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

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

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

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

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

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

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





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





<div class="row">


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


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


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


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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]

[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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	'content' => '<p>Al escribir un boceto (sketch)&nbsp; para metales, el problema principal, similar a la sección de viento de madera, es no tener lugares para que los instrumentos respiren. Esto no es solo una preocupación cuando estamos transfiriendo la maqueta a una orquestación para obtener una grabación, lo que a primera vista puede parecer el principal y único problema.</p><p>La mayor parte del tiempo que pasamos trabajando en maquetas, después de ordenar la música que queremos escribir, es hacer que las orquestaciones brillen, hacer que suene como si fueran tocadas por instrumentos reales y finalmente mezclarlas y masterizarlas. El arte de hacer que los instrumentos virtuales suenen reales no solo tiene que ver con hacerlos expresivos y elegir el patch&nbsp; adecuado, etc., sino también orquestarlos como si fueran tocados por interpretes reales. Y sin importar la educación musical del oyente, la mayoría de las personas pueden, consciente o inconscientemente, saber si una línea suena real. Si bien parte del problema podría estar en la programación, debemos asegurarnos de que un intérprete real pueda tocarlo, que le permite respirar, no escribir saltos imposibles o tocar la mayor parte del tiempo en la parte más incómoda del registro (por mencionar algunos ejemplos). Esto garantizará que una melodía suene realista para todos.</p>',
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		'content' => '<p>When writing a sketch for brass the main problem, similar to the woodwind section, is not having places for the instruments to breathe. This is not only a concern when we are transferring the mockup to an orchestration to get a recording out of it, which at a first glance can seem the main and only problem.</p><p>Most of the time that we spend working on mockups, after we get to sort out the music that we want to write, is to make the orchestrations shine, make it sound like it was played by real instruments, and finally mixing and mastering. The art of making virtual instruments sound real doesn’t have only to do with making them expressive and choosing the right patch etc., but also to orchestrate for them like they were played by real players. And no matter the musical education of the listener, most people can, consciously or unconsciously, tell if a line sounds real. While &nbsp;part of the problem could be in the programming, we need to make sure that a real player could play it, allowing him or her to breathe, not writing impossible leaps, or be playing most of the time in the most uncomfortable part of the register (to mention a few examples). This will guarantee that a melody sounds realistic for everyone.</p>'
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		'content' => '<p>Voicing for brass, as we explained in the previous sections, is also based on the harmonic series. So, according to that principle, lower notes should be more separated than higher notes, and the notes that are most doubled are the first, and the the 5th (although we know already that in practice the 3rd often gets more doubled than the fifth, due to historical reasons). As we see in the following graphic, one of the possible ways to arrange the first 12 harmonics of a major chord for a standard brass section of 4-3-3-1 is the following:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-1-0002-5989feb5a88ee.png]</h5><p>As we can see, to do a straight transcription of the harmonic series in the brass, we have to make some decisions. To start, we choose to present the harmonics in the range that all the instruments are most comfortable playing, or as close as possible. To continue, we also decided to have all groups of instruments with contiguous harmonics of the series. To end we also decided to have two horns per note, with the rest of the brass with one note per harmonic.</p><p>But this is not the only way to follow the harmonic series. If we strictly follow the harmonic series, we can also get voicings like the following: first, where we interlaced groups of instruments, like the second, where we doubled some of the harmonics in different groups of instruments, or like the third, where we interlace and doubled harmonics in different groups of instruments:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-2-0002-598c23fd6b4c6.png]</h5><p>In the same way as we previously discussed, strictly following the order of harmonics in the series is not the only way to get musical voicings, as tradition also &nbsp;carries great weight in what we judge to be musical or not, not just the acoustic phenomenon. In this regard we can find voicings that sound good that are open from bottom to top, voicings that are closed only in the middle of the chord but open in the extremes, and voicings that are closed from the middle to the top of the chord. We can see examples of each type in the following examples:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-3-0003-598c2407457d9.png]</h5><p>Generally, and definitely something that we should avoid when we start to orchestrate with brass, we should avoid having chords that straightly contradict the harmonic series such as , chords that are close on the bottom. Voicings like the following only contribute to create muddiness and confusion in the listener, and should be only used when the chord is clearly separated in register from the other elements in the texture, or when the chord is the only element in the texture.</p><p>Now, as you might have realized already, we have used &nbsp;the horns playing only two notes, instead of four in all voicings. This doesn’t have to be always like this, but generally, when a chord is played forte, we need two horns per note against each note a single trumpet, trombone or tuba plays. This is due to the fact that horns are weaker when all brass are at the loudest &nbsp;part of their dynamic range. When brass instruments are playing below mezzoforte it is not as important to have two instruments per note in the horns, as we can see in the following examples:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-4-0003-598c2423b2289.png]</h5><p>Finally, we should mention an important fact that we should always keep in mind when choosing brass instruments for chords. While we might find sections of our music that need the whole brass sounding at once, for example in fanfares, feature parts for brass, or orchestral tuttis, it is not the most common instrumentation when it comes to accompaniments of chords due to the enormous dynamic power of these instruments.</p><p>While it is true that they are able to play quite soft, two problems can come up when using the whole brass at piano dynamic. The first is the fact that the sound might be still perceived as too big due to the multiple doublings, even when we actually are only getting an outcome of al piano dynamic. The second problem that we might have, in the case when we don’t opt to double the same notes, is that, given that we are not using doublings, we might end up extending the chord through several octaves.</p><p>For this reason we generally use only groups of around 2 to 6 brass instruments, usually from one or two brass groups maximum. Common combinations for this purpose are 3-4 horns (one note per instrument), 3 trombones and tuba, 3 trombones, 3 trumpets, 3 trumpets and 3 trombones, 4 horns and tuba, and, just at the edge, 3 trumpets, 3 trombones and tuba. We can see examples of all of these combinations in the next examples:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-5-0004-598c2415d119c.png]</h5>',
		'es_version' => '<p>Posicionar las voces en los metales, como explicamos en las secciones anteriores, también se basa en la serie armónica. Entonces, de acuerdo con ese principio, las notas más bajas deberían estar más separadas que las notas más altas, y las notas que más se duplican son las primeras y las quintas (aunque ya sabemos que en la práctica la tercera a menudo se duplica más que la quinta, por razones históricas). Como vemos en el siguiente gráfico, una de las formas posibles de organizar los primeros 12 armónicos de un acorde mayor para una sección de metales estándar de 4-3-3-1 es la siguiente:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-1-0002-5989feb5a88ee.png]</h5><p>Como podemos ver, para hacer una transcripción directa de la serie armónica en metal, tenemos que tomar algunas decisiones. Para comenzar, elegimos presentar los armónicos en el rango en el que todos los instrumentos son más cómodos para tocar, o lo más cerca posible. Para continuar, también decidimos tener todos los grupos de instrumentos con armónicos contiguos de la serie. Para finalizar, también decidimos tener dos trompas por nota, con el resto de los metales con una nota por armónico.</p><p>Pero esta no es la única forma de seguir la serie armónica. Si seguimos estrictamente la serie, también podemos obtener voces como las siguientes: primero, donde entrelazamos grupos de instrumentos, como el segundo, donde duplicamos algunos de los armónicos en diferentes grupos de instrumentos, o como el tercero, donde armónicos entrelazados y duplicados en diferentes grupos de instrumentos:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-2-0002-598c23fd6b4c6.png]</h5><p>De la misma manera que discutimos anteriormente, seguir estrictamente el orden de los armónicos en la serie no es la única forma de obtener voces musicales, ya que la tradición también tiene un gran peso en lo que consideramos musical o no, no solo el fenómeno acústico. A este respecto, podemos encontrar voces que suenan bien, que están abiertas de abajo hacia arriba, voces que están cerradas solo en el medio del acorde pero abiertas en los extremos, y voces que están cerradas desde el medio hasta la parte superior del acorde. Podemos ver ejemplos de cada tipo en los siguientes ejemplos:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-3-0003-598c2407457d9.png]</h5><p>En general, y definitivamente algo que debemos evitar cuando comenzamos a orquestar con los metales, es tener acordes que contradigan directamente la serie armónica, como los acordes que están cerca del fondo. Las voces como las siguientes solo contribuyen a crear falta de claridad y confusión en el oyente, y solo deben usarse cuando el acorde está claramente separado en registro de los otros elementos en la textura, o cuando el acorde es el único elemento en la textura.</p><p>Ahora, como ya se habrán dado cuenta, hemos usado las trompas tocando solo dos notas, en lugar de cuatro en todas las voces. Esto no tiene por qué ser siempre así, pero en general, cuando se toca un acorde fuerte, necesitamos dos trompas por nota contra cada nota que suena una sola trompeta, trombón o tuba. Esto se debe al hecho de que las trompas son más débiles cuando todos los metales están en la parte más alta de su rango dinámico. Cuando se tocan instrumentos de metal por debajo de mezzoforte, no es tan importante tener dos instrumentos por nota en las bocinas, como podemos ver en los siguientes ejemplos:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-4-0003-598c2423b2289.png]</h5><p>Finalmente, debemos mencionar un hecho importante que siempre debemos tener en cuenta al elegir instrumentos de metal para acordes. Si bien podemos encontrar secciones de nuestra música que necesitan que suenen todos los&nbsp; metales a la vez, por ejemplo, en fanfarrias, partes de metal o tuttis orquestales, no es la instrumentación más común cuando se trata de acompañamientos de acordes debido al enorme poder dinámico de estos instrumentos.</p><p>Si bien es cierto que pueden tocar bastante suave, pueden surgir dos problemas cuando se utiliza todo el metal en la dinámica del piano. El primero es el hecho de que el sonido aún puede percibirse como demasiado grande debido a las múltiples duplicaciones, incluso cuando en realidad solo estamos obteniendo un resultado de la dinámica piano. El segundo problema que podríamos tener, en el caso de que no optemos por duplicar las mismas notas, es que, dado que no estamos usando duplicaciones, podríamos terminar extendiendo el acorde a través de varias octavas.</p><p>Por esta razón, generalmente usamos solo grupos de alrededor de 2 a 6 instrumentos de metal, generalmente de uno o dos grupos de metal como máximo. Las combinaciones comunes para este propósito son 3-4 trompas (una nota por instrumento), 3 trombones y tuba, 3 trombones, 3 trompetas, 3 trompetas y 3 trombones, 4 trompas y tuba, y, justo en el límite, 3 trompetas, 3 trombones y tuba. Podemos ver ejemplos de todas estas combinaciones en los siguientes ejemplos:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-5-0004-598c2415d119c.png]</h5>',
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		'content' => '<p>In this lesson we learnt some key ideas and techniques that will help us to improve our writing chops for the brass section. Among these concepts are the following ones:</p><p></p><ul><li>The functions of the brass section</li></ul><ul><li>How the different brass sections combine with each other</li></ul><ul><li>How the brass section doubles other sections of the orchestra</li></ul><ul><li>Voicings for brass</li></ul><p></p>',
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Voicing for Brass: From Samples to Acoustic Instruments

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