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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	'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
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Understand How To Write For Each Orchestral Section
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	'problem_text' => '<p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;">For many of us, there is nothing in music more <b>beautiful and expressive</b> than a group of <b>talented orchestral players </b>performing a well-written score. The range of techniques available to each instrument along with the possible combinations of those instruments results in a <b>'magic'</b> that is almost impossible to achieve in any situation.<br>&nbsp; <br>The problem is that many of us don't possess the training or experience to confidently generate a decent written score for a string quartet,<b> let alone a full orchestra</b>. And even though recent technology has developed to such a point that it’s possible to create a great sounding ‘mock-up’ with sample libraries and sequencers, unless you have a good knowledge of how all the instruments work and their <b>expressive capabilities</b> and limitations you are at a distinct disadvantage.&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;<br><br>There is so much to consider.<br><br>Which instruments will be able to deliver <b>rich, emotional performances</b> you need and where are the sweet spots to help them <b>shine</b>? How do you ‘voice’ the sections to give maximum clarity, power, and impact? What instruments combine well to give <b>rich tonalities</b> and which instruments tend to<b> ‘mask’ </b>one another? How do you achieve <b>balance </b>with such a diverse group of timbres and dynamics?<br><br>And what if your director requires real musicians?&nbsp; Are you comfortable with generating an actual full written score for a small ensemble or even a full orchestra? <br></p>',
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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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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
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	'content' => '<p>The are two main aspects that determine the mechanism of a bowed string instrument. Firstly, the string instrument itself (the left hand). Secondly, the bow (right hand).</p><p>The sound of a stringed instrument is made by drawing the bow or plucking a finger on the string(s). This action creates a certain amount of vibration. This vibration is transmitted through the bridge to the body (the resonance chamber). Then the sound gets amplified there with the help of the sound post (a little piece that connects the front and back end of the box). Finally, the created sound travels out through the F holes.</p><p>The pitch of the string depends on its length and the thickness. Since there is no way to change the thickness, we can alter pitch by shortening the length by applying pressure with a finger. The shorter the segment, the higher the pitch.</p>',
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		'id' => (int) 3281,
		'name' => 'The Instruments: the Contrabass',
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		'content' => '<p>[img=uploads/topics/double-bass-5934c87c3020c.png]<br></p><p>The biggest instrument of the family, the contrabass, is played while standing in order to hold the instrument nearly vertically. Its sound is dull but full and round. It also gets brighter as we get higher in the first string. Although it is a powerful instrument it has a lot of difficulty cutting through the orchestra as a solo instrument or section. This is due to its dull quality. However it works beautifully as an orchestral foundation and the contrabass gives the orchestra some real low end. It also greatly accentuates the cello section when doubled at a lower octave.</p><p>The contrabass, unlike the other instruments in the section, does not tune by fifths. It tunes by fourths (E0-A0-D1-G1). In most orchestras around the world part of the section (if not all) is able to go down an additional major 3rd to the C0. However, depending on what country you’re in this is either by an extension of the fourth string (like in the USA), or with an additional fifth string (like most places in Europe). The contrabass, in its upper register, can go up to A2 although it is not common to find it that high</p><p>[img=/uploads/topics/contrabass-range-5a01fc135ff2f.jpeg]</p><p>The contrabass takes the <span style="letter-spacing: 0.1px;">role of the bass</span><span style="letter-spacing: 0.1px;"> in the string section. It is </span><span style="letter-spacing: 0.1px;">traditionally attached to the cello section</span><span style="letter-spacing: 0.1px;"> role since the Baroque and Classical periods. Today the contrabass can also be found playing exceptional solos as a section or solo instrument and also be heard doubling other non-string bass instruments. However, because of its particular register and the almost permanent need to fill the bass, it still mostly performs the bass line</span><span style="letter-spacing: 0.1px;">.</span></p><p><span style="letter-spacing: 0.1px;"><br></span></p><p>[vzaar=12516718]<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a contrabass solo passage in&nbsp;S. Prokofiev's Lieutenant Kijé (suite), Op.60: II Romance</span></p><p><span style="letter-spacing: 0.1px;">
</span></p><p style="text-align: center;"><br></p>

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</div><br><p></p><p>[vzaar=12516769]<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a contrabass section passage in&nbsp;L. V. Beethoven's Symphony No.9, Op.125: II movement</span></p><p></p>
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		'content' => '<p>A string is open when no finger is applying pressure to any point of it, so it vibrates along its full length. The sound that it produces is different in three ways from a normal fingered note:</p><p></p><p></p><p></p><p></p><p></p><ul><li>It is more open and bright, since there are no fingers involved.</li></ul><ul><li>The string sounds and resonates at its full potential because it has its full length.</li></ul><ul><li>It doesn't have vibrato, since there are no fingers taking part of it.</li></ul><p></p><p></p><p></p><p></p><p></p><p>Since all string instruments in the orchestra have four strings, open strings have another non-direct consequence. Following the principle of sympathetic resonance, every time you produce (with a first string) a pitch that has harmonic likeness with a particular string of the remaining three, some of the other will also vibrate producing the same pitch. The final result is that this note will be held for a longer amount of time with the help of the other/s string/s. Also any other close instrument which has a harmonic likeness is going to produce this same phenomenon.</p><p>There are keys (by reason of the above paragraph) that are going to favor a fuller and more resonant sound in the instrument than others. Since certain keys would have more notes in harmonic likeness with the open strings (of the instrument) than others. For example, if we play in C major in the viola, we have four notes in the scale in common with the name of the strings: C-G-D-A. But not only that, we have strings that have at the beginning of their overtone series additional notes of the scale. For instance, E is going to resonate as well with the C string, because its 4th overtone is E.</p><p>Keys that sound full in string instruments are C, G, F, D, B flat, A and E flat major. Minor keys sound less full than majors. This is due to the fact that the first 3rd that we find in the overtone series is major, not minor. However keys with fewer accidentals will still compare favorably to the ones with more accidentals<span style="letter-spacing: 0.1px;">.</span></p><p>[vzaar=12066733]</p><h5>Example of a open string passage for the string section in&nbsp;A. Copland's Rodeo (ballet): Saturday Night Waltz</h5>

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Cake\View\View::renderLayout() - CORE/src/View/View.php, line 939
Cake\View\View::render() - CORE/src/View/View.php, line 897
Cake\Controller\Controller::render() - CORE/src/Controller/Controller.php, line 791
Cake\Http\ActionDispatcher::_invoke() - CORE/src/Http/ActionDispatcher.php, line 126
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Left Hand: the Strings

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The String Section

Left Hand: the Strings

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