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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[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]
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<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>





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</div>


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<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>The chimes, often referred to as well as “tubular bells”, are a substitute for church bells in the orchestra. They are idiophones as well, although they are not considered a mallet instrument since they don’t use plaques to produce sound. Instead, they use a series of brass tubes of different sizes arranged chromatically in a frame. Like the vibraphone they also have a pedal to dampen the resonance of the tubes, which the player can operate with the right foot.</p><p>Chimes have a very wide dynamic range if played with the right mallets. In forte they can compete with a fairly big orchestra, but only when they have slow passages. In piano though they can be more agile or produce subtle chords. Overall tubular bells are not as responsive and agile as the mallets instruments and playing them is trickier than playing the previously discussed ones.</p><p>[img=/uploads/topics/chimes-1500-59dad099270bf.jpg]</p><p><br></p><p><b>RANGE</b></p><p>The range goes from C3 to F4, and exceptionally from F2 to F4. Tubular bells don’t transpose.</p><p>[img=/uploads/topics/chimes-range-59dd5ab6bfbaa.jpeg]</p><p><br></p><p><b>NOTATION</b></p><p>The chimes are written on a 5 line stave in treble clef and they don’t transpose.</p><p><br></p><p><b>TECHNIQUES</b></p><p><span style="letter-spacing: 0.1px;">Common techniques for chimes include legato lines, staccato, glissandos, chords with two notes (or four notes in either piano for one player or louder for two players), and clusters.</span><br></p><p>For the use of the pedal, especially helpful in legato passages or sustaining chords, the composer or orchestrator should mark it in the score with the common symbol for the pedal.</p><p><br></p><p><b>MALLETS</b></p><p>On the tubular bells the mallet we use will depend on the dynamic we want to convey, even more than with the other mallets,. For soft dynamics the player will use a rawhide mallet, while for louder dynamics they will use metal, wood or plastic.</p><p>For special effects, the player has at his or her disposal a series of different mallets, starting with rubber mallets for pianissimo passages, vibraphone mallets for pianos, or wood or metal bars for clusters. For glissandos the player will also use metal mallets.</p><p><br></p><span style="letter-spacing: 0.1px;">[vzaar=11744552]
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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		'es_version' => '<p>Las campanas, a menudo denominadas como "campanas tubulares", son un sustituto de las campanas de la iglesia en la orquesta. También son idiófonos, aunque no se consideran un instrumento de mazo ya que no usan placas para producir sonido. En cambio, usan una serie de tubos de metal de diferentes tamaños dispuestos cromáticamente sobre&nbsp; un marco. Al igual que el vibráfono, también tienen un pedal para amortiguar la resonancia de los tubos, que el ejecutante puede operar con el pie derecho.</p><p>Las campanas tienen un rango dinámico muy amplio si se ejecutan con los mazos correctos. En forte pueden competir con una orquesta bastante grande, pero solo cuando tienen pasajes lentos. En piano, sin embargo, pueden ser más ágiles o producir acordes sutiles. En general, las campanas tubulares no son tan sensibles y ágiles como los instrumentos de mazos y tocarlas es más complicado que tocar las que se discutieron anteriormente.</p><p>[img=/uploads/topics/chimesesp1-5edd676d326d2.jpg]</p><p><br></p><p><b>RANGO</b></p><p>El rango va de C3 a F4, y excepcionalmente de F2 a F4. Las campanas tubulares no se transponen.</p><p>[img=/uploads/topics/chimes-range-59dd5ab6bfbaa.jpeg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>Las campanas están escritas en un pentagrama de 5 líneas en clave de sol y no se transponen.</p><p><br></p><p><b>TÉCNICAS</b></p><p><span style="letter-spacing: 0.1px;">Las técnicas comunes para las campanas incluyen líneas de legato, staccato, glissandos, acordes con dos notas (o cuatro notas en piano para un intérprete o más fuerte para dos intérpretes) y clúster.</span><br></p><p>Para el uso del pedal, es&nbsp; especialmente útil en pasajes legato o acordes sostenidos, el compositor u orquestador debe marcarlo en la partitura con el símbolo común del pedal.</p><p><br></p><p><b>MAZOS</b></p><p>En las campanas tubulares, el mazo que utilicemos dependerá de la dinámica que queramos transmitir, incluso más que con los otros mazos. Para dinámicas suaves, el ejecutante usará un mazo de cuero crudo, mientras que para dinámicas más fuertes usarán de metal, madera o plástico.</p><p>Para efectos especiales, el intérprete&nbsp; tiene a su disposición una serie de mazos diferentes, comenzando con mazos de goma para pasajes de pianissimo, mazos de vibráfono para pianos, o barras de madera o metal para grupos. Para los glissandos, el intérprete también usará mazos metálicos.</p><p><br></p><span style="letter-spacing: 0.1px;">[vzaar=11744552]
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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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>[header=The course - How does it work?]
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<p></p><p><br></p><p>[header=Weekly live video-chats] 

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<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>
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<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>





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

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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">



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<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>
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<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>





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<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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<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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	'id' => (int) 423,
	'name' => 'Pitched/Idioph: the Chimes (Tubular Bells)',
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	'weight' => (int) 420,
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	'content' => '<p>The chimes, often referred to as well as “tubular bells”, are a substitute for church bells in the orchestra. They are idiophones as well, although they are not considered a mallet instrument since they don’t use plaques to produce sound. Instead, they use a series of brass tubes of different sizes arranged chromatically in a frame. Like the vibraphone they also have a pedal to dampen the resonance of the tubes, which the player can operate with the right foot.</p><p>Chimes have a very wide dynamic range if played with the right mallets. In forte they can compete with a fairly big orchestra, but only when they have slow passages. In piano though they can be more agile or produce subtle chords. Overall tubular bells are not as responsive and agile as the mallets instruments and playing them is trickier than playing the previously discussed ones.</p><p>[img=/uploads/topics/chimes-1500-59dad099270bf.jpg]</p><p><br></p><p><b>RANGE</b></p><p>The range goes from C3 to F4, and exceptionally from F2 to F4. Tubular bells don’t transpose.</p><p>[img=/uploads/topics/chimes-range-59dd5ab6bfbaa.jpeg]</p><p><br></p><p><b>NOTATION</b></p><p>The chimes are written on a 5 line stave in treble clef and they don’t transpose.</p><p><br></p><p><b>TECHNIQUES</b></p><p><span style="letter-spacing: 0.1px;">Common techniques for chimes include legato lines, staccato, glissandos, chords with two notes (or four notes in either piano for one player or louder for two players), and clusters.</span><br></p><p>For the use of the pedal, especially helpful in legato passages or sustaining chords, the composer or orchestrator should mark it in the score with the common symbol for the pedal.</p><p><br></p><p><b>MALLETS</b></p><p>On the tubular bells the mallet we use will depend on the dynamic we want to convey, even more than with the other mallets,. For soft dynamics the player will use a rawhide mallet, while for louder dynamics they will use metal, wood or plastic.</p><p>For special effects, the player has at his or her disposal a series of different mallets, starting with rubber mallets for pianissimo passages, vibraphone mallets for pianos, or wood or metal bars for clusters. For glissandos the player will also use metal mallets.</p><p><br></p><span style="letter-spacing: 0.1px;">[vzaar=11744552]
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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		'id' => (int) 422,
		'name' => 'Pitched/Idioph: the Crotales',
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		'content' => '<p>The crotales is also a mallet instrument from the idiophone family. It is made of a series of bronze discs that are arranged chromatically in two rows on a frame similar to the piano keyboard. Its sound is loud and very piercing and bright, and its resonance can extend for way longer than the glockenspiel, or pretty much any other mallet.</p><p>The crotales can also have a pedal to dampen the sound of its discs which are operated by the feet (similar to the vibraphone).</p><p>[img=/uploads/topics/crotales-1500a-59dacf24d72d6.jpg]</p><p><br></p><p><b>RANGE</b></p><p>The range of the crotales goes from C6 to C7, but there is also a model of two octaves that goes from C5 to C7.</p><p>[img=/uploads/topics/crotales-range-59dd5a9ceac9a.jpeg]<br></p><p><br></p><p><b>NOTATION</b></p><p>The crotales is written on a 5 line stave in treble clef and it transposes two octaves above, just like the glockenspiel.</p><p><br></p><p><b>TECHNIQUES</b></p><p>The crotales is an instrument that lends itself to any of the techniques that can be used in mallet instruments. However, they are slightly less agile than the rest of the mallets, which we should take into consideration when writing fast passages. As with most of the other mallet instruments, they also can be bowed, an effect which is particularly effective in this instrument.</p><p><br></p><p><b>MALLETS</b></p><p>The main mallets for the crotales are the metal, wood and plastic mallets. For special effects, we also have in our range of possibilities the cluster mallet, triangle beaters, and cello or contrabass bows to sustain notes.</p><p><br></p><span style="letter-spacing: 0.1px;">[vzaar=11744516]</span>
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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		'id' => (int) 424,
		'name' => 'unPitched/Memb: the Snare Drum',
		'color' => '#000000',
		'weight' => (int) 421,
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		'content' => '<p>The snare drum is a membranophone with two heads –usually made of plastic– on the opposite sides of a shell, and also has snares. The head on top of the shell is the one struck with the sticks, and the bottom one is where the snares are stretched across. The snares can be made of coiled wire –for a brighter sound–, or gut, or synthetic gut –both for a darker sound. To deactivate the sound of the snares, the instrument also has a switch to loosen them so they don’t interact with the bottom head.</p><p>The sound of this drum is quite bright, no matter what snares we use, and it is a very precise and responsive instrument.&nbsp;</p><p>[img=/uploads/topics/snare-drum-2500-59dad45d57c5f.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The snare drum is written on a 1 line stave in neutral clef.</p><p>[img=/uploads/topics/snare-drum-notation-5a02610394671.jpeg]<br></p><p><br></p><p><b>TECHNIQUES</b></p><p><br></p><p>Areas:</p><p>The normal sound we expect from the snare drum is produced in the area between the center and the rim, slightly closer to the rim. The area around the center produces a more deep and dampened sound, while the area near the edge has a higher pitch sound.</p><p>There are three ways to mark it: by a written mark, with a symbol, and changing the pitch on the stave.</p><p>[img=/uploads/topics/snare-drum-areas1-5a0262c6b5134.jpeg]</p><p>Additional areas include the rim –very sharp and metallic sounding– and the shell –high in pitch but also depends on the material of the shell. These can be written with a written mark or a symbol.</p><p>[img=/uploads/topics/snare-drum-areas2-5a0262cb7dbcb.jpeg]</p><p><br></p><p>Basic stroke:</p><p>The player will alternate hands to strike the head using the natural rebound of the sticks on the head.</p><p>[img=/uploads/topics/snare-drum-basic-stroke-5a0261173b166.jpeg]</p><p><br></p><p>Rolls:</p><p>Rolls are used to hold the sound of the snare drum continuously. They are made by quickly alternating the hands so it creates the illusion of a constant sound. In this process the function of the snares helping to connect individual strikes is key.</p><p><br></p><p>There are 3 types of rolls:</p><p></p><p></p><p></p><ul><li>Simple: the hands alternate one bounce every strike. It sounds very open as the strikes are still perceived as separate elements. It is written with 32nd notes, not with the tremolo symbol on the beam.</li></ul><ul><li>Open or double: the hands alternate two bounces each every strike. It is still open, but now the individual strokes are perceived as a continuous sound. It is written with the tremolo symbol (or trill symbol).</li></ul><ul><li>Close, multi-bounces, or “concert”: each hand alternate multiple bounces every strike. The more bounces (typically 2 or 3) the more close and continuous sound. It is written with the tremolo symbol (or trill symbol), or with a “z” on top of the note when we need to differentiate from the open roll (with the common tremolo symbol).</li></ul><p></p><p></p><p></p><p>Unlike the strings, which can be written both tied between tremolo notes or untied, tremolo notes that cover several noteheads should always be tied, unless we want the player to quickly stop the continuous sound.</p><p>[img=/uploads/topics/snare-drum-rolls-5a0265b96da76.jpeg]</p><p><br></p><p>Acciaccaturas:</p><p>These can go from one single acciaccatura to three or four, and they can be closer to the downbeat or more open. They make the note fatter, especially when they are close.</p><p>[img=/uploads/topics/snare-drum-acciaccaturas-5a0260d7c21b2.jpeg]</p><p><br></p><p>Rim shot:</p><p>There are two kinds: those performed in concert settings or the one performed in rock or latin genres:</p><p>Concert rim shot: easier and more precise, the player will place one stick on the drum with the tip near the center of the head and the shaft on the rim. Then, the player will strike with the other stick the first stick.</p><p>Rock/Latin rim shot: the player will strike the drum near the center of the head with the tip of the stick and the rim with the shaft. It is considerably louder than the previous, but also more difficult to play and less precise therefore.</p><p>[img=/uploads/topics/snare-drum-rs-5a0260ed5c9ed.jpeg]</p><p><br></p><p>Cross stick:</p><p>Also known as rim-click –or rim shot when the term is used more loosely– means to rest the tip of the stick on the center of the head to strike the rim with the butt. It has a “clicky” quality, and fulfills the function of the claves in genres like the bossa-nova.</p><p>[img=/uploads/topics/snare-drum-cs-5a0260fbbe7c2.jpeg]</p><p><br></p><p>With or without snares:</p><p>Generally, there is no need to specify when to tighten or loosen the snares, since by default the percussionist player will understand that the snare drum should have them always activated. However, when the composer/orchestrator wants a sound like a tom-tom, the player can switch to snares off. A piece with changes to without the snares should always be notated in both cases with a written mark or symbol.</p><p>[img=/uploads/topics/snare-drum-snares-5a0260e57c346.jpeg]</p><p><br></p><p><b>MALLETS</b></p><p>The normal sticks for the snare drum are wooden sticks with a little tip in different shapes. Other mallets or resources that can be used with the snare drum include:</p><p>Timpani or vibraphone mallets: for a softer quality.</p><p>Brushes: they can be rubbed and produce a continuous sound or strike the head and produce a soft and diffuse attack. They are very common in jazz pieces or the likes.</p><p>Superball: produces a continuous sound exciting the different harmonics of the head.</p><p>The different parts of the hands: including hitting or rubbing with the tip of the fingers, knuckles, nails, or palms. The are used to look for different effects, but they don’t sound nearly as much as playing with sticks or mallets.</p><p><br></p><p><span style="letter-spacing: 0.1px;">[vzaar=11744569]
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		'es_version' => '<p>El redoblante es un membranófono con dos parches, generalmente de plástico, en los lados opuestos de una caja, y también tiene bordonas…. El parche en la parte superior de la caja es la que&nbsp; se golpea con los palos, y la inferior es donde se extienden las bordonas. Las bordonas pueden estar hechas de alambre enrollado –para un sonido más brillante–, o tripa, o tripa sintética –tanto para un sonido más oscuro. Para desactivar el sonido de las bordonas, el instrumento también tiene un interruptor para aflojarlas para que no interactúen con el parche inferior.</p><p>El sonido de este redoblante es bastante brillante, sin importar las bordonas que usemos, y es un instrumento muy preciso y de alta sensitividad.</p><p>[img=/uploads/topics/snare-drum-esp-5edd6adbe3a85.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>El redoblante está escrito en un pentagrama de 1 línea en clave neutral.</p><p>[img=/uploads/topics/snare-drum-notation-5a02610394671.jpeg]<br></p><p><br></p><p><b>TÉCNICA</b></p><p><br></p><p>Áreas:</p><p>El sonido normal que esperamos del redoblante se produce en el área entre el centro y el borde, un poco más cerca del borde. El área alrededor del centro produce un sonido más profundo y amortiguado, mientras que el área cerca del borde tiene un sonido más agudo.</p><p>Hay tres formas de marcarlo: mediante una marca escrita, con un símbolo, y cambiando el tono en el pentagrama.</p><p>[img=/uploads/topics/snare-drum-areas1-5a0262c6b5134.jpeg]</p><p>Las áreas adicionales incluyen el borde(rim), que suena muy agudo y metálico, y la caja, de tono alto, pero también depende del material de la caja. Estos se pueden escribir con una marca escrita o un símbolo.</p><p>[img=/uploads/topics/snare-drum-areas2-5a0262cb7dbcb.jpeg]</p><p><br></p><p>Golpe Básico:</p><p>El ejecutante alternará las manos para golpear el parche usando el rebote natural de las baquetas en el parche.</p><p>[img=/uploads/topics/snare-drum-basic-stroke-5a0261173b166.jpeg]</p><p><br></p><p>Rolls:</p><p>Los rolls se utilizan para mantener el sonido del redoblante de manera continua. Se hacen alternando rápidamente las manos para crear la ilusión de un sonido constante. En este proceso, la función de las bordonas sirve para ayudar a conectar los golpes individuales es clave.</p><p><br></p><p>Hay 3 tipos de rolls:</p><p></p><p></p><p></p><ul><li>Simple: las manos alternan un rebote en cada golpe. Suena muy abierto ya que los golpes todavía se perciben como elementos separados. Está escrito con fusas, y no con el símbolo de trémolo en la plica.</li></ul><ul><li>Abierto o doble: las manos alternan dos rebotes cada vez que golpea. Todavía está abierto, pero ahora los golpes individuales se perciben como un sonido continuo. Está escrito con el símbolo de trémolo (o símbolo de trino).</li></ul><ul><li>Cerrado, rebotes múltiples o "concierto": cada mano alterna múltiples rebotes en cada golpe. Cuantos más rebotes (normalmente 2 o 3), el sonido es más cercano y continuo. Está escrito con el símbolo de trémolo (o símbolo de trino), o con una "z" en la parte superior de la nota cuando necesitamos diferenciarnos del roll abierto (con el símbolo de trémolo común).</li></ul><p></p><p></p><p></p><p>A diferencia de las cuerdas, que pueden escribirse ligadas entre notas de trémolo o sin ligar, las notas de trémolo que cubren varias cabezas de nota siempre deben ligadas, a menos que queramos que el intérprete detenga rápidamente el sonido continuo.</p><p>[img=/uploads/topics/snare-drum-rolls-5a0265b96da76.jpeg]</p><p><br></p><p>Acciaccaturas:</p><p>Estos pueden ir de una sola acciaccatura a tres o cuatro, y pueden estar más cerca del tiempo fuerte o más abierto. Hacen que la nota sea más gorda, especialmente cuando están cerca.</p><p>[img=/uploads/topics/snare-drum-acciaccaturas-5a0260d7c21b2.jpeg]</p><p><br></p><p>Rim shot(golpe de borde):</p><p>Hay dos tipos: los que se realizan en escenarios de conciertos o el que se realiza en géneros de rock o latinos:</p><p>Rim shot de concierto: más fácil y más preciso, el intérprete colocará una baqueta en el tambor con la punta cerca del centro del parche y el eje en el borde. Luego, el intérprete golpeará con la otra baqueta la primera baqueta.</p><p>Rock / Latin rim shot: el intérprete golpeará el redoblante cerca del centro del parche con la punta de la baqueta&nbsp; y el borde con el eje. Es considerablemente más ruidoso que el anterior, pero también más difícil de tocar y, por lo tanto, menos preciso.</p><p>[img=/uploads/topics/snare-drum-rs-5a0260ed5c9ed.jpeg]</p><p><br></p><p>Baqueta cruzada:</p><p>También conocido como rim-clic –o tiro de borde cuando el término se usa más libremente– significa descansar la punta de la baqueta en el centro del parche para golpear el borde con la parte de atrás. Tiene una calidad "clicky" y cumple la función de las claves en géneros como la bossa-nova.</p><p>[img=/uploads/topics/snare-drum-cs-5a0260fbbe7c2.jpeg]</p><p><br></p><p>Con o sin bordonas:</p><p>En general, no es necesario especificar cuándo apretar o aflojar las bordonas, ya que, de manera predeterminada, el percusionista entenderá que la caja debe tenerlas siempre activadas. Sin embargo, cuando el compositor / orquestador quiere un sonido como un tom-tom, el ejecutante puede cambiar a sin bordona. Una pieza con cambios con y sin bordonas siempre debe anotarse en ambos casos con una marca o símbolo escrito.</p><p>[img=/uploads/topics/snare-drum-snares-5a0260e57c346.jpeg]</p><p><br></p><p><b>MAZOS</b></p><p>Las baquetas normales para el redoblante son baquetas de madera con una pequeña punta en diferentes formas. Otros mazos o recursos que se pueden usar con el redoblante incluyen:</p><p>Mazos de vibráfono o timbal: para una calidad más suave.</p><p>Escobillas: se pueden frotar y producir un sonido continuo o golpear la cabeza y producir un ataque suave y difuso. Son muy comunes en piezas de jazz o similares.</p><p>Superball: produce un sonido continuo que excita los diferentes armónicos del parche.</p><p>Las diferentes partes de las manos: incluso golpear o frotar con la punta de los dedos, nudillos, uñas o palmas. Se usan para buscar diferentes efectos, pero no suenan tanto como tocar con baquetas o mazos.</p><p><br></p><p><span style="letter-spacing: 0.1px;">[vzaar=11744569]
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Pitched/Idioph: the Chimes (Tubular Bells)

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Pitched/Idioph: the Chimes (Tubular Bells)

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