Orchestration 1: Instrumentation & Orchestration Basics
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Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
We'll take you 'section by section' and 'instrument by instrument' so you can get a feel of what each instrument is capable of, both in terms of its range, its tonality, and the roles it plays in the orchestra.

Understand How To Write For Each Orchestral Section
Now that you’ve learned how to idiomatically write for each instrument and section, now you’ll discover how to write for each section depending on the role that it’s taking. For example, how to write for violins when you need that soaring strings melody singing on top of the orchestra. Or how to make the cellos and basses provide a cinematic solid low end. How to harmonize trumpets and trombones for that climatic heroic motive. Or haw to arrange woods if we want to color a high strings melody. For each section, you’ll have supporting examples that you can listen to and follow along so you understand how each section performs when it’s performing a melody, countermelody, background, bass… and how it sounds different depending on the voicing, unison, or octaves. ',
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Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
We'll take you 'section by section' and 'instrument by instrument' so you can get a feel of what each instrument is capable of, both in terms of its range, its tonality, and the roles it plays in the orchestra.

Understand How To Write For Each Orchestral Section
Now that you’ve learned how to idiomatically write for each instrument and section, now you’ll discover how to write for each section depending on the role that it’s taking. For example, how to write for violins when you need that soaring strings melody singing on top of the orchestra. Or how to make the cellos and basses provide a cinematic solid low end. How to harmonize trumpets and trombones for that climatic heroic motive. Or haw to arrange woods if we want to color a high strings melody. For each section, you’ll have supporting examples that you can listen to and follow along so you understand how each section performs when it’s performing a melody, countermelody, background, bass… and how it sounds different depending on the voicing, unison, or octaves. ',
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		'name' => 'The Instruments: the Violin',
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		'content' => '<p><img src="img/Violin-1495744861.jpg" style="width: 190px;" alt="" title=""><br></p><p>The violin is an instrument played by being held between the chin and the shoulder. It is the smallest member of the string family. It has a bright, lyrical, clear and powerful sound, which gets warmer as we move up the fingerboard towards the bridge.</p><p>Like all bowed string instruments it has four strings tuned in G2-D3-A3-E4 from bottom to top. Traditionally the range of the violin goes from G2 to approximately E6 in an orchestral context. In a chamber or solo context the range could be extended higher depending on the ability of the player. Normally it is not recommended to go past the sixth or seventh position (G5-A5) and it is advisable to keep within the first octave of each string. As we approach the bridge it gets harder to tune and there is a progressive loss of power.</p><p>[img=/uploads/topics/violin-range-5a01fe80bfdb3.jpeg]</p><p>There are two sections of violins in the string section. The first section usually assumes the role of the soprano. However, it does not always take over the melodic function in an entire orchestral setting. It is also used to play accompaniment patterns, counterpoints, or even a line in chordal textures. The second violin section, usually harmonises or doubles the first violins' melody or assumes any of the other roles the firsts also have.</p><p><br></p><p>[vzaar=12134877]<span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a violin solo</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passage</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;in N. Rimsky-Korsakov's Scheherazade op. 35: I. The Sea and Sinbad's Ship</span></p><p style="text-align: center;"><br></p>

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<p></p><h5><br></h5><p>[vzaar=12581921]<span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of one violin section</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passage</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;in&nbsp;E. Elgar's Variations on an Original Theme, Op. 36:&nbsp;Theme</span></p><p>
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<p></p><h5 style="color: rgb(0, 0, 0);"><br></h5><h5 style="color: rgb(0, 0, 0);"><span style="color: inherit; line-height: 1.1;"><br></span></h5><p><span style="letter-spacing: 0.1px;">[vzaar=12581931]</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of two violin sections playing together in N. Rimsky-Korsakov's Scheherazade op. 35: I. The Sea and Sinbad's Ship</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;text-align: justify;"></p>
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Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
We'll take you 'section by section' and 'instrument by instrument' so you can get a feel of what each instrument is capable of, both in terms of its range, its tonality, and the roles it plays in the orchestra.

Understand How To Write For Each Orchestral Section
Now that you’ve learned how to idiomatically write for each instrument and section, now you’ll discover how to write for each section depending on the role that it’s taking. For example, how to write for violins when you need that soaring strings melody singing on top of the orchestra. Or how to make the cellos and basses provide a cinematic solid low end. How to harmonize trumpets and trombones for that climatic heroic motive. Or haw to arrange woods if we want to color a high strings melody. For each section, you’ll have supporting examples that you can listen to and follow along so you understand how each section performs when it’s performing a melody, countermelody, background, bass… and how it sounds different depending on the voicing, unison, or octaves. ',
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	'solution_text' => '<p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;"><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline;">Whether you’re producing an orchestral mock-up in a sequencer or writing for a group of real players, if you want to deliver an impressive sounding result you’ll need to have a sound understanding of the instruments you are writing for. </span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;"><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline;"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;"><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline;">And our ‘Instrumentation and Orchestration Basics’ is designed to give you exactly that. 
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	'learning_topics_list' => 'Learn How The Orchestra Evolved
Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
We'll take you 'section by section' and 'instrument by instrument' so you can get a feel of what each instrument is capable of, both in terms of its range, its tonality, and the roles it plays in the orchestra.

Understand How To Write For Each Orchestral Section
Now that you’ve learned how to idiomatically write for each instrument and section, now you’ll discover how to write for each section depending on the role that it’s taking. For example, how to write for violins when you need that soaring strings melody singing on top of the orchestra. Or how to make the cellos and basses provide a cinematic solid low end. How to harmonize trumpets and trombones for that climatic heroic motive. Or haw to arrange woods if we want to color a high strings melody. For each section, you’ll have supporting examples that you can listen to and follow along so you understand how each section performs when it’s performing a melody, countermelody, background, bass… and how it sounds different depending on the voicing, unison, or octaves. ',
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	'id' => (int) 3278,
	'name' => 'The Instruments: the Violin',
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	'content' => '<p><img src="img/Violin-1495744861.jpg" style="width: 190px;" alt="" title=""><br></p><p>The violin is an instrument played by being held between the chin and the shoulder. It is the smallest member of the string family. It has a bright, lyrical, clear and powerful sound, which gets warmer as we move up the fingerboard towards the bridge.</p><p>Like all bowed string instruments it has four strings tuned in G2-D3-A3-E4 from bottom to top. Traditionally the range of the violin goes from G2 to approximately E6 in an orchestral context. In a chamber or solo context the range could be extended higher depending on the ability of the player. Normally it is not recommended to go past the sixth or seventh position (G5-A5) and it is advisable to keep within the first octave of each string. As we approach the bridge it gets harder to tune and there is a progressive loss of power.</p><p>[img=/uploads/topics/violin-range-5a01fe80bfdb3.jpeg]</p><p>There are two sections of violins in the string section. The first section usually assumes the role of the soprano. However, it does not always take over the melodic function in an entire orchestral setting. It is also used to play accompaniment patterns, counterpoints, or even a line in chordal textures. The second violin section, usually harmonises or doubles the first violins' melody or assumes any of the other roles the firsts also have.</p><p><br></p><p>[vzaar=12134877]<span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a violin solo</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passage</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;in N. Rimsky-Korsakov's Scheherazade op. 35: I. The Sea and Sinbad's Ship</span></p><p style="text-align: center;"><br></p>

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<p></p><h5><br></h5><p>[vzaar=12581921]<span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of one violin section</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passage</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;in&nbsp;E. Elgar's Variations on an Original Theme, Op. 36:&nbsp;Theme</span></p><p>
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<p></p><h5 style="color: rgb(0, 0, 0);"><br></h5><h5 style="color: rgb(0, 0, 0);"><span style="color: inherit; line-height: 1.1;"><br></span></h5><p><span style="letter-spacing: 0.1px;">[vzaar=12581931]</span><span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of two violin sections playing together in N. Rimsky-Korsakov's Scheherazade op. 35: I. The Sea and Sinbad's Ship</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;text-align: justify;"></p>
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		'id' => (int) 3277,
		'name' => 'The String Section',
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		'content' => '<p><img src="/img/String Section-1495736236.jpg" style="width: 920px;"></p><p></p><p>The string section is the oldest and most numerous group of instruments in the orchestra. It is divided into five sections: the violins I, violins II, violas, cellos, and contrabasses.</p><p><img src="/img/Violin Viola Cello Double Bass-1495736044.jpg" style="letter-spacing: 0.1px; width: 636px;"><br></p><p>The string section is a very homogeneous group which is a result of the consorts of violas da gamba from the Renaissance period. Back then, the emphasis was put into writing parts, not in the variety of colors or the melody. Following this principle the current string section is a family of instruments constructed after the pattern of the violin. The violin developed in Italy in the early 16th century, and its design gives all the string instruments a remarkable consistency of sound from top to bottom.</p><p>All these string instruments use the same mechanism to produce sound. They all have a body with a neck that together holds four strings that produce the initial vibration through the action of drawing a bow or plucking with a finger. The bow is a device compounded by two main pieces, - one is the hair that is in contact with the string, and the second is the bow stick that keeps the hairs tight<span style="letter-spacing: 0.1px;">.</span></p><p><img src="/img/Violin Parts-1495733837.jpg" style="letter-spacing: 0.1px; width: 548px;"><br></p><p>Even though it is not as used as in the past the string section is still the most utilized section in orchestral music. This is in part because it is the section with the longest history in this ensemble. However it is also due to its features. There is no other section in the orchestra that is as versatile and capable of being heard for long stretches like the strings. This makes sense when we compare orchestral music to electronic music for example, where the function of pads are assumed by the strings in the orchestra.</p><p>It is common to listen to the strings doing melodies, doubling other instrument's solos, in charge of the counterpoint, sustaining chords, and pretty much every possible function in music<span style="letter-spacing: 0.1px;">.</span></p>',
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		'content' => '<p><img src="img/Viola-1495757284.jpg" style="width: 427px;"><br></p><p></p><p>The viola is the next instrument both in size and register in the string family. Despite being bigger than the violin it doesn’t get as acoustically large as it should. Consequently its sound is less powerful&nbsp;than it could be. However this characteristic gives the viola its unique, dark, warm, mellow and somewhat melancholic features. Additionally, like the violin, it also gets warmer as we go up through the fingerboard.</p><p>The viola, like the rest of the string instruments, has four strings: C2-G2-D3-A3. Its potential is similar to the violin however traditionally its music doesn’t explore the upper register as much. The reason for this is that its bigger size makes it harder to reach the higher positions in the fingerboard. Additionally this register is already taken by the violins, and the sound of the A string gets pretty nasally as we get higher. Therefore it is rare to see violas in an orchestral context going higher than A4.</p><p>[img=/uploads/topics/viola-range-5a01fe1c07437.jpeg]</p><p>Historically speaking the violas represent the alto voice in the string section. They can also perform accompaniment patterns, counterpoints, chordal textures, or feature melodies<span style="letter-spacing: 0.1px;">.</span></p><p><span style="letter-spacing: 0.1px;"><br></span></p><p>[vzaar=12581907]&nbsp;<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a viola section and viola solo</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passage</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;in&nbsp;J. Sibelius's En Saga, op. 9</span></p><p>
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The Instruments: the Violin

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The Instruments: the Violin

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