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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		'content' => '<p>Despite its name the brass family is a group of instrument that has more in common with the way they produce sound, rather than the material they are built with. Common instruments like the flutes and saxophones in the woodwind family are made out of brass, by contrast instruments like the serpent (an ancestor of the tuba) are mostly built from wood. The instruments that usually make up this section nowadays are the horn, trumpet, tenor trombone, bass trombone, and tuba.</p><p>As with the woodwind section, it is not until the beginning of the Classical period that the brass section starts to evolve into the makeup we know today. Before that, in the Renaissance and Baroque era, brass instruments were only used in particular works, especially in operas, to give a unique color to the music. Examples of this include “L’Orfeo” by C. Monteverdi and “Israel in Egypt” by G. F. Handel.</p><p>From the Classical period –or even the late Baroque period– there was a gradual growth of the brass section. A pair of horns and oboes were commonplace in orchestras in those days, complemented with a pair of trumpets in the bigger symphonies. Trombones, as well as the antecessors of the tuba (the serpent and then the ophicleide), were incorporated from the end of the Classical period and beginning of Romanticism.</p><p>But the breaking point for this section occurred with the development of valves in the beginning of the 19th century, which was widely adopted by orchestras and musicians by the second half of the century. With this system, a new world of possibilities opened for this group of instruments, which lead to more complex parts and important roles at the end of the 19th century and into the 20th century.</p><p>To realize how big this milestone was, we need to understand how a brass instrument produces sound. All brass instruments’ sound starts with the vibration of the lips of the player, which is transmitted to the pipe, making it resonate at a certain frequency according to the speed of the airflow, lip and mouth configuration, and length of the tube.</p><p>Natural brass instruments (without valves) have only a single fixed length of pipe so only overtones of the series (starting from the 2nd partial) can be produced by adjusting the airflow and lip and mouth configuration. This gives the player a limited amount of possibilities, confining him or her to play just in the key the instrument is tuned in. To get around this, players have either the option of using different instruments in different keys to change between pieces or movements, or using Crooks, a little segment of tubing that, added to the main pipe, adjusts its total length. Since both of these methods require a considerable amount of time, valves revolutionized brass instrument’s playability, allowing for the first time the performance of complex chromatic passages.</p><h5>[img=uploads/topics/valve-s-mechanics-5947a330c0326.png]1. Valve bypassed: the air goes through the main pipe.</h5><h5>2. Valve not bypassed: the air goes through the additional piping.</h5><p><br></p><p>Brass instruments are divided into two categories depending on the shape of its bore:</p><p></p><p></p><p></p><p></p><p></p><ul><li>with cylindrical bore: have the same diameter throughout their whole pipe, only flaring right at the end, just before the bell. Brass instruments with this type of pipe have a more focused, bright, and “brassy” sound. All trumpets, trombones, and the cimbasso have cylindrical bores.</li></ul><p></p><ul><li>with conical bore: have a pipe that changes diameter throughout its length, starting smaller right after the mouthpiece, and widening until the bell starts. Brass instruments with this type of pipe have a rounder, slightly duller, darker, and less “brassy” sound than brass instruments with a cylindrical bore with similar range. The French horn, all tubas, as well as the flugelhorn, Wagner tuba and euphoniums have conical bores.&nbsp;</li></ul><p></p><p></p><p></p><p></p><p></p><p></p><p>There is also another element that participates in the production of the sound of brass instruments, &nbsp;the mouthpiece. Just like the woodwinds, it &nbsp;has a lot to do with the sound which we identify with a particular instrument.</p><p>In the brass family, there are two types of mouthpieces:</p><p></p><p></p><p></p><ul><li>Semi-spherical: produce a more focused and brighter sound. All brass instruments, except the French horn and Wagner tuba, use semi-spherical mouthpieces.</li></ul><p></p><p></p><ul><li>Conical: produce less defined sound. Only the French horn and the rare Wagner tuba use this type of mouthpiece.</li></ul><p></p><p></p><p></p><p>Mouthpieces also vary in size and depth. Instruments with a lower range use a larger and deeper mouthpiece, as opposed to higher instruments, which don’t need as much room for the lips to vibrate.</p><h5>[img=uploads/topics/brass-mouthpieces-5947a1bade8f5.png]Mouthpieces of:&nbsp;<span style="color: inherit;">1. French horn,&nbsp;</span><span style="color: inherit;">2. Trumpet,&nbsp;</span><span style="color: inherit;">3. Tenor trombone,&nbsp;</span><span style="color: inherit;">4. Tuba and </span>cimbasso</h5><p><br></p><p>The brass section currently has a makeup of around 4 to 8 French horns, 2 to 4 trumpets, and rarely anything different than 3 trombones and 1 tuba. 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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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	'name' => 'The Brass Section',
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	'content' => '<p>Despite its name the brass family is a group of instrument that has more in common with the way they produce sound, rather than the material they are built with. Common instruments like the flutes and saxophones in the woodwind family are made out of brass, by contrast instruments like the serpent (an ancestor of the tuba) are mostly built from wood. The instruments that usually make up this section nowadays are the horn, trumpet, tenor trombone, bass trombone, and tuba.</p><p>As with the woodwind section, it is not until the beginning of the Classical period that the brass section starts to evolve into the makeup we know today. Before that, in the Renaissance and Baroque era, brass instruments were only used in particular works, especially in operas, to give a unique color to the music. Examples of this include “L’Orfeo” by C. Monteverdi and “Israel in Egypt” by G. F. Handel.</p><p>From the Classical period –or even the late Baroque period– there was a gradual growth of the brass section. A pair of horns and oboes were commonplace in orchestras in those days, complemented with a pair of trumpets in the bigger symphonies. Trombones, as well as the antecessors of the tuba (the serpent and then the ophicleide), were incorporated from the end of the Classical period and beginning of Romanticism.</p><p>But the breaking point for this section occurred with the development of valves in the beginning of the 19th century, which was widely adopted by orchestras and musicians by the second half of the century. With this system, a new world of possibilities opened for this group of instruments, which lead to more complex parts and important roles at the end of the 19th century and into the 20th century.</p><p>To realize how big this milestone was, we need to understand how a brass instrument produces sound. All brass instruments’ sound starts with the vibration of the lips of the player, which is transmitted to the pipe, making it resonate at a certain frequency according to the speed of the airflow, lip and mouth configuration, and length of the tube.</p><p>Natural brass instruments (without valves) have only a single fixed length of pipe so only overtones of the series (starting from the 2nd partial) can be produced by adjusting the airflow and lip and mouth configuration. This gives the player a limited amount of possibilities, confining him or her to play just in the key the instrument is tuned in. To get around this, players have either the option of using different instruments in different keys to change between pieces or movements, or using Crooks, a little segment of tubing that, added to the main pipe, adjusts its total length. Since both of these methods require a considerable amount of time, valves revolutionized brass instrument’s playability, allowing for the first time the performance of complex chromatic passages.</p><h5>[img=uploads/topics/valve-s-mechanics-5947a330c0326.png]1. Valve bypassed: the air goes through the main pipe.</h5><h5>2. Valve not bypassed: the air goes through the additional piping.</h5><p><br></p><p>Brass instruments are divided into two categories depending on the shape of its bore:</p><p></p><p></p><p></p><p></p><p></p><ul><li>with cylindrical bore: have the same diameter throughout their whole pipe, only flaring right at the end, just before the bell. Brass instruments with this type of pipe have a more focused, bright, and “brassy” sound. All trumpets, trombones, and the cimbasso have cylindrical bores.</li></ul><p></p><ul><li>with conical bore: have a pipe that changes diameter throughout its length, starting smaller right after the mouthpiece, and widening until the bell starts. Brass instruments with this type of pipe have a rounder, slightly duller, darker, and less “brassy” sound than brass instruments with a cylindrical bore with similar range. The French horn, all tubas, as well as the flugelhorn, Wagner tuba and euphoniums have conical bores.&nbsp;</li></ul><p></p><p></p><p></p><p></p><p></p><p></p><p>There is also another element that participates in the production of the sound of brass instruments, &nbsp;the mouthpiece. Just like the woodwinds, it &nbsp;has a lot to do with the sound which we identify with a particular instrument.</p><p>In the brass family, there are two types of mouthpieces:</p><p></p><p></p><p></p><ul><li>Semi-spherical: produce a more focused and brighter sound. All brass instruments, except the French horn and Wagner tuba, use semi-spherical mouthpieces.</li></ul><p></p><p></p><ul><li>Conical: produce less defined sound. Only the French horn and the rare Wagner tuba use this type of mouthpiece.</li></ul><p></p><p></p><p></p><p>Mouthpieces also vary in size and depth. Instruments with a lower range use a larger and deeper mouthpiece, as opposed to higher instruments, which don’t need as much room for the lips to vibrate.</p><h5>[img=uploads/topics/brass-mouthpieces-5947a1bade8f5.png]Mouthpieces of:&nbsp;<span style="color: inherit;">1. French horn,&nbsp;</span><span style="color: inherit;">2. Trumpet,&nbsp;</span><span style="color: inherit;">3. Tenor trombone,&nbsp;</span><span style="color: inherit;">4. Tuba and </span>cimbasso</h5><p><br></p><p>The brass section currently has a makeup of around 4 to 8 French horns, 2 to 4 trumpets, and rarely anything different than 3 trombones and 1 tuba. Additionally, the cimbasso is a very popular instrument among the biggest budget film scores and Italian orchestras, but hard to find in most symphonic orchestras.</p>',
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		'content' => '<p><b>BACKGROUND</b></p><p>The modern french horn or simply horn,&nbsp; is a descendant from&nbsp; the natural horn (cor de chasse), a brass instrument developed at the end of the XVII century. Its ancestor had only one tube that would produce the notes in the harmonic series in what it is tuned.&nbsp; Although the crooks&nbsp; will solve this problem later, the process of vinculate it was problematic and it took a long time, that leads the tradition to write horn parts in a very limited range of notes, generally in long lengths.</p><p>Later, two changes in the horn construction will affect significantly their possibilities: the valve invention at the beginning of the XIX century and the creation of the double horn at the end of the same century. The valve invention makes a whole revolution within the instrument, giving to it the possibility of chromatic notes for the first time and a better tuning in general. The double horn creation consists in the addition of two additional pipes, so the addition of a fourth&nbsp; valve. This made that the Horn will be tuned in F and Bb, and this gives you the chance to extend the upper range without the necessity of changing instruments, or the need to use the unstable and upper overtones.<br></p><p>Additionally, in the last decades, some professional players had beginning to use a new instrument called "Triple horn. This instrument has an additional pipe, that has the additional tube to attach an additional horn in F one octave above the original. At difference of the addition in the Bb Horn, the triple horn has the purpose to make the upper register more stable and not extending the range.<br></p><p><b>PARTS</b></p><p>The horn is divided into seven different parts: the mouthpiece, the leadpipe, the valves, the valve levers, the tuning slides, the spit valve, and the bell.</p><h5>[img=uploads/topics/french-horn-chart-5947a55d60e1a.png]</h5><p><br></p><p><b>RANGE</b></p><p>It is considered that the horn´s range goes from F1 to F4. Technically, it can play lower up to Ab0 using the lower notes of the F section and the three first pedal tones of the B flat section, but these are hard to perform and it takes more time to achieve it. In any case, where the horn has its more solid performance is from C2 to C4, where is very agile and has a better sound.</p><p><span style="letter-spacing: 0.1px;"><b>NOTATION</b></span></p><p><span style="letter-spacing: 0.1px;"><b><br></b>Although the horn has a section in F and another in Bb, it is considered in F, as <b>it transpose a perfect fifth below it is written</b>. The horn reads in Treble clef, and changes to Bass clef when is using two or more ledger lines.<br></span></p><p><i>Note: the following chart show notes in concert pitch (= real sound, not written transposition).&nbsp;</i></p><h5>[img=uploads/topics/instrument-ranges-french-horn-5947d49148a08.png]</h5><p><br></p><p><b>PLAYABILITY</b></p><p>An additional consideration has to be taken with the horn, as it is the instrument in the brass family with the smaller mouthpiece but the larger diameter. The obvious advantage of this is that the instrument range, one of the biggest, it extends at below thanks to a its larger tube and at the same time it can reach the higher notes due to its smaller mouthpiece. However, the consequence of it is that the horn is one of the harder instruments to play. Even the more advanced players have an slice now and then in certain passages in the process of imagine the pitch before plying it( a constant in the brass family) is specially hard in a uneven line or large leaps.</p><p><span style="letter-spacing: 0.1px;"><b>THE SECTION<br></b></span></p><p><span style="letter-spacing: 0.1px;">Since the baroque and classical periods, the horns are constantly founded as pairs. It was very common to find 2 during the classical period, before 2-4 in the romanticism, later in the 20th century 6 or even 8 in some pieces like "The rite of Spring" by I. Stravinsky or the "Symphony No. 8" by G. Mahler.<br></span></p><p><br></p><p><b>FUNCTION</b></p><p>The horn is by tradition associated o held notes and chords in the orchestra, but is very usual to found it playing solos or counterpoints, as a solo Horn or a whole section playing in unisons. Also is easy to find one horn o many, doubling other instruments or section of the orchestra, so it can add more body to the sound without colouring too much when it plays below mf. A typical example of this is when the horns are doubling a cello section, adding even more power to these instruments.</p><h5>[vzaar=12526131]Example of a French horn solo passage in P. Tchaikovsky's Symphony No. 5, Op. 64: II movement</h5><p style="text-align: center;"><br></p><div><br></div>',
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