Orchestration 1: Instrumentation & Orchestration Basics
0% Completed
Notice (8): Trying to get property 'is_suscribed' of non-object [APP/Template/Element/aside/course-outline.ctp, line 21]Code Context
            <?php if(!$loggedUser->is_suscribed):?>
          
$viewFile = '/var/www/html/src/Template/Element/aside/course-outline.ctp'
$dataForView = [
	'loggedUser' => false,
	'theme' => [
		'title' => 'Course Name',
		'logo' => [
			'mini' => '<b>C</b>C',
			'large' => '<b>C.</b> Composing'
		],
		'login' => [
			'show_remember' => true,
			'show_register' => false,
			'show_social' => false
		],
		'folder' => '/var/www/html'
	],
	'sidebar' => true,
	'bodyClass' => '',
	'automation' => [
		'story_notification' => false
	],
	'courseData' => object(App\Model\Entity\Course) {

		'id' => (int) 109,
		'name' => 'Orchestration 1: Instrumentation & Orchestration Basics',
		'slug' => '',
		'subtitle' => '',
		'title' => '',
		'image' => 'orchestral-20oct-619689968e209.jpg',
		'image_dir' => 'webroot/uploads/course_images/',
		'active' => false,
		'launch_date' => object(Cake\I18n\FrozenDate) {},
		'user_id' => '2e3e068a-9bbf-4ad4-a600-e590068e141b',
		'description' => '',
		'certificate_text' => '',
		'featured_text' => '',
		'requirements' => '',
		'sell_page' => null,
		'checkout_page' => null,
		'is_mini' => false,
		'disable_community_features' => false,
		'is_mastermind' => false,
		'enable_community' => false,
		'created' => object(Cake\I18n\FrozenTime) {},
		'modified' => object(Cake\I18n\FrozenTime) {},
		'box_image' => null,
		'box_image_dir' => null,
		'instructor_image' => null,
		'instructor_image_dir' => null,
		'instructor_name' => '',
		'instructor_bio' => '',
		'intro_video_url' => 'https://vimeo.com/645411231',
		'course_length' => '06:45',
		'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>',
		'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.
<br></span></p><div><br></div>',
		'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>',
		'curriculum_image' => 'coursemockup4-9orchestration-v3-curriculum-6180481d2dc0a.png',
		'curriculum_image_dir' => 'webroot/uploads/course_images/',
		'curriculum_image_type' => 'image/png',
		'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. ',
		'faq_video_url' => '',
		'webinar_title' => '',
		'webinar_description' => '',
		'webinar_image' => null,
		'webinar_image_dir' => null,
		'webinar_image_type' => null,
		'webinar_cta_link' => '',
		'trainer_id' => (int) 2,
		'video' => null,
		'short_description' => '',
		'custom_layout' => null,
		'is_bundle' => false,
		'remove_sidebar' => false,
		'bundle_price' => null,
		'frontpage' => false,
		'hidden' => false,
		'forced_rating' => null,
		'rating_quantity' => null,
		'header_script' => '',
		'body_script' => '',
		'featured_notificacion' => null,
		'featured_notification_link' => null,
		'show_featured_notification_to' => null,
		'chats_title' => '',
		'chats_description' => '',
		'chats_image' => null,
		'chats_image_dir' => null,
		'chats_image_type' => null,
		'weight' => (int) 8,
		'checkout_image' => 'coursemockup3-9orchestration-v3-box-618cd08010740.png',
		'checkout_image_dir' => 'webroot/uploads/course_images/',
		'versions' => [
			[maximum depth reached]
		],
		'modules' => [
			[maximum depth reached]
		],
		'progress' => (float) 0,
		'[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]' => 'Courses'
	
	},
	'course' => object(App\Model\Entity\Course) {

		'id' => (int) 109,
		'name' => 'Orchestration 1: Instrumentation & Orchestration Basics',
		'slug' => '',
		'subtitle' => '',
		'title' => '',
		'image' => 'orchestral-20oct-619689968e209.jpg',
		'image_dir' => 'webroot/uploads/course_images/',
		'active' => false,
		'launch_date' => object(Cake\I18n\FrozenDate) {},
		'user_id' => '2e3e068a-9bbf-4ad4-a600-e590068e141b',
		'description' => '',
		'certificate_text' => '',
		'featured_text' => '',
		'requirements' => '',
		'sell_page' => null,
		'checkout_page' => null,
		'is_mini' => false,
		'disable_community_features' => false,
		'is_mastermind' => false,
		'enable_community' => false,
		'created' => object(Cake\I18n\FrozenTime) {},
		'modified' => object(Cake\I18n\FrozenTime) {},
		'box_image' => null,
		'box_image_dir' => null,
		'instructor_image' => null,
		'instructor_image_dir' => null,
		'instructor_name' => '',
		'instructor_bio' => '',
		'intro_video_url' => 'https://vimeo.com/645411231',
		'course_length' => '06:45',
		'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>',
		'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.
<br></span></p><div><br></div>',
		'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>',
		'curriculum_image' => 'coursemockup4-9orchestration-v3-curriculum-6180481d2dc0a.png',
		'curriculum_image_dir' => 'webroot/uploads/course_images/',
		'curriculum_image_type' => 'image/png',
		'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. ',
		'faq_video_url' => '',
		'webinar_title' => '',
		'webinar_description' => '',
		'webinar_image' => null,
		'webinar_image_dir' => null,
		'webinar_image_type' => null,
		'webinar_cta_link' => '',
		'trainer_id' => (int) 2,
		'video' => null,
		'short_description' => '',
		'custom_layout' => null,
		'is_bundle' => false,
		'remove_sidebar' => false,
		'bundle_price' => null,
		'frontpage' => false,
		'hidden' => false,
		'forced_rating' => null,
		'rating_quantity' => null,
		'header_script' => '',
		'body_script' => '',
		'featured_notificacion' => null,
		'featured_notification_link' => null,
		'show_featured_notification_to' => null,
		'chats_title' => '',
		'chats_description' => '',
		'chats_image' => null,
		'chats_image_dir' => null,
		'chats_image_type' => null,
		'weight' => (int) 8,
		'checkout_image' => 'coursemockup3-9orchestration-v3-box-618cd08010740.png',
		'checkout_image_dir' => 'webroot/uploads/course_images/',
		'versions' => [
			[maximum depth reached]
		],
		'modules' => [
			[maximum depth reached]
		],
		'[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]' => 'Courses'
	
	},
	'topic' => object(App\Model\Entity\Topic) {

		'id' => (int) 3363,
		'name' => 'The Harmonic Series and How It Affects the Orchestration',
		'color' => '',
		'weight' => (int) 3261,
		'type' => 'file-text',
		'content' => '<p>As we just mentioned in the previous chapter, the harmonic series has a big influence on how we orchestrate and voice when we compose music, and that is for a simple reason. A vast majority of cultures around the world –including Western– have a preference for sounds that have a harmonic series, and this deeply affects the types of instrument used. We are not here to discuss why but humans over the history have tended to favor the simplicity of the relationship between partials in a sound with a harmonic series over sounds farther from this model.</p><p>As well as influencing the sounds we favor, this acoustic phenomenon extends its influence to the way the notes in music are organized. And, although it is true that tonal music is not a direct extrapolation of the harmonic series –neither is any particular music for that matter–, but more a cultural manifestation, it has a lot to do with this phenomenon. And that is also for a simple reason; if Western culture uses harmonic instruments it makes sense that the way that pitches are organized follows the rules that are similar to the sounds produced.</p><p><span style="letter-spacing: 0.1px;"><br></span></p><p><span style="letter-spacing: 0.1px;">This leads us to the following conclusions:</span><br></p><p>A: the lower we go in the human audible spectrum, the more separated the notes should be so they can be understood as different pitches (as opposed to unpitched sound). To the contrary, the higher notes need less separation from each other.</p><p>B: the intervals that are more often found are the perfect octave (2nd, 4th, 8th and 16th partial) and the perfect fifth (3rd, 6th, and 12th partial) followed in a less degree by the major third (5th and 10th), the minor seventh (7th and 14th) and major second (only the 9th). We are talking only about harmonically, not melodically, but a similar conclusion can be extracted comparing contiguous partials in the series.</p><p><br></p><p>If we extrapolate this observation to how music is voiced and orchestrated, we can draw the following conclusions:</p><p>A: as to the separation, given that we want clarity, we will separate notes more in the bottom of a chord, especially if they are place in a low register. On the contrary, we can have closer pitches in the top part of a chord, more if those notes are in a high register.</p><p>B: when voicing a chord, we will prefer to double:</p><p></p><ul><li>the root more than any other note. This note contains all the notes in a major chord, including the 5th, the major 3rd and the 7th. Obviously, we are not clearly hearing these notes, but the harmonics of these notes are contributing to the overall resonance of the chord and reinforcing the other notes.</li></ul><ul><li>then, although the fifth is the second note with more harmonics in common, it is usual to find composers doubling more the third. The reason for that is that, even though we would expect the fifth to be always more reinforced according to the harmonic series, since it is a note that doesn’t contribute to change the function of the chord (and from the Baroque era is also considered an old fashioned interval) it is very common to find the third duplicated more than the fifth. So here, a cultural reasons weights clearly more than the acoustic principle.</li></ul><p></p><p><br></p><p>But what happens with chords that have a minor third, or chords with a diminished fifth?</p><p>It is not uncommon to find composers doubling more the fifth than the third, but while that works with major chords, it doesn’t with minors. The reason for this is that the minor third of the chord, unlike the major one, is not present in the harmonic series of the fundamental of the chord, so the minor third has to fight against what we unconsciously hear from the series of the other notes of the chord. The result is often a feeling that the chord is never fully in tune, even though the musicians are playing perfectly fine. To solve this problem, we need to reinforce the minor third slightly more than usual so it can compete with the natural resonance of the chord. How much we do this depends on a case by case basis, but taking this principle into account when orchestrating and voicing chords is always a good first step.</p><p>Regarding other chords like the diminished 5th, augmented 5th, and other type of chords, doubling depends a lot on the particular chord but taking this principle into account is a good starting point. As a general remark we have to pay extra attention when orchestrating the notes that don’t belong to the harmonic series of the root of the chord. This sometimes means to just balance the chord evenly, and other times to actually reinforce the foreign notes a little bit more.</p>',
		'es_version' => null,
		'fr_version' => null,
		'de_version' => null,
		'published' => null,
		'public' => (int) 0,
		'module_id' => (int) 507,
		'parent_id' => null,
		'personalized_unavailable_message' => null,
		'personalized_unavailable_cta' => null,
		'created' => object(Cake\I18n\FrozenTime) {},
		'modified' => object(Cake\I18n\FrozenTime) {},
		'parent' => null,
		'module' => object(App\Model\Entity\Module) {},
		'[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'
	
	},
	'neighborTopics' => [
		'previous' => object(App\Model\Entity\Topic) {},
		'next' => object(App\Model\Entity\Topic) {}
	],
	'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
	]
]
$bufferLevel = (int) 2
$loggedUser = false
$theme = [
	'title' => 'Course Name',
	'logo' => [
		'mini' => '<b>C</b>C',
		'large' => '<b>C.</b> Composing'
	],
	'login' => [
		'show_remember' => true,
		'show_register' => false,
		'show_social' => false
	],
	'folder' => '/var/www/html'
]
$sidebar = true
$bodyClass = ''
$automation = [
	'story_notification' => false
]
$courseData = object(App\Model\Entity\Course) {

	'id' => (int) 109,
	'name' => 'Orchestration 1: Instrumentation & Orchestration Basics',
	'slug' => '',
	'subtitle' => '',
	'title' => '',
	'image' => 'orchestral-20oct-619689968e209.jpg',
	'image_dir' => 'webroot/uploads/course_images/',
	'active' => false,
	'launch_date' => object(Cake\I18n\FrozenDate) {},
	'user_id' => '2e3e068a-9bbf-4ad4-a600-e590068e141b',
	'description' => '',
	'certificate_text' => '',
	'featured_text' => '',
	'requirements' => '',
	'sell_page' => null,
	'checkout_page' => null,
	'is_mini' => false,
	'disable_community_features' => false,
	'is_mastermind' => false,
	'enable_community' => false,
	'created' => object(Cake\I18n\FrozenTime) {},
	'modified' => object(Cake\I18n\FrozenTime) {},
	'box_image' => null,
	'box_image_dir' => null,
	'instructor_image' => null,
	'instructor_image_dir' => null,
	'instructor_name' => '',
	'instructor_bio' => '',
	'intro_video_url' => 'https://vimeo.com/645411231',
	'course_length' => '06:45',
	'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>',
	'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.
<br></span></p><div><br></div>',
	'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>',
	'curriculum_image' => 'coursemockup4-9orchestration-v3-curriculum-6180481d2dc0a.png',
	'curriculum_image_dir' => 'webroot/uploads/course_images/',
	'curriculum_image_type' => 'image/png',
	'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. ',
	'faq_video_url' => '',
	'webinar_title' => '',
	'webinar_description' => '',
	'webinar_image' => null,
	'webinar_image_dir' => null,
	'webinar_image_type' => null,
	'webinar_cta_link' => '',
	'trainer_id' => (int) 2,
	'video' => null,
	'short_description' => '',
	'custom_layout' => null,
	'is_bundle' => false,
	'remove_sidebar' => false,
	'bundle_price' => null,
	'frontpage' => false,
	'hidden' => false,
	'forced_rating' => null,
	'rating_quantity' => null,
	'header_script' => '',
	'body_script' => '',
	'featured_notificacion' => null,
	'featured_notification_link' => null,
	'show_featured_notification_to' => null,
	'chats_title' => '',
	'chats_description' => '',
	'chats_image' => null,
	'chats_image_dir' => null,
	'chats_image_type' => null,
	'weight' => (int) 8,
	'checkout_image' => 'coursemockup3-9orchestration-v3-box-618cd08010740.png',
	'checkout_image_dir' => 'webroot/uploads/course_images/',
	'versions' => [
		(int) 0 => object(App\Model\Entity\Version) {}
	],
	'modules' => [
		(int) 0 => object(App\Model\Entity\Module) {},
		(int) 1 => object(App\Model\Entity\Module) {},
		(int) 2 => object(App\Model\Entity\Module) {},
		(int) 3 => object(App\Model\Entity\Module) {},
		(int) 4 => object(App\Model\Entity\Module) {},
		(int) 5 => object(App\Model\Entity\Module) {},
		(int) 6 => object(App\Model\Entity\Module) {},
		(int) 7 => object(App\Model\Entity\Module) {},
		(int) 8 => object(App\Model\Entity\Module) {},
		(int) 9 => object(App\Model\Entity\Module) {},
		(int) 10 => object(App\Model\Entity\Module) {}
	],
	'progress' => (float) 0,
	'[new]' => false,
	'[accessible]' => [
		'*' => true,
		'id' => false
	],
	'[dirty]' => [
		'progress' => true
	],
	'[original]' => [],
	'[virtual]' => [],
	'[hasErrors]' => false,
	'[errors]' => [],
	'[invalid]' => [],
	'[repository]' => 'Courses'

}
$course = object(App\Model\Entity\Course) {

	'id' => (int) 109,
	'name' => 'Orchestration 1: Instrumentation & Orchestration Basics',
	'slug' => '',
	'subtitle' => '',
	'title' => '',
	'image' => 'orchestral-20oct-619689968e209.jpg',
	'image_dir' => 'webroot/uploads/course_images/',
	'active' => false,
	'launch_date' => object(Cake\I18n\FrozenDate) {},
	'user_id' => '2e3e068a-9bbf-4ad4-a600-e590068e141b',
	'description' => '',
	'certificate_text' => '',
	'featured_text' => '',
	'requirements' => '',
	'sell_page' => null,
	'checkout_page' => null,
	'is_mini' => false,
	'disable_community_features' => false,
	'is_mastermind' => false,
	'enable_community' => false,
	'created' => object(Cake\I18n\FrozenTime) {},
	'modified' => object(Cake\I18n\FrozenTime) {},
	'box_image' => null,
	'box_image_dir' => null,
	'instructor_image' => null,
	'instructor_image_dir' => null,
	'instructor_name' => '',
	'instructor_bio' => '',
	'intro_video_url' => 'https://vimeo.com/645411231',
	'course_length' => '06:45',
	'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>',
	'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.
<br></span></p><div><br></div>',
	'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>',
	'curriculum_image' => 'coursemockup4-9orchestration-v3-curriculum-6180481d2dc0a.png',
	'curriculum_image_dir' => 'webroot/uploads/course_images/',
	'curriculum_image_type' => 'image/png',
	'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. ',
	'faq_video_url' => '',
	'webinar_title' => '',
	'webinar_description' => '',
	'webinar_image' => null,
	'webinar_image_dir' => null,
	'webinar_image_type' => null,
	'webinar_cta_link' => '',
	'trainer_id' => (int) 2,
	'video' => null,
	'short_description' => '',
	'custom_layout' => null,
	'is_bundle' => false,
	'remove_sidebar' => false,
	'bundle_price' => null,
	'frontpage' => false,
	'hidden' => false,
	'forced_rating' => null,
	'rating_quantity' => null,
	'header_script' => '',
	'body_script' => '',
	'featured_notificacion' => null,
	'featured_notification_link' => null,
	'show_featured_notification_to' => null,
	'chats_title' => '',
	'chats_description' => '',
	'chats_image' => null,
	'chats_image_dir' => null,
	'chats_image_type' => null,
	'weight' => (int) 8,
	'checkout_image' => 'coursemockup3-9orchestration-v3-box-618cd08010740.png',
	'checkout_image_dir' => 'webroot/uploads/course_images/',
	'versions' => [
		(int) 0 => object(App\Model\Entity\Version) {}
	],
	'modules' => [
		(int) 0 => object(App\Model\Entity\Module) {},
		(int) 1 => object(App\Model\Entity\Module) {},
		(int) 2 => object(App\Model\Entity\Module) {},
		(int) 3 => object(App\Model\Entity\Module) {},
		(int) 4 => object(App\Model\Entity\Module) {},
		(int) 5 => object(App\Model\Entity\Module) {},
		(int) 6 => object(App\Model\Entity\Module) {},
		(int) 7 => object(App\Model\Entity\Module) {},
		(int) 8 => object(App\Model\Entity\Module) {},
		(int) 9 => object(App\Model\Entity\Module) {},
		(int) 10 => object(App\Model\Entity\Module) {}
	],
	'[new]' => false,
	'[accessible]' => [
		'*' => true,
		'id' => false
	],
	'[dirty]' => [],
	'[original]' => [],
	'[virtual]' => [],
	'[hasErrors]' => false,
	'[errors]' => [],
	'[invalid]' => [],
	'[repository]' => 'Courses'

}
$topic = object(App\Model\Entity\Topic) {

	'id' => (int) 3363,
	'name' => 'The Harmonic Series and How It Affects the Orchestration',
	'color' => '',
	'weight' => (int) 3261,
	'type' => 'file-text',
	'content' => '<p>As we just mentioned in the previous chapter, the harmonic series has a big influence on how we orchestrate and voice when we compose music, and that is for a simple reason. A vast majority of cultures around the world –including Western– have a preference for sounds that have a harmonic series, and this deeply affects the types of instrument used. We are not here to discuss why but humans over the history have tended to favor the simplicity of the relationship between partials in a sound with a harmonic series over sounds farther from this model.</p><p>As well as influencing the sounds we favor, this acoustic phenomenon extends its influence to the way the notes in music are organized. And, although it is true that tonal music is not a direct extrapolation of the harmonic series –neither is any particular music for that matter–, but more a cultural manifestation, it has a lot to do with this phenomenon. And that is also for a simple reason; if Western culture uses harmonic instruments it makes sense that the way that pitches are organized follows the rules that are similar to the sounds produced.</p><p><span style="letter-spacing: 0.1px;"><br></span></p><p><span style="letter-spacing: 0.1px;">This leads us to the following conclusions:</span><br></p><p>A: the lower we go in the human audible spectrum, the more separated the notes should be so they can be understood as different pitches (as opposed to unpitched sound). To the contrary, the higher notes need less separation from each other.</p><p>B: the intervals that are more often found are the perfect octave (2nd, 4th, 8th and 16th partial) and the perfect fifth (3rd, 6th, and 12th partial) followed in a less degree by the major third (5th and 10th), the minor seventh (7th and 14th) and major second (only the 9th). We are talking only about harmonically, not melodically, but a similar conclusion can be extracted comparing contiguous partials in the series.</p><p><br></p><p>If we extrapolate this observation to how music is voiced and orchestrated, we can draw the following conclusions:</p><p>A: as to the separation, given that we want clarity, we will separate notes more in the bottom of a chord, especially if they are place in a low register. On the contrary, we can have closer pitches in the top part of a chord, more if those notes are in a high register.</p><p>B: when voicing a chord, we will prefer to double:</p><p></p><ul><li>the root more than any other note. This note contains all the notes in a major chord, including the 5th, the major 3rd and the 7th. Obviously, we are not clearly hearing these notes, but the harmonics of these notes are contributing to the overall resonance of the chord and reinforcing the other notes.</li></ul><ul><li>then, although the fifth is the second note with more harmonics in common, it is usual to find composers doubling more the third. The reason for that is that, even though we would expect the fifth to be always more reinforced according to the harmonic series, since it is a note that doesn’t contribute to change the function of the chord (and from the Baroque era is also considered an old fashioned interval) it is very common to find the third duplicated more than the fifth. So here, a cultural reasons weights clearly more than the acoustic principle.</li></ul><p></p><p><br></p><p>But what happens with chords that have a minor third, or chords with a diminished fifth?</p><p>It is not uncommon to find composers doubling more the fifth than the third, but while that works with major chords, it doesn’t with minors. The reason for this is that the minor third of the chord, unlike the major one, is not present in the harmonic series of the fundamental of the chord, so the minor third has to fight against what we unconsciously hear from the series of the other notes of the chord. The result is often a feeling that the chord is never fully in tune, even though the musicians are playing perfectly fine. To solve this problem, we need to reinforce the minor third slightly more than usual so it can compete with the natural resonance of the chord. How much we do this depends on a case by case basis, but taking this principle into account when orchestrating and voicing chords is always a good first step.</p><p>Regarding other chords like the diminished 5th, augmented 5th, and other type of chords, doubling depends a lot on the particular chord but taking this principle into account is a good starting point. As a general remark we have to pay extra attention when orchestrating the notes that don’t belong to the harmonic series of the root of the chord. This sometimes means to just balance the chord evenly, and other times to actually reinforce the foreign notes a little bit more.</p>',
	'es_version' => null,
	'fr_version' => null,
	'de_version' => null,
	'published' => null,
	'public' => (int) 0,
	'module_id' => (int) 507,
	'parent_id' => null,
	'personalized_unavailable_message' => null,
	'personalized_unavailable_cta' => null,
	'created' => object(Cake\I18n\FrozenTime) {},
	'modified' => object(Cake\I18n\FrozenTime) {},
	'parent' => null,
	'module' => object(App\Model\Entity\Module) {},
	'[new]' => false,
	'[accessible]' => [
		'*' => true,
		'id' => false
	],
	'[dirty]' => [],
	'[original]' => [],
	'[virtual]' => [],
	'[hasErrors]' => false,
	'[errors]' => [],
	'[invalid]' => [],
	'[repository]' => 'Topics'

}
$neighborTopics = [
	'previous' => object(App\Model\Entity\Topic) {

		'id' => (int) 3362,
		'name' => 'Partials, Overtones, and Harmonics',
		'color' => '',
		'weight' => (int) 3260,
		'type' => 'file-text',
		'content' => '<p>Every day, we are surrounded by different sources of sound that produce their own complex waveforms. These all come and get mixed in our ears as an even more complex waveform, reason why the brain needs to process this information to get some meaningful information about our sonic environment. The process is divided in two main parts:</p><p>A deconstruction of a complex waveform into its component simple sine waves. This is done by a type of cells in the ear that are specialized and get excited with only one single frequency.</p><p>A later classification of the single sine waves into different groups to help us identify the various sound sources around us. This is calculated by the brain based on coincidence in time, loudness relationship, and the frequency ratio between different sine waves. These three factors are what concerns us when we come to orchestration.</p><p>All sounds produced by one single source are made up of a series of frequencies, usually with the lowest of them (the fundamental) louder than the rest. These frequencies, when isolated from the sound, are numbered in order as we get higher in pitch (as we can see in the following graphic), and, regardless of what the ratio is between them, are all called partials.</p><h5>[img=/uploads/topics/overtones-bell-5973f855ee2cf.png]</h5><p>The first partial is always named as the “fundamental” while the rest, depending on the ratio they have in relation to the fundamental, are called overtones, harmonics, or both. On one hand, an overtone is a partial that is higher than the fundamental no matter what its relationship is with the first partial. On the other hand a harmonic is also a partial higher than the first partial but related to the fundamental by a whole number ratio. In other words, all harmonics are integer multiples of the fundamental and, at the same time, all harmonics are overtones as well.</p><h5>[img=/uploads/topics/harmonic-series-ratios-notes-and-frequencies-5973fc01c5c3f.png]</h5><h5>[img=/uploads/topics/overtones-flute-5973f86314f03.png]</h5><p>Regarding the two other factors mentioned above, –coincidence in time and loudness–, it is presumed that sounds with and without a harmonic series have all of their frequencies sounding right at, or just after, the start of the sound and until –or about– the end. Also, as mentioned before, lower partials –and particularly the fundamental– are louder than the higher ones. This is especially true when we talk about instruments with a harmonic series but this decrease of amplitude doesn’t always happen gradually, as some harmonics later in the series can be louder than previous ones.</p><p>A final consideration has to taken, for which we are going to use the following graphic with the first 16 partials of the harmonic series:</p><h5>[img=/uploads/topics/overtones-harmonic-series-5973f88842745.png]</h5><p>A first conclusion that we can draw is that the first partials are closer in frequency, but farther apart with respect to their notes. That is because the way we listen and map sounds in our brains is logarithmic, and not linear. This means that changes in frequency in the lower audible spectrum are more noticeable for us than the same changes in the highest range, in absolute numbers. We can also extract a more important conclusion, and that is that the lower we go in register or in a group of simultaneous notes, the more separate notes should be, and viceversa. In the next chapter we will see how this, as well as the ratios and loudness relationship between the notes in the series, have a big influence in how we orchestrate music.</p><p>All bowed string, brass, and woodwinds instruments are harmonic instruments (instruments that produce sound following the harmonic series), and, although not as close to the series as the previous groups, plucked string instruments also have many whole number ratios in their series. Pitched percussion instruments have a series where some of the partials are close enough to the harmonic series to give us a sensation of pitch, while unpitched percussion instruments (inharmonic instruments) produce overtones far from the whole number ratios to needed give us that feeling of pitch.</p>',
		'es_version' => null,
		'fr_version' => null,
		'de_version' => null,
		'published' => null,
		'public' => (int) 0,
		'module_id' => (int) 507,
		'parent_id' => null,
		'personalized_unavailable_message' => null,
		'personalized_unavailable_cta' => null,
		'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'
	
	},
	'next' => object(App\Model\Entity\Topic) {

		'id' => (int) 3364,
		'name' => 'The String Section',
		'color' => '',
		'weight' => (int) 3262,
		'type' => 'file-text',
		'content' => '<p>As we mentioned in previous modules the string section is not only one of the most versatile in the orchestra, but also the section with the longest history in this ensemble. For this reason it seems logical that the strings carried most of the weight in the orchestra for the longest time and, therefore, most of the functions.</p><p>In the following sections of this module we will see what these functions are, examples of the different ways to apply them to an actual score, and finally we will go over how to voice strings in a harmonic texture.</p>',
		'es_version' => null,
		'fr_version' => null,
		'de_version' => null,
		'published' => null,
		'public' => (int) 0,
		'module_id' => (int) 507,
		'parent_id' => null,
		'personalized_unavailable_message' => null,
		'personalized_unavailable_cta' => null,
		'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
Course Preview
The Harmonic Series and How It Affects the Orchestration

This Content is Locked

You must be Enrolled to Unlock
If you're already enrolled, you'll need to Login
Some information about this general settings option
Other sets of options are available
Allow the user to show his name in blog posts
Orchestrating for Strings

The Harmonic Series and How It Affects the Orchestration

This Content is Locked

Langdon's Birthday

Frodo Updated His Profile

Nora Joined Mailing List

Cron Job 254 Executed
