Cinematic Composing

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</h4>

<hr>

<p>
The basic orchestration concepts are always the same, whether you grab an orchestration book or take private lessons.
</p><p>

The key difference is in <b>the way those concepts are presented</b>.
</p><p>

There’s a lot that you can read from various sources, but you’ll turbocharge your learning by focusing on the most important concepts and techniques that will <b>greatly improve your orchestration skills</b>.</p>

<hr>
<br>
<h3 style="line-height: 140%; text-align: center; color:#427cc2;">UNDERSTAND HOW TO <b>BALANCE ORCHESTRAL FAMILIES</b> AND HOW TO<br><b>ARRANGE FOR FULL ORCHESTRA</b></h3>
<br>
<br>
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[header=Understand the basics of each instrument<br> and the role it plays in the orchestra*CONFIDENTLY WRITE FOR FULL ORCHESTRA]

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[highlight]</p><p></p><p><br></p>


<p>[header=The course - How does it work?]
[vimeo=https://player.vimeo.com/video/247586933]</p><p><br></p><p>[header=What is inside the Course]<br></p>

[img=uploads/topics/macbook-mockup2-1-5a8d01d615dec.png]





[modules]
<p></p><p><br></p><p>[header=Weekly live video-chats] 

</p><p></p><div class="row">



<div class="col-md-7 mt-3">
<p>Every week, we’re hosting a live video-chat, where we gather to talk about orchestration, sample libraries, templates, composing techniques, etc.</p>

<p>This is a great tool that allows us to meet each other and makes the online experience more alive.</p>

<p>All chats are recorded so you can watch them later if you can’t attend the session. </p>
</div>



<div class="col-md-5 mt-3">
[img=uploads/topics/live-video-chats2-5a8cbcfc44510.png]
</div>








</div>

<p><br></p><p>[header=Have you ever had this feeling of not managing to pick the right instruments to bring your musical idea to life?][featured]</p>

<p></p><p><br></p><p>[header=This is what you're about to learn in this course]</p>

You’ll become an expert at the <b>fundamentals of orchestration</b>, and will learn why it is so important to master the basics before going for more challenging orchestral textures.
<p></p><p>

You’ll discover the importance of a good <b>arrangement to attain balance</b>. You’ll learn how this is going to be much more effective than just using dynamics and how this will almost guarantee the best results no matter the orchestra size.
</p><p>

You’ll discover the go-to <b>voicings </b>and arranging techniques to use for each section when you want to achieve certain effects, such as how to write for brass when you want an epic sound, what range of the flute sounds darker for a sadder tone, how to blend strings and woodwinds to add certain colorations, and how to get more definition for low cello and bass lines.
</p><p>

You’ll discover the importance of <b>doubling </b>and <b>combining instruments</b> and section. You’ll understand how that can sometimes increase the weight of a musical idea or other times will create a new timbre. Most importantly, you’ll learn what instruments NOT to put together depending on what purpose you’re after.
</p><p>

You’ll discover the <b>three basic elements</b> for <b>creating separation</b> so that your music sounds clear. If you are orchestration your orchestral mockup, and using sample libraries to produce your orchestral music, using this three basic elements is going to be of major help for gaining clarity and separation and it going to be the mixing part much easier.</p><p>





</p><p>PLUS&nbsp;</p><p><b>Miguel'scomments and feedback on your exercises and assignments&nbsp;</b></p><p><b>Weekly live video-chats&nbsp;</b></p><p><b>Access to the private group</b></p><p><br></p>





<div class="row">


<div class="col-md-7 mt-3">
[img=uploads/topics/macbook-mockup2-1-5a8cdbf730c3e.png]
</div>


<div class="col-md-5 mt-3">
<h2 style="text-align: center;"><br></h2><h2 style="text-align: center;">Lifetime updates</h2>


<p style="text-align: center;"><br></p><p style="text-align: center;">The course is constantly under development, with new content added on a steady basis. As a student, you'll get every update completely for free.</p>
</div>


</div>


<p></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><br></p><p><span style="letter-spacing: 0.1px;">&nbsp;[header=What others have asked][faq]</span></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><span style="letter-spacing: 0.1px;"><br></span><br></p><p></p><p></p><p><br></p><p>
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</h4>

<hr>

<p>
The basic orchestration concepts are always the same, whether you grab an orchestration book or take private lessons.
</p><p>

The key difference is in <b>the way those concepts are presented</b>.
</p><p>

There’s a lot that you can read from various sources, but you’ll turbocharge your learning by focusing on the most important concepts and techniques that will <b>greatly improve your orchestration skills</b>.</p>

<hr>
<br>
<h3 style="line-height: 140%; text-align: center; color:#427cc2;">UNDERSTAND HOW TO <b>BALANCE ORCHESTRAL FAMILIES</b> AND HOW TO<br><b>ARRANGE FOR FULL ORCHESTRA</b></h3>
<br>
<br>
',
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</p><p><span style="letter-spacing: 0.1px;"><b><br></b></span></p><p><span style="letter-spacing: 0.1px;"><b>#1</b>– The <b>distinct features</b> of <b>each instrument</b></span><br></p><ul><li>What are their <b>best ranges</b>?</li><li>Do they stand out and cut through the orchestral mix or do they blend?</li><li>How does the timbre change depending on the range?</li></ul><p><span style="letter-spacing: 0.1px;"><b>#2</b> – Timbre management</span><br></p><ul><li><span style="letter-spacing: 0.1px;">How to <b>combine </b>instruments to create new <b>colors</b></span><br></li><li>When to and when not to use specific blends</li><li>When adding an instrument actually subtracts and lessens the sound</li></ul><p><b>#3</b> – How to <b>voice each section</b></p><p><span style="letter-spacing: 0.1px;"><b>#4</b> – How to use orchestral techniques to achieve <b>separation </b>and a good <b>distribution of the different musical lines</b></span><br></p><p><span style="letter-spacing: 0.1px;"><b>#5</b> – Understand the weight of each section to achieve <b>orchestral balance</b></span><br></p>',
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[header=Understand the basics of each instrument<br> and the role it plays in the orchestra*CONFIDENTLY WRITE FOR FULL ORCHESTRA]

[description]

[highlight]</p><p></p><p><br></p>


<p>[header=The course - How does it work?]
[vimeo=https://player.vimeo.com/video/247586933]</p><p><br></p><p>[header=What is inside the Course]<br></p>

[img=uploads/topics/macbook-mockup2-1-5a8d01d615dec.png]





[modules]
<p></p><p><br></p><p>[header=Weekly live video-chats] 

</p><p></p><div class="row">



<div class="col-md-7 mt-3">
<p>Every week, we’re hosting a live video-chat, where we gather to talk about orchestration, sample libraries, templates, composing techniques, etc.</p>

<p>This is a great tool that allows us to meet each other and makes the online experience more alive.</p>

<p>All chats are recorded so you can watch them later if you can’t attend the session. </p>
</div>



<div class="col-md-5 mt-3">
[img=uploads/topics/live-video-chats2-5a8cbcfc44510.png]
</div>








</div>

<p><br></p><p>[header=Have you ever had this feeling of not managing to pick the right instruments to bring your musical idea to life?][featured]</p>

<p></p><p><br></p><p>[header=This is what you're about to learn in this course]</p>

You’ll become an expert at the <b>fundamentals of orchestration</b>, and will learn why it is so important to master the basics before going for more challenging orchestral textures.
<p></p><p>

You’ll discover the importance of a good <b>arrangement to attain balance</b>. You’ll learn how this is going to be much more effective than just using dynamics and how this will almost guarantee the best results no matter the orchestra size.
</p><p>

You’ll discover the go-to <b>voicings </b>and arranging techniques to use for each section when you want to achieve certain effects, such as how to write for brass when you want an epic sound, what range of the flute sounds darker for a sadder tone, how to blend strings and woodwinds to add certain colorations, and how to get more definition for low cello and bass lines.
</p><p>

You’ll discover the importance of <b>doubling </b>and <b>combining instruments</b> and section. You’ll understand how that can sometimes increase the weight of a musical idea or other times will create a new timbre. Most importantly, you’ll learn what instruments NOT to put together depending on what purpose you’re after.
</p><p>

You’ll discover the <b>three basic elements</b> for <b>creating separation</b> so that your music sounds clear. If you are orchestration your orchestral mockup, and using sample libraries to produce your orchestral music, using this three basic elements is going to be of major help for gaining clarity and separation and it going to be the mixing part much easier.</p><p>





</p><p>PLUS&nbsp;</p><p><b>Miguel'scomments and feedback on your exercises and assignments&nbsp;</b></p><p><b>Weekly live video-chats&nbsp;</b></p><p><b>Access to the private group</b></p><p><br></p>





<div class="row">


<div class="col-md-7 mt-3">
[img=uploads/topics/macbook-mockup2-1-5a8cdbf730c3e.png]
</div>


<div class="col-md-5 mt-3">
<h2 style="text-align: center;"><br></h2><h2 style="text-align: center;">Lifetime updates</h2>


<p style="text-align: center;"><br></p><p style="text-align: center;">The course is constantly under development, with new content added on a steady basis. As a student, you'll get every update completely for free.</p>
</div>


</div>


<p></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><br></p><p><span style="letter-spacing: 0.1px;">&nbsp;[header=What others have asked][faq]</span></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><span style="letter-spacing: 0.1px;"><br></span><br></p><p></p><p></p><p><br></p><p>
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</h4>

<hr>

<p>
The basic orchestration concepts are always the same, whether you grab an orchestration book or take private lessons.
</p><p>

The key difference is in <b>the way those concepts are presented</b>.
</p><p>

There’s a lot that you can read from various sources, but you’ll turbocharge your learning by focusing on the most important concepts and techniques that will <b>greatly improve your orchestration skills</b>.</p>

<hr>
<br>
<h3 style="line-height: 140%; text-align: center; color:#427cc2;">UNDERSTAND HOW TO <b>BALANCE ORCHESTRAL FAMILIES</b> AND HOW TO<br><b>ARRANGE FOR FULL ORCHESTRA</b></h3>
<br>
<br>
',
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</p><p><span style="letter-spacing: 0.1px;"><b><br></b></span></p><p><span style="letter-spacing: 0.1px;"><b>#1</b>– The <b>distinct features</b> of <b>each instrument</b></span><br></p><ul><li>What are their <b>best ranges</b>?</li><li>Do they stand out and cut through the orchestral mix or do they blend?</li><li>How does the timbre change depending on the range?</li></ul><p><span style="letter-spacing: 0.1px;"><b>#2</b> – Timbre management</span><br></p><ul><li><span style="letter-spacing: 0.1px;">How to <b>combine </b>instruments to create new <b>colors</b></span><br></li><li>When to and when not to use specific blends</li><li>When adding an instrument actually subtracts and lessens the sound</li></ul><p><b>#3</b> – How to <b>voice each section</b></p><p><span style="letter-spacing: 0.1px;"><b>#4</b> – How to use orchestral techniques to achieve <b>separation </b>and a good <b>distribution of the different musical lines</b></span><br></p><p><span style="letter-spacing: 0.1px;"><b>#5</b> – Understand the weight of each section to achieve <b>orchestral balance</b></span><br></p>',
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[header=Understand the basics of each instrument<br> and the role it plays in the orchestra*CONFIDENTLY WRITE FOR FULL ORCHESTRA]

[description]

[highlight]</p><p></p><p><br></p>


<p>[header=The course - How does it work?]
[vimeo=https://player.vimeo.com/video/247586933]</p><p><br></p><p>[header=What is inside the Course]<br></p>

[img=uploads/topics/macbook-mockup2-1-5a8d01d615dec.png]





[modules]
<p></p><p><br></p><p>[header=Weekly live video-chats] 

</p><p></p><div class="row">



<div class="col-md-7 mt-3">
<p>Every week, we’re hosting a live video-chat, where we gather to talk about orchestration, sample libraries, templates, composing techniques, etc.</p>

<p>This is a great tool that allows us to meet each other and makes the online experience more alive.</p>

<p>All chats are recorded so you can watch them later if you can’t attend the session. </p>
</div>



<div class="col-md-5 mt-3">
[img=uploads/topics/live-video-chats2-5a8cbcfc44510.png]
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<p><br></p><p>[header=Have you ever had this feeling of not managing to pick the right instruments to bring your musical idea to life?][featured]</p>

<p></p><p><br></p><p>[header=This is what you're about to learn in this course]</p>

You’ll become an expert at the <b>fundamentals of orchestration</b>, and will learn why it is so important to master the basics before going for more challenging orchestral textures.
<p></p><p>

You’ll discover the importance of a good <b>arrangement to attain balance</b>. You’ll learn how this is going to be much more effective than just using dynamics and how this will almost guarantee the best results no matter the orchestra size.
</p><p>

You’ll discover the go-to <b>voicings </b>and arranging techniques to use for each section when you want to achieve certain effects, such as how to write for brass when you want an epic sound, what range of the flute sounds darker for a sadder tone, how to blend strings and woodwinds to add certain colorations, and how to get more definition for low cello and bass lines.
</p><p>

You’ll discover the importance of <b>doubling </b>and <b>combining instruments</b> and section. You’ll understand how that can sometimes increase the weight of a musical idea or other times will create a new timbre. Most importantly, you’ll learn what instruments NOT to put together depending on what purpose you’re after.
</p><p>

You’ll discover the <b>three basic elements</b> for <b>creating separation</b> so that your music sounds clear. If you are orchestration your orchestral mockup, and using sample libraries to produce your orchestral music, using this three basic elements is going to be of major help for gaining clarity and separation and it going to be the mixing part much easier.</p><p>





</p><p>PLUS&nbsp;</p><p><b>Miguel'scomments and feedback on your exercises and assignments&nbsp;</b></p><p><b>Weekly live video-chats&nbsp;</b></p><p><b>Access to the private group</b></p><p><br></p>





<div class="row">


<div class="col-md-7 mt-3">
[img=uploads/topics/macbook-mockup2-1-5a8cdbf730c3e.png]
</div>


<div class="col-md-5 mt-3">
<h2 style="text-align: center;"><br></h2><h2 style="text-align: center;">Lifetime updates</h2>


<p style="text-align: center;"><br></p><p style="text-align: center;">The course is constantly under development, with new content added on a steady basis. As a student, you'll get every update completely for free.</p>
</div>


</div>


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</h4>

<hr>

<p>
The basic orchestration concepts are always the same, whether you grab an orchestration book or take private lessons.
</p><p>

The key difference is in <b>the way those concepts are presented</b>.
</p><p>

There’s a lot that you can read from various sources, but you’ll turbocharge your learning by focusing on the most important concepts and techniques that will <b>greatly improve your orchestration skills</b>.</p>

<hr>
<br>
<h3 style="line-height: 140%; text-align: center; color:#427cc2;">UNDERSTAND HOW TO <b>BALANCE ORCHESTRAL FAMILIES</b> AND HOW TO<br><b>ARRANGE FOR FULL ORCHESTRA</b></h3>
<br>
<br>
',
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</p><p><span style="letter-spacing: 0.1px;"><b><br></b></span></p><p><span style="letter-spacing: 0.1px;"><b>#1</b>– The <b>distinct features</b> of <b>each instrument</b></span><br></p><ul><li>What are their <b>best ranges</b>?</li><li>Do they stand out and cut through the orchestral mix or do they blend?</li><li>How does the timbre change depending on the range?</li></ul><p><span style="letter-spacing: 0.1px;"><b>#2</b> – Timbre management</span><br></p><ul><li><span style="letter-spacing: 0.1px;">How to <b>combine </b>instruments to create new <b>colors</b></span><br></li><li>When to and when not to use specific blends</li><li>When adding an instrument actually subtracts and lessens the sound</li></ul><p><b>#3</b> – How to <b>voice each section</b></p><p><span style="letter-spacing: 0.1px;"><b>#4</b> – How to use orchestral techniques to achieve <b>separation </b>and a good <b>distribution of the different musical lines</b></span><br></p><p><span style="letter-spacing: 0.1px;"><b>#5</b> – Understand the weight of each section to achieve <b>orchestral balance</b></span><br></p>',
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</p><p>[enroll]


[header=Understand the basics of each instrument<br> and the role it plays in the orchestra*CONFIDENTLY WRITE FOR FULL ORCHESTRA]

[description]

[highlight]</p><p></p><p><br></p>


<p>[header=The course - How does it work?]
[vimeo=https://player.vimeo.com/video/247586933]</p><p><br></p><p>[header=What is inside the Course]<br></p>

[img=uploads/topics/macbook-mockup2-1-5a8d01d615dec.png]





[modules]
<p></p><p><br></p><p>[header=Weekly live video-chats] 

</p><p></p><div class="row">



<div class="col-md-7 mt-3">
<p>Every week, we’re hosting a live video-chat, where we gather to talk about orchestration, sample libraries, templates, composing techniques, etc.</p>

<p>This is a great tool that allows us to meet each other and makes the online experience more alive.</p>

<p>All chats are recorded so you can watch them later if you can’t attend the session. </p>
</div>



<div class="col-md-5 mt-3">
[img=uploads/topics/live-video-chats2-5a8cbcfc44510.png]
</div>








</div>

<p><br></p><p>[header=Have you ever had this feeling of not managing to pick the right instruments to bring your musical idea to life?][featured]</p>

<p></p><p><br></p><p>[header=This is what you're about to learn in this course]</p>

You’ll become an expert at the <b>fundamentals of orchestration</b>, and will learn why it is so important to master the basics before going for more challenging orchestral textures.
<p></p><p>

You’ll discover the importance of a good <b>arrangement to attain balance</b>. You’ll learn how this is going to be much more effective than just using dynamics and how this will almost guarantee the best results no matter the orchestra size.
</p><p>

You’ll discover the go-to <b>voicings </b>and arranging techniques to use for each section when you want to achieve certain effects, such as how to write for brass when you want an epic sound, what range of the flute sounds darker for a sadder tone, how to blend strings and woodwinds to add certain colorations, and how to get more definition for low cello and bass lines.
</p><p>

You’ll discover the importance of <b>doubling </b>and <b>combining instruments</b> and section. You’ll understand how that can sometimes increase the weight of a musical idea or other times will create a new timbre. Most importantly, you’ll learn what instruments NOT to put together depending on what purpose you’re after.
</p><p>

You’ll discover the <b>three basic elements</b> for <b>creating separation</b> so that your music sounds clear. If you are orchestration your orchestral mockup, and using sample libraries to produce your orchestral music, using this three basic elements is going to be of major help for gaining clarity and separation and it going to be the mixing part much easier.</p><p>





</p><p>PLUS&nbsp;</p><p><b>Miguel'scomments and feedback on your exercises and assignments&nbsp;</b></p><p><b>Weekly live video-chats&nbsp;</b></p><p><b>Access to the private group</b></p><p><br></p>





<div class="row">


<div class="col-md-7 mt-3">
[img=uploads/topics/macbook-mockup2-1-5a8cdbf730c3e.png]
</div>


<div class="col-md-5 mt-3">
<h2 style="text-align: center;"><br></h2><h2 style="text-align: center;">Lifetime updates</h2>


<p style="text-align: center;"><br></p><p style="text-align: center;">The course is constantly under development, with new content added on a steady basis. As a student, you'll get every update completely for free.</p>
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	'name' => 'Introduction',
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	'content' => '<p>En esta lección, aprenderemos los conceptos básicos del arpa, la celesta y el piano como instrumentos de orquesta. Hablaremos sobre su descripción de los instrumentos, los rangos, su notación, sonido, mecanismo, la técnica de ejecución, las técnicas más utilizadas y las funciones comunes que tienen en la orquesta.</p><p><br></p><p>Al final de la lección, habrás aprendido:</p><p></p><ul><li>;Las características principales del instrumento</li></ul><ul><li>La notación sobre los diferentes instrumentos</li></ul><ul><li>La técnica de ejecución en los diferentes instrumentos.<br></li></ul><ul><li>Las técnicas comunes<br></li></ul><ul><li>Las funciones comunes</li></ul><p></p>',
	'es_version' => '<p>En esta lección, aprenderemos los conceptos básicos del arpa, la celesta y el piano como instrumentos de orquesta. Hablaremos sobre su descripción de los instrumentos, los rangos, su notación, sonido, mecanismo, la técnica de ejecución, las técnicas más utilizadas y las funciones comunes que tienen en la orquesta.</p><p><br></p><p>Al final de la lección, habrás aprendido:</p><p></p><ul><li>;Las características principales del instrumento</li></ul><ul><li>La notación sobre los diferentes instrumentos</li></ul><ul><li>La técnica de ejecución en los diferentes instrumentos.<br></li></ul><ul><li>Las técnicas comunes<br></li></ul><ul><li>Las funciones comunes</li></ul><p></p>',
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		'content' => '<p>In this lesson, we are going to learn the basics of the harp, celesta, and piano as orchestral instruments. We will talk about their describe the instruments, the ranges, their notation, sound, mechanism, the playing technique, the most used techniques, and the common functions they have in the orchestra.</p><p><br></p><p>By the end of the lesson, you will have learned:</p><p></p><ul><li>The instrument's main features</li></ul><ul><li>The notation on the different instruments</li></ul><ul><li>The playing technique on the different instruments</li></ul><ul><li>The common techniques</li></ul><ul><li>The common functions</li></ul><p></p>'
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		'id' => (int) 85,
		'name' => 'Assignment',
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		'content' => '<p></p><p><b>SOLO WOODWIND INSTRUMENTS</b></p><p>Write one passage of 3 bars for:</p><p></p><ul><li>Flute</li></ul><ul><li>Piccolo</li></ul><ul><li>Alto flute</li></ul><ul><li>Oboe</li></ul><ul><li>English horn</li></ul><ul><li>Clarinet in Bb</li></ul><ul><li>Clarinet in Eb</li></ul><ul><li>Bass clarinet</li></ul><ul><li>Bassoon</li></ul><ul><li>Contrabassoon</li></ul><p></p><p></p><p></p><p>Indicate always the dynamic you are using and take special care of the register you are using, not only for not going over or below the range, but to also take into consideration factors like the breath, difficulty or dynamic possibilities. Make also sure you write the passage in the right transposition for each of them, should the instrument so require.</p><p></p><p></p><p><span style="letter-spacing: 0.1px;">Use and mark accordingly two of the “general articulations” and two of the “other techniques” for each of the instruments, trying to use the most techniques as possible by the end of the exercise. Make sure to include trills in at least in four instruments, making sure that you don’t use any of the ones we discouraged you to use.</span></p><p><span style="letter-spacing: 0.1px;"><br></span></p><p><span style="letter-spacing: 0.1px;"><b>SUBDIVISIONS</b></span></p><p>Write four different passages of 4 bars each for:</p><p></p><p></p><ul><li>Passage 1:&nbsp; 1 Piccolo and 2 flutes</li></ul><ul><li>Passage 2:&nbsp; 2 Oboes and 1 English horn</li></ul><ul><li>Passage 3:&nbsp; 2 Clarinets in Bb and 1 bass clarinet</li></ul><ul><li>Passage 4:&nbsp; 2 bassoons and 1 contrabassoon</li></ul><p></p><p></p><p>Write the pair of same instruments in the same stave and the auxiliary in an additional stave, using the mark 1., 2. and a2 when the situation requires it. Make also sure you use the right transposition in each instrument, and apply the knowledge you learnt through this lesson to all the lines you write.</p><p><br></p><p><b>Note: please, include an mp3 for all exercises. It doesn't have to be a great sounding mockup, just a quick export from your notation software.</b><br></p><p></p>',
		'es_version' => '<p></p><p><b>INSTRUMENTOS DE VIENTO DE MADERA SOLISTAS<br></b></p><p>Escribe un pasaje de 3 compases para:</p><p></p><ul><li>Flauta</li></ul><ul><li>Piccolo</li></ul><ul><li>Flauta Alto <br></li></ul><ul><li>Oboe</li></ul><ul><li>Corno Inglés<br></li></ul><ul><li>Clarinete en Bb</li></ul><ul><li>Clarinete en Eb</li></ul><ul><li>Clarinete bajo<br></li></ul><ul><li>Fagot</li></ul><ul><li>Contrafagot</li></ul><p></p><p></p><p></p><p>Indique siempre la dinámica que está utilizando y tenga especial cuidado con el registro que está utilizando, no solo para no exceder el rango, sino también para tener en cuenta factores como la respiración, la dificultad o las posibilidades dinámicas. Asegúrese también de escribir el pasaje en la transposición correcta para cada uno de ellos, si el instrumento así lo requiere.</p><p></p><p></p><p><span style="letter-spacing: 0.1px;"></span>Utilice y marque en consecuencia dos de las "articulaciones generales" y dos de las "otras técnicas" para cada uno de los instrumentos, tratando de utilizar la mayor cantidad de técnicas posible al final del ejercicio. Asegúrate de incluir trinos en al menos cuatro instrumentos, asegurándote de no usar ninguno de los que te desaconsejamos.</p><p><span style="letter-spacing: 0.1px;"><br></span></p><p><span style="letter-spacing: 0.1px;"><b>SUBDIVISIONES</b></span></p><p>Escriba cuatro pasajes diferentes de 4 compases cada uno para:</p><p></p><p></p><ul><li>Pasaje 1: 1 Piccolo y 2 flautas</li></ul><ul><li>Pasaje 2: 2 oboes y 1 cuerno inglés</li></ul><ul><li>Pasaje 3: 2 clarinetes en Sib y 1 clarinete bajo</li></ul><ul><li>Pasaje 4: 2 fagotes y 1 contrafagot</li></ul><p></p><p></p><p>Escriba el par de instrumentos iguales en el mismo pentagrama y el auxiliar en un pentagrama adicional, utilizando las marcas 1., 2. y a2 cuando la situación lo requiera. Asegúrese también de utilizar la transposición correcta en cada instrumento y aplique el conocimiento que aprendió en esta lección a todas las líneas que escriba.</p><p><br></p><p><b>Nota: por favor, incluya un mp3 para todos los ejercicios. No tiene que ser una maqueta que suene excelente, solo una exportación rápida de su software de notación.</b><br></p><p></p>',
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		'id' => (int) 1439,
		'name' => 'The Harp',
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		'content' => '<p>The harp is an instrument from the plucked string family with a triangular shape and a height of 1.80 meters. The instrument sits between the legs of the player and is tilted onto the right shoulder.</p><p>The main parts of the harp include the body, soundboard, base, pedals, column, neck, strings, tuning pins, tuning discs, and bridge pins.</p><p>[img=/uploads/topics/harp-parts-5c0026df8c559.jpg]</p><p><br></p><p><b>RANGE</b></p><p>The range of the harp spans from the B-1 (if the lowest string is manually tuned half step down) to the G#6 (with the G pedal all the way down). Therefore, we can say that it is tuned in C flat, that is, when no tuning discs are in contact with the strings and, as a result, not changing their tuning.</p><p>[img=/uploads/topics/harp-range-5c00273bb9f28.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The harp is always written in a grand staff (two 5-line staves), the top with a treble clef and the bottom with a bass clef. The harp is a non-transposing instrument and always uses key signature.</p><p>[img=/uploads/topics/harp-notation-5c002b0abbed0.jpg]</p><p>Even though piano music often has the music distributed in the staves depending on the hand it plays this is not the case of the harp. Music for harp should always be written in the stave that the pitches belong to.</p><p><br></p><p><b>SOUND</b></p><p>The harp is a quiet instrument compared to most instruments in the orchestra, especially if we just have one. For this reason, often times composers ask to have a pair of harps instead of just one, being other reason the wider variety of effects you can achieve with two of them. These effects include glissandi and arpeggios in contrary movement and complex textures.</p><p>However, the harp is rarely put in a mix with the sound just coming from the Decca Tree. Spots mics are used in most scenarios to a degree that we are totally used these days to listen in recordings a generous balance towards the spot mic.</p><p>The harp is also an instrument that changes a lot depending on what register it plays:</p><p>LOW REGISTER</p><p>Notes in the low register have a great resonance, which works beautifully with arpeggios and anything that needs support from the bass notes. However, the harpist have to pay extra attention to damping the notes in this area, something that composers should keep in mind in any of this ways: letting the player have time to damp the notes; allowing time for the notes to die out; consider the mix of notes/chords part of the music. It is also not recommended to write very low glissandi for this very reason.</p><p>The composer should also take into account that the lowest notes take about half second since the attack to fully develop.</p><p>The low register sounds very full, resonant, metallic, and a bit dull. It is also very appropriate for bass notes, arpeggios, or doubling low instruments.</p><p>MIDDLE REGISTER</p><p>This is the register that we usually listen when the harp is performing solos, arpeggios, glissandos, or chords. Due to its weak dynamic power it is highly advisable to keep the rest of the orchestra to the minimum, very much like a chamber orchestra. The sound is clear, still quite full, gentle, mellow, resonating, and brighter and less metallic than in the low register.</p><p>HIGH REGISTER</p><p>This is the register that really can cut through a more dense and complex texture when we have the harp playing in the orchestra. The sound is clear, bright, sharp, glittering, penetrating, and almost not resonant.</p><p><br></p><p><b>STRINGS</b></p><p>The harp has 47 strings: 7 strings per octave except on the highest octave, which only has the first five notes. Among these 47 strings, the lowest 12 are wire strings (steel centers wrapped with copper, steel, or silver-plated copper), being the remaining 35 made out of gut or nylon.</p><p>Each string is attached to the harp through the tuning pins located in the neck (in the top of the strings), and through the holes in the soundboard (in the bottom).</p><p>[img=/uploads/topics/harp-strings-atachement-marks-5c0026fd403e9.jpg]</p><p>The strings are color coded in the following way:</p><p></p><ul><li>C strings: red</li></ul><ul><li>F strings: black/blue</li></ul><ul><li>Rest of the strings: they have the color from the material the strings are made (silver for the wire strings and white for the gut/nylon strings)</li></ul><p></p><p>[img=/uploads/topics/harp-strings-color-coding-marks-5c0027047bb5c.jpg]</p><p>The resonance of the strings decrease gradually from the extreme low register, where it can last about 5 seconds, to the extreme high register, where it fades very quick after the attack.</p><p><br></p><p><b>PLAYING TECHNIQUE</b></p><p>The harpist can play with up to four fingers: the thumb, index, middle, and ring fingers. The pinky is too short to reach comfortably the strings, so it is not used.</p><p>The position of the hands is as the following picture portraits: thumbs looking up and the rest of the fingers horizontally. The thumbs pluck the strings against the body of the player and the rest towards his or her body.</p><p>[img=/uploads/topics/harp-hand-position-5c0026ef6a10e.jpg]</p><p>The range of the two hands is not the same. While the left hand can reach the whole range of the instrument, the right hand is limited in the low register. This is because the harpist has to rest the harp on the right shoulder. A safe low limit for the right hand is the G1.</p><p>[img=/uploads/topics/harp-range-hands-5c00274dd3193.jpg]</p><p>While the maximum interval a harpist can cover with a hand depends on his or her hand size, a good reference is a maximum of a tenth, which include 2, 3 and 4-note chords.</p><p><br></p><p><b>THE PEDAL MECHANISM</b></p><p>The harp is a diatonic instrument by nature: it has 7 strings per octave with the intervallic relation of a diatonic scale. The way these strings can cover the 12 notes of the chromatic scale is by means of the pedal mechanism.</p><p>This mechanism is made up of 7 pedals placed on the base of the instrument –facing the player– that are connected to the tuning discs on the neck through a series of rods inside the column of the instrument. The seven pedals are arranged in the following way: three on left side (D, C and B) and four on the right (E, F, G and A). Each of them have three positions:</p><p></p><ul><li>Flat: all the way up.There are no tuning discs involved. The strings have their full length.</li></ul><ul><li>Natural: one step down. There is one tuning disc involved. The strings are shortened by one step.</li></ul><ul><li>Sharp: two steps down. There are two tuning disc involved. The strings are shortened by two steps.</li></ul><p></p><p>[img=/uploads/topics/harp-pedals-marks-5c002a45e262c.jpg]</p><p>Every pedal affects the corresponding note in all its octaves. This means that we can’t have different accidentals on the same note in different octaves. However, there is a workaround for this limitation: enharmonics. We can do a C natural and a C sharp at the same time making the B strings sharp (two steps down) and the C strings sharp (two steps down). That said, we can’t do enharmonics in these three notes: D natural, G natural, and A natural.</p><p>There are two strings that the pedals don’t affect to: the lowest C and D. These strings have to be tuned manually by the harpist before starting to play. Therefore, they can only be set to one alteration: flat, natural, or sharp.</p><p>We should always notate the position of all the pedals at the beginning of the piece, after a long pause, a new movement, or at any place that requires a few pedals changes. There are two main ways to notate the pedal setup at any given moment:</p><p></p><ul><li>Letter representation (option 1): all the pedals are written in capital letters (with its accidental on the right), in order (from the point of view of the harpist), and on a single row.</li></ul><ul><li>Letter representation (option 2): as the previous one, but with two rows. The top one has the pedals in the left side of the harp and the bottom one the ones in the right.</li></ul><ul><li>Diagram representation: all the pedals are symbolized with short vertical lines over a longer horizontal line. If the vertical short vertical line of a particular pedal is over the horizontal line the pedal is flat; if it is over, natural; and below, sharp.</li></ul><p></p><p>[img=/uploads/topics/harp-pedal-notation-5c00279410db5.jpg]</p><p>When only one of the pedals needs to be altered, we will only mark that change right before the first note with the new accidental takes place.</p><p>[img=/uploads/topics/harp-pedal-change-1-note-5c00279d0f44d.jpg]</p><p><br></p><p><b>FUNCTION</b></p><p>We can group the functions of the harp in the orchestral repertoire under three main categories:</p><p></p><ul><li>Adding shimmer to the orchestra during swells and climaxes: this is one of the archetypal roles of the harp. Glissandi, arpeggios, and the likes add, especially in the mid-high register, the type of brilliance that we are used to listen from the harp in crescendos or forte passages of orchestral pieces.</li></ul><ul><li>Doubling other instruments: the harp is an instrument that works really well when doubling other instruments or sections in the orchestra. The blend that results from doubling the strings and woodwinds is particularly good, as well as when it is used doubling percussion or keyboard instruments like the glockenspiel, xylophone, or timpani. In the case of instruments that have a softer attack (i.e. clarinet and French horn), can also contribute making the attacks more clear.</li></ul><ul><li>Accompanying a voice or voices or a solo instrument: the harp –like the piano– it complements a voice or a solo instrument wonderfully, since its sound has a different quality (except when the case of a percussion or keyboard instrument) and it has the ability to perform bass and accompanying roles at once.</li></ul><ul><li>Filling the accompaniment: the harp can also take part in a larger groups that perform patterns of accompaniment or complex background textures. In other words, filling in the orchestral texture.</li></ul><p><br></p><p>[vimeo=https://player.vimeo.com/video/303257094]</p>',
		'es_version' => '<p>El arpa es un instrumento de la familia de cuerdas pulsadas con forma triangular y una altura de 1,80 metros. El instrumento se apoya entre las piernas del intérprete y se inclina sobre el hombro derecho.</p><p>Las partes principales incluyen el cuerpo, la caja acústica, la base, los pedales, la columna, el mástil, cuerdas, clavijas de afinación,de puente y los discos de afinación.</p><p>[img=/uploads/topics/xharp-parts-esp-5eddb2b8dda09.jpg]</p><p><br></p><p><b>RANGO</b></p><p>El rango del arpa se extiende desde el B-1 (si la cuerda más baja se afina manualmente un semitono hacia abajo) hasta el G # 6 (con el pedal G completamente hacia abajo). Por lo tanto, podemos decir que está afinado en Cb, es decir, cuando no hay discos de afinación&nbsp; en contacto con las cuerdas y, como resultado, no cambia su afinación.</p><p>[img=/uploads/topics/harp-range-5c00273bb9f28.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>El arpa siempre se escribe en un Grand Staff (dos pentagramas de 5 líneas), la parte superior con una clave de sol y la parte inferior con una clave de fa. El arpa es un instrumento que no se transpone y siempre utiliza las armaduras de clave</p><p>[img=/uploads/topics/harp-notation-5c002b0abbed0.jpg]</p><p>Aunque la música de piano a menudo tiene la música distribuida en los pentagramas dependiendo de la mano que toca, este no es el caso del arpa. La música para arpa siempre debe escribirse en el pentagrama al que pertenecen los tonos.</p><p><br></p><p>SONIDO</p><p>El arpa es un instrumento silencioso en comparación con la mayoría de los instrumentos de la orquesta, especialmente si solo tenemos una. Por esta razón, a menudo los compositores piden tener un par de arpas en lugar de solo una, siendo otra razón la variedad más amplia de efectos que puede lograr con dos de ellas. Estos efectos incluyen glissandi y arpegios en movimiento contrario y texturas complejas.</p><p>Sin embargo, el arpa rara vez se mezcla con el sonido que proviene del Deca Tree. Los spot mics se usan en la mayoría de los escenarios en un grado tal en el que estamos totalmente acostumbrados en estos días a escuchar las grabaciones con un&nbsp; equilibrio que se dirige hacia los spot mics.</p><p>El arpa también es un instrumento que cambia mucho según el registro que reproduce:</p><p>REGISTRO BAJO&nbsp;&nbsp;&nbsp;&nbsp;</p><p>Las notas en el registro bajo tienen una gran resonancia, que funciona maravillosamente con arpegios y cualquier cosa que necesite soporte de las notas graves. Sin embargo, el arpista debe prestar especial atención a la amortiguación de las notas en esta área, algo que los compositores deben tener en cuenta en cualquiera de estas formas: dejar que el intérprete tenga tiempo para amortiguar las notas; dejando tiempo para que las notas se extingan; considere la mezcla de notas / acordes como parte de la música. Tampoco se recomienda escribir glissandi muy bajo por esta misma razón.</p><p>El compositor también debe tener en cuenta que las notas más bajas tardan aproximadamente medio segundo desde que el ataque se desarrolla por completo.</p><p>El registro bajo suena muy lleno, resonante, metálico y un poco embotado. También es muy apropiado para notas graves, arpegios o instrumentos graves duplicados.</p><p>REGISTRO MEDIO<br></p><p>Este es el registro que solemos escuchar cuando el arpa está tocando solos, arpegios, glissandos o acordes. Debido a su débil poder dinámico, es muy recomendable mantener al mínimo el resto de la orquesta, como una orquesta de cámara. El sonido es claro, aún bastante completo, suave, meloso, resonante, más brillante y menos metálico que en el registro bajo.</p><p>REGISTRO ALTO</p><p>Este es el registro que realmente puede cortar una textura más densa y compleja cuando tocamos el arpa en la orquesta. El sonido es claro, brillante, agudo, reluciente, penetrante y casi no resonante.</p><p><br></p><p><b>CUERDAS</b></p><p>El arpa tiene 47 cuerdas: 7 cuerdas por octava, excepto en la octava más alta, que solo tiene las primeras cinco notas. Entre estas 47 cuerdas, las 12 más bajas son cuerdas de alambre (centros de acero envueltos con cobre, acero o cobre plateado), siendo los 35 restantes hechos de tripa o nylon.</p><p>Cada cuerda se une al arpa a través de las clavijas ubicadas en el cuello (en la parte superior de las cuerdas) y a través de los agujeros en la caja de resonancia (en la parte inferior).</p><p>[img=/uploads/topics/harp-strings-atachementesp-5eddb2acca0c5.jpg]</p><p>Las cuerdas&nbsp; están codificadas por colores de la siguiente manera:</p><p></p><ul><li>Cuerdas C: rojo</li><li>Cuerdas F: negro/azul</li></ul><ul><li>Resto de las cuerdas: tienen el color del material del que están hechas las cuerdas (plateado para las cuerdas de metal y blanco para las cuerdas de tripa / nylon)</li></ul><p></p><p>[img=/uploads/topics/harp-strings-color-coding-marks-5c0027047bb5c.jpg]</p><p>La resonancia de las cuerdas disminuye gradualmente, desde el registro extremadamente bajo, donde puede durar unos 5 segundos, hasta el registro extremadamente alto, donde se desvanece muy rápidamente después del ataque.</p><p><br></p><p><b>TÉCNICAS DE EJECUCIÓN</b></p><p>El arpista puede tocar con hasta cuatro dedos: pulgar, índice, medio y anular. El meñique es demasiado corto para alcanzar cómodamente las cuerdas, por lo que no se usa.</p><p>La posición de las manos es de esta manera pulgares mirando hacia arriba y el resto de los dedos horizontalmente. Los pulgares tocan las cuerdas contra el cuerpo del intérprete&nbsp; y el resto hacia su cuerpo.</p><p>[img=/uploads/topics/harp-hand-position-5c0026ef6a10e.jpg]</p><p>El rango de las dos manos no es el mismo. Mientras que la mano izquierda puede alcanzar todo el rango del instrumento, la mano derecha está limitada al registro bajo. Esto se debe a que el arpista debe descansar el arpa en el hombro derecho. Un límite seguro del registro bajo&nbsp; para la mano derecha es el G1.</p><p>[img=/uploads/topics/harp-range-hands-5c00274dd3193.jpg]</p><p>Si bien el intervalo máximo que un arpista puede cubrir con una mano depende del tamaño de su mano, una buena referencia es un máximo de una décima, que incluye&nbsp; de 2, 3 y 4 notas de acorde.</p><p><br></p><p>EL MECANISMO DE PEDAL</p><p>El arpa es un instrumento diatónico por naturaleza: tiene 7 cuerdas por octava con la relación de intervalos de una escala diatónica. La forma en que estas cuerdas pueden cubrir las 12 notas de la escala cromática es mediante el mecanismo del pedal.</p><p>Este mecanismo está compuesto por 7 pedales colocados en la base del instrumento, mirando hacia el ejecutante, que están conectados a los discos de afinación en el cuello a través de una serie de barras dentro de la columna del instrumento. Los siete pedales están dispuestos de la siguiente manera: tres en el lado izquierdo (D, C y B) y cuatro en el derecho (E, F, G y A). Cada uno de ellos tiene tres posiciones:</p><p></p><ul><li>Bemol: todo hacia arriba. No hay discos de afinación involucrados. Las cuerdas tienen toda su longitud.</li></ul><ul><li>Natural: un tono abajo. Hay un disco de afinación&nbsp; involucrado. Las cuerdas se acortan en un tono.</li></ul><ul><li>Sostenido: dos tonos hacia abajo. Hay dos discos de afinación involucrados. Las cuerdas se acortan en dos tonos.</li></ul><p></p><p>[img=/uploads/topics/harp-pedals-marks-5c002a45e262c.jpg]</p><p>Cada pedal afecta la nota correspondiente en todas sus octavas. Esto significa que no podemos tener diferentes alteraciones en la misma nota en diferentes octavas. Sin embargo, hay una solución alternativa para esta limitación: las notas enarmónicas. Podemos hacer una C natural y una C sostenida al mismo tiempo haciendo que las cuerdas B sean sostenidas (dos tonos hacia abajo) y las cuerdas C sostenidas (dos tonos hacia abajo). Dicho esto, no podemos hacer enarmónicos en estas tres notas: D natural, G natural y A natural.</p><p>Hay dos cuerdas a las que los pedales no afectan: las C y D más graves. El arpista debe afinar manualmente estas cuerdas antes de comenzar a tocar. Por lo tanto, solo se pueden establecer en una alteración: bemol, natural o sostenida.</p><p>Siempre debemos anotar la posición de todos los pedales al comienzo de la pieza, después de una larga pausa, un nuevo movimiento o en cualquier lugar que requiera algunos cambios de pedales. Hay dos formas principales de anotar la configuración del pedal en un momento dado:</p><p></p><ul><li>Representación con letras (opción 1): todos los pedales están escritos en mayúsculas (con su alteración&nbsp; a la derecha), en orden (desde el punto de vista del arpista) y en una sola fila.</li></ul><ul><li>Representación con letras (opción 2): como la anterior, pero con dos filas. La superior tiene los pedales en el lado izquierdo del arpa y el inferior los de la derecha.</li></ul><ul><li>Representación del diagrama: todos los pedales se simbolizan con líneas verticales cortas sobre una línea horizontal más larga. Si la línea vertical corta de un pedal en particular está sobre la línea horizontal, el pedal es bemol; si esta sobre es natural; y debajo, agudo.</li></ul><p></p><p>[img=/uploads/topics/harp-pedal-notation-5c00279410db5.jpg]</p><p>Cuando solo uno de los pedales necesita ser alterado, solo marcaremos ese cambio justo antes de que tenga lugar la primera nota con el nuevo accidente.</p><p>[img=/uploads/topics/harp-pedal-change-1-note-5c00279d0f44d.jpg]</p><p><br></p><p><b>FUNCIÓN</b></p><p>Podemos agrupar las funciones del arpa en el repertorio orquestal en tres categorías principales:</p><p></p><ul><li>Agregar brillo a la orquesta durante olas y clímax: este es uno de los roles arquetípicos del arpa. Glissandi, los arpegios y similares agregan, especialmente en el registro medio-alto, el tipo de brillo que estamos acostumbrados a escuchar del arpa en crescendos o pasajes forte de piezas orquestales.</li></ul><ul><li>Duplicar otros instrumentos: el arpa es un instrumento que funciona muy bien al duplicar otros instrumentos o secciones de la orquesta. La combinación que resulta de doblar las cuerdas y las maderas es particularmente buena, así como cuando se usa doblando instrumentos de percusión o teclado como el glockenspiel, el xilófono o el timbales. En el caso de instrumentos que tienen un ataque más suave (es decir, clarinete y trompa), también pueden contribuir a hacer que los ataques sean más claros.</li></ul><ul><li>Acompañando una voz o voces o un instrumento solista: el arpa –como el piano– complementa maravillosamente una voz o un instrumento solista, ya que su sonido tiene una calidad diferente (excepto cuando se trata de un instrumento de percusión o teclado) y tiene el capacidad para ejecutar el bajo y roles acompañantes al mismo tiempo.</li></ul><ul><li>Relleno del acompañamiento: el arpa también puede participar en grupos más grandes que realizan patrones de acompañamiento o texturas complejas de fondo. En otras palabras, rellenando la textura orquestal.</li></ul><p><br></p><p>[vimeo=https://player.vimeo.com/video/303257094]</p>',
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En esta lección, aprenderemos los conceptos básicos del arpa, la celesta y el piano como instrumentos de orquesta. Hablaremos sobre su descripción de los instrumentos, los rangos, su notación, sonido, mecanismo, la técnica de ejecución, las técnicas más utilizadas y las funciones comunes que tienen en la orquesta.

Al final de la lección, habrás aprendido:

;Las características principales del instrumento

La notación sobre los diferentes instrumentos

La técnica de ejecución en los diferentes instrumentos.

Las técnicas comunes

Las funciones comunes

The Harp and Keyboard Instruments

Introduction

Langdon's Birthday

Frodo Updated His Profile

Nora Joined Mailing List

Cron Job 254 Executed