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>Like the other families in the orchestra the string section has a particular set of articulations that can perform. Some of them are shared with the rest of the instruments while others are more specific to the mechanics of these instruments and its most unique part: the bow.</p><p>As we explained before the bow is a device that is drawn on the strings to produce sound. This can be done in two ways (that are common to all bow techniques). These two techniques are down bowing and up bowing.</p><p><br></p><p><b>DOWN BOW</b></p><p>Down bows have a particular characteristic. They sound louder in the beginning of the bowing and softer towards the end. In a way gravity slightly forces the bow to go down. If not controlled they also produce a light accent when the initial gesture comes in. For this reason down bows are generally used in down beats and/or the stronger subdivisions. Down bows are also used when stronger dynamics, like sforzandos and accents, are required.</p><p>The symbol used to mark a down bow is . Unless the composer wants to mark that in a very specific place, that should be left at the discretion of the player.</p><p><br></p><p><b>UP BOW</b></p><p>As opposed to down bows, up bows don’t count on gravity. This means that they generally sound weaker in the beginning and louder in the end. There is practically no existence of an accent unless intentionally applied. Thus up bows are used mostly for up beats or the weakest subdivisions. The symbol to mark up bows is , but it also should be left to be decided by the player in most cases<span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">.</span></p>',
		'es_version' => '<p>LAl igual que las otras familias en la orquesta la sección de cuerdas tiene su particular set de articulaciones que pueden ejecutar. Algunas de ellas son compartidas con el resto de los instrumentos mientras que otras son más específicas al mecanismo de estos instrumentos y&nbsp; su parte más única: El arco.</p><p>Como hemos explicado anteriormente, el arco es un dispositivo que se utiliza para frotar las cuerdas para que estas produzcan el sonido. Esto puede hacerse de dos maneras (son comunes a todas las técnicas de arco) Estas dos técnicas son arco abajo y arco arriba.</p><p><br></p><p><b>ARCO ABAJO</b></p><p>El Arco abajo tiene una característica particular. Suena más Fuertes al principio de la arcada y más suave llegando al final. De algún modo la gravedad fuerza suavemente a que el arco vaya hacia abajo. Si esto no se controla esto produce un pequeño acento cuando el gesto inicial hace ingreso. Por esta razón el arco abajo son utilizados generalmente en los tiempos fuertes y/o en las subdivisiones fuertes. Los arcos abajo son utilizadas cuando dinámicas más fuertes como sforzandos y acentos son requeridos.</p><p>El símbolo para el arco abajo es. A menos que el compositor escriba en un lugar en específico, las arcadas deben ser dejadas al criterio del ejecutante.</p><p><br></p><p><b>ARCO ARRIBA</b></p><p>Al contrario del arco abajo, los arcos arriba no cuentan con la gravedad, esto significa que generalmente sonaran más débiles al comienzo y más fuertes al final. Prácticamente no hay acento a menos que se aplique intencionalmente. Los arcos arriba son utilizados mayormente para contratiempos y para las subdivisiones débiles. El símbolo para el arco arriba es. Pero también debe ser dejado al criterio del ejecutante en la mayoría de los casos.</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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</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>





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	'content' => '<p>Like the other families in the orchestra the string section has a particular set of articulations that can perform. Some of them are shared with the rest of the instruments while others are more specific to the mechanics of these instruments and its most unique part: the bow.</p><p>As we explained before the bow is a device that is drawn on the strings to produce sound. This can be done in two ways (that are common to all bow techniques). These two techniques are down bowing and up bowing.</p><p><br></p><p><b>DOWN BOW</b></p><p>Down bows have a particular characteristic. They sound louder in the beginning of the bowing and softer towards the end. In a way gravity slightly forces the bow to go down. If not controlled they also produce a light accent when the initial gesture comes in. For this reason down bows are generally used in down beats and/or the stronger subdivisions. Down bows are also used when stronger dynamics, like sforzandos and accents, are required.</p><p>The symbol used to mark a down bow is . Unless the composer wants to mark that in a very specific place, that should be left at the discretion of the player.</p><p><br></p><p><b>UP BOW</b></p><p>As opposed to down bows, up bows don’t count on gravity. This means that they generally sound weaker in the beginning and louder in the end. There is practically no existence of an accent unless intentionally applied. Thus up bows are used mostly for up beats or the weakest subdivisions. The symbol to mark up bows is , but it also should be left to be decided by the player in most cases<span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">.</span></p>',
	'es_version' => '<p>LAl igual que las otras familias en la orquesta la sección de cuerdas tiene su particular set de articulaciones que pueden ejecutar. Algunas de ellas son compartidas con el resto de los instrumentos mientras que otras son más específicas al mecanismo de estos instrumentos y&nbsp; su parte más única: El arco.</p><p>Como hemos explicado anteriormente, el arco es un dispositivo que se utiliza para frotar las cuerdas para que estas produzcan el sonido. Esto puede hacerse de dos maneras (son comunes a todas las técnicas de arco) Estas dos técnicas son arco abajo y arco arriba.</p><p><br></p><p><b>ARCO ABAJO</b></p><p>El Arco abajo tiene una característica particular. Suena más Fuertes al principio de la arcada y más suave llegando al final. De algún modo la gravedad fuerza suavemente a que el arco vaya hacia abajo. Si esto no se controla esto produce un pequeño acento cuando el gesto inicial hace ingreso. Por esta razón el arco abajo son utilizados generalmente en los tiempos fuertes y/o en las subdivisiones fuertes. Los arcos abajo son utilizadas cuando dinámicas más fuertes como sforzandos y acentos son requeridos.</p><p>El símbolo para el arco abajo es. A menos que el compositor escriba en un lugar en específico, las arcadas deben ser dejadas al criterio del ejecutante.</p><p><br></p><p><b>ARCO ARRIBA</b></p><p>Al contrario del arco abajo, los arcos arriba no cuentan con la gravedad, esto significa que generalmente sonaran más débiles al comienzo y más fuertes al final. Prácticamente no hay acento a menos que se aplique intencionalmente. Los arcos arriba son utilizados mayormente para contratiempos y para las subdivisiones débiles. El símbolo para el arco arriba es. Pero también debe ser dejado al criterio del ejecutante en la mayoría de los casos.</p>',
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		'id' => (int) 25,
		'name' => 'Right Hand: the Bow',
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		'content' => '<p>The bow is the part of a stringed instrument in charge of exciting the strings in the process of producing sound (except in pizzicatos). It is controlled by the right hand which draws it on the strings.</p><p>Ancient versions of the bow explain the reason for its name. It originally was a stick with one or several cords of hair attached which had either a fixed or adjustable tension. These first versions would have looked very close to what a bow in archery is. In fact even bows from the 17th century have some amount of curve that makes that connection visible.</p><p>Today the bow has lost that curve but still has the same elements. Those elements include a stick and hairs. These are attached to the stick at two points. One point is the frog (the bottom one), and second point is the tip (the upper one). Another important piece is the screw in the frog which sets the tension of the hair<span style="letter-spacing: 0.1px;">.</span></p><p>[img=uploads/topics/violin-bow-59284f997b70e.jpg]</p><p>
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		'es_version' => '<p>El arco es la parte de los instrumentos de cuerda que se encarga de excitar las cuerdas en el proceso de producción sonora (exceptuando los pizzicatos). Está controlado por la mano derecha que lo roza sobre las cuerdas.</p><p>Antiguas versiones del arco explican la razón de su nombre. Originalmente era un palo con uno o varias cuerdas de pelo juntas que tenían una tensión fija o ajustable. Estas primeras versiones lucirían muy similares a los arcos de arquería. De hecho algunos arcos del siglo 17 poseen una pequeña cantidad de curvatura, lo que hace la conexión visible.</p><p>Al día de hoy el arco ha perdido su curvatura pero posee los mismos elementos. Estos elementos incluyen el palo (mástil) y cabello (cerdas). Estos están anexados al mástil mediante dos puntos, un punto es el talón (frog) (el de abajo), y el segundo punto es la punta (tip) (el de arriba) Otra pieza importante es el tornillo en el talón que regula la tensión del cabello.<span style="letter-spacing: 0.1px;"></span></p><p>[img=uploads/topics/violin-bow-59284f997b70e.jpg]</p><p>
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		'name' => 'Right Hand: Bow Techniques',
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		'content' => '<p>Among all techniques of the string instruments we can distinguish between three groups. The first which determines for how long, how close and with what strength the bow interacts with the strings. The second which specifies the location of the bow on the string(s). And the third group which encompasses the techniques that doesn't fit the first two. These techniques include pizzicato, col legno, and con sordino (mute).</p><p>In the first group, we can divide these techniques into two subgroups: "on the string" and "off the string". In "on the string" techniques, the bow makes contact with the string at all times. In "off the string", it doesn’t make contact continuously.</p><p>The second group is also applicable to techniques in the first group, since what defines it is how close to the fingerboard or the bridge the bow draws on the strings.</p><p>The third group includes pizzicato which doesn't use the bow at all. It also includes col legno, which does use it, but not with the hairs. Finally, con sordino, which adds to any of the previous techniques a mute.</p>',
		'es_version' => '<p>Entre todas las técnicas de los instrumentos de cuerda podemos distinguir entre tres grupos. El primero que determina por cuánto tiempo, qué tan cerca y con qué fuerza interactúa el arco con las cuerdas. El segundo que especifica la ubicación del arco en la (s) cadena (s). Y el tercer grupo que abarca las técnicas que no se ajustan a los dos primeros. Estas técnicas incluyen pizzicato, col legno y con sordino (muteado).</p><p>En el primer grupo, podemos dividir estas técnicas en dos subgrupos: "sobre las cuerdas" y "fuera de las cuerdas". En las técnicas "sobre las cuerdas", el arco está en contacto con la cuerda en todo momento. En las técnicas "fuera de las cuerdas", no lo hace de manera continua.</p><p>El segundo grupo también se aplica&nbsp; a las técnicas del primer grupo, ya que lo que lo define es qué tan cerca del diapasón o del puente el arco roza las cuerdas.</p><p>El tercer grupo incluye pizzicato que no usa el arco en absoluto. También incluye col legno, que lo usa, pero no con las cerdas. Finalmente, con sordino, que agrega a cualquiera de las técnicas anteriores una sordina.</p>',
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