Orchestration 1: Instrumentation & Orchestration Basics
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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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You’ll learn all you need to know about the instruments themselves, the range of sounds they are capable of, the roles they play in the orchestra and how to actually write for them to give your compositions the best chance to shine.
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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><b>BACKGROUND</b><br></p><p>The tuba is the largest instrument of the brass family as well as one of the latest instruments to have joined the orchestra. This instrument was invented in 1835 after the development of valves in the early 19th century, so, unlike the rest of the brass instruments that had a previous history as&nbsp;a natural instrument, the tuba was fully chromatic from the very beginning.</p><p>As previously mentioned, brass instruments rely on the harmonic series to produce different pitches. The problem is; overtones only come close enough to be playable in the fourth octave above the fundamental note, making it impossible to make an instrument big and low enough to produce notes in the bass range. To solve this, before the invention of valves, &nbsp;holes were added along the pipe, like woodwinds, to change the fundamental note of the instrument. This lead to the creation of instruments that had the role of the tuba like the serpent and the ophicleide.</p><p>As with the French horn, the tuba has a conical bore, which makes its sound rounder and darker due to the emphasis this kind of pipe has on the lower overtones. Like the French horn, the tuba is also usually equipped with rotary valves, although, as with the horn, it also has pistons in some cases.</p><p><br></p><p><b>PARTS</b><br></p><p>The tuba 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><p>[img=uploads/topics/tuba-chart-5947a59f50dcf.png]</p><p><br></p><p><b>RANGE</b><br></p><p>The tuba has a very extended range that goes from the D-1 to the G3. Surprisingly, all of its range is pretty comfortable, and although the lowest register can be exhausting to play, it is effective if the notes are held. In the upper register the tuba can lose part of its character, but it is still possible to play quite comfortably.</p><h5>[img=uploads/topics/instrument-ranges-tuba-5947d5c882116.png]</h5><p><br></p><p><b>NOTATION</b></p><p>The tuba is written in bass clef.</p><p><br></p><p><b>FUNCTION</b><br></p><p>The tuba has the function of the bass in the orchestra but can also be used as a solo instrument. Usually orchestras have only one tuba, but in very particular pieces is also possible to find two of them.</p><p><br></p><h5>[vzaar=12581591]Example of a tuba solo passage in&nbsp;S. Revueltas's Sensemayá</h5>
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	'solution_title' => 'Master Your Orchestra',
	'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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	'solution_title' => 'Master Your Orchestra',
	'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. 
You’ll learn all you need to know about the instruments themselves, the range of sounds they are capable of, the roles they play in the orchestra and how to actually write for them to give your compositions the best chance to shine.
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	'curriculum_text' => '<p><b>Explore Orchestration 1: Instrumentation &amp; Orchestration Basics</b><br></p><p>There are <b>three sections</b> to this course. Understanding the content in each will help make you a more ‘complete’ composer and help you make great choices at every stage of your composition.<br><br>The<b> first section</b> covers the <b>basics</b>: evolution of the orchestra, clefs you’ll need to understand, transposing, writing parts, and using a score editor.<br><br>The <b>second section </b>is where you’ll learn about the <b>different sections</b> of the orchestra and how to tap into the amazing variety of sounds and techniques that are available with each instrument.<br><br>The <b>third section</b> is where it all starts to come together and you’ll learn how to actually write for each section and also the<b> full orchestra</b>. You’ll discover how to <b>voice chords</b> correctly for sections, how to create <b>‘separation’ </b>so your melodies will stand out and grab your listener’s attention, and how to achieve <b>balance </b>between sections.</p>',
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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) 3302,
	'name' => 'The Instruments: the Tuba',
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	'content' => '<p><b>BACKGROUND</b><br></p><p>The tuba is the largest instrument of the brass family as well as one of the latest instruments to have joined the orchestra. This instrument was invented in 1835 after the development of valves in the early 19th century, so, unlike the rest of the brass instruments that had a previous history as&nbsp;a natural instrument, the tuba was fully chromatic from the very beginning.</p><p>As previously mentioned, brass instruments rely on the harmonic series to produce different pitches. The problem is; overtones only come close enough to be playable in the fourth octave above the fundamental note, making it impossible to make an instrument big and low enough to produce notes in the bass range. To solve this, before the invention of valves, &nbsp;holes were added along the pipe, like woodwinds, to change the fundamental note of the instrument. This lead to the creation of instruments that had the role of the tuba like the serpent and the ophicleide.</p><p>As with the French horn, the tuba has a conical bore, which makes its sound rounder and darker due to the emphasis this kind of pipe has on the lower overtones. Like the French horn, the tuba is also usually equipped with rotary valves, although, as with the horn, it also has pistons in some cases.</p><p><br></p><p><b>PARTS</b><br></p><p>The tuba 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><p>[img=uploads/topics/tuba-chart-5947a59f50dcf.png]</p><p><br></p><p><b>RANGE</b><br></p><p>The tuba has a very extended range that goes from the D-1 to the G3. Surprisingly, all of its range is pretty comfortable, and although the lowest register can be exhausting to play, it is effective if the notes are held. In the upper register the tuba can lose part of its character, but it is still possible to play quite comfortably.</p><h5>[img=uploads/topics/instrument-ranges-tuba-5947d5c882116.png]</h5><p><br></p><p><b>NOTATION</b></p><p>The tuba is written in bass clef.</p><p><br></p><p><b>FUNCTION</b><br></p><p>The tuba has the function of the bass in the orchestra but can also be used as a solo instrument. Usually orchestras have only one tuba, but in very particular pieces is also possible to find two of them.</p><p><br></p><h5>[vzaar=12581591]Example of a tuba solo passage in&nbsp;S. Revueltas's Sensemayá</h5>
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		'id' => (int) 3301,
		'name' => 'The Instruments: the Trombone Family',
		'color' => '#000000',
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		'content' => '<p><b>BACKGROUND</b><br></p><p>The trombone is a brass instrument that, since its origins in the 15th century, has kept its original design for the most part until today. The main modifications that it underwent were a widening of its bell during the 17th century and an increase of its bell and bore during the 19th century in order to compete dynamically with the growing orchestra of the period.</p><p>Unlike the horn and the trumpet, the trombone was a chromatic instrument from the beginning. Instead of valves the trombone uses a telescopic slide mechanism that changes the length of the pipe and therefore, the series of overtones it can produce. It still used crooks during the 17th century, but the purpose of these were to change the register of the instrument, instead of allowing it to play in another keys.</p><p>However, the trombone was not consistently used in the orchestra until the early 19th century. Although it was quite popular in ensembles during the Renaissance, it is not until Beethoven uses it in his 5th, 6th and 9th symphonies that other composers start to pay attention to it and becomes a permanent member of the orchestra.</p><p>The trombone, as well as the other members of the trombone family, is in fact a bigger trumpet. As the smaller relative, it also has a cylindrical bore and a semi-spherical mouthpiece, which contributes to its “brassy” and bright sound.</p><p><br></p><p><b>PARTS</b><br></p><p>The trombone is divided into six different parts: the mouthpiece, the leadpipe, the tuning slide, the main slide, the spit valve, and the bell.</p><p>[img=uploads/topics/trombone-chart-5947a57dd12da.png]</p><p><br></p><p><b>MEMBERS OF THE TROMBONE FAMILY<br></b></p><p>It is interesting to see how, while other instruments in the brass section have quite changed &nbsp;their numbers in the orchestra, the trombone section has almost kept its number of three players from its first introduction into the orchestra. The reason is very simple: trombones have a very wide dynamic range, going from really soft to outstandingly loud. For that reason three trombones have always worked beautifully with both the versatility of a three voice choir and the power of the unison.</p><p>The trombones used nowadays in the orchestra are the tenor trombone, the bass trombone, and, less commonly, the cimbasso, a special member of the family that is only used (almost exclusively) in Italian opera orchestras and big recording sessions for Hollywood movies. The cimbasso then can be either added to the three standard section, or substitute the bass trombone or/and tuba. The alto trombone, a trombone that was commonly used in the 19th century orchestra in substitution for the first tenor trombone, fell into disuse at the entrance of the new century.</p><p><br></p><p><b>FUNCTION</b><br></p><p>The function of the trombone section in the orchestra is usually to hold chords or double other sections of the orchestra, although it is also often found &nbsp;performing solos, (both as an individual trombone or as a complete section in unison), counterpoints or rhythmic patterns &nbsp;(especially in conjunction with the trumpet section).</p><p><br></p><h2>Trombone (or tenor trombone)</h2><p>The tenor trombone is an non-transposing instrument in Bb with great agility and dynamic range.</p><p><br></p><p><b>RANGE</b><br></p><p>Its range goes from E1 to Bb3, with the best register between A1 and F3 where it has the wider dynamic range and agility. The highest notes are more difficult to produce, since they are achieved with the highest overtones of the series, while in the bottom of the register it is harder to play fast passages, especially if the notes have positions far from each other. Additionally, with the help of the first three pedal tones, the tenor trombone can go down to the Ab0, although it is not recommendable to go that far since those notes are unstable and are hard to get. For subtle tuning adjustments, the trombone –as well as the other brass instruments– has an additional slide to correct overtones that have non-standard tuning.</p><h5>[img=uploads/topics/instrument-ranges-tenor-trombone-5947d53b7cd65.png]</h5><p><br></p><p><b>NOTATION</b><br></p><p><span style="letter-spacing: 0.1px;">The trombone is written in bass clef until it uses two or three ledger lines above the stave. Then, it changes to tenor clef.</span><br></p><p><br></p><h5>[vzaar=12581455]Example of a tenor trombone solo passage in&nbsp;L. Janácek's Sinfonietta: III movement</h5>
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<p><br></p><h2>Bass trombone</h2><p>The bass trombone is a non-transposing instrument that is actually a double trombone with two set of piping: the original in Bb –as in the tenor trombone– and a second in F. This, along with a wider mouthpiece, bore and bell, makes it possible for this instrument to go lower with more power, body, and consistency.</p><p>[img=uploads/topics/bass-trombone-5947a586de3f7.png]<br></p><p><br></p><p><b>RANGE</b><br></p><p><span style="letter-spacing: 0.1px;">The range of this instrument is from Bb0 to Bb3, being very solid and powerful throughout all its register. It can even go lower using the pedal tones of the Bb and F division, down to Db-1, which is as low as the tuba. But again, pedal tones are a “special effect” that should not be used in orchestral writing, and in any </span>case<span style="letter-spacing: 0.1px;"> should be consulted with the player beforehand.</span><br></p><h5>[img=uploads/topics/instrument-ranges-bass-trombone-5947d5423f7d1.png]</h5><p><span style="letter-spacing: 0.1px;"><br></span></p><p><b>NOTATION</b><br></p><p><span style="letter-spacing: 0.1px;">The bass trombone is written, like the tenor trombone, in bass clef until it reaches the two or three ledger lines above the stave. Then, even though not common in the bass trombone, it moves to tenor clef.</span><br></p><p><br></p><h5>[vzaar=12516340]Example of a bass trombone solo passage in&nbsp;C. Nielsen's Flute Concerto, CNW 42: I movement</h5><p>

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</div><br><p></p><h2>Cimbasso</h2><p>The cimbasso is a non-transposing instrument in F or Eb with a similar range to the tuba and contrabass trombone (a very rare variant of the trombone). As opposed to the rest of trombones, has rotary valves (like the French horn), or pistons (like the trumpet).</p><p><br></p><p><b>BACKGROUND</b><br></p><p>This instrument has its roots in the Italian opera, and it is commonly thought that it was created by G. Verdi due to his dislike of the unfocused sound of the tuba. As with the sound of the trumpet and trombone, the cimbasso has a very sharp and bright sound which projects better to the audience. Apart from its use in the Italian opera (which still continues today), we can also find the cimbasso in some of the big orchestral scores for movies in Hollywood.</p><p>[img=uploads/topics/cimbasso-5947a58f674c2.png]</p><p><br></p><p><b>RANGE</b><br></p><p>The range of the cimbasso goes from D-1 (same as the tuba) to approximately F3, being used mostly up to B1. The function of this unusual instrument is to give extra punch to the trombone or brass section, reinforcing the bottom end of the orchestra, along with adding some brightness to the usually unfocused lower end.</p><h5>[img=uploads/topics/instrument-ranges-cimbasso-5947d54a3cf6e.png]</h5><p><br></p><p><b>NOTATION</b><br></p><p><span style="letter-spacing: 0.1px;">The cimbasso is written always in bass clef.</span><br></p><p><br></p><h5>[vzaar=12516687]Example of a cimbasso passage in&nbsp;G. Verdi's Attila: Preludio</h5>
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The Instruments: the Tuba

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The Brass Section

The Instruments: the Tuba

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