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
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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	'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. 
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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	'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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	'content' => '<p>The pianist, unlike the harpist, can use the five finger on both hands. That means that he or she can play chords in each hand with up to five fingers (10 total). The extension of the hand is about an octave, sometimes a ninth, and rarely a tenth when the two notes are hit at the same time. But, depending on the size of the hands, not all chords are comfortable to play when big distances are covered. This is due to the symmetry of the hands: while the gap from the thumb to the index is on the higher part (pitch-wise) of the left hand, this gap is placed in the lower part of the right hand.</p><p>The player also doesn’t have a range limit for each hand as the harpist does. He or she will sometimes be playing centered on the keyboard, but sometimes will tilt his or her body to the right or the left to play in the high or low register.</p><p>They can also cross the hands, which can be especially useful when a pattern is kept in one register while another event(s) jumps through two different registers.</p><p>Big jumps and passages that mix a lot of black keys with white keys are not very easy, especially in fast tempi. But it really depends on the technical skills of the pianist and the specifics of the passage.</p>',
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		'id' => (int) 3328,
		'name' => 'The Celesta',
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		'content' => '<p>The celesta is a pitched idiophone percussion instrument controlled by a keyboard. As we said in the “Orchestral Keyboard Instruments” section, the celesta is usually played by a pianist, although simple parts can be played by a percussionist. The shape of the instrument is very similar to an harmonium or upright piano.</p><p>The main parts of the celesta include the keyboard, cover, damper pedal, hammers, dampers, sound bars, and resonator boxes.</p><p>[img=/uploads/topics/celesta-parts-5c003526f09a6.jpg]</p><p><br></p><p><b>RANGE</b></p><p>There are several types of celestas in terms of the range they cover:</p><p></p><ul><li>5 ½ octave celesta: C2 to F7. Very common these days in symphonic orchestras.</li></ul><ul><li>5 octave celesta: C2 to C7.</li></ul><ul><li>4 octave celesta: C3 to C7.</li></ul><ul><li>3 octave celesta: C4 to C7. Very common in portable celestas.</li></ul><p></p><p>[img=/uploads/topics/celesta-range-5c01340bd304c.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The celesta is always written in a grand staff (two 5-line staves), the top with a treble clef and the bottom with a bass clef. The celesta transposes an octave higher than written and it uses key signature.</p><p>[img=/uploads/topics/celesta-notation-5c01340591a30.jpg]</p><p><br></p><p><b>SOUND</b></p><p>The celesta is a quiet and soft instrument comparing to most instruments in the orchestra. For this reason, it is advisable to use it with a light orchestration. It has a limited dynamic range too, especially comparing to the piano, although it is still able to produce different dynamics depending on how hard the keys are pressed.</p><p>Regarding the timber, the sound of the celesta is sweet, soft, round, very pure, bright, and somewhat metallic. There are not big differences in sound throughout the register, although the low notes are warmer and richer than the high ones, which are brighter.</p><p>If we compare it with its closest relative, the glockenspiel, we will find it warmer and richer than the latest (especially in the low register) softer in dynamic, and with a rounder attack. The resonance is also longer in the celesta thanks to the resonator boxes.</p><p><br></p><p><b>MECHANISM</b></p><p>The celesta is made up a series of steel bars (one bar per pitch) distributed inside the body of the instrument in two rows. To keep timber consistent, there is not one row for high pitches and another for low pitches, both rows have high and low pitches mixed.</p><p>As in the piano, when the player actions a key in the keyboard makes the hammer hit the sound bar. At the same time, the damper is released, which is put in place again when the key is released, unless the damper pedal is pressed.</p><p>There are three main differences with the piano:</p><p></p><ul><li>Every note has its own wood resonator, which differ a lot one with each other in size depending on the frequency they are amplifying.</li></ul><ul><li>Resonators focus on amplifying the fundamental (first overtone) of the note, not the rest of the spectrum. This is so it sweets the sounds by not overpowering the inharmonic partials. It also makes the pitch sound loud and clear.</li></ul><ul><li>The size of the hammers and thickness of the felt covering them varies a lot depending on the pitch, being thicker and bigger in the low register and the other way around in the highs. This is so the sound gets warmer and richer in the low notes.</li></ul><p></p><p><br></p><p><b>PEDAL</b></p><p>The damper pedal in the celesta, when pressed, separate the dampers from the soundbars letting them freely resonate.</p><p><br></p><p><b>FUNCTION</b></p><p>The celesta is often used as a solo instrument with light orchestrations either in melodic lines, chords, arpeggios, or a combination of a melodic line and an accompaniment.</p><p>The celesta is also a really good instrument to add color and brighten other instruments. This can be achieved by doubling the other instruments in unison, octaves, double octaves, thirds, etc. Some of the instruments the celesta pair well with are the harp, high strings, and mid-high woodwinds.</p><p>Finally, the celesta is also often found performing virtuosistic figures such as quick arpeggios, scales, tremolos, etc., where the celesta is used in its mid-high register so it can be heard through a bit more dense orchestration and make it shine. Still, we should always keep in mind that the celesta is a pretty quiet instrument.</p><p><br></p><div>[vimeo=https://player.vimeo.com/video/303257073]<br></div>',
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		'id' => (int) 3330,
		'name' => 'Orchestral Keyboard Instruments: Common Techniques',
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		'content' => '<p><span style="letter-spacing: 0.1px;"><b>LEGATO</b></span><br></p><p>When playing a legato phrase, the pianist will always release the previous key after the next is pressed. For example, the first will be released after the second is pressed, the second after the third, and so forth. This way the player creates an effect similar to the legato in the strings, woodwinds, or brass instruments.</p><p>Both the piano and the celesta are very resonant instruments, so it is very effective on the two. It can also be augmented with the damper pedal to keep the resonance of the previous notes.</p><p>The legato technique is notated with a slur above/below the passage we want legato or, if we want the extra effect of the pedal, a pedal symbol/line below.</p><p>[img=/uploads/topics/piano-legato-5c013128c68c8.jpg]</p><p><br></p><p><b>STACCATO &amp; STACCATISSIMO</b></p><p>For the staccato articulation the fingers release the keys short after playing the notes. For the staccatissimo, they do even before than in staccato.</p><p>Staccatos and staccatissimos are very effective in the piano, but not as much in the celesta. This is because, even with the dampers on the sound bars, the resonators amplify the natural resonance of them.</p><p>Both articulations are notated with their corresponding symbol above/below the noteheads.</p><p>[img=/uploads/topics/piano-staccato-staccatissimo-5c01313b496a8.jpg]</p><p><br></p><p><b>ACCENTS &amp; MARCATO</b></p><p>Unlike other instruments, keyboard instruments can’t make a difference in dynamic between the attack and the sustain part of the note. Then, accent is a louder version of the note at the same dynamic, and marcato is a even louder version of the accentuated notes. Both can be used to differentiate two layers (one louder than the other) within a passage with the same dynamic.</p><p>Accents and marcatos are very effective in the piano and sound very full and sharp. They are both possible in the celesta too, although we will bring up then the piercing quality of the celesta when is performed very loud.</p><p>Both articulations are notated with their corresponding symbol above/below the noteheads.</p><p>[img=/uploads/topics/piano-accents-marcato-5c01310abe70d.jpg]</p><p><br></p><p><b>TENUTO</b></p><p>The player gives each affected note a little emphasis by playing them slightly louder, with its fullest length, but separating each one of them from the previous and next one a bit.</p><p>It is very effective in the piano but not as effective in the celesta because the above-mentioned resonance of the resonator boxes.</p><p>The tenuto articulation is notated with the tenuto symbol above/below the noteheads.</p><p>[img=/uploads/topics/piano-tenuto-5c013142309d2.jpg]</p><p><br></p><p><b>PORTATO</b></p><p>The portato articulation is played like the legato but slightly separating the notes.</p><p>It is very effective in the piano but not as effective in the celesta because the above-mentioned resonance of the resonator boxes.</p><p>The portato articulation is notated with a slur over the affected passage and staccato symbols above/below its noteheads.</p><p>[img=/uploads/topics/piano-portato-5c01313005b59.jpg]</p><p><br></p><p><b>ARPEGGIOS &amp; GLISSANDI</b></p><p>Arpeggios and glissandi are a very effective and colorful effect for the keyboard instruments when they play either in the foreground or background. They really make the orchestra shine and they are great in orchestral crescendos, textures of accompaniment, complex textures, etc. Especially when they are played in several keyboard and mallet instruments.</p><p>[img=/uploads/topics/piano-arpeggio-glissando-5c0131146a31a.jpg]</p><p><br></p><p><b>CLUSTERS</b></p><p>A cluster is a chord of at least three notes in seconds (the interval). It can be chromatic (minor seconds), diatonic (minor or major seconds depending on the scale), or either white or black keys only.</p><p>Clusters are very effective and powerful on the piano, especially in the low and extreme low register of the piano as well on its high and extreme high register. They are also possible in the celesta, although, not having the dynamic power of the piano, they are not as effective.</p><p>Clusters are notated with the regular notations for this effect.</p><p>[img=/uploads/topics/piano-cluster-5c0131227d43b.jpg]</p>',
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include - APP/Template/Element/aside/course-outline.ctp, line 21
Cake\View\View::_evaluate() - CORE/src/View/View.php, line 1435
Cake\View\View::_render() - CORE/src/View/View.php, line 1393
Cake\View\View::_renderElement() - CORE/src/View/View.php, line 1879
Cake\View\View::element() - CORE/src/View/View.php, line 783
include - APP/Template/Element/aside-main-sidebar.ctp, line 22
Cake\View\View::_evaluate() - CORE/src/View/View.php, line 1435
Cake\View\View::_render() - CORE/src/View/View.php, line 1393
Cake\View\View::_renderElement() - CORE/src/View/View.php, line 1879
Cake\View\View::element() - CORE/src/View/View.php, line 783
include - APP/Template/Layout/adminlte.ctp, line 85
Cake\View\View::_evaluate() - CORE/src/View/View.php, line 1435
Cake\View\View::_render() - CORE/src/View/View.php, line 1393
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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Orchestral Keyboard Instruments: Playing Technique

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Orchestral Keyboard Instruments: Playing Technique

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