Cinematic Composing

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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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[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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</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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</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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</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>


<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>
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	'name' => 'Conclusion',
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	'content' => '<p>En esta lección, hemos aprendido algunas ideas clave que nos ayudarán a comprender mejor cómo funciona la sección de cuerdas&nbsp; y cuáles son sus capacidades. Entre estos conceptos podemos encontrar los siguientes:</p><p></p><ul><li>Una breve reseña histórica de la sección.</li></ul><ul><li>Las funciones principales de la sección.<br></li></ul><ul><li>Las principales características de cada instrumento.&nbsp;&nbsp;&nbsp;&nbsp;</li></ul><ul><li>Las funciones principales de cada instrumento.</li></ul><ul><li>Las partes de un instrumento de cuerda.</li></ul><ul><li>La cuerda y la mecánica del arco.</li></ul><ul><li>Técnicas de la mano izquierda: cuerdas abiertas y cuerdas múltiples.</li></ul><ul><li>Técnicas de la mano derecha: sobre / lejos del arco, colocarse en la cuerda y otras técnicas</li></ul><ul><li>Divisis: tutti, divisi, soli y solo</li></ul><p></p>',
	'es_version' => '<p>En esta lección, hemos aprendido algunas ideas clave que nos ayudarán a comprender mejor cómo funciona la sección de cuerdas&nbsp; y cuáles son sus capacidades. Entre estos conceptos podemos encontrar los siguientes:</p><p></p><ul><li>Una breve reseña histórica de la sección.</li></ul><ul><li>Las funciones principales de la sección.<br></li></ul><ul><li>Las principales características de cada instrumento.&nbsp;&nbsp;&nbsp;&nbsp;</li></ul><ul><li>Las funciones principales de cada instrumento.</li></ul><ul><li>Las partes de un instrumento de cuerda.</li></ul><ul><li>La cuerda y la mecánica del arco.</li></ul><ul><li>Técnicas de la mano izquierda: cuerdas abiertas y cuerdas múltiples.</li></ul><ul><li>Técnicas de la mano derecha: sobre / lejos del arco, colocarse en la cuerda y otras técnicas</li></ul><ul><li>Divisis: tutti, divisi, soli y solo</li></ul><p></p>',
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		'content' => '<p>In this lesson, we learnt some key ideas that will help us to better understand how the string section works and what its capabilities are. Among these concepts we can find the following ones:</p><p><ul><li>A brief historical background of the section</li></ul><ul><li>The main functions of the section</li></ul><ul><li>The main characteristics of each instrument</li></ul><ul><li>The main functions of each instrument</li></ul><ul><li>The parts of a string instrument</li></ul><ul><li>The string and bow mechanics</li></ul><ul><li>Left-hand techniques: open strings and multiple stops</li></ul><ul><li>Right-hand techniques: on/off the bow, placement on the string and other techniques</li></ul><ul><li>Divisis: tutti, divisi, soli, and solo</li></ul></p>'
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		'id' => (int) 83,
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		'content' => '<p>Even though it is not as utilized, as in the woodwind and brass section, the strings are a very versatile section when it comes to size options. As we talked in the section titled, “Size and Balance in Today’s Context”, the sound of a particular ensemble would change drastically by adding or subtracting players.</p><p>Once we decide the number of players per section, the options are:</p><p><br></p><p><b>TUTTI</b></p><p><span style="font-size: 17px; letter-spacing: 0.1px;">The whole section plays one note. It has the fullest sound out of the four. &nbsp;It is also indicated as tutti.</span></p><p><span style="font-size: 17px; letter-spacing: 0.1px;"><br></span></p><p><b>DIVISI</b></p><p><span style="font-size: 17px; letter-spacing: 0.1px;">This section is divided by a fraction, to allow the playing of multiple notes at a time. It has the particularity that the sound becomes thinner –which is one of the main goals of this technique–, especially when it is done by a fraction of less than ½. If the section is divided by two it would be called divisi a2 (div. a2), if it is by three divisi a3, and so on.</span><span style="font-size: 17px; letter-spacing: 0.1px;">&nbsp;</span></p><p>Note that for being able to use divisis in a particular section, every divisi should have a minimum amount of players. &nbsp;This will depend on the sound we want for the divisis to have.</p><p><br></p><p>[vzaar=12572790]&nbsp;<span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a common type of divisi in M. Ravel's Daphnis et Chloé: Suite No.1</span></p><p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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<p></p><h5 style="color: rgb(0, 0, 0);"><br></h5><p style="color: rgb(0, 0, 0);"><br></p><p style="text-align: center;">

[vzaar=12526062]&nbsp;<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a extreme type of divisi in R. Strauss's Also sprach Zarathustra, II Von den Hinterweltlern</span>

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</div><p></p><p><br></p><p><b>SOLO</b></p><p><span style="font-size: 17px; letter-spacing: 0.1px;">The first chair (concertmaster in the case of the first violins) would be the only one in charge of playing a particular line. This player has to change his or her playing style to produce a sound with a soloist character, since it often has to cut through other multiple instruments or sections. This line is indicated with the word solo. &nbsp;When the section comes back in or the soloist player joins them, it is indicated as tutti.</span></p><p>It is compatible with having the rest of the section playing in the background. &nbsp;In this case, the line with the rest is indicated as gli altri.</p><p><br></p><p>[vzaar=12581891]&nbsp;<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a string instrument (viola) solo</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passage</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;in M. de Falla's El amor brujo: Danza del juego de amor</span>

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<p></p><p><br></p><p><b>MULTIPLE SOLI</b></p><p><span style="font-size: 17px; letter-spacing: 0.1px;">Not only one solo player, out of the whole section, is allowed to play an individual line. &nbsp;Alternatively, &nbsp;several of them can play several lines. When this case happens, often as two soloist players, it is indicated as soli. In the case that there are more than two players performing solo parts, it would be indicated as solo 1, solo 2, solo 3, etc. It is also compatible with having the rest of the section playing in the background.</span></p><p><span style="font-size: 17px; letter-spacing: 0.1px;"><br></span></p><p>[vzaar=12572875]&nbsp;<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Examples of multiple soli</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passages</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">, both in the same and different sections. The first piece is An American in Paris by G. Gershwin and the second En Saga by J. Sibelius</span></p>
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo4" style="">FR</a>
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		'es_version' => '<p>Aunque no es tan utilizado como en la sección de maderas y metales, las cuerdas son una sección muy versátil en cuanto se trata de opciones de tamaño. Como hablamos en la sección titulada "Tamaño y equilibrio en el contexto actual", el sonido de un ensamble particular cambiaría drásticamente al sumar o restar intérpretes.</p><p>Una vez que decidimos el número de intérpretes por sección, las opciones son:</p><p><br></p><p><b>TUTTI</b></p><p><span style="font-size: 17px; letter-spacing: 0.1px;">Cuando la sección completa ejecuta una nota. Tiene el sonido más lleno de los cuatro, es indicado como tutti.</span></p><p><span style="font-size: 17px; letter-spacing: 0.1px;"><br></span></p><p><b>DIVISI</b></p><p><span style="font-size: 17px; letter-spacing: 0.1px;">TLa sección es dividida por una fracción, para permitir la ejecución de múltiples notas al mismo tiempo. Esto tiene la particularidad de que el sonido se vuelve más delgado,&nbsp; uno de los principales objetivos de esta técnica, especialmente cuando se realiza en una fracción de menos de ½. Si la sección se divide por dos, se llamaría divisi a2 (div. A2), si es por tres divisi a3, y así sucesivamente.</span><span style="font-size: 17px; letter-spacing: 0.1px;"></span></p><p>Tenga en cuenta que para poder usar divisis en una sección en particular, cada división debe tener una cantidad mínima de intérpretes. Esto dependerá del sonido que queramos que tenga el divisi.</p><p><br></p><p>[vzaar=21592888]&nbsp;<span style="font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a common type of divisi in M. Ravel's Daphnis et Chloé: Suite No.1</span></p><p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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<p></p><h5 style="color: rgb(0, 0, 0);"><br></h5><p style="color: rgb(0, 0, 0);"><br></p><p style="text-align: center;">

[vzaar=21592911]&nbsp;<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a extreme type of divisi in R. Strauss's Also sprach Zarathustra, II Von den Hinterweltlern</span>

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</div><p></p><p><br></p><p><b>SOLO</b></p><p><span style="font-size: 17px; letter-spacing: 0.1px;">La primera silla (maestro de concierto&nbsp; en el caso de los primeros violines) es la única encargada de tocar una línea en particular. Este intérprete tiene que cambiar su estilo de interpretación&nbsp; para producir un sonido con un carácter solista, ya que a menudo tiene que atravesar&nbsp; otros instrumentos o secciones múltiples. Esta línea se indica con la palabra solo. Cuando vuelve la sección o el intérprete solista se une a ellos, se indica como tutti.</span></p><p>Esto es compatible con tener el resto de la sección tocando&nbsp; en segundo plano. En este caso, la línea con el resto se indicara como gli altri.</p><p><br></p><p>[vzaar=21592897]&nbsp;<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Example of a string instrument (viola) solo</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passage</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;in M. de Falla's El amor brujo: Danza del juego de amor</span>

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<p></p><p><br></p><p><b>MULTIPLE SOLI</b></p><p><span style="font-size: 17px; letter-spacing: 0.1px;">No solo un intérprete en solitario, de toda la sección, tiene permitido ejecutar una línea individual. Alternativamente, varios de ellos pueden ejecutar varias líneas. Cuando esto ocurre, a menudo con dos solistas, se indica como soli. En el caso de que haya más de dos intérpretes tocando partes en solitario, se indicaría como solo 1, solo 2, solo 3, etc. También es compatible con tener el resto de la sección tocando en el plano de fondo.<br></span></p><p><span style="font-size: 17px; letter-spacing: 0.1px;"><br></span></p><p>[vzaar=21592892]&nbsp;<span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px;">Examples of multiple soli</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">&nbsp;</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">passages</span><span style="color: inherit; font-family: &quot;Source Sans Pro&quot;, sans-serif; font-size: 14px; line-height: 1.1;">, both in the same and different sections. The first piece is An American in Paris by G. Gershwin and the second En Saga by J. Sibelius</span></p>
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		'content' => '<p><b>SOLO STRING INSTRUMENTS<br></b></p><p>Write a passage for violin, viola, cello and contrabass of 4 bars each including one bar in each of their 4 strings (one bar in the 1st string, one bar in the 2nd string, another in the 3rd and a last one in the 4th). You can also break a bar or alter the order of strings as long as you have the instrument playing the same amount of time in the four strings.&nbsp;<span style="letter-spacing: 0.1px;">Indicate which string you are at all times with the written instruction “sul G/D/A/E” and add also dynamics.</span></p><p><span style="letter-spacing: 0.1px;">Also, use 3 of the on the string techniques, 1 off the string, and 1 of the remaining categories. Mark each technique accordingly and try to use a different set of techniques for each instrument.</span></p><p><br></p><p><b>DOUBLE, TRIPLE, AND QUADRUPLE STOPS<br></b></p><p>Write 2 small passages of 3 bars each, one for violin and one for cello, combining single notes with double, triple and quadruple stops. Remember that, while more common in solo music, series of 3rds and 6ths are rarer in orchestral music for violin, so don’t abuse of them.&nbsp;<span style="letter-spacing: 0.1px;">As for the triple and quadruple stops, try to&nbsp;</span><span style="letter-spacing: 0.1px;">add the chords only in places that make sense musically for the melody, like in the beginning or end of the phrase or semi-phrases.&nbsp;</span><span style="letter-spacing: 0.1px;">Also, try to use as much open strings as possible in the multiple stops.</span></p><p><br></p><p><b>SUBDIVISIONS<span style="letter-spacing: 0.1px;">&nbsp;</span></b></p><p>Write a passage for violin I of 6 bars including a section in tutti, divisi, solo and multiple soli. As with the video examples, you can combine the soloist playing along with the rest of the section (gli altri), or even the soloist with the rest in divisi.</p><p><br></p><p><b>Note: please, include an mp3 for all exercises. It doesn't have to be a great sounding mockup, just a quick export from your notation software.</b></p>',
		'es_version' => '<p><b>INSTRUMENTOS DE CUERDA SOLISTA<br></b></p><p>Escriba un pasaje para violín, viola, violonchelo y contrabajo de 4 compases cada una incluyendo un compás en cada una de sus 4 cuerdas (un compás en la primera cuerda, un compás en la segunda cuerda, otra en la 3ra y una última en la 4ta.) También puedes dividir una compás o alterar el orden de las cuerdas siempre que tenga el instrumento tocando la misma cantidad de tiempo en las cuatro cuerdas. Indique en qué cuerda se encuentra en todo momento con la instrucción escrita "sul G / D / A / E" y agregue también signos de dinámica.<span style="letter-spacing: 0.1px;"></span></p><p><span style="letter-spacing: 0.1px;">Además, utilice 3 de las técnicas sobre las cuerdas, 1 fuera de la cuerda y 1 de las categorías restantes. Marque cada técnica de manera correcta e intente utilizar un conjunto diferente de técnicas para cada instrumento.</span></p><p><br></p><p><b>CUERDAS DOBLES, TRIPLES Y CUADRUPLES <br></b></p><p>WEscriba 2 pequeños pasajes de 3 compases cada uno, uno para violín y otro para violonchelo, combinando notas individuales con cuerdas dobles, triples y cuádruples. Recuerda que, aunque es más común en la música solista, las series de 3ras y 6tas son más raras en el repertorio orquestal para violín, así que no abuses de ellas. En cuanto a las cuerdas triples y cuádruples, intente agregar los acordes solo en lugares que tengan sentido musicalmente para la melodía, como al principio o al final de la frase o semifrases. Además, intente utilizar la mayor cantidad posible de cuerdas abiertas en la técnica de cuerdas múltiples.<span style="letter-spacing: 0.1px;"></span></p><p><br></p><p><b>SUBDIVSIONES<span style="letter-spacing: 0.1px;"></span></b></p><p>Escriba un pasaje para violín I de 6 compases que incluya una sección en tutti, divisi, solista y soli múltiple. Al igual que con los ejemplos de video, puede combinar el solista tocando junto con el resto de la sección (gli altri), o incluso el solista con el resto en divisi.</p><p><br></p><p><b>Nota: por favor, incluya un mp3 para todos los ejercicios. No tiene que ser una maqueta que suene excelente, solo una exportación rápida de su software de notación.</b></p>',
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En esta lección, hemos aprendido algunas ideas clave que nos ayudarán a comprender mejor cómo funciona la sección de cuerdas y cuáles son sus capacidades. Entre estos conceptos podemos encontrar los siguientes:

Una breve reseña histórica de la sección.

Las funciones principales de la sección.

Las principales características de cada instrumento.

Las funciones principales de cada instrumento.

Las partes de un instrumento de cuerda.

La cuerda y la mecánica del arco.

Técnicas de la mano izquierda: cuerdas abiertas y cuerdas múltiples.

Técnicas de la mano derecha: sobre / lejos del arco, colocarse en la cuerda y otras técnicas

Divisis: tutti, divisi, soli y solo

The String Section

Conclusion

Langdon's Birthday

Frodo Updated His Profile

Nora Joined Mailing List

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