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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[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">
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<div class="col-md-5 mt-3">
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</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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		'content' => '<p>¡Felicidades! Lo has logrado hasta el final. ¡Muy pocos alcanzan este punto!</p><p>Debido a que lo lograste, queríamos recompensarte con algunos contenidos de BONUS</p><hr><p><span style="letter-spacing: 0.1px;">Esto es lo que hemos incluido para usted, y la razón por la que hemos seleccionado estos contenidos específicos.</span></p><h2><span style="letter-spacing: 0.1px;"><b>Dos tipos de compositores</b></span></h2><p><span style="letter-spacing: 0.1px;">Supongo que tomaste este curso porque querías mejorar tus habilidades de orquestación (?)</span></p><p><span style="letter-spacing: 0.1px;">No sé si eres un compositor de películas, un compositor de conciertos, estás estudiando composición, o tal vez eres un músico que está haciendo la transición a la composición...</span></p><p>Pero estoy seguro de una cosa: te encanta escribir música. ¿Sí?<span style="letter-spacing: 0.1px;"></span></p><p>Si es así, puedes ser uno de los pocos afortunados que no necesita escribir música para ganarse la vida ... porque puede tener algún tipo de flujo de ingresos que le permita escribir música solo por diversión, y eso está completamente bien .</p><p><span style="letter-spacing: 0.1px;"></span>O puede ser uno de los que realmente <b>escriben música para ganarse la vida </b>(o planea hacerlo en algún momento). Ese es mi caso. Soy compositor de cine.</p><p><span style="letter-spacing: 0.1px;">Pero... ¿por qué te estoy diciendo esto?</span><br></p><h2><span style="letter-spacing: 0.1px;"><b>Los mitos peligrosos de los compositores "exitosos"</b></span></h2><p><span style="letter-spacing: 0.1px;">Todos pensamos que para convertirte en un compositor "exitoso" (un término nebuloso en el mejor de los casos) tienes que ser un gran compositor.</span><br></p><p><span style="letter-spacing: 0.1px;">AY aunque es 100% cierto que tienes que ser un buen compositor, hay otra <b>habilidad clave </b>que debes tener para poder trabajar profesionalmente como compositor de música.</span><br></p><p><span style="letter-spacing: 0.1px;">Ya ves, vengo del mundo de la música de cine. Y la forma en que esto funciona aquí es</span><br></p><ol><li><span style="font-weight: normal;">Composición de música (producción de maquetas)</span></li><li><span style="font-weight: normal;">Conseguir que sea aprobado (por el director, o productor, etc.)</span></li><li><span style="font-weight: normal;">ENTONCES, orquestar.</span></li><li><span style="font-weight: normal;">ENTONCES, grabar.</span></li><li><span style="font-weight: normal;">Finalmente, mezclar y entregar al doblaje.</span></li></ol><p><span style="letter-spacing: 0.1px;">Entonces, la fórmula es: <b>presentar una demostración y obtener su aprobación antes de continuar.</b></span><br></p><p>¿Por qué? Porque grabar es caro y los que pagan por la música quieren asegurarse de que les gusta antes de poner el dinero para grabarla.<br></p><p>Debe comprender que tu <b>cliente </b>(director, productor, etc.) <b>no tiene formación musical</b>. Entonces, para ellos<b>, SI la música suena bien ENTONCES eres un buen compositor</b>. <b>Si no suena bien, entonces eres un mal compositor</b>. En otras palabras, <b>se enfocan en la calidad de sonido de la música (la producción)</b>, NO en la orquestación, armonía, contrapunto, etc.</p><p>Ahora, debido a que las librerías de muestras y las técnicas de producción de maquetas han mejorado y avanzado mucho durante los últimos años, <b>esperan que la demostración suene muy cerca del producto final.</b> Esta es una especie de estándar de la industria de lo que tu cliente espera escuchar para aprobar una cue (<b>estas son todas maquetas</b>):</p>


<!-- ReelCrafter reel: Orchestral Mockup Production -->
<iframe scrolling="no" src="https://listen.reelcrafter.com/embed/ba7093773714dbe4041e1237d5a4178d?primaryColor=%23888&amp;theme=light&amp;hideBranding=true" width="100%" height="400" frameborder="no">
</iframe>
<!-- End ReelCrafter reel -->


<p><span style="letter-spacing: 0.1px;"><br>No sé sobre ti, pero si bien me gusta crear la demostración (la maqueta), disfruto mucho más el proceso de grabación. En otras palabras, aunque puedo producir una maqueta orquestal de gran sonido, prefiero mil veces <b>estar cerca de músicos y grabar mi música en vivo.</b></span><br></p><p><span style="letter-spacing: 0.1px;">¡Eso es lo que realmente amo!</span><br></p><p><span style="letter-spacing: 0.1px;">Pero las personas que pagan la sesión de grabación tienen que aprobar mi música antes de que pueda divertirme con la orquesta.</span><br></p><p><span style="letter-spacing: 0.1px;">Si mi música se graba, entonces el producto final sonará mejor que mi maqueta original, y terminaré con un mejor demo reel, que espero me<b> abra la puerta a proyectos más grandes.</b></span><br></p><h2><span style="letter-spacing: 0.1px;"><b>El punto</b></span></h2><p><b>En estos días, la creación de la maqueta es lo primero. La orquestación y la grabación vienen después.</b></p><p><span style="letter-spacing: 0.1px;">Esto es cierto para la música de cine, y se está volviendo cada vez más común en otros ámbitos musicales.</span><br></p><p><span style="letter-spacing: 0.1px;">Es por eso que decidí darte esta capacitación como contenido adicional. Debido a que ahora que terminaste el curso de orquestación y tienes superpoderes de orquestación, necesito que puedas crear maquetas orquestales de sonido profesional para que puedas crear un buen demo reel y convencer a otros de que <b>eres el compositor adecuado para su proyecto.</b></span><br></p><p><span style="letter-spacing: 0.1px;">E incluso si consigues el trabajo, deberás poder crear increíbles maquetas para que aprueben tu música antes de pasar a grabarla.</span><br></p><p><span style="letter-spacing: 0.1px;">Así que le doy acceso al<b> primer módulo del curso de Symphonic Virtual Orchestration</b>, que es nuestro curso sobre producción de maquetas orquestales. Si te gusta el contenido y quieres más, al final del módulo incluí&nbsp; un <a href="/courses/viewTopic/1924">paquete exclusivo del curos a un precio especial solo para los estudiantes.</a></span><br></p><p><span style="letter-spacing: 0.1px;">Pero no tienes que comprar si no quiere sumergirse profundamente en la producción de maquetas orquestales. Creo que hay mucho valor solo en este primer módulo. Seguramente aprenderás todos los fundamentos en los siguientes temas y, a partir de ahí, podrás seguir experimentando por su cuenta.</span></p><p><span style="letter-spacing: 0.1px;">¡Espero que lo disfruten!</span><br></p><p><span style="letter-spacing: 0.1px;">Y ahora ... ¡escribamos buena música!<br></span><span style="letter-spacing: 0.1px;">Marc Jovani</span></p><div><br></div>',
		'es_version' => '<p>¡Felicidades! Lo has logrado hasta el final. ¡Muy pocos alcanzan este punto!</p><p>Debido a que lo lograste, queríamos recompensarte con algunos contenidos de BONUS</p><hr><p><span style="letter-spacing: 0.1px;">Esto es lo que hemos incluido para usted, y la razón por la que hemos seleccionado estos contenidos específicos.</span></p><h2><span style="letter-spacing: 0.1px;"><b>Dos tipos de compositores</b></span></h2><p><span style="letter-spacing: 0.1px;">Supongo que tomaste este curso porque querías mejorar tus habilidades de orquestación (?)</span></p><p><span style="letter-spacing: 0.1px;">No sé si eres un compositor de películas, un compositor de conciertos, estás estudiando composición, o tal vez eres un músico que está haciendo la transición a la composición...</span></p><p>Pero estoy seguro de una cosa: te encanta escribir música. ¿Sí?<span style="letter-spacing: 0.1px;"></span></p><p>Si es así, puedes ser uno de los pocos afortunados que no necesita escribir música para ganarse la vida ... porque puede tener algún tipo de flujo de ingresos que le permita escribir música solo por diversión, y eso está completamente bien .</p><p><span style="letter-spacing: 0.1px;"></span>O puede ser uno de los que realmente <b>escriben música para ganarse la vida </b>(o planea hacerlo en algún momento). Ese es mi caso. Soy compositor de cine.</p><p><span style="letter-spacing: 0.1px;">Pero... ¿por qué te estoy diciendo esto?</span><br></p><h2><span style="letter-spacing: 0.1px;"><b>Los mitos peligrosos de los compositores "exitosos"</b></span></h2><p><span style="letter-spacing: 0.1px;">Todos pensamos que para convertirte en un compositor "exitoso" (un término nebuloso en el mejor de los casos) tienes que ser un gran compositor.</span><br></p><p><span style="letter-spacing: 0.1px;">AY aunque es 100% cierto que tienes que ser un buen compositor, hay otra <b>habilidad clave </b>que debes tener para poder trabajar profesionalmente como compositor de música.</span><br></p><p><span style="letter-spacing: 0.1px;">Ya ves, vengo del mundo de la música de cine. Y la forma en que esto funciona aquí es</span><br></p><ol><li><span style="font-weight: normal;">Composición de música (producción de maquetas)</span></li><li><span style="font-weight: normal;">Conseguir que sea aprobado (por el director, o productor, etc.)</span></li><li><span style="font-weight: normal;">ENTONCES, orquestar.</span></li><li><span style="font-weight: normal;">ENTONCES, grabar.</span></li><li><span style="font-weight: normal;">Finalmente, mezclar y entregar al doblaje.</span></li></ol><p><span style="letter-spacing: 0.1px;">Entonces, la fórmula es: <b>presentar una demostración y obtener su aprobación antes de continuar.</b></span><br></p><p>¿Por qué? Porque grabar es caro y los que pagan por la música quieren asegurarse de que les gusta antes de poner el dinero para grabarla.<br></p><p>Debe comprender que tu <b>cliente </b>(director, productor, etc.) <b>no tiene formación musical</b>. Entonces, para ellos<b>, SI la música suena bien ENTONCES eres un buen compositor</b>. <b>Si no suena bien, entonces eres un mal compositor</b>. En otras palabras, <b>se enfocan en la calidad de sonido de la música (la producción)</b>, NO en la orquestación, armonía, contrapunto, etc.</p><p>Ahora, debido a que las librerías de muestras y las técnicas de producción de maquetas han mejorado y avanzado mucho durante los últimos años, <b>esperan que la demostración suene muy cerca del producto final.</b> Esta es una especie de estándar de la industria de lo que tu cliente espera escuchar para aprobar una cue (<b>estas son todas maquetas</b>):</p>


<!-- ReelCrafter reel: Orchestral Mockup Production -->
<iframe scrolling="no" src="https://listen.reelcrafter.com/embed/ba7093773714dbe4041e1237d5a4178d?primaryColor=%23888&amp;theme=light&amp;hideBranding=true" width="100%" height="400" frameborder="no">
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<!-- End ReelCrafter reel -->


<p><span style="letter-spacing: 0.1px;"><br>No sé sobre ti, pero si bien me gusta crear la demostración (la maqueta), disfruto mucho más el proceso de grabación. En otras palabras, aunque puedo producir una maqueta orquestal de gran sonido, prefiero mil veces <b>estar cerca de músicos y grabar mi música en vivo.</b></span><br></p><p><span style="letter-spacing: 0.1px;">¡Eso es lo que realmente amo!</span><br></p><p><span style="letter-spacing: 0.1px;">Pero las personas que pagan la sesión de grabación tienen que aprobar mi música antes de que pueda divertirme con la orquesta.</span><br></p><p><span style="letter-spacing: 0.1px;">Si mi música se graba, entonces el producto final sonará mejor que mi maqueta original, y terminaré con un mejor demo reel, que espero me<b> abra la puerta a proyectos más grandes.</b></span><br></p><h2><span style="letter-spacing: 0.1px;"><b>El punto</b></span></h2><p><b>En estos días, la creación de la maqueta es lo primero. La orquestación y la grabación vienen después.</b></p><p><span style="letter-spacing: 0.1px;">Esto es cierto para la música de cine, y se está volviendo cada vez más común en otros ámbitos musicales.</span><br></p><p><span style="letter-spacing: 0.1px;">Es por eso que decidí darte esta capacitación como contenido adicional. Debido a que ahora que terminaste el curso de orquestación y tienes superpoderes de orquestación, necesito que puedas crear maquetas orquestales de sonido profesional para que puedas crear un buen demo reel y convencer a otros de que <b>eres el compositor adecuado para su proyecto.</b></span><br></p><p><span style="letter-spacing: 0.1px;">E incluso si consigues el trabajo, deberás poder crear increíbles maquetas para que aprueben tu música antes de pasar a grabarla.</span><br></p><p><span style="letter-spacing: 0.1px;">Así que le doy acceso al<b> primer módulo del curso de Symphonic Virtual Orchestration</b>, que es nuestro curso sobre producción de maquetas orquestales. Si te gusta el contenido y quieres más, al final del módulo incluí&nbsp; un <a href="/courses/viewTopic/1924">paquete exclusivo del curos a un precio especial solo para los estudiantes.</a></span><br></p><p><span style="letter-spacing: 0.1px;">Pero no tienes que comprar si no quiere sumergirse profundamente en la producción de maquetas orquestales. Creo que hay mucho valor solo en este primer módulo. Seguramente aprenderás todos los fundamentos en los siguientes temas y, a partir de ahí, podrás seguir experimentando por su cuenta.</span></p><p><span style="letter-spacing: 0.1px;">¡Espero que lo disfruten!</span><br></p><p><span style="letter-spacing: 0.1px;">Y ahora ... ¡escribamos buena música!<br></span><span style="letter-spacing: 0.1px;">Marc Jovani</span></p><div><br></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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[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>
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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>


<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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</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>
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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>


<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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	'content' => '<p>¡Felicidades! Lo has logrado hasta el final. ¡Muy pocos alcanzan este punto!</p><p>Debido a que lo lograste, queríamos recompensarte con algunos contenidos de BONUS</p><hr><p><span style="letter-spacing: 0.1px;">Esto es lo que hemos incluido para usted, y la razón por la que hemos seleccionado estos contenidos específicos.</span></p><h2><span style="letter-spacing: 0.1px;"><b>Dos tipos de compositores</b></span></h2><p><span style="letter-spacing: 0.1px;">Supongo que tomaste este curso porque querías mejorar tus habilidades de orquestación (?)</span></p><p><span style="letter-spacing: 0.1px;">No sé si eres un compositor de películas, un compositor de conciertos, estás estudiando composición, o tal vez eres un músico que está haciendo la transición a la composición...</span></p><p>Pero estoy seguro de una cosa: te encanta escribir música. ¿Sí?<span style="letter-spacing: 0.1px;"></span></p><p>Si es así, puedes ser uno de los pocos afortunados que no necesita escribir música para ganarse la vida ... porque puede tener algún tipo de flujo de ingresos que le permita escribir música solo por diversión, y eso está completamente bien .</p><p><span style="letter-spacing: 0.1px;"></span>O puede ser uno de los que realmente <b>escriben música para ganarse la vida </b>(o planea hacerlo en algún momento). Ese es mi caso. Soy compositor de cine.</p><p><span style="letter-spacing: 0.1px;">Pero... ¿por qué te estoy diciendo esto?</span><br></p><h2><span style="letter-spacing: 0.1px;"><b>Los mitos peligrosos de los compositores "exitosos"</b></span></h2><p><span style="letter-spacing: 0.1px;">Todos pensamos que para convertirte en un compositor "exitoso" (un término nebuloso en el mejor de los casos) tienes que ser un gran compositor.</span><br></p><p><span style="letter-spacing: 0.1px;">AY aunque es 100% cierto que tienes que ser un buen compositor, hay otra <b>habilidad clave </b>que debes tener para poder trabajar profesionalmente como compositor de música.</span><br></p><p><span style="letter-spacing: 0.1px;">Ya ves, vengo del mundo de la música de cine. Y la forma en que esto funciona aquí es</span><br></p><ol><li><span style="font-weight: normal;">Composición de música (producción de maquetas)</span></li><li><span style="font-weight: normal;">Conseguir que sea aprobado (por el director, o productor, etc.)</span></li><li><span style="font-weight: normal;">ENTONCES, orquestar.</span></li><li><span style="font-weight: normal;">ENTONCES, grabar.</span></li><li><span style="font-weight: normal;">Finalmente, mezclar y entregar al doblaje.</span></li></ol><p><span style="letter-spacing: 0.1px;">Entonces, la fórmula es: <b>presentar una demostración y obtener su aprobación antes de continuar.</b></span><br></p><p>¿Por qué? Porque grabar es caro y los que pagan por la música quieren asegurarse de que les gusta antes de poner el dinero para grabarla.<br></p><p>Debe comprender que tu <b>cliente </b>(director, productor, etc.) <b>no tiene formación musical</b>. Entonces, para ellos<b>, SI la música suena bien ENTONCES eres un buen compositor</b>. <b>Si no suena bien, entonces eres un mal compositor</b>. En otras palabras, <b>se enfocan en la calidad de sonido de la música (la producción)</b>, NO en la orquestación, armonía, contrapunto, etc.</p><p>Ahora, debido a que las librerías de muestras y las técnicas de producción de maquetas han mejorado y avanzado mucho durante los últimos años, <b>esperan que la demostración suene muy cerca del producto final.</b> Esta es una especie de estándar de la industria de lo que tu cliente espera escuchar para aprobar una cue (<b>estas son todas maquetas</b>):</p>


<!-- ReelCrafter reel: Orchestral Mockup Production -->
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<!-- End ReelCrafter reel -->


<p><span style="letter-spacing: 0.1px;"><br>No sé sobre ti, pero si bien me gusta crear la demostración (la maqueta), disfruto mucho más el proceso de grabación. En otras palabras, aunque puedo producir una maqueta orquestal de gran sonido, prefiero mil veces <b>estar cerca de músicos y grabar mi música en vivo.</b></span><br></p><p><span style="letter-spacing: 0.1px;">¡Eso es lo que realmente amo!</span><br></p><p><span style="letter-spacing: 0.1px;">Pero las personas que pagan la sesión de grabación tienen que aprobar mi música antes de que pueda divertirme con la orquesta.</span><br></p><p><span style="letter-spacing: 0.1px;">Si mi música se graba, entonces el producto final sonará mejor que mi maqueta original, y terminaré con un mejor demo reel, que espero me<b> abra la puerta a proyectos más grandes.</b></span><br></p><h2><span style="letter-spacing: 0.1px;"><b>El punto</b></span></h2><p><b>En estos días, la creación de la maqueta es lo primero. La orquestación y la grabación vienen después.</b></p><p><span style="letter-spacing: 0.1px;">Esto es cierto para la música de cine, y se está volviendo cada vez más común en otros ámbitos musicales.</span><br></p><p><span style="letter-spacing: 0.1px;">Es por eso que decidí darte esta capacitación como contenido adicional. Debido a que ahora que terminaste el curso de orquestación y tienes superpoderes de orquestación, necesito que puedas crear maquetas orquestales de sonido profesional para que puedas crear un buen demo reel y convencer a otros de que <b>eres el compositor adecuado para su proyecto.</b></span><br></p><p><span style="letter-spacing: 0.1px;">E incluso si consigues el trabajo, deberás poder crear increíbles maquetas para que aprueben tu música antes de pasar a grabarla.</span><br></p><p><span style="letter-spacing: 0.1px;">Así que le doy acceso al<b> primer módulo del curso de Symphonic Virtual Orchestration</b>, que es nuestro curso sobre producción de maquetas orquestales. Si te gusta el contenido y quieres más, al final del módulo incluí&nbsp; un <a href="/courses/viewTopic/1924">paquete exclusivo del curos a un precio especial solo para los estudiantes.</a></span><br></p><p><span style="letter-spacing: 0.1px;">Pero no tienes que comprar si no quiere sumergirse profundamente en la producción de maquetas orquestales. Creo que hay mucho valor solo en este primer módulo. Seguramente aprenderás todos los fundamentos en los siguientes temas y, a partir de ahí, podrás seguir experimentando por su cuenta.</span></p><p><span style="letter-spacing: 0.1px;">¡Espero que lo disfruten!</span><br></p><p><span style="letter-spacing: 0.1px;">Y ahora ... ¡escribamos buena música!<br></span><span style="letter-spacing: 0.1px;">Marc Jovani</span></p><div><br></div>',
	'es_version' => '<p>¡Felicidades! Lo has logrado hasta el final. ¡Muy pocos alcanzan este punto!</p><p>Debido a que lo lograste, queríamos recompensarte con algunos contenidos de BONUS</p><hr><p><span style="letter-spacing: 0.1px;">Esto es lo que hemos incluido para usted, y la razón por la que hemos seleccionado estos contenidos específicos.</span></p><h2><span style="letter-spacing: 0.1px;"><b>Dos tipos de compositores</b></span></h2><p><span style="letter-spacing: 0.1px;">Supongo que tomaste este curso porque querías mejorar tus habilidades de orquestación (?)</span></p><p><span style="letter-spacing: 0.1px;">No sé si eres un compositor de películas, un compositor de conciertos, estás estudiando composición, o tal vez eres un músico que está haciendo la transición a la composición...</span></p><p>Pero estoy seguro de una cosa: te encanta escribir música. ¿Sí?<span style="letter-spacing: 0.1px;"></span></p><p>Si es así, puedes ser uno de los pocos afortunados que no necesita escribir música para ganarse la vida ... porque puede tener algún tipo de flujo de ingresos que le permita escribir música solo por diversión, y eso está completamente bien .</p><p><span style="letter-spacing: 0.1px;"></span>O puede ser uno de los que realmente <b>escriben música para ganarse la vida </b>(o planea hacerlo en algún momento). Ese es mi caso. Soy compositor de cine.</p><p><span style="letter-spacing: 0.1px;">Pero... ¿por qué te estoy diciendo esto?</span><br></p><h2><span style="letter-spacing: 0.1px;"><b>Los mitos peligrosos de los compositores "exitosos"</b></span></h2><p><span style="letter-spacing: 0.1px;">Todos pensamos que para convertirte en un compositor "exitoso" (un término nebuloso en el mejor de los casos) tienes que ser un gran compositor.</span><br></p><p><span style="letter-spacing: 0.1px;">AY aunque es 100% cierto que tienes que ser un buen compositor, hay otra <b>habilidad clave </b>que debes tener para poder trabajar profesionalmente como compositor de música.</span><br></p><p><span style="letter-spacing: 0.1px;">Ya ves, vengo del mundo de la música de cine. Y la forma en que esto funciona aquí es</span><br></p><ol><li><span style="font-weight: normal;">Composición de música (producción de maquetas)</span></li><li><span style="font-weight: normal;">Conseguir que sea aprobado (por el director, o productor, etc.)</span></li><li><span style="font-weight: normal;">ENTONCES, orquestar.</span></li><li><span style="font-weight: normal;">ENTONCES, grabar.</span></li><li><span style="font-weight: normal;">Finalmente, mezclar y entregar al doblaje.</span></li></ol><p><span style="letter-spacing: 0.1px;">Entonces, la fórmula es: <b>presentar una demostración y obtener su aprobación antes de continuar.</b></span><br></p><p>¿Por qué? Porque grabar es caro y los que pagan por la música quieren asegurarse de que les gusta antes de poner el dinero para grabarla.<br></p><p>Debe comprender que tu <b>cliente </b>(director, productor, etc.) <b>no tiene formación musical</b>. Entonces, para ellos<b>, SI la música suena bien ENTONCES eres un buen compositor</b>. <b>Si no suena bien, entonces eres un mal compositor</b>. En otras palabras, <b>se enfocan en la calidad de sonido de la música (la producción)</b>, NO en la orquestación, armonía, contrapunto, etc.</p><p>Ahora, debido a que las librerías de muestras y las técnicas de producción de maquetas han mejorado y avanzado mucho durante los últimos años, <b>esperan que la demostración suene muy cerca del producto final.</b> Esta es una especie de estándar de la industria de lo que tu cliente espera escuchar para aprobar una cue (<b>estas son todas maquetas</b>):</p>


<!-- ReelCrafter reel: Orchestral Mockup Production -->
<iframe scrolling="no" src="https://listen.reelcrafter.com/embed/ba7093773714dbe4041e1237d5a4178d?primaryColor=%23888&amp;theme=light&amp;hideBranding=true" width="100%" height="400" frameborder="no">
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<!-- End ReelCrafter reel -->


<p><span style="letter-spacing: 0.1px;"><br>No sé sobre ti, pero si bien me gusta crear la demostración (la maqueta), disfruto mucho más el proceso de grabación. En otras palabras, aunque puedo producir una maqueta orquestal de gran sonido, prefiero mil veces <b>estar cerca de músicos y grabar mi música en vivo.</b></span><br></p><p><span style="letter-spacing: 0.1px;">¡Eso es lo que realmente amo!</span><br></p><p><span style="letter-spacing: 0.1px;">Pero las personas que pagan la sesión de grabación tienen que aprobar mi música antes de que pueda divertirme con la orquesta.</span><br></p><p><span style="letter-spacing: 0.1px;">Si mi música se graba, entonces el producto final sonará mejor que mi maqueta original, y terminaré con un mejor demo reel, que espero me<b> abra la puerta a proyectos más grandes.</b></span><br></p><h2><span style="letter-spacing: 0.1px;"><b>El punto</b></span></h2><p><b>En estos días, la creación de la maqueta es lo primero. La orquestación y la grabación vienen después.</b></p><p><span style="letter-spacing: 0.1px;">Esto es cierto para la música de cine, y se está volviendo cada vez más común en otros ámbitos musicales.</span><br></p><p><span style="letter-spacing: 0.1px;">Es por eso que decidí darte esta capacitación como contenido adicional. Debido a que ahora que terminaste el curso de orquestación y tienes superpoderes de orquestación, necesito que puedas crear maquetas orquestales de sonido profesional para que puedas crear un buen demo reel y convencer a otros de que <b>eres el compositor adecuado para su proyecto.</b></span><br></p><p><span style="letter-spacing: 0.1px;">E incluso si consigues el trabajo, deberás poder crear increíbles maquetas para que aprueben tu música antes de pasar a grabarla.</span><br></p><p><span style="letter-spacing: 0.1px;">Así que le doy acceso al<b> primer módulo del curso de Symphonic Virtual Orchestration</b>, que es nuestro curso sobre producción de maquetas orquestales. Si te gusta el contenido y quieres más, al final del módulo incluí&nbsp; un <a href="/courses/viewTopic/1924">paquete exclusivo del curos a un precio especial solo para los estudiantes.</a></span><br></p><p><span style="letter-spacing: 0.1px;">Pero no tienes que comprar si no quiere sumergirse profundamente en la producción de maquetas orquestales. Creo que hay mucho valor solo en este primer módulo. Seguramente aprenderás todos los fundamentos en los siguientes temas y, a partir de ahí, podrás seguir experimentando por su cuenta.</span></p><p><span style="letter-spacing: 0.1px;">¡Espero que lo disfruten!</span><br></p><p><span style="letter-spacing: 0.1px;">Y ahora ... ¡escribamos buena música!<br></span><span style="letter-spacing: 0.1px;">Marc Jovani</span></p><div><br></div>',
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		'content' => '<p>Congratulations! You’ve made it till the end. Very few reach this point!</p><p><span style="letter-spacing: 0.1px;">Because you’ve made it, we wanted to reward you with some Bonus Contents.</span></p><hr><p><span style="letter-spacing: 0.1px;">This is WHAT we’ve included for you – and the reason WHY we’ve selected these specific contents.</span></p><h2><span style="letter-spacing: 0.1px;"><b>Two Types of Composers</b></span></h2><p><span style="letter-spacing: 0.1px;">I’m assuming you took this course because you wanted to improve your orchestration skills (?)</span></p><p><span style="letter-spacing: 0.1px;">I don’t know if you’re a film composer, a concert composer, you’re studying composition, or maybe you’re a musician who’s transitioning to composing...</span></p><p><span style="letter-spacing: 0.1px;">But I’m sure of one thing: you love writing music. Yes?</span></p><p><span style="letter-spacing: 0.1px;">If that’s so you may be either one of the few lucky ones that don’t need to write music for a living... because you may have some sort of income stream that allows you to write music just for fun – and that’s completely fine.</span></p><p><span style="letter-spacing: 0.1px;">Or you may be one of those who actually <b>write music for a living</b> (or plans to at some point). That’s my case. I’m a film composer.&nbsp;</span></p><p><span style="letter-spacing: 0.1px;">But… why am I telling you this?</span><br></p><h2><span style="letter-spacing: 0.1px;"><b>The Dangerous Myths of “Successful” Composers</b></span></h2><p><span style="letter-spacing: 0.1px;">We all think that in order to become a “successful” composer (a nebulous term at best) you have to be a great composer.</span><br></p><p><span style="letter-spacing: 0.1px;">And while it's 100% true that you have to be a good composer, there is yet one other <b>key skill</b> that you must have in order to be able to professionally work as a music composer.&nbsp;</span><br></p><p><span style="letter-spacing: 0.1px;">You see, I come from the film music world. And the way this works here is&nbsp;</span><br></p><ol><li>Composing music (mockup production)</li><li>Getting it approved (by the director, or producer, etc)</li><li>THEN, orchestrate.</li><li>THEN, record.</li><li>Finally, mix and deliver to dub.</li></ol><p><span style="letter-spacing: 0.1px;">So the formula is: <b>presenting demo and getting it approved before moving on</b>.&nbsp;</span><br></p><p><span style="letter-spacing: 0.1px;">Why? Because recording is expensive and those who are paying for the music want to make sure they like the music before putting the money down to record the music.</span></p><p>You have to understand that <b>your client</b> (director, producer, etc) <b>is not musically trained</b>. So, for them, <b>IF the music sounds good THEN you're a good composer</b>. <b>If it doesn't sound good, then you're a bad composer</b>. In other words, <b>they focus on the sound quality of the music</b> (the production), NOT in the orchestration, harmony, counterpoint, etc.</p><p>Now, because sample libraries and mockup production techniques have improved and advanced so much during the past years, <b>they expect the demo to sound very close to the final product</b>. This is sort of industry-standard of what your client expects to hear to approve a cue (<b>these are all mockups</b>):</p>


<!-- ReelCrafter reel: Orchestral Mockup Production -->
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<!-- End ReelCrafter reel -->


<p><span style="letter-spacing: 0.1px;"><br>I don’t know about you, but while I do like creating the demo (the mockup) I enjoy the process of recording so much more. In other words, while I can produce a great sounding orchestral mockup, I prefer a thousand times <b>to be around musicians and record my music live</b>.&nbsp;</span><br></p><p><span style="letter-spacing: 0.1px;">That’s what I really love!</span><br></p><p><span style="letter-spacing: 0.1px;">But the people who are paying for the recording session have to approve my music before I get to have fun with the orchestra.</span><br></p><p><span style="letter-spacing: 0.1px;">If my music gets recorded, then the final product is going to sound better than my original mockup, and I'll end having a better demo reel that will hopefully <b>open me the door to bigger projects</b>.</span><br></p><h2><span style="letter-spacing: 0.1px;"><b>The Point</b></span></h2><p><b>These days, creating the mockup goes first. Orchestrating and recording come next.</b></p><p><span style="letter-spacing: 0.1px;">This is true for film music, and it’s becoming more and more common in other musical arenas as well.</span><br></p><p><span style="letter-spacing: 0.1px;">That's why I decided to give this training to you as bonus content. Because now that you finished the orchestration course and you have orchestration superpowers, I need you to be able to create professional sounding orchestral mockups so you can create a good demo reel and convince others that <b>you’re the right composer for their project</b>.</span><br></p><p><span style="letter-spacing: 0.1px;">And even if you get the job, you’ll need to be able to create awesome mockups so they approve your music before moving on to recording it.</span><br></p><p><span style="letter-spacing: 0.1px;">So I’m giving you access to the <b>first module of the Symphonic Virtual Orchestration course</b>, which is our course on Orchestral Mockup Production. If you like the content and you want more, at the end of the module I included an <a href="/courses/viewTopic/1924">exclusive package of the course at a special price just for students</a>.&nbsp;</span><br></p><p><span style="letter-spacing: 0.1px;">But you don’t have to buy if you don’t want to dive deep into orchestral mockup production. I believe there’s plenty of value just in this first module. You will for sure learn all the fundamentals in the following topics and, from there, you can keep experimenting on your own.</span></p><p><span style="letter-spacing: 0.1px;">I hope you enjoy it!</span><br></p><p><span style="letter-spacing: 0.1px;">And now… let’s write great music!<br></span><span style="letter-spacing: 0.1px;">Marc Jovani</span></p><div><br></div>'
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