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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[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>As we just mentioned in the previous chapter, the harmonic series has a big influence on how we orchestrate and voice when we compose music, and that is for a simple reason. A vast majority of cultures around the world –including Western– have a preference for sounds that have a harmonic series, and this deeply affects the types of instrument used. We are not here to discuss why but humans over the history have tended to favor the simplicity of the relationship between partials in a sound with a harmonic series over sounds farther from this model.</p><p>As well as influencing the sounds we favor, this acoustic phenomenon extends its influence to the way the notes in music are organized. And, although it is true that tonal music is not a direct extrapolation of the harmonic series –neither is any particular music for that matter–, but more a cultural manifestation, it has a lot to do with this phenomenon. And that is also for a simple reason; if Western culture uses harmonic instruments it makes sense that the way that pitches are organized follows the rules that are similar to the sounds produced.</p><p><span style="letter-spacing: 0.1px;"><br></span></p><p><span style="letter-spacing: 0.1px;">This leads us to the following conclusions:</span><br></p><p>A: the lower we go in the human audible spectrum, the more separated the notes should be so they can be understood as different pitches (as opposed to unpitched sound). To the contrary, the higher notes need less separation from each other.</p><p>B: the intervals that are more often found are the perfect octave (2nd, 4th, 8th and 16th partial) and the perfect fifth (3rd, 6th, and 12th partial) followed in a less degree by the major third (5th and 10th), the minor seventh (7th and 14th) and major second (only the 9th). We are talking only about harmonically, not melodically, but a similar conclusion can be extracted comparing contiguous partials in the series.</p><p><br></p><p>If we extrapolate this observation to how music is voiced and orchestrated, we can draw the following conclusions:</p><p>A: as to the separation, given that we want clarity, we will separate notes more in the bottom of a chord, especially if they are place in a low register. On the contrary, we can have closer pitches in the top part of a chord, more if those notes are in a high register.</p><p>B: when voicing a chord, we will prefer to double:</p><p></p><ul><li>the root more than any other note. This note contains all the notes in a major chord, including the 5th, the major 3rd and the 7th. Obviously, we are not clearly hearing these notes, but the harmonics of these notes are contributing to the overall resonance of the chord and reinforcing the other notes.</li></ul><ul><li>then, although the fifth is the second note with more harmonics in common, it is usual to find composers doubling more the third. The reason for that is that, even though we would expect the fifth to be always more reinforced according to the harmonic series, since it is a note that doesn’t contribute to change the function of the chord (and from the Baroque era is also considered an old fashioned interval) it is very common to find the third duplicated more than the fifth. So here, a cultural reasons weights clearly more than the acoustic principle.</li></ul><p></p><p><br></p><p>But what happens with chords that have a minor third, or chords with a diminished fifth?</p><p>It is not uncommon to find composers doubling more the fifth than the third, but while that works with major chords, it doesn’t with minors. The reason for this is that the minor third of the chord, unlike the major one, is not present in the harmonic series of the fundamental of the chord, so the minor third has to fight against what we unconsciously hear from the series of the other notes of the chord. The result is often a feeling that the chord is never fully in tune, even though the musicians are playing perfectly fine. To solve this problem, we need to reinforce the minor third slightly more than usual so it can compete with the natural resonance of the chord. How much we do this depends on a case by case basis, but taking this principle into account when orchestrating and voicing chords is always a good first step.</p><p>Regarding other chords like the diminished 5th, augmented 5th, and other type of chords, doubling depends a lot on the particular chord but taking this principle into account is a good starting point. As a general remark we have to pay extra attention when orchestrating the notes that don’t belong to the harmonic series of the root of the chord. This sometimes means to just balance the chord evenly, and other times to actually reinforce the foreign notes a little bit more.</p>',
		'es_version' => '<p>Tal como mencionamos en el capítulo previo, la serie armónica tiene una gran influencia en como orquestamos y posicionamos las voces cuando componemos música, y eso se debe a una simple razón. Una vasta mayoría de culturas alrededor del mundo – incluida la occidental – tiene una preferencia por sonidos que tienen una serie armónica, y esto afecta profundamente los tipos de instrumentos utilizados. No estamos aquí para discutir el porqué, pero los humanos a través de la historia han tenido la tendencia a preferir la simplicidad que supone la relación entre parciales en un sonido con la serie armónica sobre sonidos alejados de éste modelo.</p><p>Tanto como influencia sobre los sonidos que preferimos, éste fenómeno acústico extiende su influencia hacia el modo en que las notas en música están organizados. Y, si bien es verdad que la música tonal no es una extrapolación directa de la serie de armónicos – ni de ninguna – sino más bien una manifestación cultural, ésta tiene mucho que ver con éste fenómeno. Y también existe una simple razón para ello; si la cultura occidental utiliza instrumentos armónicos, tiene sentido que el modo en que los tonos se&nbsp; organizan siguen reglas que son similares a los sonidos producidos.</p><p><span style="letter-spacing: 0.1px;"><br></span></p><p><span style="letter-spacing: 0.1px;">Esto nos lleva a las siguientes conclusiones:</span><br></p><p>A: Lo más bajo que vayamos en el espectro audible humano, lo más separado las notas deben estar para que se puedan entender como tonos diferentes (en contraposición a los sonidos sin tonos definidos). Por el contrario, las notas más altas necesitan menos separación unas con otras.</p><p>B: los intervalos que son más frecuentemente hallados son la octava justa (2do,4to,8vo y 16vo parcial) y la quinta justa (3ro,6to&nbsp; y 12vo parcial) seguido en un grado menor por la tercera mayor (5to y 10mo), la séptima menor (7mo y 14vo) y la segunda mayor (sólo el 9no). Nosotros estamos hablando solamente armónicamente y no melódicamente, pero una conclusión similar puede ser extraída comparando dos parciales contiguos en la serie.</p><p><br></p><p>Si nosotros extrapolamos ésta observación en cómo la música es orquestada y ubicadas sus voces, podremos extraer las siguientes conclusiones:</p><p>A: para separar, dado que queremos claridad, separaremos las notas que están en la base del acorde, especialmente si éstas están ubicadas en el registro más bajo. Por el contrario, podemos tener tonos más cercanos en la parte de arriba del acorde, más si las mismas se encuentran en el registro alto.</p><p>B: cuando posicionamos las voces en un acorde, preferiremos duplicar:</p><p></p><ul><li>La raíz más que cualquier otra nota. Esta nota contiene todas las notas en un acorde mayor, incluyendo la 5ta, la 3ra mayor y la 7ma. Obviamente, no podemos escuchar claramente todas estas notas, pero los armónicos de estas notas están contribuyendo a la resonancia general del acorde y al refuerzo de otras notas.</li></ul><ul><li>Después, por más que la quinta es la segunda nota con más armónicos en común, lo más usual es encontrar que los compositores prefieren duplicar la 3ra. La razón de esto es que, por más que esperaríamos que la quinta sea reforzada de acuerdo a la serie armónica, dado que esta nota no contribuye en cambiar la funcionalidad del acorde(y que en la era Barroca el mismo era un intervalo pasado de moda) es muy común encontrar la 3ra duplicada más que la 5ta. Aquí una razón cultural pesa mucho más que un principio acústico.</li></ul><p></p><p><br></p><p>Pero, ¿Qué ocurre cuando un acorde tiene una tercera menor o con los acordes con la que poseen una quinta disminuida?</p><p>No es poco común encontrar compositores duplicando más la quinta que la tercera, pero mientras funciona con los acordes mayores, no funciona con los menores. La razón de esto radica en que la tercera menor del acorde, a diferencia del mayor, no se encuentra en la serie armónica de la fundamental del acorde, así que la tercera menos tiene que pelear contra lo que oímos inconscientemente de las series de las otras notas del acorde. El resultado es frecuentemente la sensación de que el acorde nunca esta afinado, incluso cuando los músicos están tocando perfectamente bien. Para solucionar este problema, necesitamos reforzar la tercera menor un poco más que lo que haríamos habitualmente así puede competir con la resonancia natural del acorde. Cuanto haremos esto, depende de cada caso en particular, pero teniendo este principio en cuenta cuando orquestamos o posicionamos las voces de los acordes es siempre un buen comienzo.</p><p>Acerca de otros acordes como el de quinta disminuida, quinta aumentada, y otros tipos de acordes, las duplicaciones dependen mucho del acorde en particular, pero tomando este principio en cuenta es un buen punto de inicio. Como una recomendación general tenemos que prestar atención extra cuando orquestamos notas que no pertenecen a la serie armónica de la raíz del acorde. Esto a veces significa solamente balancear el acorde de manera pareja, y otras veces reforzar las notas foráneas un poco más.</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><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>

<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>
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</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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	'short_description' => 'Understand the basics of each instrument and the role it plays in the orchestra. Become an expert at the fundamentals of orchestration,  learn the basics, and master the more challenging orchestral textures.',
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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>

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[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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<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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<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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	'name' => 'The Harmonic Series and How It Affects the Orchestration',
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	'content' => '<p>As we just mentioned in the previous chapter, the harmonic series has a big influence on how we orchestrate and voice when we compose music, and that is for a simple reason. A vast majority of cultures around the world –including Western– have a preference for sounds that have a harmonic series, and this deeply affects the types of instrument used. We are not here to discuss why but humans over the history have tended to favor the simplicity of the relationship between partials in a sound with a harmonic series over sounds farther from this model.</p><p>As well as influencing the sounds we favor, this acoustic phenomenon extends its influence to the way the notes in music are organized. And, although it is true that tonal music is not a direct extrapolation of the harmonic series –neither is any particular music for that matter–, but more a cultural manifestation, it has a lot to do with this phenomenon. And that is also for a simple reason; if Western culture uses harmonic instruments it makes sense that the way that pitches are organized follows the rules that are similar to the sounds produced.</p><p><span style="letter-spacing: 0.1px;"><br></span></p><p><span style="letter-spacing: 0.1px;">This leads us to the following conclusions:</span><br></p><p>A: the lower we go in the human audible spectrum, the more separated the notes should be so they can be understood as different pitches (as opposed to unpitched sound). To the contrary, the higher notes need less separation from each other.</p><p>B: the intervals that are more often found are the perfect octave (2nd, 4th, 8th and 16th partial) and the perfect fifth (3rd, 6th, and 12th partial) followed in a less degree by the major third (5th and 10th), the minor seventh (7th and 14th) and major second (only the 9th). We are talking only about harmonically, not melodically, but a similar conclusion can be extracted comparing contiguous partials in the series.</p><p><br></p><p>If we extrapolate this observation to how music is voiced and orchestrated, we can draw the following conclusions:</p><p>A: as to the separation, given that we want clarity, we will separate notes more in the bottom of a chord, especially if they are place in a low register. On the contrary, we can have closer pitches in the top part of a chord, more if those notes are in a high register.</p><p>B: when voicing a chord, we will prefer to double:</p><p></p><ul><li>the root more than any other note. This note contains all the notes in a major chord, including the 5th, the major 3rd and the 7th. Obviously, we are not clearly hearing these notes, but the harmonics of these notes are contributing to the overall resonance of the chord and reinforcing the other notes.</li></ul><ul><li>then, although the fifth is the second note with more harmonics in common, it is usual to find composers doubling more the third. The reason for that is that, even though we would expect the fifth to be always more reinforced according to the harmonic series, since it is a note that doesn’t contribute to change the function of the chord (and from the Baroque era is also considered an old fashioned interval) it is very common to find the third duplicated more than the fifth. So here, a cultural reasons weights clearly more than the acoustic principle.</li></ul><p></p><p><br></p><p>But what happens with chords that have a minor third, or chords with a diminished fifth?</p><p>It is not uncommon to find composers doubling more the fifth than the third, but while that works with major chords, it doesn’t with minors. The reason for this is that the minor third of the chord, unlike the major one, is not present in the harmonic series of the fundamental of the chord, so the minor third has to fight against what we unconsciously hear from the series of the other notes of the chord. The result is often a feeling that the chord is never fully in tune, even though the musicians are playing perfectly fine. To solve this problem, we need to reinforce the minor third slightly more than usual so it can compete with the natural resonance of the chord. How much we do this depends on a case by case basis, but taking this principle into account when orchestrating and voicing chords is always a good first step.</p><p>Regarding other chords like the diminished 5th, augmented 5th, and other type of chords, doubling depends a lot on the particular chord but taking this principle into account is a good starting point. As a general remark we have to pay extra attention when orchestrating the notes that don’t belong to the harmonic series of the root of the chord. This sometimes means to just balance the chord evenly, and other times to actually reinforce the foreign notes a little bit more.</p>',
	'es_version' => '<p>Tal como mencionamos en el capítulo previo, la serie armónica tiene una gran influencia en como orquestamos y posicionamos las voces cuando componemos música, y eso se debe a una simple razón. Una vasta mayoría de culturas alrededor del mundo – incluida la occidental – tiene una preferencia por sonidos que tienen una serie armónica, y esto afecta profundamente los tipos de instrumentos utilizados. No estamos aquí para discutir el porqué, pero los humanos a través de la historia han tenido la tendencia a preferir la simplicidad que supone la relación entre parciales en un sonido con la serie armónica sobre sonidos alejados de éste modelo.</p><p>Tanto como influencia sobre los sonidos que preferimos, éste fenómeno acústico extiende su influencia hacia el modo en que las notas en música están organizados. Y, si bien es verdad que la música tonal no es una extrapolación directa de la serie de armónicos – ni de ninguna – sino más bien una manifestación cultural, ésta tiene mucho que ver con éste fenómeno. Y también existe una simple razón para ello; si la cultura occidental utiliza instrumentos armónicos, tiene sentido que el modo en que los tonos se&nbsp; organizan siguen reglas que son similares a los sonidos producidos.</p><p><span style="letter-spacing: 0.1px;"><br></span></p><p><span style="letter-spacing: 0.1px;">Esto nos lleva a las siguientes conclusiones:</span><br></p><p>A: Lo más bajo que vayamos en el espectro audible humano, lo más separado las notas deben estar para que se puedan entender como tonos diferentes (en contraposición a los sonidos sin tonos definidos). Por el contrario, las notas más altas necesitan menos separación unas con otras.</p><p>B: los intervalos que son más frecuentemente hallados son la octava justa (2do,4to,8vo y 16vo parcial) y la quinta justa (3ro,6to&nbsp; y 12vo parcial) seguido en un grado menor por la tercera mayor (5to y 10mo), la séptima menor (7mo y 14vo) y la segunda mayor (sólo el 9no). Nosotros estamos hablando solamente armónicamente y no melódicamente, pero una conclusión similar puede ser extraída comparando dos parciales contiguos en la serie.</p><p><br></p><p>Si nosotros extrapolamos ésta observación en cómo la música es orquestada y ubicadas sus voces, podremos extraer las siguientes conclusiones:</p><p>A: para separar, dado que queremos claridad, separaremos las notas que están en la base del acorde, especialmente si éstas están ubicadas en el registro más bajo. Por el contrario, podemos tener tonos más cercanos en la parte de arriba del acorde, más si las mismas se encuentran en el registro alto.</p><p>B: cuando posicionamos las voces en un acorde, preferiremos duplicar:</p><p></p><ul><li>La raíz más que cualquier otra nota. Esta nota contiene todas las notas en un acorde mayor, incluyendo la 5ta, la 3ra mayor y la 7ma. Obviamente, no podemos escuchar claramente todas estas notas, pero los armónicos de estas notas están contribuyendo a la resonancia general del acorde y al refuerzo de otras notas.</li></ul><ul><li>Después, por más que la quinta es la segunda nota con más armónicos en común, lo más usual es encontrar que los compositores prefieren duplicar la 3ra. La razón de esto es que, por más que esperaríamos que la quinta sea reforzada de acuerdo a la serie armónica, dado que esta nota no contribuye en cambiar la funcionalidad del acorde(y que en la era Barroca el mismo era un intervalo pasado de moda) es muy común encontrar la 3ra duplicada más que la 5ta. Aquí una razón cultural pesa mucho más que un principio acústico.</li></ul><p></p><p><br></p><p>Pero, ¿Qué ocurre cuando un acorde tiene una tercera menor o con los acordes con la que poseen una quinta disminuida?</p><p>No es poco común encontrar compositores duplicando más la quinta que la tercera, pero mientras funciona con los acordes mayores, no funciona con los menores. La razón de esto radica en que la tercera menor del acorde, a diferencia del mayor, no se encuentra en la serie armónica de la fundamental del acorde, así que la tercera menos tiene que pelear contra lo que oímos inconscientemente de las series de las otras notas del acorde. El resultado es frecuentemente la sensación de que el acorde nunca esta afinado, incluso cuando los músicos están tocando perfectamente bien. Para solucionar este problema, necesitamos reforzar la tercera menor un poco más que lo que haríamos habitualmente así puede competir con la resonancia natural del acorde. Cuanto haremos esto, depende de cada caso en particular, pero teniendo este principio en cuenta cuando orquestamos o posicionamos las voces de los acordes es siempre un buen comienzo.</p><p>Acerca de otros acordes como el de quinta disminuida, quinta aumentada, y otros tipos de acordes, las duplicaciones dependen mucho del acorde en particular, pero tomando este principio en cuenta es un buen punto de inicio. Como una recomendación general tenemos que prestar atención extra cuando orquestamos notas que no pertenecen a la serie armónica de la raíz del acorde. Esto a veces significa solamente balancear el acorde de manera pareja, y otras veces reforzar las notas foráneas un poco más.</p>',
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		'id' => (int) 250,
		'name' => 'Partials, Overtones, and Harmonics',
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		'content' => '<p>Every day, we are surrounded by different sources of sound that produce their own complex waveforms. These all come and get mixed in our ears as an even more complex waveform, reason why the brain needs to process this information to get some meaningful information about our sonic environment. The process is divided in two main parts:</p><p>A deconstruction of a complex waveform into its component simple sine waves. This is done by a type of cells in the ear that are specialized and get excited with only one single frequency.</p><p>A later classification of the single sine waves into different groups to help us identify the various sound sources around us. This is calculated by the brain based on coincidence in time, loudness relationship, and the frequency ratio between different sine waves. These three factors are what concerns us when we come to orchestration.</p><p>All sounds produced by one single source are made up of a series of frequencies, usually with the lowest of them (the fundamental) louder than the rest. These frequencies, when isolated from the sound, are numbered in order as we get higher in pitch (as we can see in the following graphic), and, regardless of what the ratio is between them, are all called partials.</p><h5>[img=/uploads/topics/overtones-bell-5973f855ee2cf.png]</h5><p>The first partial is always named as the “fundamental” while the rest, depending on the ratio they have in relation to the fundamental, are called overtones, harmonics, or both. On one hand, an overtone is a partial that is higher than the fundamental no matter what its relationship is with the first partial. On the other hand a harmonic is also a partial higher than the first partial but related to the fundamental by a whole number ratio. In other words, all harmonics are integer multiples of the fundamental and, at the same time, all harmonics are overtones as well.</p><h5>[img=/uploads/topics/harmonic-series-ratios-notes-and-frequencies-5973fc01c5c3f.png]</h5><h5>[img=/uploads/topics/overtones-flute-5973f86314f03.png]</h5><p>Regarding the two other factors mentioned above, –coincidence in time and loudness–, it is presumed that sounds with and without a harmonic series have all of their frequencies sounding right at, or just after, the start of the sound and until –or about– the end. Also, as mentioned before, lower partials –and particularly the fundamental– are louder than the higher ones. This is especially true when we talk about instruments with a harmonic series but this decrease of amplitude doesn’t always happen gradually, as some harmonics later in the series can be louder than previous ones.</p><p>A final consideration has to taken, for which we are going to use the following graphic with the first 16 partials of the harmonic series:</p><h5>[img=/uploads/topics/overtones-harmonic-series-5973f88842745.png]</h5><p>A first conclusion that we can draw is that the first partials are closer in frequency, but farther apart with respect to their notes. That is because the way we listen and map sounds in our brains is logarithmic, and not linear. This means that changes in frequency in the lower audible spectrum are more noticeable for us than the same changes in the highest range, in absolute numbers. We can also extract a more important conclusion, and that is that the lower we go in register or in a group of simultaneous notes, the more separate notes should be, and viceversa. In the next chapter we will see how this, as well as the ratios and loudness relationship between the notes in the series, have a big influence in how we orchestrate music.</p><p>All bowed string, brass, and woodwinds instruments are harmonic instruments (instruments that produce sound following the harmonic series), and, although not as close to the series as the previous groups, plucked string instruments also have many whole number ratios in their series. Pitched percussion instruments have a series where some of the partials are close enough to the harmonic series to give us a sensation of pitch, while unpitched percussion instruments (inharmonic instruments) produce overtones far from the whole number ratios to needed give us that feeling of pitch.</p>',
		'es_version' => '<p>ETodos los días, estamos rodeados por diferentes fuentes de sonido que producen sus propias ondas complejas. Todas éstas llegan y son mezcladas en nuestros oídos cómo una forma aún más compleja de onda, por esta razón nuestro cerebro necesita procesar toda ésta información para conseguir entender la información relevante de nuestro ambiente sónico. El proceso está dividido en dos partes:</p><p>ALa deconstrucción de una onda compleja en sus componentes cómo ondas sinusoides. Esto se logra por un tipo de células en nuestros oídos que están especializadas en excitarse con una sola frecuencia.</p><p>Una posterior clasificación de estas ondas sinusoides en diferentes grupos nos ayuda a identificar diversas fuentes de sonido que nos rodean. Esto es calculado por nuestro cerebro en base a coincidencias en tiempo, relación de volumen y el radio de frecuencia entre diferentes ondas sinuoides. Estos tres factores son los que nos atañen a nosotros cuando vamos a orquestar.</p><p>ATodos los sonidos producidos por una sola fuente están compuestos por una serie de frecuencias, usualmente con la más baja de ellas (la fundamental) más fuerte que el resto. Estas frecuencias, cuando están aisladas del sonido, son numeradas en orden a medida que se van volviendo más altas en tono (cómo podemos ver en los siguientes gráficos), e, independientemente el tipo de ratio entre ellos, son todos llamados parciales.</p><h5>[img=/uploads/topics/overtones-bell-5973f855ee2cf.png]</h5><p>El primer parcial es siempre nombrado como la “fundamental” mientras que el resto, dependiendo en el ratio que tengan en relación con la fundamental, son llamados overtones, armónicos o ambas. Por un lado, un overtone es un parcial que el más alto que la fundamental sin importar su relación con el primer parcial. Por el otro lado un armónico es también un parcial más alto que el primero&nbsp; pero relacionado con la fundamental en un ratio con numero entero. En otras palabras, todos los armónicos son enteros múltiples de la fundamental y, al mismo tiempo, todos los armónicos son también overtones.</p><h5>[img=/uploads/topics/harmonic-series-ratios-notes-and-frequencies-5973fc01c5c3f.png]</h5><h5>[img=/uploads/topics/overtones-flute-5973f86314f03.png]</h5><p>Con respecto a los otros dos factores mencionados anteriormente, –coincidencia en el tiempo y la volumen –, se presume que los sonidos con o&nbsp; sin una serie armónica tienen todas sus frecuencias sonando justo al inicio del sonido o justo después hasta, o aproximadamente - el fin. Además, como se mencionó anteriormente, los parciales inferiores –y particularmente los fundamentales– son más fuertes que los superiores.&nbsp; Esto es especialmente cierto cuando hablamos de instrumentos con una serie armónica, pero esta disminución de amplitud no siempre ocurre gradualmente, ya que algunos armónicos de más adelante en la serie pueden ser más fuertes que los anteriores.</p><p>Se debe tomar una consideración final, para lo cual vamos a utilizar el siguiente gráfico con los primeros 16 parciales de la serie armónica:</p><h5>[img=/uploads/topics/overtones-harmonic-series-5973f88842745.png]</h5><p>Una primera conclusión que podemos dibujar es que los primeros parciales están más cercanos en frecuencia, pero más alejados con respecto a sus notas. Esto es porque la manera en que nosotros escuchamos y mapeamos los sonidos en nuestros cerebros es logarítmico, no linear. Esto significa que cambios en la frecuencia en el espectro audible más bajo son más perceptibles para nosotros que los mismos cambios si se producen en el rango más alto, en números absolutos. También podemos extraer una conclusión aún más importante, y es qué a medida que más bajo vamos en registro o en un grupo de notas simultaneas, las notas deberían encontrarse lo más separado posible, y viceversa. En el próximo capítulo veremos cómo esto, al igual que los ratios y la relación de volumen entre las notas de la serie, tienen una gran influencia en cómo orquestamos la música.</p><p>Todos los instrumentos de cuerda frotada, los metales y los vientos son instrumentos armónicos (Instrumentos que producen sonidos siguiendo la serie armónica), y, aunque no tan cercanos a la serie como los grupos previos, los instrumentos de cuerda pulsada también tienen muchos ratio de números enteros en sus series. Los instrumentos de percusión de altura determinada tienen una serie donde algunos parciales están muy cercanos a la serie armónica dándonos una sensación de tono, mientras que los de altura indeterminada (Instrumentos no armónicos) producen overtones lejanos de ratios de número entero necesarios para sentir una sensación de tono.</p>',
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		'content' => '<p>As we mentioned in previous modules the string section is not only one of the most versatile in the orchestra, but also the section with the longest history in this ensemble. For this reason it seems logical that the strings carried most of the weight in the orchestra for the longest time and, therefore, most of the functions.</p><p>In the following sections of this module we will see what these functions are, examples of the different ways to apply them to an actual score, and finally we will go over how to voice strings in a harmonic texture.</p>',
		'es_version' => '<p>Como mencionamos en los módulos anteriores, la sección de cuerdas no solo es una de las más versátiles de la orquesta, sino también la sección con la historia más larga de este conjunto. Por esta razón, parece lógico que las cuerdas llevaran la mayor parte del peso en la orquesta durante más tiempo y, por lo tanto, la mayoría de las funciones.</p><p>En las siguientes secciones de este módulo, veremos cuáles son estas funciones, ejemplos de las diferentes formas de aplicarlas a una partitura real, y finalmente veremos cómo posicionar las voces de las cuerdas en una textura armónica.</p>',
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The Harmonic Series and How It Affects the Orchestration

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Orchestrating for Strings

The Harmonic Series and How It Affects the Orchestration

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