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 talked previously, there are two aspects of doubling, dynamic power of each of the parts (doubling instruments and doubled instrument) and position in the stage/mix. Since brass instruments overpower any other individual instrument in the orchestra, it usually is the other instruments that double the brass. But there are also cases where the brass double other instruments, or sections of the orchestra.</p><p>And this is where the second factor becomes important, a careful selection on which instruments and what amount of instruments are needed on each part of the mix. Considering that the brass section sits behind the string section, and on the sides of the woodwinds, it is expected that this section reaches both audience and microphones (or conductor) with a decrease in their loudness when compared to what it would be like having them in the front row. For this reason, most often, when the number of brass is not too large compared to the section or sections of strings that it is doubling, and the register of the brass is not at its &nbsp;brightest,, strings can weigh more and therefore be supported by the brass. This is sometimes the case &nbsp;with a beefy section of celli –or, even better, celli and violas– when they are supported by a group of French horns that is not either too big &nbsp;in numbers, or too loud in dynamic. In this case the place on the stage, the dynamic marked in the score, and the number of players work in the string’s favor.</p><p>In the case of doubling the woodwinds it gets a little bit trickier. Doubling a single instrument by another instrument in the brass family can be, in the best case scenario, just a mix of the two instruments. And that is actually the most common situation: two instruments play a line together and as a result we get a new timbre, more than an increase of dynamic power with some “flavor” for only one part. But, as long as we don’t extra strengthen the woodwinds by duplicating the instrument, or looking for some help from a similar instrument in the family (like an auxiliary), woodwinds usually double brass instruments and not the contrary case. On the other hand the most likely scenario when we may need some help from within the brass to double a woodwind would be with a French horn or a muted brass instrument like the trumpet. The first can have a pretty neutral and round sound that can hide underneath a woodwind if the woodwind plays in a louder dynamic. The second, although tougher to hide due to its sharp sound, has the advantage of having the extra help from the mute to dampen the sound.</p>[vzaar=11895089]
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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<h5>Legend:<br>Yellow: unison<br>Green: octaves<br>Blue: homophony and others</h5>',
		'es_version' => '<p>Como hablamos anteriormente, hay dos aspectos de la duplicación, el poder dinámico de cada una de las partes (instrumentos de duplicación e instrumentos duplicados) y la posición en el escenario / mezcla. Como los instrumentos de metal dominan a cualquier otro instrumento individual en la orquesta, generalmente son los otros instrumentos los que duplican el metal. Pero también hay casos en los que los metales doblan otros instrumentos o secciones de la orquesta.</p><p>Y aquí es donde el segundo factor se vuelve importante, una selección cuidadosa de qué instrumentos y qué cantidad de instrumentos se necesitan en cada parte de la mezcla. Teniendo en cuenta que la sección de metal se encuentra detrás de la sección de cuerdas, y a los lados de los instrumentos de viento de madera, se espera que esta sección llegue tanto a la audiencia como a los micrófonos (o el conductor) con una disminución en su volumen en comparación con lo que sería tenerlos en primera fila. Por esta razón, con mayor frecuencia, cuando el número de metales no es demasiado grande en comparación con la sección o secciones de cuerdas que se está duplicando, y el registro del metal no es más brillante, las cuerdas pueden pesar más y, por lo tanto, ser soportadas por el metal. Este es a veces el caso con una sección robusta de celli –o, mejor aún, celli y violas– cuando están respaldados por un grupo de trompas que no son demasiado grandes en número o demasiado fuertes en dinámica. En este caso, el lugar en el escenario, la dinámica marcada en la partitura y el número de intérpretes trabajan a favor de las cuerdas.</p><p>En el caso de duplicar los instrumentos de viento de madera, se vuelve un poco más complicado. Doblar un solo instrumento por otro instrumento de la familia de metales puede ser, en el mejor de los casos, solo una combinación de los dos instrumentos. Y esa es en realidad la situación más común: dos instrumentos tocan una línea juntos y como resultado obtenemos un nuevo timbre, más que un aumento de la potencia dinámica con algo de "sabor" para una sola parte. Pero, siempre y cuando no fortalezcamos más los instrumentos de viento de madera duplicando el instrumento, o buscando ayuda de un instrumento similar en la familia (como un auxiliar), los instrumentos de viento de madera suelen duplicar los instrumentos de metal y no al revés. Por otro lado, el escenario más probable cuando necesitemos algo de ayuda dentro del metal para doblar un viento de madera sería con una trompa o un instrumento de metal con sordina como la trompeta. El primero puede tener un sonido bastante neutral y redondo que puede esconderse debajo de un viento de madera si el viento de madera se reproduce en una dinámica más fuerte. El segundo, aunque es más difícil de ocultar debido a su sonido agudo, tiene la ventaja de contar con la ayuda adicional de la sordina para amortiguar el sonido.</p>[vzaar=21592940]
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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<h5>Leyenda:</h5><h5><br>Amarillo: unísono<br>Verde: octavas<br>Azul: homofonía y otros<br><br></h5>',
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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>[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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<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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<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]

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


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

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





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

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



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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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<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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	'name' => 'Doubling other sections',
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	'content' => '<p>As we talked previously, there are two aspects of doubling, dynamic power of each of the parts (doubling instruments and doubled instrument) and position in the stage/mix. Since brass instruments overpower any other individual instrument in the orchestra, it usually is the other instruments that double the brass. But there are also cases where the brass double other instruments, or sections of the orchestra.</p><p>And this is where the second factor becomes important, a careful selection on which instruments and what amount of instruments are needed on each part of the mix. Considering that the brass section sits behind the string section, and on the sides of the woodwinds, it is expected that this section reaches both audience and microphones (or conductor) with a decrease in their loudness when compared to what it would be like having them in the front row. For this reason, most often, when the number of brass is not too large compared to the section or sections of strings that it is doubling, and the register of the brass is not at its &nbsp;brightest,, strings can weigh more and therefore be supported by the brass. This is sometimes the case &nbsp;with a beefy section of celli –or, even better, celli and violas– when they are supported by a group of French horns that is not either too big &nbsp;in numbers, or too loud in dynamic. In this case the place on the stage, the dynamic marked in the score, and the number of players work in the string’s favor.</p><p>In the case of doubling the woodwinds it gets a little bit trickier. Doubling a single instrument by another instrument in the brass family can be, in the best case scenario, just a mix of the two instruments. And that is actually the most common situation: two instruments play a line together and as a result we get a new timbre, more than an increase of dynamic power with some “flavor” for only one part. But, as long as we don’t extra strengthen the woodwinds by duplicating the instrument, or looking for some help from a similar instrument in the family (like an auxiliary), woodwinds usually double brass instruments and not the contrary case. On the other hand the most likely scenario when we may need some help from within the brass to double a woodwind would be with a French horn or a muted brass instrument like the trumpet. The first can have a pretty neutral and round sound that can hide underneath a woodwind if the woodwind plays in a louder dynamic. The second, although tougher to hide due to its sharp sound, has the advantage of having the extra help from the mute to dampen the sound.</p>[vzaar=11895089]
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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<h5>Legend:<br>Yellow: unison<br>Green: octaves<br>Blue: homophony and others</h5>',
	'es_version' => '<p>Como hablamos anteriormente, hay dos aspectos de la duplicación, el poder dinámico de cada una de las partes (instrumentos de duplicación e instrumentos duplicados) y la posición en el escenario / mezcla. Como los instrumentos de metal dominan a cualquier otro instrumento individual en la orquesta, generalmente son los otros instrumentos los que duplican el metal. Pero también hay casos en los que los metales doblan otros instrumentos o secciones de la orquesta.</p><p>Y aquí es donde el segundo factor se vuelve importante, una selección cuidadosa de qué instrumentos y qué cantidad de instrumentos se necesitan en cada parte de la mezcla. Teniendo en cuenta que la sección de metal se encuentra detrás de la sección de cuerdas, y a los lados de los instrumentos de viento de madera, se espera que esta sección llegue tanto a la audiencia como a los micrófonos (o el conductor) con una disminución en su volumen en comparación con lo que sería tenerlos en primera fila. Por esta razón, con mayor frecuencia, cuando el número de metales no es demasiado grande en comparación con la sección o secciones de cuerdas que se está duplicando, y el registro del metal no es más brillante, las cuerdas pueden pesar más y, por lo tanto, ser soportadas por el metal. Este es a veces el caso con una sección robusta de celli –o, mejor aún, celli y violas– cuando están respaldados por un grupo de trompas que no son demasiado grandes en número o demasiado fuertes en dinámica. En este caso, el lugar en el escenario, la dinámica marcada en la partitura y el número de intérpretes trabajan a favor de las cuerdas.</p><p>En el caso de duplicar los instrumentos de viento de madera, se vuelve un poco más complicado. Doblar un solo instrumento por otro instrumento de la familia de metales puede ser, en el mejor de los casos, solo una combinación de los dos instrumentos. Y esa es en realidad la situación más común: dos instrumentos tocan una línea juntos y como resultado obtenemos un nuevo timbre, más que un aumento de la potencia dinámica con algo de "sabor" para una sola parte. Pero, siempre y cuando no fortalezcamos más los instrumentos de viento de madera duplicando el instrumento, o buscando ayuda de un instrumento similar en la familia (como un auxiliar), los instrumentos de viento de madera suelen duplicar los instrumentos de metal y no al revés. Por otro lado, el escenario más probable cuando necesitemos algo de ayuda dentro del metal para doblar un viento de madera sería con una trompa o un instrumento de metal con sordina como la trompeta. El primero puede tener un sonido bastante neutral y redondo que puede esconderse debajo de un viento de madera si el viento de madera se reproduce en una dinámica más fuerte. El segundo, aunque es más difícil de ocultar debido a su sonido agudo, tiene la ventaja de contar con la ayuda adicional de la sordina para amortiguar el sonido.</p>[vzaar=21592940]
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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<h5>Leyenda:</h5><h5><br>Amarillo: unísono<br>Verde: octavas<br>Azul: homofonía y otros<br><br></h5>',
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		'content' => '<p>Apart from when it comes to held notes, patterns of accompaniments for brass instruments, are not as common as in strings and woodwinds. The reason for that is, again, the power of these instruments. But this is still a very useful tool for an orchestrator. Changing a steady pattern between a group of instruments –in the same family or not– is an excellent way to keep dynamic and flexible orchestration of a piece, and using the brass in this role helps to increase the variety of colors in the accompaniment.</p><p>The only aspect that we should take care of is the balance with the rest of the elements in the whole texture. If we are able to use most of the strings and a lot of the woodwinds in building an accompaniment, then, in the case of the brass, we will only need parts of it, and generally no more than a subsection, i.e. horns, trumpets or trombones and tuba. Occasionally we might need more than that in fortissimo sections, but in piano parts of the piece we may even only need a pair of brass instruments<span style="letter-spacing: 0.1px;">.</span></p>[vzaar=12109114]
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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<h5>Legend:</h5><h5>Yellow: unison</h5><h5>Green: octaves</h5><h5>Blue: homophony and others</h5>',
		'es_version' => '<p><p>Además de cuando se trata de sostener notas, los patrones de acompañamiento para instrumentos de metal no son tan comunes como en las cuerdas y los instrumentos de viento de madera. La razón de esto es, nuevamente, el poder de estos instrumentos. Pero esta sigue siendo una herramienta muy útil para un orquestador. Cambiar un patrón constante entre un grupo de instrumentos, en la misma familia o no, es una excelente manera de mantener la orquestación dinámica y flexible de una pieza, y usar el metal en este papel ayuda a aumentar la variedad de colores en el acompañamiento.</p><p>El único aspecto que debemos cuidar es el equilibrio con el resto de los elementos en toda la textura Si podemos usar la mayoría de las cuerdas y muchos de los instrumentos de viento de madera para construir un acompañamiento, entonces, en el caso del metal, solo necesitaremos partes de él, y generalmente no más que una subsección, es decir, trompas, trompetas o trombones y tuba. Ocasionalmente, podríamos necesitar más que eso en las secciones fortissimo, pero en las partes de piano de la pieza incluso podríamos necesitar solo un par de instrumentos de metal.<span style="letter-spacing: 0.1px;"></span></p>[vzaar=21592931]
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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<h5>Leyenda:</h5><h5><br>Amarillo: unísono<br>Verde: octavas<br>Azul: homofonía y otros.<br><br></h5></p>',
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		'content' => '<p>Brass instruments can also work by elevating the dynamic of the orchestra in particularly loud sections, when we have already used strings and woodwinds to maximum. This is actually one of the most common functions of the brass then, not so much in the role of doubling the rest of the orchestra, but more as contributing with their brassiness and beefy sound in order to bring the orchestra to a new dynamic level, both in terms of timbre and decibels.</p><p>But why does timbre have anything to do with bringing the orchestra to a new (louder) dynamic level? As we already know, dynamic is not something related only to decibels, but also with timbre. Since the earliest days of recording studios it has been possible to get as many decibels as we want just by amplifying the sound, but that doesn’t give us all we need to perceive an increase of dynamic psychologically . We can have as many decibels as we want but a voice whispering is going to be perceived as a soft event, no matter how loud it actually is. And this is where brass plays a role in this story. No matter how few decibels we get from a pair of speakers, if we listen to a whole brass section sounding at once in fortissimo –with the consequent brassy sound– that would be understood as a very loud event that is going to top the already loud sound of the rest of the orchestra.</p><p><br></p>',
		'es_version' => '<p>Los instrumentos de metal también pueden funcionar elevando la dinámica de la orquesta en secciones particularmente fuertes, cuando ya hemos usado cuerdas y vientos de madera al máximo. En realidad, esta es una de las funciones más comunes de los metales, no tanto en el papel de duplicar al resto de la orquesta, sino más bien como contribuir con su estilo metálico y contundente para llevar a la orquesta a un nuevo nivel dinámico, ambos en términos de timbre y decibelios.</p><p>Pero, ¿por qué el timbre tiene algo que ver con llevar a la orquesta a un nuevo nivel dinámico (más alto)? Como ya sabemos, la dinámica no es algo relacionado solo con los decibelios, sino también con el timbre. Desde los primeros días de los estudios de grabación, ha sido posible obtener tantos decibeles como queramos simplemente amplificando el sonido, pero eso no nos da todo lo que necesitamos para percibir un aumento de la dinámica psicológica. Podemos tener tantos decibeles como queramos, pero una voz susurrante se percibirá como un evento suave, no importa cuán fuerte sea en realidad. Y aquí es donde el metal juega un papel en esta historia. No importa los pocos decibelios que obtengamos de un par de altavoces, si escuchamos una sección entera de metal&nbsp; sonando a la vez en fortissimo –con el consiguiente sonido de metal– eso se entendería como un evento muy fuerte que superará al ya fuerte sonido del resto de la orquesta.</p><p><br></p>',
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