Orchestration 1: From Sketch to Orchestra
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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">


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<div class="col-md-5 mt-3">
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</div>


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<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]
</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>





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[img=uploads/topics/macbook-mockup2-1-5a8cdbf730c3e.png]
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<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>





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	'content' => '<p>El pianista, a diferencia del arpista, puede usar los cinco dedos en ambas manos. Eso significa que él o ella pueden tocar acordes en cada mano con hasta cinco dedos (10 en total). La extensión de la mano es de aproximadamente una octava, a veces una novena, y rara vez una décima cuando se tocan las dos notas al mismo tiempo. Pero, dependiendo del tamaño de las manos, no todos los acordes serán cómodos para tocar cuando se cubren grandes distancias. Esto se debe a la simetría de las manos: mientras que el espacio entre el pulgar y el índice está en la parte más alta (en cuanto al tono) de la mano izquierda, este espacio se coloca en la parte inferior de la mano derecha.</p><p>El intérprete tampoco tiene un límite de alcance para cada mano como el arpista. Él o ella a veces tocará centrado en el teclado, pero a veces inclinará su cuerpo hacia la derecha o hacia la izquierda para tocar en el registro alto o bajo.</p><p>También pueden cruzar las manos, lo que puede ser especialmente útil cuando un patrón se mantiene en un registro mientras otro evento salta a través de dos registros diferentes.</p><p>Los grandes saltos y pasajes que mezclan muchas teclas negras con teclas blancas no son muy fáciles, especialmente en tiempos rápidos. Pero realmente depende de las habilidades técnicas del pianista y de los detalles del pasaje.</p>',
	'es_version' => '<p>El pianista, a diferencia del arpista, puede usar los cinco dedos en ambas manos. Eso significa que él o ella pueden tocar acordes en cada mano con hasta cinco dedos (10 en total). La extensión de la mano es de aproximadamente una octava, a veces una novena, y rara vez una décima cuando se tocan las dos notas al mismo tiempo. Pero, dependiendo del tamaño de las manos, no todos los acordes serán cómodos para tocar cuando se cubren grandes distancias. Esto se debe a la simetría de las manos: mientras que el espacio entre el pulgar y el índice está en la parte más alta (en cuanto al tono) de la mano izquierda, este espacio se coloca en la parte inferior de la mano derecha.</p><p>El intérprete tampoco tiene un límite de alcance para cada mano como el arpista. Él o ella a veces tocará centrado en el teclado, pero a veces inclinará su cuerpo hacia la derecha o hacia la izquierda para tocar en el registro alto o bajo.</p><p>También pueden cruzar las manos, lo que puede ser especialmente útil cuando un patrón se mantiene en un registro mientras otro evento salta a través de dos registros diferentes.</p><p>Los grandes saltos y pasajes que mezclan muchas teclas negras con teclas blancas no son muy fáciles, especialmente en tiempos rápidos. Pero realmente depende de las habilidades técnicas del pianista y de los detalles del pasaje.</p>',
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		'content' => '<p>The pianist, unlike the harpist, can use the five finger on both hands. That means that he or she can play chords in each hand with up to five fingers (10 total). The extension of the hand is about an octave, sometimes a ninth, and rarely a tenth when the two notes are hit at the same time. But, depending on the size of the hands, not all chords are comfortable to play when big distances are covered. This is due to the symmetry of the hands: while the gap from the thumb to the index is on the higher part (pitch-wise) of the left hand, this gap is placed in the lower part of the right hand.</p><p>The player also doesn’t have a range limit for each hand as the harpist does. He or she will sometimes be playing centered on the keyboard, but sometimes will tilt his or her body to the right or the left to play in the high or low register.</p><p>They can also cross the hands, which can be especially useful when a pattern is kept in one register while another event(s) jumps through two different registers.</p><p>Big jumps and passages that mix a lot of black keys with white keys are not very easy, especially in fast tempi. But it really depends on the technical skills of the pianist and the specifics of the passage.</p>'
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		'id' => (int) 1443,
		'name' => 'The Celesta',
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		'content' => '<p>The celesta is a pitched idiophone percussion instrument controlled by a keyboard. As we said in the “Orchestral Keyboard Instruments” section, the celesta is usually played by a pianist, although simple parts can be played by a percussionist. The shape of the instrument is very similar to an harmonium or upright piano.</p><p>The main parts of the celesta include the keyboard, cover, damper pedal, hammers, dampers, sound bars, and resonator boxes.</p><p>[img=/uploads/topics/celesta-parts-5c003526f09a6.jpg]</p><p><br></p><p><b>RANGE</b></p><p>There are several types of celestas in terms of the range they cover:</p><p></p><ul><li>5 ½ octave celesta: C2 to F7. Very common these days in symphonic orchestras.</li></ul><ul><li>5 octave celesta: C2 to C7.</li></ul><ul><li>4 octave celesta: C3 to C7.</li></ul><ul><li>3 octave celesta: C4 to C7. Very common in portable celestas.</li></ul><p></p><p>[img=/uploads/topics/celesta-range-5c01340bd304c.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The celesta 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 celesta transposes an octave higher than written and it uses key signature.</p><p>[img=/uploads/topics/celesta-notation-5c01340591a30.jpg]</p><p><br></p><p><b>SOUND</b></p><p>The celesta is a quiet and soft instrument comparing to most instruments in the orchestra. For this reason, it is advisable to use it with a light orchestration. It has a limited dynamic range too, especially comparing to the piano, although it is still able to produce different dynamics depending on how hard the keys are pressed.</p><p>Regarding the timber, the sound of the celesta is sweet, soft, round, very pure, bright, and somewhat metallic. There are not big differences in sound throughout the register, although the low notes are warmer and richer than the high ones, which are brighter.</p><p>If we compare it with its closest relative, the glockenspiel, we will find it warmer and richer than the latest (especially in the low register) softer in dynamic, and with a rounder attack. The resonance is also longer in the celesta thanks to the resonator boxes.</p><p><br></p><p><b>MECHANISM</b></p><p>The celesta is made up a series of steel bars (one bar per pitch) distributed inside the body of the instrument in two rows. To keep timber consistent, there is not one row for high pitches and another for low pitches, both rows have high and low pitches mixed.</p><p>As in the piano, when the player actions a key in the keyboard makes the hammer hit the sound bar. At the same time, the damper is released, which is put in place again when the key is released, unless the damper pedal is pressed.</p><p>There are three main differences with the piano:</p><p></p><ul><li>Every note has its own wood resonator, which differ a lot one with each other in size depending on the frequency they are amplifying.</li></ul><ul><li>Resonators focus on amplifying the fundamental (first overtone) of the note, not the rest of the spectrum. This is so it sweets the sounds by not overpowering the inharmonic partials. It also makes the pitch sound loud and clear.</li></ul><ul><li>The size of the hammers and thickness of the felt covering them varies a lot depending on the pitch, being thicker and bigger in the low register and the other way around in the highs. This is so the sound gets warmer and richer in the low notes.</li></ul><p></p><p><br></p><p><b>PEDAL</b></p><p>The damper pedal in the celesta, when pressed, separate the dampers from the soundbars letting them freely resonate.</p><p><br></p><p><b>FUNCTION</b></p><p>The celesta is often used as a solo instrument with light orchestrations either in melodic lines, chords, arpeggios, or a combination of a melodic line and an accompaniment.</p><p>The celesta is also a really good instrument to add color and brighten other instruments. This can be achieved by doubling the other instruments in unison, octaves, double octaves, thirds, etc. Some of the instruments the celesta pair well with are the harp, high strings, and mid-high woodwinds.</p><p>Finally, the celesta is also often found performing virtuosistic figures such as quick arpeggios, scales, tremolos, etc., where the celesta is used in its mid-high register so it can be heard through a bit more dense orchestration and make it shine. Still, we should always keep in mind that the celesta is a pretty quiet instrument.</p><p><br></p><div>[vimeo=https://player.vimeo.com/video/303257073]<br></div>',
		'es_version' => '<p>La celesta es un instrumento idiófono de percusión afinado que es controlado por un teclado. Como dijimos en la sección "Instrumentos de teclado de orquesta", la celesta generalmente es interpretada por un pianista, aunque un percusionista puede tocar partes simples. La forma del instrumento es muy similar a un armonio o piano vertical.</p><p>Las partes principales de la celesta incluyen el teclado, la cubierta, el pedal amortiguador, los martillos, los amortiguadores, las barras de sonido y las cajas de resonadores.</p><p>[img=/uploads/topics/celesta-partsesp-5eddb654c0a23.jpg]</p><p><br></p><p><b>RANGO</b></p><p>Hay varios tipos de celesta en términos del rango que cubren:</p><p></p><ul><li>Celesta de 5 ½ octavas: C2 to F7. Muy común en estos días en las orquestas sinfónicas. <br></li></ul><ul><li>Celesta de 5&nbsp; octavas: C2 to C7.</li></ul><ul><li>Celesta de 4 octavas: C3 to C7.</li></ul><ul><li>Celesta de3 octavas: C4 to C7. Muy común en celestas portables.</li></ul><p></p><p>[img=/uploads/topics/celesta-range-5c01340bd304c.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>La celesta 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. La celesta transpone una octava más alta que lo que está escrito y usa armaduras de claves.</p><p>[img=/uploads/topics/celesta-notation-5c01340591a30.jpg]</p><p><br></p><p><b>SONIDO</b></p><p>La celesta es un instrumento silencioso y suave en comparación con la mayoría de los instrumentos de la orquesta. Por esta razón, es recomendable usarlo con una orquestación ligera. También tiene un rango dinámico limitado, especialmente en comparación con el piano, aunque todavía puede producir diferentes dinámicas dependiendo de qué tan fuerte se presionen las teclas.</p><p>En cuanto a la timbre, el sonido de la celesta es dulce, suave, redondo, muy puro, brillante y algo metálico. No hay grandes diferencias en el sonido en todo el registro, aunque las notas bajas son más cálidas y ricas que las altas, que son más brillantes.</p><p>Si lo comparamos con su pariente más cercano, el glockenspiel, lo encontraremos más cálido y rico que este&nbsp; último (especialmente en el registro bajo) más suave en dinámica y con un ataque más redondo. La resonancia también es más larga en la celesta gracias a las cajas de resonancia.</p><p><br></p><p><b>MECANISMO</b></p><p>La celesta está formada por una serie de barras de acero (una barra por tono) distribuidas dentro del cuerpo del instrumento en dos filas. Para mantener el timbre consistente, no hay una fila para tonos altos y otra para tonos bajos, ambas filas tienen tonos altos y bajos mezclados.</p><p>Como en el piano, cuando el intérprete acciona una tecla en el teclado hace que el martillo golpee la barra de sonido. Al mismo tiempo, se libera el amortiguador, que se coloca nuevamente cuando se suelta la tecla, a menos que se presione el pedal de amortiguar.</p><p>THay tres diferencias principales con el piano:</p><p></p><ul><li>Cada nota tiene su propio resonador de madera, que difieren mucho entre sí en tamaño dependiendo de la frecuencia que amplifiquen.</li></ul><ul><li>Los resonadores se centran en amplificar la&nbsp; fundamental (primer overtone) de la nota, y no el resto del espectro. Esto es para que endulce los sonidos al sobresaltar los parciales inarmónicos. También hace que su tono suene alto y claro.</li></ul><ul><li>El tamaño de los martillos y el grosor del fieltro que los cubre varían mucho según el tono, siendo más gruesos y más grandes en el registro bajo y al revés en los altos. Esto es para que el sonido se vuelva más cálido y rico en las notas bajas.</li></ul><p></p><p><br></p><p><b>EL PEDAL</b></p><p>El pedal de amortiguación en la celesta, cuando se presiona, separa a l os amortiguadores de las barras de sonido para que resuenen libremente.</p><p><br></p><p><b>FUNCIÓN</b></p><p>La celesta se usa a menudo como un instrumento solista con orquestaciones ligeras, ya sea en líneas melódicas, acordes, arpegios o una combinación de una línea melódica y un acompañamiento.</p><p>La celesta también es un instrumento realmente bueno para agregar color e iluminar otros instrumentos. Esto se puede lograr doblando los otros instrumentos al unísono, octavas, octavas dobles, terceras, etc. Algunos de los instrumentos con los que la celesta se combina bien son el arpa, las cuerdas altas y los instrumentos de viento de madera media-alta.</p><p>Finalmente, la celesta también se encuentra a menudo realizando figuras virtuosisticas como arpegios rápidos, escalas, trémolos, etc., en donde la celesta usa su registro medio alto para que pueda escucharse a través de la orquestación más densa y hacerla brillar. Aun así, siempre debemos tener en cuenta que la celesta es un instrumento bastante silencioso.</p><p><br></p><div>[vimeo=https://player.vimeo.com/video/303257073]<br></div>',
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		'content' => '<p><span style="letter-spacing: 0.1px;"><b>LEGATO</b></span><br></p><p>When playing a legato phrase, the pianist will always release the previous key after the next is pressed. For example, the first will be released after the second is pressed, the second after the third, and so forth. This way the player creates an effect similar to the legato in the strings, woodwinds, or brass instruments.</p><p>Both the piano and the celesta are very resonant instruments, so it is very effective on the two. It can also be augmented with the damper pedal to keep the resonance of the previous notes.</p><p>The legato technique is notated with a slur above/below the passage we want legato or, if we want the extra effect of the pedal, a pedal symbol/line below.</p><p>[img=/uploads/topics/piano-legato-5c013128c68c8.jpg]</p><p><br></p><p><b>STACCATO &amp; STACCATISSIMO</b></p><p>For the staccato articulation the fingers release the keys short after playing the notes. For the staccatissimo, they do even before than in staccato.</p><p>Staccatos and staccatissimos are very effective in the piano, but not as much in the celesta. This is because, even with the dampers on the sound bars, the resonators amplify the natural resonance of them.</p><p>Both articulations are notated with their corresponding symbol above/below the noteheads.</p><p>[img=/uploads/topics/piano-staccato-staccatissimo-5c01313b496a8.jpg]</p><p><br></p><p><b>ACCENTS &amp; MARCATO</b></p><p>Unlike other instruments, keyboard instruments can’t make a difference in dynamic between the attack and the sustain part of the note. Then, accent is a louder version of the note at the same dynamic, and marcato is a even louder version of the accentuated notes. Both can be used to differentiate two layers (one louder than the other) within a passage with the same dynamic.</p><p>Accents and marcatos are very effective in the piano and sound very full and sharp. They are both possible in the celesta too, although we will bring up then the piercing quality of the celesta when is performed very loud.</p><p>Both articulations are notated with their corresponding symbol above/below the noteheads.</p><p>[img=/uploads/topics/piano-accents-marcato-5c01310abe70d.jpg]</p><p><br></p><p><b>TENUTO</b></p><p>The player gives each affected note a little emphasis by playing them slightly louder, with its fullest length, but separating each one of them from the previous and next one a bit.</p><p>It is very effective in the piano but not as effective in the celesta because the above-mentioned resonance of the resonator boxes.</p><p>The tenuto articulation is notated with the tenuto symbol above/below the noteheads.</p><p>[img=/uploads/topics/piano-tenuto-5c013142309d2.jpg]</p><p><br></p><p><b>PORTATO</b></p><p>The portato articulation is played like the legato but slightly separating the notes.</p><p>It is very effective in the piano but not as effective in the celesta because the above-mentioned resonance of the resonator boxes.</p><p>The portato articulation is notated with a slur over the affected passage and staccato symbols above/below its noteheads.</p><p>[img=/uploads/topics/piano-portato-5c01313005b59.jpg]</p><p><br></p><p><b>ARPEGGIOS &amp; GLISSANDI</b></p><p>Arpeggios and glissandi are a very effective and colorful effect for the keyboard instruments when they play either in the foreground or background. They really make the orchestra shine and they are great in orchestral crescendos, textures of accompaniment, complex textures, etc. Especially when they are played in several keyboard and mallet instruments.</p><p>[img=/uploads/topics/piano-arpeggio-glissando-5c0131146a31a.jpg]</p><p><br></p><p><b>CLUSTERS</b></p><p>A cluster is a chord of at least three notes in seconds (the interval). It can be chromatic (minor seconds), diatonic (minor or major seconds depending on the scale), or either white or black keys only.</p><p>Clusters are very effective and powerful on the piano, especially in the low and extreme low register of the piano as well on its high and extreme high register. They are also possible in the celesta, although, not having the dynamic power of the piano, they are not as effective.</p><p>Clusters are notated with the regular notations for this effect.</p><p>[img=/uploads/topics/piano-cluster-5c0131227d43b.jpg]</p>',
		'es_version' => '<p><span style="letter-spacing: 0.1px;"><b>LEGATO</b></span><br></p><p>Al tocar una frase legato, el pianista siempre soltará la tecla anterior después de presionar la siguiente. Por ejemplo, el primero se soltara después de presionar el segundo, el segundo después del tercero, y así sucesivamente. De esta manera, el intérprete crea un efecto similar al legato de las cuerdas, maderas y metales.</p><p>Tanto el piano como la celesta son instrumentos muy resonantes, por lo que es muy efectivo en los dos. También se puede aumentar con el pedal amortiguador para mantener la resonancia de las notas anteriores.</p><p>TLa técnica legato se anota con una ligadura arriba / abajo del pasaje que queremos legato o, si queremos el efecto adicional del pedal, un símbolo / línea de pedal debajo.</p><p>[img=/uploads/topics/piano-legato-5c013128c68c8.jpg]</p><p><br></p><p><b>STACCATO &amp; STACCATISSIMO</b></p><p>Para la articulación staccato, los dedos sueltan las teclas poco después de tocar las notas. Para el staccatissimo, lo hacen incluso antes que en staccato.</p><p>Los staccatos y los staccatissimos son muy efectivos en el piano, pero no tanto en la celesta. Esto se debe a que, incluso con los amortiguadores en las barras de sonido, los resonadores amplifican la resonancia natural de ellos.</p><p>Ambas articulaciones están marcadas con su símbolo correspondiente encima / debajo de las cabezas de nota.</p><p>[img=/uploads/topics/piano-staccato-staccatissimo-5c01313b496a8.jpg]</p><p><br></p><p><b>ACENTOS &amp; MARCATO</b></p><p>A diferencia de otros instrumentos, los instrumentos de teclado no pueden hacer una diferencia en la dinámica entre el ataque y la parte sostenida de la nota. Entonces, el acento es una versión más fuerte de la nota con la misma dinámica, y el marcato es una versión aún más fuerte de las notas acentuadas. Ambos se pueden usar para diferenciar dos capas (una más fuerte que la otra) dentro de un pasaje con la misma dinámica.</p><p>Los acentos y los marcatos son muy efectivos en el piano y suenan muy completos y nítidos. Ambos son posibles en la celesta también, aunque sacaremos a relucir la calidad más punzante de la celesta cuando se realiza muy fuerte.</p><p>Ambas articulaciones están marcadas con su símbolo correspondiente encima / debajo de las cabezas de nota.</p><p>[img=/uploads/topics/piano-accents-marcato-5c01310abe70d.jpg]</p><p><br></p><p><b>TENUTO</b></p><p>El intérprete le da un poco de énfasis a cada nota afectada al tocarlas un poco más fuerte, con su longitud más completa, pero separando cada una de ellas de la anterior y la siguiente un poco.</p><p>Es muy efectivo en el piano pero no tan efectivo en la celesta debido a la resonancia mencionada anteriormente en las cajas de resonancia.</p><p>La articulación de tenuto se anota con el símbolo de tenuto arriba / debajo de las cabezas de nota.</p><p>[img=/uploads/topics/piano-tenuto-5c013142309d2.jpg]</p><p><br></p><p><b>PORTATO</b></p><p>La articulación de portato se ejecuta como el legato pero separando ligeramente las notas.</p><p>Es muy efectivo en el piano pero no tan efectivo en la celesta debido a la resonancia mencionada anteriormente de la caja de resonancia.</p><p>La articulación del portato se anota con una ligadura sobre el pasaje afectado y los símbolos de staccato arriba / debajo de las cabezas de nota.</p><p>[img=/uploads/topics/piano-portato-5c01313005b59.jpg]</p><p><br></p><p><b>ARPEGGIOS &amp; GLISSANDI</b></p><p>Los arpegios y glissandi son un efecto muy efectivo y colorido para los instrumentos de teclado cuando tocan en primer o en segundo plano. Realmente hacen que la orquesta brille y son geniales en crescendos orquestales, texturas de acompañamiento, texturas complejas, etc. Especialmente cuando se tocan en varios instrumentos de teclado y mazo.</p><p>[img=/uploads/topics/piano-arpeggio-glissando-5c0131146a31a.jpg]</p><p><br></p><p><b>CLUSTERS</b></p><p>Un clúster es un acorde de al menos tres notas en segundas (el intervalo). Puede ser cromático (segundos menores), diatónico (segundos menores o mayores dependiendo de la escala) o solo teclas blancas o negras.</p><p>Los clusters son muy efectivos y potentes en el piano, especialmente en el registro bajo y extremo bajo del piano, así como en su registro alto y extremo alto. También son posibles en la celesta, aunque, al no tener el poder dinámico del piano, no son tan efectivos.</p><p>Los clusters se anotan con las anotaciones regulares para este efecto.</p><p>[img=/uploads/topics/piano-cluster-5c0131227d43b.jpg]</p>',
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Orchestral Keyboard Instruments: Playing Technique

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