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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</p><p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1" style="">FR</a>
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</p><p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1" style="">FR</a>
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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><p><br></p><p>[header=Weekly live video-chats] 

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<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>

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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>





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<h2 style="text-align: center;"><br></h2><h2 style="text-align: center;">Lifetime updates</h2>


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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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[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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<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">



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<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>
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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>





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


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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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	'content' => '<p><img src="img/Viola-1495757284.jpg" style="width: 427px;"><br></p><p></p><p>La viola es el próximo instrumento tanto en tamaño como en registro en la familia de cuerdas. Por más que sea más grande que un violín no llega a ser acústicamente más grande de lo que debería ser. Por esta causa su sonido es menos poderoso de lo que podría llegar a ser. Sin embargo esta característica le da a la viola su sonido único, oscuro, cálido, meloso y un poco melancólico. Adicionalmente, como sucede en los violines, se vuelve más cálido el sonido a medida que avanzamos por el diapasón.</p><p>La viola, al igual que el resto de los instrumentos de cuerdas, posee cuatro cuerdas: C2-G2-D3-A3. Su potencial es similar al violín sin embargo tradicionalmente la música no explora mucho su registro más alto. La razón de esto se debe a que su gran tamaño hace más difícil acceder a las posiciones más altas en el diapasón. Además este registro ya está tomado por los violines y el sonido de la cuerda de A se vuelve bastante nasal a medida que vamos más altos. Por eso es raro ver a las violas ir más arriba del A4&nbsp; cuando tocan en un contexto orquestal.</p><p>[img=/uploads/topics/viola-range-5a01fe1c07437.jpeg]</p><p>Históricamente hablando las violas representan a la voz de Alto en la sección de cuerdas. También pueden ejecutar patrones de acompañamiento, contrapuntos, texturas acordicas y llevar la melodía.</p><p>[vzaar=21592899]&nbsp;<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a viola section and viola solo</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passage</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;in&nbsp;J. Sibelius's En Saga, op. 9</span></p><p>
</p><p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1" style="">FR</a>
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	'es_version' => '<p><img src="img/Viola-1495757284.jpg" style="width: 427px;"><br></p><p></p><p>La viola es el próximo instrumento tanto en tamaño como en registro en la familia de cuerdas. Por más que sea más grande que un violín no llega a ser acústicamente más grande de lo que debería ser. Por esta causa su sonido es menos poderoso de lo que podría llegar a ser. Sin embargo esta característica le da a la viola su sonido único, oscuro, cálido, meloso y un poco melancólico. Adicionalmente, como sucede en los violines, se vuelve más cálido el sonido a medida que avanzamos por el diapasón.</p><p>La viola, al igual que el resto de los instrumentos de cuerdas, posee cuatro cuerdas: C2-G2-D3-A3. Su potencial es similar al violín sin embargo tradicionalmente la música no explora mucho su registro más alto. La razón de esto se debe a que su gran tamaño hace más difícil acceder a las posiciones más altas en el diapasón. Además este registro ya está tomado por los violines y el sonido de la cuerda de A se vuelve bastante nasal a medida que vamos más altos. Por eso es raro ver a las violas ir más arriba del A4&nbsp; cuando tocan en un contexto orquestal.</p><p>[img=/uploads/topics/viola-range-5a01fe1c07437.jpeg]</p><p>Históricamente hablando las violas representan a la voz de Alto en la sección de cuerdas. También pueden ejecutar patrones de acompañamiento, contrapuntos, texturas acordicas y llevar la melodía.</p><p>[vzaar=21592899]&nbsp;<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a viola section and viola solo</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passage</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;in&nbsp;J. Sibelius's En Saga, op. 9</span></p><p>
</p><p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1" style="">FR</a>
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		'content' => '<p><img src="img/Viola-1495757284.jpg" style="width: 427px;"><br></p><p></p><p>The viola is the next instrument both in size and register in the string family. Despite being bigger than the violin it doesn’t get as acoustically large as it should. Consequently its sound is less powerful&nbsp;than it could be. However this characteristic gives the viola its unique, dark, warm, mellow and somewhat melancholic features. Additionally, like the violin, it also gets warmer as we go up through the fingerboard.</p><p>The viola, like the rest of the string instruments, has four strings: C2-G2-D3-A3. Its potential is similar to the violin however traditionally its music doesn’t explore the upper register as much. The reason for this is that its bigger size makes it harder to reach the higher positions in the fingerboard. Additionally this register is already taken by the violins, and the sound of the A string gets pretty nasally as we get higher. Therefore it is rare to see violas in an orchestral context going higher than A4.</p><p>[img=/uploads/topics/viola-range-5a01fe1c07437.jpeg]</p><p>Historically speaking the violas represent the alto voice in the string section. They can also perform accompaniment patterns, counterpoints, chordal textures, or feature melodies<span style="letter-spacing: 0.1px;">.</span></p><p><span style="letter-spacing: 0.1px;"><br></span></p><p>[vzaar=12581907]&nbsp;<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a viola section and viola solo</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passage</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;in&nbsp;J. Sibelius's En Saga, op. 9</span></p><p>
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		'id' => (int) 16,
		'name' => 'The Instruments: the Violin',
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		'content' => '<p><img src="img/Violin-1495744861.jpg" style="width: 190px;" alt="" title=""><br></p><p>The violin is an instrument played by being held between the chin and the shoulder. It is the smallest member of the string family. It has a bright, lyrical, clear and powerful sound, which gets warmer as we move up the fingerboard towards the bridge.</p><p>Like all bowed string instruments it has four strings tuned in G2-D3-A3-E4 from bottom to top. Traditionally the range of the violin goes from G2 to approximately E6 in an orchestral context. In a chamber or solo context the range could be extended higher depending on the ability of the player. Normally it is not recommended to go past the sixth or seventh position (G5-A5) and it is advisable to keep within the first octave of each string. As we approach the bridge it gets harder to tune and there is a progressive loss of power.</p><p>[img=/uploads/topics/violin-range-5a01fe80bfdb3.jpeg]</p><p>There are two sections of violins in the string section. The first section usually assumes the role of the soprano. However, it does not always take over the melodic function in an entire orchestral setting. It is also used to play accompaniment patterns, counterpoints, or even a line in chordal textures. The second violin section, usually harmonises or doubles the first violins' melody or assumes any of the other roles the firsts also have.</p><p><br></p><p>[vzaar=12134877]<span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a violin solo</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passage</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;in N. Rimsky-Korsakov's Scheherazade op. 35: I. The Sea and Sinbad's Ship</span></p><p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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<p></p><h5><br></h5><p>[vzaar=12581921]<span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of one violin section</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passage</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;in&nbsp;E. Elgar's Variations on an Original Theme, Op. 36:&nbsp;Theme</span></p><p>
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<p></p><h5 style="color: rgb(0, 0, 0);"><br></h5><h5 style="color: rgb(0, 0, 0);"><span style="color: inherit; line-height: 1.1;"><br></span></h5><p><span style="letter-spacing: 0.1px;">[vzaar=12581931]</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of two violin sections playing together in N. Rimsky-Korsakov's Scheherazade op. 35: I. The Sea and Sinbad's Ship</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;text-align: justify;"></p>
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<h5><br></h5>',
		'es_version' => '<p><img src="img/Violin-1495744861.jpg" style="width: 190px;" alt="" title=""><br></p><p>El violín es un instrumento que es ejecutado sostenido entre el mentón y la espalda, Es el más pequeño de los miembros de la familia de cuerdas. Posee un brillante, lirico, claro y poderoso sonido que suma calidez al moverse por arriba del diapasón hacia el puente.</p><p>Como todos los instrumentos de cuerda frotados posee cuatro cuerdas afinadas G2-D3-A3-E4 desde la última a la primera. Tradicionalmente el rango del violín va desde G2 a aproximadamente E6 en un contexto orquestal. En un conjunto de cámara o en un contexto solista el rango puede extenderse un poco más arriba dependiendo de la habilidad del ejecutante. Normalmente no está recomendado pasar más allá de la sexta o la séptima posición (G5-A5) y es recomendable mantenerse dentro de la primera octava de cada cuerda. A medida que nos acercamos al puente se vuelve más difícil afinar y se produce una progresiva pérdida de poder.</p><p>[img=/uploads/topics/violin-range-5a01fe80bfdb3.jpeg]</p><p>Existen dos secciones de violines en la sección de cuerdas. La primera sección habitualmente asume el rol de soprano. Sin embargo, no siempre toma la función melódica en un contexto de orquesta completa. También acostumbra a tocar patrones de acompañamiento, contrapuntos, e incluso líneas en texturas acordicas. La segunda sección de violines usualmente armoniza o duplica la melodía del primer violín o asume cualquier otra función de las que también pueden realizar los primeros.</p><p><br></p><p>[vzaar=12134877]<span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a violin solo</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passage</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;in N. Rimsky-Korsakov's Scheherazade op. 35: I. The Sea and Sinbad's Ship</span></p><p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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<p></p><h5><br></h5><p>[vzaar=21592878]<span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of one violin section</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passage</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;in&nbsp;E. Elgar's Variations on an Original Theme, Op. 36:&nbsp;Theme</span></p><p>
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<p></p><h5 style="color: rgb(0, 0, 0);"><br></h5><h5 style="color: rgb(0, 0, 0);"><span style="color: inherit; line-height: 1.1;"><br></span></h5><p><span style="letter-spacing: 0.1px;">[vzaar=21592881]</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of two violin sections playing together in N. Rimsky-Korsakov's Scheherazade op. 35: I. The Sea and Sinbad's Ship</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;text-align: justify;"></p>
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<h5><br></h5>',
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		'name' => 'The Instruments: the Cello',
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		'content' => '<p><img src="img/Cello-1495757907.jpg"><br></p><p>The cello is a&nbsp;considerably bigger stringed instrument than the violin or viola. Due to its&nbsp;size&nbsp;the cello is played between the legs, placing the peg box over the left shoulder. It has a mellow sound in the bottom end and it gets brighter as we go higher. The brighter sound is especially true on the first string. It is also&nbsp;much more powerful than the violin and viola. This characteristic allows for a smaller number of players than a violin section while maintaining the necessary loudness.</p><p>The four strings of the cello are&nbsp;C1-G1-D2-A2. As with the violin most cellists feel pretty comfortable playing in high positions. It is not rare to find them playing in the middle of the treble clef. Its range goes from C1 to approximately C4. In chamber and solo music this range might can be extended a bit.</p><p>[img=/uploads/topics/violoncello-range-5a01fdac5b26a.jpeg]</p><p>The cello usually takes on the <span style="letter-spacing: 0.1px;">bass and tenor roles in the string section</span><span style="letter-spacing: 0.1px;">. It is common to find them in orchestral settings developing bass roles and performing accompaniment patterns, countermelodies and frequently melodies.</span></p><p><span style="letter-spacing: 0.1px;"><br></span></p><p></p><p>[vzaar=11949892]</p><h5>Example of a violoncello solo passage in D. Shostakovich's Symphony No. 15 in A major, Op.141: II movement</h5><p>
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<br><p></p><p>[vzaar=12516603]</p><h5>Example of a violoncello section<span style="line-height: 1.1;">&nbsp;</span><span style="line-height: 1.1;">passage</span><span style="color: inherit; line-height: 1.1;">&nbsp;in&nbsp;J. Brahms's Symphony No.2, Op.73: II movement</span>
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		'es_version' => '<p><img src="img/Cello-1495757907.jpg"><br></p><p>El cello es considerablemente más grande que el violín o la viola. Debido a su tamaño el cello es ejecutado entre las piernas ubicando la pala sobre el hombro izquierdo. Tiene un sonido meloso en el registro bajo y se vuelve más brillante a medida que vamos subiendo. El sonido más brillante es especialmente cierto en la primera cuerda. Es mucho más poderoso que el violín y la viola. Esta característica permite que tengamos un menor número de ejecutantes que en una sección de violines mientras que mantenemos el volumen necesario.</p><p>Las cuatro cuerdas del cello son C1-G1-D2-A2. Como los violinistas, los cellistas se sienten bastante confortables tocando en las posiciones más altas. Es bastante usual encontrarlos tocando en el medio de la clave de sol. Su rango va desde C1 hasta aproximadamente C4. En contextos de Cámara o solista este registro puede extenderse un poco más.</p><p>[img=/uploads/topics/violoncello-range-5a01fdac5b26a.jpeg]</p><p>El cello habitualmente toma los roles de bajo y tenor en la sección de cuerdas. Es muy común en contextos de orquesta encontrarlos desarrollando el rol de bajo, realizando patrones de acompañamientos, contramelodias y frecuentemente melodías.<span style="letter-spacing: 0.1px;"></span></p><p><span style="letter-spacing: 0.1px;"><br></span></p><p></p><p>[vzaar=21592925]</p><h5>Example of a violoncello solo passage in D. Shostakovich's Symphony No. 15 in A major, Op.141: II movement</h5><p>
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<br><p></p><p>[vzaar=21592902]</p><h5>Example of a violoncello section<span style="line-height: 1.1;">&nbsp;</span><span style="line-height: 1.1;">passage</span><span style="color: inherit; line-height: 1.1;">&nbsp;in&nbsp;J. Brahms's Symphony No.2, Op.73: II movement</span>
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La viola es el próximo instrumento tanto en tamaño como en registro en la familia de cuerdas. Por más que sea más grande que un violín no llega a ser acústicamente más grande de lo que debería ser. Por esta causa su sonido es menos poderoso de lo que podría llegar a ser. Sin embargo esta característica le da a la viola su sonido único, oscuro, cálido, meloso y un poco melancólico. Adicionalmente, como sucede en los violines, se vuelve más cálido el sonido a medida que avanzamos por el diapasón.

La viola, al igual que el resto de los instrumentos de cuerdas, posee cuatro cuerdas: C2-G2-D3-A3. Su potencial es similar al violín sin embargo tradicionalmente la música no explora mucho su registro más alto. La razón de esto se debe a que su gran tamaño hace más difícil acceder a las posiciones más altas en el diapasón. Además este registro ya está tomado por los violines y el sonido de la cuerda de A se vuelve bastante nasal a medida que vamos más altos. Por eso es raro ver a las violas ir más arriba del A4 cuando tocan en un contexto orquestal.

Históricamente hablando las violas representan a la voz de Alto en la sección de cuerdas. También pueden ejecutar patrones de acompañamiento, contrapuntos, texturas acordicas y llevar la melodía.

Example of a viola section and viola solo passage in J. Sibelius's En Saga, op. 9

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