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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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>The tam-tam is an metal idiophone that consists of a large flat bronze disc with the edge bent to the opposite side of the struck surface.&nbsp; Contrary to many people’s belief in the West that the difference between gongs and the tam-tam is that gongs have a nipple in the center, that is only valid when we talk with a symphonic percussionist. The tam-tam is actually descended from the chau gong from China.</p><p>The tam-tam has its own type of frame from where it hangs, which lets the instrument ring at its best.</p><p>[img=/uploads/topics/tam-tam-1500a-59dbb3ad4c534.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The tam-tam is notated on a one line stave and neutral clef.</p><p>[img=/uploads/topics/tam-tam-notation-5a038bf3887e4.jpeg]</p><p><br></p><p><b>TECHNIQUES</b></p><p>Areas:</p><p>The tam-tam can be struck near the edge, which produces a higher pitched sound, or around the center, where it sounds deeper and louder. To specify the area of the tam-tam, the best way is to notate it with a written mark.</p><p>[img=/uploads/topics/tam-tam-areas-5a038c0484e99.jpeg]<br></p><p><br></p><p>Basic stroke:</p><p>The tam-tam is an instrument with a slow response, both in the attack and when dampening. For this reason, this instrument is mostly used for single strikes.</p><p>[img=/uploads/topics/tam-tam-basic-stroke-5a038c0d5c9e1.jpeg]<br></p><p><br></p><p>Dampening and L.V.:</p><p>It is possible to dampen the tam-tam but it is a technique that it is not as effective and quick as in most other percussion instruments. If we want to dampen a particular note the composer or orchestrator should notate the exact duration he or she wants, with a plus (+) symbol at the end of the note if he or she thinks the player needs extra clarification.</p><p>To listen the natural decay of the instrument write&nbsp; L.V. at the end of the note.</p><p>[img=/uploads/topics/tam-tam-dampening-lv-5a038c14501bc.jpeg]</p><p><br></p><p><b>MALLETS</b></p><p>The mallet for the tam-tam has a wooden or metal shaft with a rounded head covered with wool, hard felt or chamois. It can also be struck with marimba, vibraphone, timpani, or wooden mallets; rubbed with a contrabass bow or brushes; struck or rubbed with a triangle beater; or played with the bare hands.</p><p><br></p><p>[vzaar=11744457]</p>
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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. 
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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) 3351,
	'name' => 'unPitched/Idioph: the Tam-tam',
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	'content' => '<p>The tam-tam is an metal idiophone that consists of a large flat bronze disc with the edge bent to the opposite side of the struck surface.&nbsp; Contrary to many people’s belief in the West that the difference between gongs and the tam-tam is that gongs have a nipple in the center, that is only valid when we talk with a symphonic percussionist. The tam-tam is actually descended from the chau gong from China.</p><p>The tam-tam has its own type of frame from where it hangs, which lets the instrument ring at its best.</p><p>[img=/uploads/topics/tam-tam-1500a-59dbb3ad4c534.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The tam-tam is notated on a one line stave and neutral clef.</p><p>[img=/uploads/topics/tam-tam-notation-5a038bf3887e4.jpeg]</p><p><br></p><p><b>TECHNIQUES</b></p><p>Areas:</p><p>The tam-tam can be struck near the edge, which produces a higher pitched sound, or around the center, where it sounds deeper and louder. To specify the area of the tam-tam, the best way is to notate it with a written mark.</p><p>[img=/uploads/topics/tam-tam-areas-5a038c0484e99.jpeg]<br></p><p><br></p><p>Basic stroke:</p><p>The tam-tam is an instrument with a slow response, both in the attack and when dampening. For this reason, this instrument is mostly used for single strikes.</p><p>[img=/uploads/topics/tam-tam-basic-stroke-5a038c0d5c9e1.jpeg]<br></p><p><br></p><p>Dampening and L.V.:</p><p>It is possible to dampen the tam-tam but it is a technique that it is not as effective and quick as in most other percussion instruments. If we want to dampen a particular note the composer or orchestrator should notate the exact duration he or she wants, with a plus (+) symbol at the end of the note if he or she thinks the player needs extra clarification.</p><p>To listen the natural decay of the instrument write&nbsp; L.V. at the end of the note.</p><p>[img=/uploads/topics/tam-tam-dampening-lv-5a038c14501bc.jpeg]</p><p><br></p><p><b>MALLETS</b></p><p>The mallet for the tam-tam has a wooden or metal shaft with a rounded head covered with wool, hard felt or chamois. It can also be struck with marimba, vibraphone, timpani, or wooden mallets; rubbed with a contrabass bow or brushes; struck or rubbed with a triangle beater; or played with the bare hands.</p><p><br></p><p>[vzaar=11744457]</p>
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		'id' => (int) 3350,
		'name' => 'unPitched/Idioph: the Triangle',
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		'content' => '<p>The triangle is an idiophone made of a metal rod in the shape of an equilateral triangle, with one of its angles open. The player plays it with a holder by which the triangle hangs, thanks to a yarn that connects them.</p><p>There are three kinds of triangle: high (6”), medium (8”), and low (10”). The sound is very high and pure, sharp and has a long decay. The sound in forte can be tiresome if one abuses&nbsp; it, but in piano it sounds very delicate so it is not a problem.</p><p>[img=/uploads/topics/triangle-1500a-59dbb133137ac.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The triangle is notated on a one line stave and neutral clef.</p><p>[img=/uploads/topics/triangle-notation-59dd61909f088.jpeg]</p><p><br></p><p><b>TECHNIQUES</b></p><p>Simple strikes and rolls are the most common techniques performed with the triangle, but it is also common to see acciaccaturas and rhythmic patterns.&nbsp; Rolls are performed by striking the triangle in-between one of its angles and alternating the sides.</p><p><br></p><p><b>MALLETS</b></p><p>The standard beater for the triangle is a simple metal rod with different thicknesses. It is also possible to strike it with snare drum stick.</p><p><br></p><p>[vzaar=11744485]</p>
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		'name' => 'unPitched/Idioph: the Anvil',
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		'content' => '<p>The anvil is a metal idiophone consisting of a large steel block with the shape of a blacksmith’s anvil, and struck with a metal hammer. Except for a few exceptions the anvil is always unpitched. Dynamically the anvil can sound fairly soft, but the characteristic sound of the anvil is forte, where it can cut through an entire orchestra in fortissimo.</p><p>In case of nonavailability, it can be substituted by metal tubes, a small section of a railroad track, or a steel rafter.</p><p>[img=/uploads/topics/anvil-1500-59dbb4c336e27.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The triangle is notated n a one line stave and neutral clef.</p><p>[img=/uploads/topics/anvil-notation-59de541764a58.jpg]</p><p><br></p><p><b>TECHNIQUES</b></p><p>Simple strikes are pretty much the only technique performed with the anvil, both because it is an instrument hard to play quickly and it can become very tiresome very soon.</p><p><br></p><p><b>MALLETS</b></p><p>The anvil is struck, as a general rule, by a metal hammer.</p><p><br></p><p>[vzaar=11730464]</p>
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		'created' => object(Cake\I18n\FrozenTime) {},
		'modified' => object(Cake\I18n\FrozenTime) {},
		'[new]' => false,
		'[accessible]' => [
			[maximum depth reached]
		],
		'[dirty]' => [[maximum depth reached]],
		'[original]' => [[maximum depth reached]],
		'[virtual]' => [[maximum depth reached]],
		'[hasErrors]' => false,
		'[errors]' => [[maximum depth reached]],
		'[invalid]' => [[maximum depth reached]],
		'[repository]' => 'Topics'
	
	}
]
$status = [
	'allowed' => false,
	'expired_enrollment' => false,
	'enrolledVersion' => false,
	'openingWeeks' => false,
	'available_revisions' => (int) 0,
	'is_a_demo_topic' => false,
	'is_a_demo_version' => false,
	'is_a_bonus_topic' => false,
	'is_available_to_suscribers' => true,
	'enrollment' => [],
	'upsell' => [],
	'course_enrollments' => [],
	'isTeacher' => false,
	'expired_suscription' => true
]
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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