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">


<div class="col-md-7 mt-3">
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<div class="col-md-5 mt-3">
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<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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</p><p>[enroll]


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

[description]

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


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

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





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

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



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

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

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



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








</div>

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

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

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

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

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

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

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





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





<div class="row">


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


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


<p style="text-align: center;"><br></p><p style="text-align: center;">The course is constantly under development, with new content added on a steady basis. As a student, you'll get every update completely for free.</p>
</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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[header=Understand the basics of each instrument<br> and the role it plays in the orchestra*CONFIDENTLY WRITE FOR FULL ORCHESTRA]

[description]

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


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

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





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

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



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

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

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



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

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

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

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

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

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

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





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





<div class="row">


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


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


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


</div>


<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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</p><p>[enroll]


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

[description]

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


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

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





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

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



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

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

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



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








</div>

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

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

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

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

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

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

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





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





<div class="row">


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


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


<p style="text-align: center;"><br></p><p style="text-align: center;">The course is constantly under development, with new content added on a steady basis. As a student, you'll get every update completely for free.</p>
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	'content' => '<p>The are two main aspects that determine the mechanism of a bowed string instrument. Firstly, the string instrument itself (the left hand). Secondly, the bow (right hand).</p><p>The sound of a stringed instrument is made by drawing the bow or plucking a finger on the string(s). This action creates a certain amount of vibration. This vibration is transmitted through the bridge to the body (the resonance chamber). Then the sound gets amplified there with the help of the sound post (a little piece that connects the front and back end of the box). Finally, the created sound travels out through the F holes.</p><p>The pitch of the string depends on its length and the thickness. Since there is no way to change the thickness, we can alter pitch by shortening the length by applying pressure with a finger. The shorter the segment, the higher the pitch.</p>',
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		'id' => (int) 19,
		'name' => 'The Instruments: the Contrabass',
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		'content' => '<p>[img=uploads/topics/double-bass-5934c87c3020c.png]<br></p><p>The biggest instrument of the family, the contrabass, is played while standing in order to hold the instrument nearly vertically. Its sound is dull but full and round. It also gets brighter as we get higher in the first string. Although it is a powerful instrument it has a lot of difficulty cutting through the orchestra as a solo instrument or section. This is due to its dull quality. However it works beautifully as an orchestral foundation and the contrabass gives the orchestra some real low end. It also greatly accentuates the cello section when doubled at a lower octave.</p><p>The contrabass, unlike the other instruments in the section, does not tune by fifths. It tunes by fourths (E0-A0-D1-G1). In most orchestras around the world part of the section (if not all) is able to go down an additional major 3rd to the C0. However, depending on what country you’re in this is either by an extension of the fourth string (like in the USA), or with an additional fifth string (like most places in Europe). The contrabass, in its upper register, can go up to A2 although it is not common to find it that high</p><p>[img=/uploads/topics/contrabass-range-5a01fc135ff2f.jpeg]</p><p>The contrabass takes the <span style="letter-spacing: 0.1px;">role of the bass</span><span style="letter-spacing: 0.1px;"> in the string section. It is </span><span style="letter-spacing: 0.1px;">traditionally attached to the cello section</span><span style="letter-spacing: 0.1px;"> role since the Baroque and Classical periods. Today the contrabass can also be found playing exceptional solos as a section or solo instrument and also be heard doubling other non-string bass instruments. However, because of its particular register and the almost permanent need to fill the bass, it still mostly performs the bass line</span><span style="letter-spacing: 0.1px;">.</span></p><p><span style="letter-spacing: 0.1px;"><br></span></p><p>[vzaar=12516718]<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a contrabass solo passage in&nbsp;S. Prokofiev's Lieutenant Kijé (suite), Op.60: II Romance</span></p><p><span style="letter-spacing: 0.1px;">
</span></p><p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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</div><br><p></p><p>[vzaar=12516769]<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a contrabass section passage in&nbsp;L. V. Beethoven's Symphony No.9, Op.125: II movement</span></p><p></p>
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		'es_version' => '<p></p><p>[img=uploads/topics/double-bass-5934c87c3020c.png]<br></p><p>El más grande de la familia, el contrabajo, es ejecutado de pie para poder sostenerlo de manera casi vertical. Su sonido es embotado pero redondo y lleno. También puede ser agudo cuando se sube en la primera cuerda. Si bien es un poderoso instrumento, tiene mucha dificultad para atravesar la orquesta como instrumento solista o sección. Esto se debe a su sonido embotado. Sin embargo trabaja de manera bella como la base de la orquesta, el contrabajo provee a la orquesta de un bajo real. Es muy efectiva para acentuar a la sección de cellos cuando los contrabajos la doblan una octava por debajo.</p><p>El contrabajo, a diferencia del resto de instrumentos de la sección no afina por quintas. Sino que afina por cuartas E0-A0-D1-G1. En la mayoría de las orquestas de mundo parte de la sección (sino toda) es capaz de ir para abajo una 3ra mayor hasta el C0. Sin embargo, dependiendo de en qué país uno se encuentre esto puede ser por una extensión en la cuarta cuerda (como en los EEUU), o con el agregado de una quinta cuerda (en la mayor parte de Europa). El contrabajo en su registro más alto, puede ir hasta el A2 aunque no es muy común hallarlo tan alto.</p><p>[img=/uploads/topics/contrabass-range-5a01fc135ff2f.jpeg]</p><p>El contrabajo toma el rol del bajo de la sección de cuerdas. Esta tradicionalmente adjunto a la sección del cello desde los periodos barroco y clásico. Hoy en día el contrabajo puede ser hallado ejecutando solos excepcionales tanto como sección como instrumentos solistas, también puede ser oído duplicando otros instrumentos bajos de una sección que no sea de cuerdas. Sin&nbsp; embargo dado su particular registro y la casi permanente necesidad de llenar el bajo, este ejecuta mayormente la línea de bajo.<span style="letter-spacing: 0.1px;"></span></p><p><span style="letter-spacing: 0.1px;"><br></span></p><p>[vzaar=21592904]<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a contrabass solo passage in&nbsp;S. Prokofiev's Lieutenant Kijé (suite), Op.60: II Romance</span></p><p><span style="letter-spacing: 0.1px;">
</span></p><p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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</div><br><p></p><p>[vzaar=21592906]<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a contrabass section passage in&nbsp;L. V. Beethoven's Symphony No.9, Op.125: II movement</span></p><p></p>
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		'content' => '<p>A string is open when no finger is applying pressure to any point of it, so it vibrates along its full length. The sound that it produces is different in three ways from a normal fingered note:</p><p></p><p></p><p></p><p></p><p></p><ul><li>It is more open and bright, since there are no fingers involved.</li></ul><ul><li>The string sounds and resonates at its full potential because it has its full length.</li></ul><ul><li>It doesn't have vibrato, since there are no fingers taking part of it.</li></ul><p></p><p></p><p></p><p></p><p></p><p>Since all string instruments in the orchestra have four strings, open strings have another non-direct consequence. Following the principle of sympathetic resonance, every time you produce (with a first string) a pitch that has harmonic likeness with a particular string of the remaining three, some of the other will also vibrate producing the same pitch. The final result is that this note will be held for a longer amount of time with the help of the other/s string/s. Also any other close instrument which has a harmonic likeness is going to produce this same phenomenon.</p><p>There are keys (by reason of the above paragraph) that are going to favor a fuller and more resonant sound in the instrument than others. Since certain keys would have more notes in harmonic likeness with the open strings (of the instrument) than others. For example, if we play in C major in the viola, we have four notes in the scale in common with the name of the strings: C-G-D-A. But not only that, we have strings that have at the beginning of their overtone series additional notes of the scale. For instance, E is going to resonate as well with the C string, because its 4th overtone is E.</p><p>Keys that sound full in string instruments are C, G, F, D, B flat, A and E flat major. Minor keys sound less full than majors. This is due to the fact that the first 3rd that we find in the overtone series is major, not minor. However keys with fewer accidentals will still compare favorably to the ones with more accidentals<span style="letter-spacing: 0.1px;">.</span></p><p>[vzaar=12066733]</p><h5>Example of a open string passage for the string section in&nbsp;A. Copland's Rodeo (ballet): Saturday Night Waltz</h5>

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		'es_version' => '<p>Una cuerda está abierta cuando no hay ningún dedo aplicando presión en ningún punto de ella, de ese modo vibra a lo largo de toda su longitud. El sonido que se produce es diferente en tres formas a una nota&nbsp; tocada con el dedo:</p><p></p><p></p><p></p><p></p><p></p><ul><li>Es más abierto y brillante ya que no hay dedos involucrados. <br></li></ul><ul><li>El sonido de la cuerda vibra y resuena en su potencial pleno de acuerdo a su máxima longitud.</li></ul><ul><li>No posee vibrato ya que no hay dedos tocándolo.</li></ul><p></p><p></p><p></p><p></p><p></p><p>Dado que todos los instrumentos de cuerda de la orquesta poseen 4 cuerdas, las cuerdas abiertas tienen otra consecuencia no-directa. Siguiendo los principios de la resonancia simpática, cada vez que uno produce (con la primera cuerda) un sonido que posee algún armónico que se repita en alguna de las restantes tres, algunas de las demás vibrara en consonancia con la nota. El resultado final es que la nota se prolonga por más tiempo con la ayuda de las otras cuerdas. Además si hay otro instrumento que se encuentre cerca que posee simpatía armónica también le ocurrirá el mismo fenómeno.</p><p>Existen tonalidades (por la razón previamente expuesta) que favorecerán en un sonido más lleno y más resonante en un instrumento más que en otro. Por ejemplo, si ejecutamos en C mayor en la viola, tendremos cuatro notas de la escala en común con las cuerdas C-G-D-A. Pero no solamente eso, tenemos en el comienzo de la serie de armónicos otras notas que se encuentran en la escala. Por ejemplo, E resonara también en la cuerda de C ya que E es el 4to armónico de C.</p><p>Las tonalidades que suenan más llenas en la sección de cuerdas son C, G, F, D, Bb, A and Eb mayor. Las tonalidades menores sonaran menos llenas que las mayores. Esto se debe al hecho de que la primera tercera en la serie de armónicos es mayor, no menor. Sin embargo las tonalidades con menores alteraciones saldrán más favorecidas en comparación con aquellas con más alteraciones.<span style="letter-spacing: 0.1px;"></span></p><p>[vzaar=21592927]</p><h5>Example of a open string passage for the string section in&nbsp;A. Copland's Rodeo (ballet): Saturday Night Waltz</h5>

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Left Hand: the Strings

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Left Hand: the Strings

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