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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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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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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	'content' => '<p>The placement of the strings over the bridge is intended to allow one to play one, two, three or even four strings simultaneously.</p><p>However, one has to be careful enough when writing multiple notes at a time because it takes slightly more time to prepare the fingers. It can also be very uncomfortable to play or not playable at all. In the end bowed string instruments should be considered mostly monophonic and taken as an expansion of the instrument's possibilities.</p><p>In any case multiple stops are considered more idiomatic in chamber and soloist music than orchestral music. However multiple stops are common in the orchestra when the intention is to play chords on multiple strings at the same time. Other than that, is not common to find multiple stops for the sake of adding more lines to the music.</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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		'content' => '<p>Among all the multiple stops double stops are the least hard to perform. They are also going to sound more like two instruments playing at the same time. They usually sound very clean and tuned although, since we are going to use more than one finger (usually), we should expect to have more changes of positions than usual. This implies there will be more light portamentos between consecutive notes.<br>&nbsp;<br>The best sounding and easy to tune double stops for violin and viola are 3rds and 6ths, whereas 5ths, 8ths and 4ths are harder since they are perfect intervals and, in the case of 5ths, they share the same finger in two strings (unless they are open strings).<br>&nbsp;<br>On the contrary, even though 3rds, 6ths, 4ths and 5ths are possible in the violoncello, they are harder to do due to the bigger distances between fingers. 8ths are possible but more reserved for virtuoso solo passages. This is because these require the use of the thumb position (a different technique that involves the use of the thumb on the string), unless they use an open string. For contrabass it is very rare to find any kind of double stops in an orchestral or chamber music context. They are used for virtuoso solo passages in concertos but outside of that particular world they are not very often used.<br>&nbsp;<br>A series of 3rds, 6ths and even 8ths (or a combination of the three) are commonly found in the violin and viola parts of solo and chamber music. It is usual to see them combined with some 5ths and 4ths now and then as well.</p><p><br></p><p>[vzaar=12516822]<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a double stop passage in&nbsp;J. Brahms's Violin Concerto, Op.77: III movement</span></p>
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Double, Triple and Quadruple Stops

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