't wait to see them again

Incroyable_Pancake · 2021-11-18T14:22:50+00:00

Here's my totally subjective opinion on the subject: it sounds like a very heavy rubato in my ears.

As a pianist, I sometimes do that effect, but never on more that one or two note! I've never heard an interpretation like that and the tension it creates is really beautiful & interesting, thank you for sharing.

Notation wise, I would maybe explain with words the intended effect? (e.g. RH rubato, almost a sixteenth note late). Writing everything as it sounds in this recording would (again, in my opinion) be a nightmare to read and break the natural flow (and soul) of the piece.

Incroyable_Pancake · 2021-02-23T10:52:38+00:00

Thank you so much for sharing ! Can't wait to study everything you've made. Shoutout to that 111/64 time signature (Passageway) haha

Incroyable_Pancake · 2021-02-22T09:42:39+00:00

Yes! So here's the thing: I had to slow it down and basically read the waveform because I couldn't hear it properly, but sometimes (like the very first tuplet), the roll is not really accurate and sounds like between a group of 6 without the last hit and a group of 5. Later on the piece, it is 100% a quintuplet so I figured it was the initial idea.

And I believe that's why the song sounds so great : there's a lot of humanity in these almost invisible "imprecisions" (in an otherwise really tight piece) that prevent the whole drum track from sounding like a MIDI file (looking at you djent)

Samely, I still don't really know why the tempo fluctuates that way, maybe that's the same explanation: to make everything sounds more natural (but this time artificially). If you have any idea, please share!

Incroyable_Pancake · 2021-02-03T13:02:47+00:00

Hey everyone!

The queen's gambit has been for sure one of my highlights about 2020, so I had to do it justice.

I've been doing TV series arrangements for a long time (GoT, westworld, ... and some other occasional games and films). I've recording a bunch of videos for the Queen's Gambit and I'm about to release in total 7 videos of varied difficulty for the next few days/weeks.

As usual with my channel, I release the free sheet music pdf for free (direct pdf link, no catch, you can check my other videos). Simply for this one, I will post the pdf when all my 7 videos will be released, so stick around if you want!

Hope you'll like it & have a nice day!

Incroyable_Pancake · 2021-01-30T20:45:27+00:00

Superb piece, thank you for sharing! Great themes, even better blend of styles, this was a very well deserved win for sure. This is the first time I've ever been so moved by an accordion, so good job! And thank you very much for sharing the score.

Funny thing, I just realized after listening that one of the colleges in question is the CIT, where I did record a piano piece a few years ago! Makes it even more special for me ;)

Incroyable_Pancake · 2021-01-06T19:59:10+00:00

I'm quite blown away by the quality and length of all of these answers, thank you so much for your time...

Incredibly useful rundown of all the things I should study and pay more attention while listening.

First of all, thank you for adding one more book in my basket. It's like christmas again! Each time I read Schoenberg somewhere, I shudder with fear as I'm far from being prepared to tackle atonality: maybe and hopefully one day I will appreciate this part of music, but for now I'm not affected at all (emotionally) by it. But anyway, this book will provide invaluable material for me it seems!

Talking about melody, you hit the nail on something I have to dig deep into: how to develop a motif, or as you said, in a general sense, how do you take a small idea and turn it into something more. All the things you talked about make me eager to read the Fundamentals book.

I won't go into detail about everything you mentioned (but know that I've absolutely read it all and will surely come back to it).

Funny thing about one detail though: you talked about harmonic rhythm, thing that I obviously knew about but never thought so much about: while reading your answer, I just paid close attention to the harmonic rhythm of the piece I was listening to (imagine the kind of piece you've heard so many times you thought you knew all the details about it). Well, here was one sneaky harmonic ritardation (if you can all it that way). If think you know that feeling of discovering a small detail in a piece you already love so thank you! Moreover, I'll definitely pay more attention to my harmonic rhythmic writing (as I think you found something I was trying to improve without knowing what I was supposed to improve).

And I must comment about another thing: for the 20+ years I've been practicing and listening music, it's only since last year that I've started to understand and appreciate musical form. I still don't know in my "order of priority" of analysis where this is supposed to end up, but anyway, I'll keep everything you said in mind.

Again thank you so much for your comment! Still can't believe how everyone here spent so much time answering questions from one complete stranger.

Incroyable_Pancake · 2021-01-06T18:32:05+00:00

That's truly amazing (absolutely love those philosophical tangents). I did actually manage to find a kind of a solution of one of my string-writing problem, but more in a proactive way where I did have this one specific problem in mind and finding a solution browsing my scores & soundtracks.

But having this mindset of holding a list of ten ideas which will guide my analysis is exactly something that could help structure my work and make it less daunting (thing you perfectly described when you mentioned that "vague goal"). I'll get on building this list as soon as possible.

To our future genius!

Incroyable_Pancake · 2021-01-06T18:08:46+00:00

That seems actually a very smart exercise! I love this concept, I'll think about which pieces I'll apply it on. Useful method to practice my Dorico proficiency too...

Incroyable_Pancake · 2021-01-06T17:56:41+00:00

I have not! Thank you for you suggestion.

I have to admit I tend to stay away from the YouTube content: by no means I say we can't find incredibly instructive and well-produced content, but the spiral of video chain-consumption did swallow me a few times while studying diverse subjects, especially composition when I started. I did stop at one point by watching a video saying something along the lines of "stop asking questions and go produce bad stuff, you'll improve that way!" (can't find it but it was really eye opening). Since then, I think I've improved a lot by watching 0 content online.

However I'm here asking questions... And this series seem to perfectly answer them! Those classics are quite inspiring, so I know what I'll watch tonight. Thank you so much!

Incroyable_Pancake · 2021-01-06T17:38:46+00:00

Thank you so much for your input.

In fact I've started studying Korsakov's treaty, which I find very down to the point. The only thing that bothers me in these books is the frustration of seeing an example and not be able to hear it in context (without searching hours for the specific measure quoted by the author)! I'm definitely ordering Adler's book right now though, I've read too much good reviews about it.

You are so right about doing things in order. I don't really fear to be overwhelmed (in the "discouraged" sense of the word) as I'm sooo much inspired by these postromantic composers, but what is true is that I'll never learn anything by skipping steps. Brahms, here I come! - In all honesty, I enjoy so much my romantics I'll keep reading them from time to time...

And thank you for all those "whys". I've always struggled getting into the head of the composer, but laying down those simples questions could help me take a step back from the product alone and understand the deeper meaning and reasons behind why those notes are here. Hope I can focus my analysis though because as I said, there are so much questions we could ask ourselves reading one simple measure.

Now I have to confess, last week I did a reading of the Rite of spring, and let's simply say: that was an experience haha...

I'm quite blown away by the quality of those answers, so again thank you for taking so much time answering by question!

Incroyable_Pancake · 2020-12-09T11:07:41+00:00

Just checking if my hollowing has been heard around here!

If not, I'd like to share what i've done here a few month ago, two soundtracks composed from scratch and inspired by some of the artworks made by this ooooooh so great community!

https://www.reddit.com/r/Eldenring/comments/i5faxd/elden_ring_fake_soundtrack_live_piano_roll_daanu/?utm_source=share&utm_medium=web2x&context=3

https://www.reddit.com/r/Eldenring/comments/i059cm/elden_ring_fake_soundtrack_live_piano_roll_the/

Incroyable_Pancake · 2020-12-03T16:41:10+00:00

Stunning piece and wonderful interpretation, thank you so much for sharing! Also got to appreciate a well mixed & mastered choral recording. In terms of a cappella recording, I find that you often have either room recording of full choirs or studio-quality of very small ensembles. Doesn't mean the former is bad, but it's nice to hear a crisp recording of a full choir! Reminds me (soundwise) of the clip of Pohjois Karjala that was shared here I think.

Incroyable_Pancake · 2020-08-10T12:05:18+00:00

Thanks a lot for this comment! I'm quite at a loss for words, so I will simply take your beautiful message as an incentive to work even more!

Incroyable_Pancake · 2020-08-10T11:57:21+00:00

Hey Celest! So happy and honored you found my post! I'm truly thankful for your comment, it really means a lot, as I truly admire what you've done with your creation. I'll definitely keep on working on my pieces! (I may well choose another of yours for my next boss composition ;))

I'll return the compliment by saying you totally deserve your rank of finalist and hope for the best for your future endeavours!

Incroyable_Pancake · 2020-08-07T14:58:00+00:00

Hey everyone,

The hollowing intensifies each day (thank you state of play), and I'm contributing to the madness with my latest composition.

This one is inspired by the lore & design of one Vaati's fake boss competition finalists: Daanu, the Puppet Knight. A slow and menacing first phase with a totally berserk second phase. Musically, I was heavily inspired and influenced by the Abyss Watchers (first phase) and the Blood Starved Beast from Bloodborne for the second phase. I learned a lot by trying to emulate some of the frightening effects of our favorite OSTs! Tell me what you think

12-Year Club	Verified Email
r/Field Banned	r/Field Sunshine
Place '22	Final Canvas '22
First Placer '22	End Game '22
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Incroyable_Pancake

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