Orchestration 1: From Sketch to Orchestra
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</h4>

<hr>

<p>
The basic orchestration concepts are always the same, whether you grab an orchestration book or take private lessons.
</p><p>

The key difference is in <b>the way those concepts are presented</b>.
</p><p>

There’s a lot that you can read from various sources, but you’ll turbocharge your learning by focusing on the most important concepts and techniques that will <b>greatly improve your orchestration skills</b>.</p>

<hr>
<br>
<h3 style="line-height: 140%; text-align: center; color:#427cc2;">UNDERSTAND HOW TO <b>BALANCE ORCHESTRAL FAMILIES</b> AND HOW TO<br><b>ARRANGE FOR FULL ORCHESTRA</b></h3>
<br>
<br>
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</p><p><span style="letter-spacing: 0.1px;"><b><br></b></span></p><p><span style="letter-spacing: 0.1px;"><b>#1</b>– The <b>distinct features</b> of <b>each instrument</b></span><br></p><ul><li>What are their <b>best ranges</b>?</li><li>Do they stand out and cut through the orchestral mix or do they blend?</li><li>How does the timbre change depending on the range?</li></ul><p><span style="letter-spacing: 0.1px;"><b>#2</b> – Timbre management</span><br></p><ul><li><span style="letter-spacing: 0.1px;">How to <b>combine </b>instruments to create new <b>colors</b></span><br></li><li>When to and when not to use specific blends</li><li>When adding an instrument actually subtracts and lessens the sound</li></ul><p><b>#3</b> – How to <b>voice each section</b></p><p><span style="letter-spacing: 0.1px;"><b>#4</b> – How to use orchestral techniques to achieve <b>separation </b>and a good <b>distribution of the different musical lines</b></span><br></p><p><span style="letter-spacing: 0.1px;"><b>#5</b> – Understand the weight of each section to achieve <b>orchestral balance</b></span><br></p>',
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[header=Understand the basics of each instrument<br> and the role it plays in the orchestra*CONFIDENTLY WRITE FOR FULL ORCHESTRA]

[description]

[highlight]</p><p></p><p><br></p>


<p>[header=The course - How does it work?]
[vimeo=https://player.vimeo.com/video/247586933]</p><p><br></p><p>[header=What is inside the Course]<br></p>

[img=uploads/topics/macbook-mockup2-1-5a8d01d615dec.png]





[modules]
<p></p><p><br></p><p>[header=Weekly live video-chats] 

</p><p></p><div class="row">



<div class="col-md-7 mt-3">
<p>Every week, we’re hosting a live video-chat, where we gather to talk about orchestration, sample libraries, templates, composing techniques, etc.</p>

<p>This is a great tool that allows us to meet each other and makes the online experience more alive.</p>

<p>All chats are recorded so you can watch them later if you can’t attend the session. </p>
</div>



<div class="col-md-5 mt-3">
[img=uploads/topics/live-video-chats2-5a8cbcfc44510.png]
</div>








</div>

<p><br></p><p>[header=Have you ever had this feeling of not managing to pick the right instruments to bring your musical idea to life?][featured]</p>

<p></p><p><br></p><p>[header=This is what you're about to learn in this course]</p>

You’ll become an expert at the <b>fundamentals of orchestration</b>, and will learn why it is so important to master the basics before going for more challenging orchestral textures.
<p></p><p>

You’ll discover the importance of a good <b>arrangement to attain balance</b>. You’ll learn how this is going to be much more effective than just using dynamics and how this will almost guarantee the best results no matter the orchestra size.
</p><p>

You’ll discover the go-to <b>voicings </b>and arranging techniques to use for each section when you want to achieve certain effects, such as how to write for brass when you want an epic sound, what range of the flute sounds darker for a sadder tone, how to blend strings and woodwinds to add certain colorations, and how to get more definition for low cello and bass lines.
</p><p>

You’ll discover the importance of <b>doubling </b>and <b>combining instruments</b> and section. You’ll understand how that can sometimes increase the weight of a musical idea or other times will create a new timbre. Most importantly, you’ll learn what instruments NOT to put together depending on what purpose you’re after.
</p><p>

You’ll discover the <b>three basic elements</b> for <b>creating separation</b> so that your music sounds clear. If you are orchestration your orchestral mockup, and using sample libraries to produce your orchestral music, using this three basic elements is going to be of major help for gaining clarity and separation and it going to be the mixing part much easier.</p><p>





</p><p>PLUS&nbsp;</p><p><b>Miguel'scomments and feedback on your exercises and assignments&nbsp;</b></p><p><b>Weekly live video-chats&nbsp;</b></p><p><b>Access to the private group</b></p><p><br></p>





<div class="row">


<div class="col-md-7 mt-3">
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<div class="col-md-5 mt-3">
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<p style="text-align: center;"><br></p><p style="text-align: center;">The course is constantly under development, with new content added on a steady basis. As a student, you'll get every update completely for free.</p>
</div>


</div>


<p></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><br></p><p><span style="letter-spacing: 0.1px;">&nbsp;[header=What others have asked][faq]</span></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><span style="letter-spacing: 0.1px;"><br></span><br></p><p></p><p></p><p><br></p><p>
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</h4>

<hr>

<p>
The basic orchestration concepts are always the same, whether you grab an orchestration book or take private lessons.
</p><p>

The key difference is in <b>the way those concepts are presented</b>.
</p><p>

There’s a lot that you can read from various sources, but you’ll turbocharge your learning by focusing on the most important concepts and techniques that will <b>greatly improve your orchestration skills</b>.</p>

<hr>
<br>
<h3 style="line-height: 140%; text-align: center; color:#427cc2;">UNDERSTAND HOW TO <b>BALANCE ORCHESTRAL FAMILIES</b> AND HOW TO<br><b>ARRANGE FOR FULL ORCHESTRA</b></h3>
<br>
<br>
',
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</p><p><span style="letter-spacing: 0.1px;"><b><br></b></span></p><p><span style="letter-spacing: 0.1px;"><b>#1</b>– The <b>distinct features</b> of <b>each instrument</b></span><br></p><ul><li>What are their <b>best ranges</b>?</li><li>Do they stand out and cut through the orchestral mix or do they blend?</li><li>How does the timbre change depending on the range?</li></ul><p><span style="letter-spacing: 0.1px;"><b>#2</b> – Timbre management</span><br></p><ul><li><span style="letter-spacing: 0.1px;">How to <b>combine </b>instruments to create new <b>colors</b></span><br></li><li>When to and when not to use specific blends</li><li>When adding an instrument actually subtracts and lessens the sound</li></ul><p><b>#3</b> – How to <b>voice each section</b></p><p><span style="letter-spacing: 0.1px;"><b>#4</b> – How to use orchestral techniques to achieve <b>separation </b>and a good <b>distribution of the different musical lines</b></span><br></p><p><span style="letter-spacing: 0.1px;"><b>#5</b> – Understand the weight of each section to achieve <b>orchestral balance</b></span><br></p>',
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[header=Understand the basics of each instrument<br> and the role it plays in the orchestra*CONFIDENTLY WRITE FOR FULL ORCHESTRA]

[description]

[highlight]</p><p></p><p><br></p>


<p>[header=The course - How does it work?]
[vimeo=https://player.vimeo.com/video/247586933]</p><p><br></p><p>[header=What is inside the Course]<br></p>

[img=uploads/topics/macbook-mockup2-1-5a8d01d615dec.png]





[modules]
<p></p><p><br></p><p>[header=Weekly live video-chats] 

</p><p></p><div class="row">



<div class="col-md-7 mt-3">
<p>Every week, we’re hosting a live video-chat, where we gather to talk about orchestration, sample libraries, templates, composing techniques, etc.</p>

<p>This is a great tool that allows us to meet each other and makes the online experience more alive.</p>

<p>All chats are recorded so you can watch them later if you can’t attend the session. </p>
</div>



<div class="col-md-5 mt-3">
[img=uploads/topics/live-video-chats2-5a8cbcfc44510.png]
</div>








</div>

<p><br></p><p>[header=Have you ever had this feeling of not managing to pick the right instruments to bring your musical idea to life?][featured]</p>

<p></p><p><br></p><p>[header=This is what you're about to learn in this course]</p>

You’ll become an expert at the <b>fundamentals of orchestration</b>, and will learn why it is so important to master the basics before going for more challenging orchestral textures.
<p></p><p>

You’ll discover the importance of a good <b>arrangement to attain balance</b>. You’ll learn how this is going to be much more effective than just using dynamics and how this will almost guarantee the best results no matter the orchestra size.
</p><p>

You’ll discover the go-to <b>voicings </b>and arranging techniques to use for each section when you want to achieve certain effects, such as how to write for brass when you want an epic sound, what range of the flute sounds darker for a sadder tone, how to blend strings and woodwinds to add certain colorations, and how to get more definition for low cello and bass lines.
</p><p>

You’ll discover the importance of <b>doubling </b>and <b>combining instruments</b> and section. You’ll understand how that can sometimes increase the weight of a musical idea or other times will create a new timbre. Most importantly, you’ll learn what instruments NOT to put together depending on what purpose you’re after.
</p><p>

You’ll discover the <b>three basic elements</b> for <b>creating separation</b> so that your music sounds clear. If you are orchestration your orchestral mockup, and using sample libraries to produce your orchestral music, using this three basic elements is going to be of major help for gaining clarity and separation and it going to be the mixing part much easier.</p><p>





</p><p>PLUS&nbsp;</p><p><b>Miguel'scomments and feedback on your exercises and assignments&nbsp;</b></p><p><b>Weekly live video-chats&nbsp;</b></p><p><b>Access to the private group</b></p><p><br></p>





<div class="row">


<div class="col-md-7 mt-3">
[img=uploads/topics/macbook-mockup2-1-5a8cdbf730c3e.png]
</div>


<div class="col-md-5 mt-3">
<h2 style="text-align: center;"><br></h2><h2 style="text-align: center;">Lifetime updates</h2>


<p style="text-align: center;"><br></p><p style="text-align: center;">The course is constantly under development, with new content added on a steady basis. As a student, you'll get every update completely for free.</p>
</div>


</div>


<p></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><br></p><p><span style="letter-spacing: 0.1px;">&nbsp;[header=What others have asked][faq]</span></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><span style="letter-spacing: 0.1px;"><br></span><br></p><p></p><p></p><p><br></p><p>
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		'content' => '<p><b>SUL PONTICELLO</b></p><p>Sul ponticello means to play near the bridge. It can be applied to any bow technique. Although, in most cases it is found as legato or tremolo. It has a very scratchy, bright and open&nbsp;quality.</p><p><br></p><p>Sul ponticello technique is marked with a written instruction “sul pont.” over the passage.</p><p><br></p><p>[img=uploads/topics/sul-pont-0002-593e12ee447ef.png]<br></p><p><br></p><p><b>SUL TASTO (in some cases also a synonym with FLAUTANDO)<br></b></p><p>It means to play near the fingerboard. It also can be applied to any bow technique. However it is most likely found in legato, tremolo and soft dynamics. When performed in soft dynamics it can accept the name of “flautando”. It has a very soft and airy&nbsp;quality.</p><p><br></p><p>Sul tasto is marked with a written instruction “sul tasto” over the passage.</p><p><br></p><p>[img=uploads/topics/sul-tasto-0002-593e12f5e5025.png]<br></p>',
		'es_version' => '<p><b>SUL PONTICELLO</b></p><p>Sul ponticello significa tocar cerca del puente. Se puede aplicar a cualquier técnica de arco. Aunque, en la mayoría de los casos se encuentra como legato o tremolo. Tiene una calidad muy áspera, brillante y abierta.</p><p><br></p><p>SLa técnica de sul ponticello está marcada con una instrucción escrita "sul pont". Sobre el pasaje</p><p><br></p><p>[img=uploads/topics/sul-pont-0002-593e12ee447ef.png]<br></p><p><br></p><p><b>SUL TASTO (en algunos casos utilizado como sinónimo de FLAUTANDO)<br></b></p><p>Significa tocar cerca del diapasón. También se puede aplicar a cualquier técnica de arco. Sin embargo, es más probable que se encuentre en legato, trémolo y dinámica suave. Cuando se realiza en dinámica suave, puede aceptar el nombre de "flautando". Tiene una calidad muy suave y aireada.</p><p><br></p><p>Sul tasto está marcado con una instrucción escrita "sul tasto" sobre el pasaje.</p><p><br></p><p>[img=uploads/topics/sul-tasto-0002-593e12f5e5025.png]<br></p>',
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</h4>

<hr>

<p>
The basic orchestration concepts are always the same, whether you grab an orchestration book or take private lessons.
</p><p>

The key difference is in <b>the way those concepts are presented</b>.
</p><p>

There’s a lot that you can read from various sources, but you’ll turbocharge your learning by focusing on the most important concepts and techniques that will <b>greatly improve your orchestration skills</b>.</p>

<hr>
<br>
<h3 style="line-height: 140%; text-align: center; color:#427cc2;">UNDERSTAND HOW TO <b>BALANCE ORCHESTRAL FAMILIES</b> AND HOW TO<br><b>ARRANGE FOR FULL ORCHESTRA</b></h3>
<br>
<br>
',
	'certificate_text' => 'a course that teaches how to orchestrate for strings, brass, woods, percussion, voicing, balance between different families, etc. and gives an in-depth knowledge about how to arrange for orchestra.',
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</p><p><span style="letter-spacing: 0.1px;"><b><br></b></span></p><p><span style="letter-spacing: 0.1px;"><b>#1</b>– The <b>distinct features</b> of <b>each instrument</b></span><br></p><ul><li>What are their <b>best ranges</b>?</li><li>Do they stand out and cut through the orchestral mix or do they blend?</li><li>How does the timbre change depending on the range?</li></ul><p><span style="letter-spacing: 0.1px;"><b>#2</b> – Timbre management</span><br></p><ul><li><span style="letter-spacing: 0.1px;">How to <b>combine </b>instruments to create new <b>colors</b></span><br></li><li>When to and when not to use specific blends</li><li>When adding an instrument actually subtracts and lessens the sound</li></ul><p><b>#3</b> – How to <b>voice each section</b></p><p><span style="letter-spacing: 0.1px;"><b>#4</b> – How to use orchestral techniques to achieve <b>separation </b>and a good <b>distribution of the different musical lines</b></span><br></p><p><span style="letter-spacing: 0.1px;"><b>#5</b> – Understand the weight of each section to achieve <b>orchestral balance</b></span><br></p>',
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</p><p>[enroll]


[header=Understand the basics of each instrument<br> and the role it plays in the orchestra*CONFIDENTLY WRITE FOR FULL ORCHESTRA]

[description]

[highlight]</p><p></p><p><br></p>


<p>[header=The course - How does it work?]
[vimeo=https://player.vimeo.com/video/247586933]</p><p><br></p><p>[header=What is inside the Course]<br></p>

[img=uploads/topics/macbook-mockup2-1-5a8d01d615dec.png]





[modules]
<p></p><p><br></p><p>[header=Weekly live video-chats] 

</p><p></p><div class="row">



<div class="col-md-7 mt-3">
<p>Every week, we’re hosting a live video-chat, where we gather to talk about orchestration, sample libraries, templates, composing techniques, etc.</p>

<p>This is a great tool that allows us to meet each other and makes the online experience more alive.</p>

<p>All chats are recorded so you can watch them later if you can’t attend the session. </p>
</div>



<div class="col-md-5 mt-3">
[img=uploads/topics/live-video-chats2-5a8cbcfc44510.png]
</div>








</div>

<p><br></p><p>[header=Have you ever had this feeling of not managing to pick the right instruments to bring your musical idea to life?][featured]</p>

<p></p><p><br></p><p>[header=This is what you're about to learn in this course]</p>

You’ll become an expert at the <b>fundamentals of orchestration</b>, and will learn why it is so important to master the basics before going for more challenging orchestral textures.
<p></p><p>

You’ll discover the importance of a good <b>arrangement to attain balance</b>. You’ll learn how this is going to be much more effective than just using dynamics and how this will almost guarantee the best results no matter the orchestra size.
</p><p>

You’ll discover the go-to <b>voicings </b>and arranging techniques to use for each section when you want to achieve certain effects, such as how to write for brass when you want an epic sound, what range of the flute sounds darker for a sadder tone, how to blend strings and woodwinds to add certain colorations, and how to get more definition for low cello and bass lines.
</p><p>

You’ll discover the importance of <b>doubling </b>and <b>combining instruments</b> and section. You’ll understand how that can sometimes increase the weight of a musical idea or other times will create a new timbre. Most importantly, you’ll learn what instruments NOT to put together depending on what purpose you’re after.
</p><p>

You’ll discover the <b>three basic elements</b> for <b>creating separation</b> so that your music sounds clear. If you are orchestration your orchestral mockup, and using sample libraries to produce your orchestral music, using this three basic elements is going to be of major help for gaining clarity and separation and it going to be the mixing part much easier.</p><p>





</p><p>PLUS&nbsp;</p><p><b>Miguel'scomments and feedback on your exercises and assignments&nbsp;</b></p><p><b>Weekly live video-chats&nbsp;</b></p><p><b>Access to the private group</b></p><p><br></p>





<div class="row">


<div class="col-md-7 mt-3">
[img=uploads/topics/macbook-mockup2-1-5a8cdbf730c3e.png]
</div>


<div class="col-md-5 mt-3">
<h2 style="text-align: center;"><br></h2><h2 style="text-align: center;">Lifetime updates</h2>


<p style="text-align: center;"><br></p><p style="text-align: center;">The course is constantly under development, with new content added on a steady basis. As a student, you'll get every update completely for free.</p>
</div>


</div>


<p></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><br></p><p><span style="letter-spacing: 0.1px;">&nbsp;[header=What others have asked][faq]</span></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><span style="letter-spacing: 0.1px;"><br></span><br></p><p></p><p></p><p><br></p><p>
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</h4>

<hr>

<p>
The basic orchestration concepts are always the same, whether you grab an orchestration book or take private lessons.
</p><p>

The key difference is in <b>the way those concepts are presented</b>.
</p><p>

There’s a lot that you can read from various sources, but you’ll turbocharge your learning by focusing on the most important concepts and techniques that will <b>greatly improve your orchestration skills</b>.</p>

<hr>
<br>
<h3 style="line-height: 140%; text-align: center; color:#427cc2;">UNDERSTAND HOW TO <b>BALANCE ORCHESTRAL FAMILIES</b> AND HOW TO<br><b>ARRANGE FOR FULL ORCHESTRA</b></h3>
<br>
<br>
',
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	'featured_text' => '<h3 style="text-align: center;     line-height: 140%;">In order to get a <b>rich</b> and <b>full orchestral sound</b> out of our musical ideas, we need to have a <b>solid understanding of the basics:</b></h3><p>

</p><p><span style="letter-spacing: 0.1px;"><b><br></b></span></p><p><span style="letter-spacing: 0.1px;"><b>#1</b>– The <b>distinct features</b> of <b>each instrument</b></span><br></p><ul><li>What are their <b>best ranges</b>?</li><li>Do they stand out and cut through the orchestral mix or do they blend?</li><li>How does the timbre change depending on the range?</li></ul><p><span style="letter-spacing: 0.1px;"><b>#2</b> – Timbre management</span><br></p><ul><li><span style="letter-spacing: 0.1px;">How to <b>combine </b>instruments to create new <b>colors</b></span><br></li><li>When to and when not to use specific blends</li><li>When adding an instrument actually subtracts and lessens the sound</li></ul><p><b>#3</b> – How to <b>voice each section</b></p><p><span style="letter-spacing: 0.1px;"><b>#4</b> – How to use orchestral techniques to achieve <b>separation </b>and a good <b>distribution of the different musical lines</b></span><br></p><p><span style="letter-spacing: 0.1px;"><b>#5</b> – Understand the weight of each section to achieve <b>orchestral balance</b></span><br></p>',
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</p><p>[enroll]


[header=Understand the basics of each instrument<br> and the role it plays in the orchestra*CONFIDENTLY WRITE FOR FULL ORCHESTRA]

[description]

[highlight]</p><p></p><p><br></p>


<p>[header=The course - How does it work?]
[vimeo=https://player.vimeo.com/video/247586933]</p><p><br></p><p>[header=What is inside the Course]<br></p>

[img=uploads/topics/macbook-mockup2-1-5a8d01d615dec.png]





[modules]
<p></p><p><br></p><p>[header=Weekly live video-chats] 

</p><p></p><div class="row">



<div class="col-md-7 mt-3">
<p>Every week, we’re hosting a live video-chat, where we gather to talk about orchestration, sample libraries, templates, composing techniques, etc.</p>

<p>This is a great tool that allows us to meet each other and makes the online experience more alive.</p>

<p>All chats are recorded so you can watch them later if you can’t attend the session. </p>
</div>



<div class="col-md-5 mt-3">
[img=uploads/topics/live-video-chats2-5a8cbcfc44510.png]
</div>








</div>

<p><br></p><p>[header=Have you ever had this feeling of not managing to pick the right instruments to bring your musical idea to life?][featured]</p>

<p></p><p><br></p><p>[header=This is what you're about to learn in this course]</p>

You’ll become an expert at the <b>fundamentals of orchestration</b>, and will learn why it is so important to master the basics before going for more challenging orchestral textures.
<p></p><p>

You’ll discover the importance of a good <b>arrangement to attain balance</b>. You’ll learn how this is going to be much more effective than just using dynamics and how this will almost guarantee the best results no matter the orchestra size.
</p><p>

You’ll discover the go-to <b>voicings </b>and arranging techniques to use for each section when you want to achieve certain effects, such as how to write for brass when you want an epic sound, what range of the flute sounds darker for a sadder tone, how to blend strings and woodwinds to add certain colorations, and how to get more definition for low cello and bass lines.
</p><p>

You’ll discover the importance of <b>doubling </b>and <b>combining instruments</b> and section. You’ll understand how that can sometimes increase the weight of a musical idea or other times will create a new timbre. Most importantly, you’ll learn what instruments NOT to put together depending on what purpose you’re after.
</p><p>

You’ll discover the <b>three basic elements</b> for <b>creating separation</b> so that your music sounds clear. If you are orchestration your orchestral mockup, and using sample libraries to produce your orchestral music, using this three basic elements is going to be of major help for gaining clarity and separation and it going to be the mixing part much easier.</p><p>





</p><p>PLUS&nbsp;</p><p><b>Miguel'scomments and feedback on your exercises and assignments&nbsp;</b></p><p><b>Weekly live video-chats&nbsp;</b></p><p><b>Access to the private group</b></p><p><br></p>





<div class="row">


<div class="col-md-7 mt-3">
[img=uploads/topics/macbook-mockup2-1-5a8cdbf730c3e.png]
</div>


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<h2 style="text-align: center;"><br></h2><h2 style="text-align: center;">Lifetime updates</h2>


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	'content' => '<p><b>SUL PONTICELLO</b></p><p>Sul ponticello means to play near the bridge. It can be applied to any bow technique. Although, in most cases it is found as legato or tremolo. It has a very scratchy, bright and open&nbsp;quality.</p><p><br></p><p>Sul ponticello technique is marked with a written instruction “sul pont.” over the passage.</p><p><br></p><p>[img=uploads/topics/sul-pont-0002-593e12ee447ef.png]<br></p><p><br></p><p><b>SUL TASTO (in some cases also a synonym with FLAUTANDO)<br></b></p><p>It means to play near the fingerboard. It also can be applied to any bow technique. However it is most likely found in legato, tremolo and soft dynamics. When performed in soft dynamics it can accept the name of “flautando”. It has a very soft and airy&nbsp;quality.</p><p><br></p><p>Sul tasto is marked with a written instruction “sul tasto” over the passage.</p><p><br></p><p>[img=uploads/topics/sul-tasto-0002-593e12f5e5025.png]<br></p>',
	'es_version' => '<p><b>SUL PONTICELLO</b></p><p>Sul ponticello significa tocar cerca del puente. Se puede aplicar a cualquier técnica de arco. Aunque, en la mayoría de los casos se encuentra como legato o tremolo. Tiene una calidad muy áspera, brillante y abierta.</p><p><br></p><p>SLa técnica de sul ponticello está marcada con una instrucción escrita "sul pont". Sobre el pasaje</p><p><br></p><p>[img=uploads/topics/sul-pont-0002-593e12ee447ef.png]<br></p><p><br></p><p><b>SUL TASTO (en algunos casos utilizado como sinónimo de FLAUTANDO)<br></b></p><p>Significa tocar cerca del diapasón. También se puede aplicar a cualquier técnica de arco. Sin embargo, es más probable que se encuentre en legato, trémolo y dinámica suave. Cuando se realiza en dinámica suave, puede aceptar el nombre de "flautando". Tiene una calidad muy suave y aireada.</p><p><br></p><p>Sul tasto está marcado con una instrucción escrita "sul tasto" sobre el pasaje.</p><p><br></p><p>[img=uploads/topics/sul-tasto-0002-593e12f5e5025.png]<br></p>',
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		'id' => (int) 35,
		'name' => 'Right Hand: Off the String Techniques',
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		'content' => '<p><b>SPICCATO</b></p><p>Probably the most used technique among the "off the string" articulations. This technique starts with the bow on the string on the first note to quickly leave the string to bounce the bow against it in the following notes. During the moments the bow is not in contact with the string the sound stops and then when it contacts the string again it produces a little attack with every new bounce.</p><p>The way the bow bounces can be controlled by the musician at all times. The musician can produce more attack and noise through harder bounces and less bow. Alternatively one can create a rounder and fuller sound with softer bounces and more bow.</p><p>The symbol applied to the notes, like with the staccato technique, is the staccato mark. If the composer truly thinks the musicians are not going to perform this technique by reading the musical context a “spiccato” instruction should be written on top of the passage. This would make the staccato mark unnecessary then. However, it is recommended that if we want a passage to have short notes, it should just be indicated with staccato marks. This allows the player to decide what technique fits better.</p><p><br></p><p>[img=uploads/topics/spiccato-0002-593e113382d67.png]<br></p><p><br></p><div><p><b>RICOCHET (also found as JETÉ)</b></p><p>In this technique the bow is thrown on the string causing it to bounce several times according to the number of notes written under a slur. Although it is still controlled bounces it is not as much as with spiccato. This is because the first bounce will determine the way the rest will rebound, but after that the ability to control the bounces is limited.</p><p>It is marked with a slur over the group of notes affected by the articulation as well as with staccato marks over each of the noteheads.&nbsp;It is marked with a slur over the groups of notes affected by the articulation, as well as a staccato mark over each of them. In the rare case that there is the chance to be confused with slurred staccato, it can be also added the written instruction “ricochet” over the passage.</p><p><br></p><div>[img=uploads/topics/ricochet-0002-593e11ed0d7d9.png]<br></div></div>',
		'es_version' => '<p><b>SPICCATO</b></p><p>Probablemente la técnica más utilizada entre las articulaciones "fuera de las cuerdas". Esta técnica comienza con el arco en la cuerda en la primera nota para dejar rápidamente la cuerda y&nbsp; hacer rebotar el arco contra ella en las siguientes notas. Durante los momentos en que el arco no está en contacto con la cuerda, el sonido se detiene y luego, cuando entra en contacto nuevamente con la cuerda, produce un pequeño ataque con cada nuevo rebote.</p><p>La forma en que el arco rebota puede ser controlada por el músico en todo momento. El músico puede producir más ataque y ruido a través de rebotes más fuertes y menos arco. Alternativamente, uno puede crear un sonido más redondo y completo con rebotes más suaves y más arco.</p><p>El símbolo sobre las notas, como con la técnica staccato, es la marca staccato. Si el compositor realmente piensa que los músicos no van a realizar esta técnica al leer el contexto musical, se debe escribir "spiccato" en la parte superior del pasaje. Esto haría que la marca staccato fuera innecesaria entonces. Sin embargo, se recomienda que si queremos que un pasaje tenga notas cortas, solo se indique con marcas staccato. Esto le permite al intérprete&nbsp; decidir qué técnica le queda mejor.</p><p><br></p><p>[img=uploads/topics/spiccato-0002-593e113382d67.png]<br></p><p><br></p><div><p><b>RICOCHET (también encontrada como JETÉ)</b></p><p>En esta técnica, el arco se arroja sobre la cuerda haciendo que rebote varias veces de acuerdo con el número de notas escritas debajo de la ligadura. Aunque todavía está controlado el rebote, no es tan controlado como con el spiccato. Esto se debe a que el primer rebote determinará la forma en que el resto seguirá, pero después de eso, la capacidad de controlar los rebotes es limitada.</p><p>Está marcado con una ligadura sobre el grupo de notas afectadas por la articulación, así como con marcas staccato sobre cada una de las cabezas de nota. En el raro caso de que exista la posibilidad de confundirse con staccato slurred, también se puede agregar la instrucción escrita "ricochet" sobre el pasaje.</p><p><br></p><div>[img=uploads/topics/ricochet-0002-593e11ed0d7d9.png]<br></div></div>',
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		'id' => (int) 37,
		'name' => 'Right Hand: Other Techniques',
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		'content' => '<p><b>PIZZ. or PIZZICATO</b></p><p>It is the only technique that doesn’t require the use of the bow. For the pizzicato one finger will pluck the string producing a sound similar to the guitar. It is advisable that pizzicatos are not too fast since they are mostly performed with the same finger.</p><p>It is important to note that when performing this technique players are also able to hold the bow in the right hand. This allows them to efficiently change from bow to pizzicato and vice-versa. When coming from pizzicato the change back to bow is indicated with a written “arco” instruction over the new passage.</p><p><br></p><p>[img=uploads/topics/pizz-0002-593e136b2dc10.png]<br></p><p><br></p><div><p>There are two additional types of pizzicatos. The first is Bartók pizzicato, which is also known as snap pizzicato, and left-hand pizzicato.</p><p>The Bartók pizzicato is similar to the regular pizzicato in any regard, except that the string snaps the fingerboard and produces a click sound on top of the normal sound of the note. It is indicated with a pizzicato bartók mark above/under the note head.</p></div><div><p><br></p><p>[img=uploads/topics/bartok-pizz-0002-593e13753f943.png]<br></p><p><br></p><p>The left hand pizzicato is far more complicated to play. It doesn’t sound as good and full as the regular but it has the advantage that it can be combined with arco or regular pizzicato notes. This adds more virtuosism to the music. It is used almost only in solo parts and it is marked in string parts by adding a plus sign above/below the notehead.</p><p><br></p><p>[img=uploads/topics/left-hand-pizz-0002-593e1380d9952.png]<br></p><p><br></p><p><b>CON LEGNO (also found as C.L.)</b></p><p></p><p>This technique uses the stick of the bow instead of the hairs. There are two kinds listed below.</p><ul><li>Con legno battuto - this is the most common type. The player strikes the string(s) with the wooden part of the bow. It has a very “clicky” quality. It is not very loud in violins and violas but quite loud in cellos and contrabasses. It is marked as “col legno” or if it needs clarification as “con legno battuto” or “c.l. battuto”.</li></ul><ul><li>Con legno tratto - this type is very uncommon due to its very soft and almost inaudible quality. It is produced by drawing the string with the wooden part of the bow. It can be used with any of the "on the string" techniques. However, since its soft sound doesn’t let appreciate the differences between the different techniques, it is mostly used in tremolo or legato. Its quality is soft, thin and hoarse. It is marked as “con legno tratto” or “c.l. tratto”.</li></ul><p><br></p><p>[img=uploads/topics/col-legno-0002-593e1836a963b.png]<br></p><p><br></p><p></p><p><b>CON SORD. or CON SORDINO (also found as MUTE)</b></p><p></p><p>As other instruments in the orchestra string players also have the option to use mutes while performing in any technique. There are several different mutes but since they don’t differ very much in sound, (or not as much as they do in brass), it is rare to find composers or orchestrators indicating the use of a particular one. As with the brass it not only dampens the sound, but it also adds some color to it.</p><p><br></p><p>[img=uploads/topics/sord-0002-593e18943ccbd.png]<br></p></div>',
		'es_version' => '<p><b>PIZZ. or PIZZICATO</b></p><p>Es la única técnica que no requiere el uso del arco. Para el pizzicato, un dedo tocará la cuerda produciendo un sonido similar al de la guitarra. Es aconsejable que los pizzicatos no sean demasiado rápidos, ya que se realizan principalmente con el mismo dedo.</p><p>Es importante tener en cuenta que al realizar esta técnica, los interpretes también pueden sostener el arco con la mano derecha. Esto les permite cambiar eficientemente de arco a pizzicato y viceversa. Cuando viene de pizzicato, el cambio de nuevo a arco se indica con una instrucción escrita "arco" sobre el nuevo pasaje.</p><p><br></p><p>[img=uploads/topics/pizz-0002-593e136b2dc10.png]<br></p><p><br></p><div><p>Hay dos tipos adicionales de pizzicatos. El primero es el pizzicato Bartók, que también se conoce como snap pizzicato, y pizzicato izquierdo.</p><p>El pizzicato Bartók es similar al pizzicato regular en cualquier aspecto, excepto que la cuerda se estrella con el diapasón y produce un sonido de clic sobre el sonido normal de la nota. Se indica con una marca de pizzicato bartók encima / debajo de la cabeza de la nota.</p></div><div><p><br></p><p>[img=uploads/topics/bartok-pizz-0002-593e13753f943.png]<br></p><p><br></p><p>El pizzicato de la mano izquierda es mucho más complicado de ejecutar. No suena tan bien ni completo como el regular, pero tiene la ventaja de que se puede combinar con notas de arco o pizzicato regulares. Esto agrega más virtuosismo a la música. Se usa casi solo en partes individuales y se marca en las partes de cuerda agregando un signo más arriba / debajo de la cabeza de la nota.</p><p><br></p><p>[img=uploads/topics/left-hand-pizz-0002-593e1380d9952.png]<br></p><p><br></p><p><b>CON LEGNO (also found as C.L.)</b></p><p></p><p>Esta técnica utiliza el mástil del arco en lugar de las cerdas. Hay dos tipos:</p><ul><li>Con legno battuto: este es el más común. El intérprete golpea las cuerdas con la parte de madera del arco. Tiene una calidad muy "clicky". No es muy ruidoso en violines y violas, pero es muy ruidoso en violonchelos y contrabajos. Está marcado como "col legno" o si necesita mayor aclaración "con legno battuto" o "c.l. battuto”.</li></ul><ul><li>Con legno tratto: este tipo es muy poco común debido a su calidad muy suave y casi inaudible. Se produce frotando la cuerda con la parte de madera del arco. Se puede usar con cualquiera de las técnicas "sobre las cuerdas". Sin embargo, dado que su sonido suave no permite apreciar las diferencias entre las diferentes técnicas, se usa principalmente en trémolo o legato. Su calidad es suave, delgada y ronca. Está marcado como "con legno tratto" o "c.l. tratto”.</li></ul><p><br></p><p>[img=uploads/topics/col-legno-0002-593e1836a963b.png]<br></p><p><br></p><p></p><p><b>CON SORD. or CON SORDINO (also found as MUTE)</b></p><p></p><p>Como otros instrumentos en la orquesta, los intérpretes de cuerda también tienen la opción de usar sordinas mientras realizan cualquier técnica. Hay varias sordinas diferentes, pero como no difieren mucho en el sonido (o no tanto como en los metales), es raro encontrar compositores u orquestadores que indiquen el uso de alguno en particular. Al igual que con los metales, la sordina no solo amortigua el sonido, sino que también le agrega algo de color.</p><p><br></p><p>[img=uploads/topics/sord-0002-593e18943ccbd.png]<br></p></div>',
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Right Hand: Techniques Depending on the Place on the String

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The String Section

Right Hand: Techniques Depending on the Place on the String

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