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]
</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">


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<div class="col-md-5 mt-3">
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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>Las congas, son un instrumento común en la música afrocubana y caribeña. También son un membranófono con un parche de piel y una caja cilíndrica de madera. Hay cuatro tipos principales de congas y, excepto el bombo, son considerablemente más grandes que el resto de los membranófonos que hemos estudiado:</p><p></p><p></p><ul><li>Tumba (el tono más bajo): aproximadamente 30.5 a 31.8 cm (12 "a 12.5") de diámetro del parche.</li></ul><ul><li>Conga (tono bajo): aproximadamente 29.2 a 30.5 cm (11.5 "a 12") de diámetro del parche.</li></ul><ul><li>Quinto (tono medio): aproximadamente 28 cm (11 ”) de diámetro del parche.</li></ul><ul><li>Requinto (tono alto): aproximadamente 24.8 cm (10 ”) de diámetro del parche.</li></ul><p></p><p></p><p>Para afinar el parche, todas las congas tienen una serie de orejas alrededor del borde. Por lo general, se tocan con las manos y así es como obtenemos su sonido característico, pero también se pueden tocar en configuraciones de concierto con mazos. Al igual que con los bongos, los intérpretes virtuosos en la música latina pueden tocar patrones rítmicos muy rápidos y complejos, pero no debemos esperar que un percusionista orquestal toque con ese nivel de virtuosismo.</p><p>[img=/uploads/topics/congas-esp-5edd713eacba8.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>Las congas se escriben en un pentagrama de 2 a 4 líneas en clave neutral con una conga por línea (en orden de tono). Además, también se pueden anotar en un pentagrama de 5 líneas con una conga por espacio (también en orden de tono).</p><p>[img=/uploads/topics/congas-notation-5a03b74d6ba16.jpeg]</p><p><br></p><p><b>TÉCNICA</b></p><p>Dado que las congas usan los dedos en lugar de los mazos por defecto, a diferencia de la mayoría del resto de los instrumentos de percusión, la técnica que usan es un poco diferente. El tipo de golpes depende de la parte de los dedos o de los dedos particulares que usa el intérprete, y son los siguientes:</p><p></p><p></p><ul><li>Tono abierto (O): el intérprete golpea el borde del parche con el segundo nudillo de los cuatro dedos (sin pulgar) con la mano casi plana. Obtiene el sonido más puro y resonante de las congas.</li></ul><ul><li>Tono bajo (B): el intérprete golpea el parche con la palma llena y la mantiene hasta que amortigua cualquier posible resonancia. Produce un tono bajo amortiguado. Algunos intérpretes lo denominan "talón" o "palma" cuando se alterna con el tacto.</li></ul><ul><li>Slap (S): el intérprete golpea el parche aproximadamente en el mismo lugar que el tono abierto, pero con la curva natural de la mano como resultado de una posición más relajada. El resultado final será la excitación de uno de los armónicos del parche, un sonido más agudo y filoso que el tono abierto.</li></ul><p></p><ul><li>Toque (T) (también conocido como dedo del pie o dedos): con la muñeca apoyada cerca del borde, el intérprete golpea el redoblante con la punta de los dedos. Es un sonido abombado y alto, más suave que las técnicas anteriores. Por lo general, se alterna con el tono de bajo uno tras otro.</li></ul><ul><li>Tono amortiguado / silenciado (M): es un tono abierto pero deja que la mano descanse sobre el parche, por lo que amortigua el sonido.</li></ul><ul><li>Slap abierto (OS): es un slap donde las puntas de los dedos no se quedan en el parche, por lo que deja que el parche suene completamente.</li></ul><ul><li>Slap asordinado / presionado (MS): es como un slap, con la mano opuesta silenciando el parche. El sonido es más alto y menos resonante.</li></ul><p></p><ul><ul style="margin-bottom: 10px;"></ul></ul><p></p><p></p><p><span style="letter-spacing: 0.1px;">Al igual que con los bongos, estas técnicas se pueden anotar con varios tipos de marcas escritas o cabezas de nota. Sin embargo, recomendamos utilizar las iniciales de la técnica arriba / debajo de cada cabeza de nota, que estábamos marcando en el párrafo anterior después del nombre de cada técnica.</span><span style="letter-spacing: 0.1px;"></span></p><p>[img=/uploads/topics/congas-techniques-5a03b9647f8a8.jpeg]</p><p>Como vimos con los bongos, a excepción de los efectos especiales, el compositor no tiene que especificar el golpe. Si el compositor quiere controlar con precisión cómo suena cada nota, recomendamos hablar con el intérprete para verificar que todo sea fácil de tocar.</p><p><span style="letter-spacing: 0.1px;">Además, las congas también se pueden golpear con mazos de varios tipos, una situación en la que se aplicaría la técnica de los toms de concierto.</span><br></p><p><br></p><p><b>MAZOS</b></p><p>Las congas generalmente se tocan con las manos desnudas, pero también se tocar con mazos en entornos orquestales. Si es así, el intérprete puede usar timbales, mazos de superball o escobillas.</p><p><br></p><p>[vzaar=11729741]</p>

<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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<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>.
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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>
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<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>

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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>
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">



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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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[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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<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>


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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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	'content' => '<p>Las congas, son un instrumento común en la música afrocubana y caribeña. También son un membranófono con un parche de piel y una caja cilíndrica de madera. Hay cuatro tipos principales de congas y, excepto el bombo, son considerablemente más grandes que el resto de los membranófonos que hemos estudiado:</p><p></p><p></p><ul><li>Tumba (el tono más bajo): aproximadamente 30.5 a 31.8 cm (12 "a 12.5") de diámetro del parche.</li></ul><ul><li>Conga (tono bajo): aproximadamente 29.2 a 30.5 cm (11.5 "a 12") de diámetro del parche.</li></ul><ul><li>Quinto (tono medio): aproximadamente 28 cm (11 ”) de diámetro del parche.</li></ul><ul><li>Requinto (tono alto): aproximadamente 24.8 cm (10 ”) de diámetro del parche.</li></ul><p></p><p></p><p>Para afinar el parche, todas las congas tienen una serie de orejas alrededor del borde. Por lo general, se tocan con las manos y así es como obtenemos su sonido característico, pero también se pueden tocar en configuraciones de concierto con mazos. Al igual que con los bongos, los intérpretes virtuosos en la música latina pueden tocar patrones rítmicos muy rápidos y complejos, pero no debemos esperar que un percusionista orquestal toque con ese nivel de virtuosismo.</p><p>[img=/uploads/topics/congas-esp-5edd713eacba8.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>Las congas se escriben en un pentagrama de 2 a 4 líneas en clave neutral con una conga por línea (en orden de tono). Además, también se pueden anotar en un pentagrama de 5 líneas con una conga por espacio (también en orden de tono).</p><p>[img=/uploads/topics/congas-notation-5a03b74d6ba16.jpeg]</p><p><br></p><p><b>TÉCNICA</b></p><p>Dado que las congas usan los dedos en lugar de los mazos por defecto, a diferencia de la mayoría del resto de los instrumentos de percusión, la técnica que usan es un poco diferente. El tipo de golpes depende de la parte de los dedos o de los dedos particulares que usa el intérprete, y son los siguientes:</p><p></p><p></p><ul><li>Tono abierto (O): el intérprete golpea el borde del parche con el segundo nudillo de los cuatro dedos (sin pulgar) con la mano casi plana. Obtiene el sonido más puro y resonante de las congas.</li></ul><ul><li>Tono bajo (B): el intérprete golpea el parche con la palma llena y la mantiene hasta que amortigua cualquier posible resonancia. Produce un tono bajo amortiguado. Algunos intérpretes lo denominan "talón" o "palma" cuando se alterna con el tacto.</li></ul><ul><li>Slap (S): el intérprete golpea el parche aproximadamente en el mismo lugar que el tono abierto, pero con la curva natural de la mano como resultado de una posición más relajada. El resultado final será la excitación de uno de los armónicos del parche, un sonido más agudo y filoso que el tono abierto.</li></ul><p></p><ul><li>Toque (T) (también conocido como dedo del pie o dedos): con la muñeca apoyada cerca del borde, el intérprete golpea el redoblante con la punta de los dedos. Es un sonido abombado y alto, más suave que las técnicas anteriores. Por lo general, se alterna con el tono de bajo uno tras otro.</li></ul><ul><li>Tono amortiguado / silenciado (M): es un tono abierto pero deja que la mano descanse sobre el parche, por lo que amortigua el sonido.</li></ul><ul><li>Slap abierto (OS): es un slap donde las puntas de los dedos no se quedan en el parche, por lo que deja que el parche suene completamente.</li></ul><ul><li>Slap asordinado / presionado (MS): es como un slap, con la mano opuesta silenciando el parche. El sonido es más alto y menos resonante.</li></ul><p></p><ul><ul style="margin-bottom: 10px;"></ul></ul><p></p><p></p><p><span style="letter-spacing: 0.1px;">Al igual que con los bongos, estas técnicas se pueden anotar con varios tipos de marcas escritas o cabezas de nota. Sin embargo, recomendamos utilizar las iniciales de la técnica arriba / debajo de cada cabeza de nota, que estábamos marcando en el párrafo anterior después del nombre de cada técnica.</span><span style="letter-spacing: 0.1px;"></span></p><p>[img=/uploads/topics/congas-techniques-5a03b9647f8a8.jpeg]</p><p>Como vimos con los bongos, a excepción de los efectos especiales, el compositor no tiene que especificar el golpe. Si el compositor quiere controlar con precisión cómo suena cada nota, recomendamos hablar con el intérprete para verificar que todo sea fácil de tocar.</p><p><span style="letter-spacing: 0.1px;">Además, las congas también se pueden golpear con mazos de varios tipos, una situación en la que se aplicaría la técnica de los toms de concierto.</span><br></p><p><br></p><p><b>MAZOS</b></p><p>Las congas generalmente se tocan con las manos desnudas, pero también se tocar con mazos en entornos orquestales. Si es así, el intérprete puede usar timbales, mazos de superball o escobillas.</p><p><br></p><p>[vzaar=11729741]</p>

<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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		'content' => '<p>The congas, are an instrument common in afro-cuban and caribbean music. They are also a membranophone with a single skin head and a cylindrical shell made of wood. There are four main types of congas and, except the bass drum, they are considerably bigger than the rest of membranophones we have studied:</p><p></p><p></p><ul><li>Tumba (the lowest pitch): about 30.5 to 31.8 cm (12” to 12.5”) of head diameter.</li></ul><ul><li>Conga (low pitch): about 29.2 to 30.5 cm (11.5” to 12”) of head diameter.</li></ul><ul><li>Quinto (medium pitch): about 28 cm (11”) of head diameter.</li></ul><ul><li>Requinto (high pitch): about 24.8 cm (10”) of head diameter.</li></ul><p></p><p></p><p>To tune the head, all the congas have a series of lugs around the rim. They are usually played with the hands and that is how we get their characteristic sound, but they can be also played in concert set ups with mallets. As with the bongos, virtuoso players in latin music can play very quick and complex rhythmic patterns, but we should not expect an orchestral percussionist to play with that level of virtuosity.</p><p>[img=/uploads/topics/congas-1500-59dba6628a46b.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>Congas are written in a 2 to 4 line stave in neutral clef with one conga per line (in pitch order). Additionally they can be also notated in a 5 line stave with one conga per space (also in pitch order).</p><p>[img=/uploads/topics/congas-notation-5a03b74d6ba16.jpeg]</p><p><br></p><p><b>TECHNIQUES</b></p><p>Since the congas use the fingers instead of mallets as a default, unlike most of the rest of the percussion instruments, the technique they use is a bit different. The type of strokes depend on the part of the fingers or particular finger/s the player use, and they are the following ones:</p><p></p><p></p><ul><li>Open tone (O): the player strikes the edge of the head with the four fingers’ second knuckle (no thumb) with the hand almost flat. It gets the most pure and resonant sound of the congas.</li></ul><ul><li>Bass tone&nbsp;(B): the player strikes the head with the full palm and keeps it until it dampens any possible resonance. It produces a bass muffled tone. It is referred as "heel" or "palm" by some players when it alternates with touch.</li></ul><ul><li>Slap&nbsp;(S): the player strikes the head in about the same place as for the open tone, but with the hand’s natural curve resulting from a more relaxed position. The end result will be excitation of one of the harmonics of the head, a higher and sharper sound than the open tone.</li></ul><p></p><ul><li>Touch&nbsp;(T)&nbsp;(also referred as toe or fingers): with the wrist resting near the rim, the player strikes the head with the tip of the fingers. It is a muffled and high sound, softer than the previous techniques. It is usually alternated with the bass tone one after the other.</li></ul><ul><li>Muffled/muted tone&nbsp;(M): it is a open tone but letting the hand rest on the head, so it muffles the sound.</li></ul><ul><li>Open slap&nbsp;(OS): it is a slap where the fingertips don’t stay on the head, so it fully lets the head ring.</li></ul><ul><li>Muted/pressed&nbsp;slap&nbsp;(MS): it is like a slap with the opposite hand muting the head. The sound is higher and less resonant.</li></ul><p></p><ul><ul style="margin-bottom: 10px;"></ul></ul><p></p><p></p><p><span style="letter-spacing: 0.1px;">As with the bongos, these techniques can be notated with several types of written marks or noteheads. However, we recommend to use the initials&nbsp;</span><span style="letter-spacing: 0.1px;">of the technique</span><span style="letter-spacing: 0.1px;">&nbsp;</span><span style="letter-spacing: 0.1px;">above/below each notehead as we were marking in the previous paragraph after each technique's name.</span></p><p>[img=/uploads/topics/congas-techniques-5a03b9647f8a8.jpeg]</p><p>As we saw with the bongos, except for special effects, the composer doesn't have to specify the stroke. If the composer wants to precisely control how every single note sounds, we recommend to talk with a player to double check that everything is easy to play.</p><p><span style="letter-spacing: 0.1px;">Additionally, the congas can also be struck with mallets of several kinds, a situation where the technique of the concert toms would apply.</span><br></p><p><br></p><p><b>MALLETS</b></p><p>Congas are usually played with the bare hands, but they are also played with mallets in orchestral settings. If so, the player can use timpani, superball mallets or brushes.</p><p><br></p><p>[vzaar=11729741]</p>

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		'id' => (int) 428,
		'name' => 'unPitched/Memb: the Bongos',
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		'content' => '<p>As with the timbales and the concert toms, the bongos are a pair of two sized membranophones with one head, a shell deeper than its diameter, and approximate pitch. As with the timbales, the heads –made of calfskin, goatskin or more rarely plastic– are tuned a 4th or 5th apart with a series of lugs situated around the rim.</p><p>Professional bongo players always play with them held between the knees and with a special technique with the fingers that allows them to play very virtuoso and complex rhythmic patterns, but that can not be expected from any percussionist in the orchestra. Bongos in the orchestra are always mounted on a stand similar to tom-toms and timbales, and are played with the fingers or mallets similar to concert toms.</p><p>[img=/uploads/topics/bogos-1500a-59dba46e17a40.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>Bongos are written on a 2 line stave in neutral clef. The high bongo is written in the top line and the low bongo is written in the bottom one.</p><p>[img=/uploads/topics/bongos-notation-5a03c9299d50b.jpeg]</p><p><br></p><p><b>TECHNIQUES</b></p><p>Since the bongos use the fingers instead of mallets as a default, unlike most of the rest of the percussion instruments, the technique they use is a bit different. The type of strokes depend on the part of the fingers or particular finger/s the player use, and they are the following ones:</p><p></p><ul><li>Open tone (O): all fingers except the thumb strike with the inside knuckles near the edge of the head. It sounds full and it is the most resonant from all the strokes.</li></ul><ul><li>Slap/Close tone (S): as with the open tone, the inside knuckles strike near the edge but, this time, the player will put the thumb of the opposite hand on the center of the head to kill the resonance. This way we will get a louder, higher, and richer in overtones sound than the open tone.</li></ul><ul><li>Tip/Toe/Fingers stroke (T): all fingers except the thumb strike around the center of the head. It is alternated with the heel stroke when filling basic rhythmic patterns. It sounds high, but not as high, full, and resonant as the previous strokes.</li></ul><ul><li>Heel/Thumb stroke (H): the thumb strikes around the center of the head. It sounds similar to the tip stroke and it is usually combined with it.</li></ul><p></p><p></p><ul><p></p></ul><p></p><p>All of these techniques can be notated in several ways, as different players and theorist developed different systems that accommodate each technique with one type of written mark or notehead. However, if there is a system with the widest consensus it is the use of the initials above/below each notehead of the technique as we were marking in the previous paragraph after each technique's name.<br></p><p>[img=/uploads/topics/bongos-techniques-5a050ada77179.jpeg]</p><p>In any case, in most scenarios, except for special effects, the composer doesn't have to specify how a bongo player should play each note. The bongo technique is very particular so, given that the composer would want to control more precisely the outcome of this instrument, he or she would have to talk to a player to check that what they wrote is perfectly doable.</p><p>Additional strokes include rubbing the head with the fingers, with the nails, or playing with mallets on the head, shell, or rim.</p><p><br></p><p><b>MALLETS</b></p><p>As we explained, the bongos are usually played with the fingers, but in orchestra it is also common to play them with mallets. In this case, they are usually played with hard felt or timbales mallets. They can also be played with snare drum, timpani, or superball mallets.</p><p><br></p><p>[vzaar=11730433]</p>
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		'es_version' => '<p>Al igual que con los timbales y los timbales de concierto, los bongos son un par de membranófonos de dos tamaños con un parche, una caja más profunda que su diámetro y un tono aproximado. Al igual que con los timbales, los parches están hechos de piel de becerro, piel de cabra o, más raramente, de plástico, están afinadas en una cuarta o quinta entre sí. con una serie de orejetas situadas alrededor del borde.</p><p>Los ejecutantes profesionales de bongo siempre tocan con ellos sostenidos entre las rodillas y con una técnica especial con los dedos que les permite tocar patrones rítmicos muy virtuosos y complejos, pero eso no se puede esperar de ningún percusionista de la orquesta. Los bongos en la orquesta siempre se montan en un soporte similar a los tom-toms y timbales, y se tocan con los dedos o mazos similares a los toms de concierto.</p><p>[img=/uploads/topics/bogosesp-5edd703a549a3.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>Los bongos están escritos en un pentagrama de 2 líneas en clave neutral. El bongo alto se escribe en la línea superior y el bongo bajo se escribe en la línea inferior.</p><p>[img=/uploads/topics/bongos-notation-5a03c9299d50b.jpeg]</p><p><br></p><p><b>TÉCNICAS</b></p><p>Dado que los bongos usan los dedos por defecto en lugar de los mazos, a diferencia de la mayoría del resto de los instrumentos de percusión, la técnica que usan es un poco diferente. El tipo de golpes depende de la parte de los dedos o de los dedos particulares que usa el intérprete, y son los siguientes:</p><p></p><ul><li>Tono abierto&nbsp; (O): todos los dedos excepto el pulgar golpean con los nudillos internos cerca del borde del parche. Suena lleno y es el más resonante de todos los golpes.</li></ul><ul><li>Tono Slap/ cierre (S): al igual que con el tono abierto, los nudillos internos golpean cerca del borde pero, esta vez, el ejecutante colocará el pulgar de la mano opuesta en el centro del parche para eliminar la resonancia. De esta manera, obtendremos un sonido más fuerte, más alto y más rico en overtones&nbsp; que el tono abierto.</li></ul><ul><li>Golpe de punta / dedos (T): todos los dedos excepto el pulgar golpean alrededor del centro del parche. Se alterna con el golpe del talón al llenar patrones rítmicos básicos. Suena alto, pero no tan alto, lleno y resonante como los toques&nbsp; anteriores.</li></ul><ul><li>Golpe del talón / pulgar (H): el pulgar golpea alrededor del centro del parche. Suena similar al golpe&nbsp; de&nbsp; punta y generalmente se combina con él.</li></ul><p></p><p></p><ul><p></p></ul><p></p><p>Todas estas técnicas pueden notarse de varias maneras, ya que diferentes intérpretes y teóricos desarrollaron diferentes sistemas que acomodan cada técnica con un tipo de marca escrita en cada cabeza de nota. Sin embargo, hay un sistema con el consenso más amplio, el mismo es el uso de las iniciales arriba / debajo de cada encabezado de la técnica, tal como estábamos marcando en el párrafo anterior después del nombre de cada técnica..<br></p><p>[img=/uploads/topics/bongos-techniques-5a050ada77179.jpeg]</p><p>En cualquier caso, en la mayoría de los casos, a excepción de los efectos especiales, el compositor no tiene que especificar cómo un ejecutante de bongo debe tocar cada nota. La técnica de bongo es muy particular, por lo tanto, dado que el compositor querría controlar con mayor precisión el resultado de este instrumento, tendría que hablar con un intérprete&nbsp; para verificar que lo que escribieron es perfectamente factible.</p><p>Los toques adicionales incluyen frotar el parche con los dedos, con las uñas o tocar con mazos en el parche, caja o borde.</p><p><br></p><p><b>MAZOS</b></p><p>Como explicamos, los bongos generalmente se tocan con los dedos, pero en la orquesta también es común tocarlos con mazos. En este caso, generalmente se ejecutan con mazos de fieltro duro o timbales. También se pueden tocar con tambores, timbales o mazos de superball.</p><p><br></p><p>[vzaar=11730433]</p>
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		'id' => (int) 430,
		'name' => 'unPitched/Memb: the Tambourine',
		'color' => '#000000',
		'weight' => (int) 427,
		'type' => 'youtube-play',
		'content' => '<p>The tambourine is a membranophone that has been used from time immemorial, and is still very present in all music genres, including orchestral music. It is a drum with a very shallow wooden shell –basically a hoop– with a calfskin head nailed to it and a series of slots along the shell which have two little metal disc cymbals that sound when stroked or shaken. The tambourine is usually played with the hands, but it can also be played with mallets when it is attached to a stand or on top of a chair.</p><p>There are three sizes: 5, 10 and 15 inches, from which 10 is the default when the composer doesn’t specify.</p><p>[img=/uploads/topics/tambourine-1500-59dba7994cf45.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The tambourine is written on a 1 line stave in neutral clef.</p><p>[img=/uploads/topics/tambourine-notation-5a038c7dafb96.jpeg]</p><p><br></p><p><b>TECHNIQUES</b></p><p>The tambourine can be played by:</p><ul><li>Striking the instrument with (from the softest to the loudest, no need to notate it except with the pertinent dynamic):</li><ul><li>One finger</li><li>The tip of the fingers (except the thumb)</li><li>The knuckles</li><li>The palm of the hand</li><li>The knee</li></ul><li>Shaking it with (notated with a tremolo symbol, no need to differentiate between thumb and normal roll):</li><ul><li>The hand that holds the tambourine</li><li>With the thumb by rubbing the tambourine while holding it with the normal hand</li></ul><li>Striking it with mallets:</li><ul><li>While placed on a chair or stand. No need to specify where is placed, but is necessary to notate with a written mark what type of mallets we are using. When the player returns to play with the hands notate with “ord.”, “norm.” or “with the hands”.</li><li>While placed on a membranophone, like the timpani, bass drum, or snare drum. It is necessary to write both where to put it and what mallets we are using. When returning to the normal technique, notate as we did in the previous paragraph.</li></ul></ul><p></p><p>[img=/uploads/topics/tambourine-techniques-5a038c83cd2e4.jpeg]</p><p><br></p><p><b>MALLETS</b></p><p>The tambourine is usually played with the bare hands, but it can also be played with mallets like the snare drum or rubber mallets.</p><p><br></p><p>[vzaar=11744506]</p>
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		'es_version' => '<p>TLa pandereta es un membranófono que se ha utilizado desde tiempos inmemoriales, y todavía está muy presente en todos los géneros musicales, incluida la música de orquesta. Es un tambor con una caja de madera muy poco profunda, básicamente un aro, con un parche de piel de becerro clavada y una serie de ranuras a lo largo de la caja que tiene dos pequeños platillos de disco de metal que suenan cuando se acarician o se sacuden. La pandereta generalmente se toca con las manos, pero también se puede tocar con mazos cuando está unida a un soporte o encima de una silla.</p><p>Hay tres tamaños: 5, 10 y 15 pulgadas, de los cuales 10 es el valor predeterminado cuando el compositor no especifica.</p><p>[img=/uploads/topics/tambourine-esp-5edd8595738ae.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>La pandereta está escrita en un pentagrama de 1 línea en clave neutral.</p><p>[img=/uploads/topics/tambourine-notation-5a038c7dafb96.jpeg]</p><p><br></p><p><b>TÉCNICA</b></p><p>La pandereta puede ser ejecutada por:</p><ul><li>Striking the instrument with (from the softest to the loudest, no need to notate it except with the pertinent dynamic):</li><ul><li>Un dedo</li><li>La punta de los dedos (excepto el pulgar)</li><li>Los nudillos</li><li>La palma de la mano</li><li>La rodilla</li></ul><li>Agitándolo con (anotado con un símbolo de trémolo, no es necesario diferenciar entre el pulgar y el roll normal):</li><ul><li>La mano que sostiene la pandereta</li><li>Con el pulgar frotando la pandereta mientras la sostiene con la mano normal</li></ul><li>Golpeándolo con mazos:</li><ul><li>Mientras se coloca en una silla o soporte. No es necesario especificar dónde se coloca, pero es necesario anotar con una marca escrita qué tipo de mazos estamos utilizando. Cuando el intérprete vuelve a tocar con las manos, escriba "ord.", "norm.". o "con las manos".</li><li>Cuando se coloca en un membranófono, como los timbales, el bombo o el redoblante. Es necesario escribir dónde colocarlo y qué mazos estamos usando. Al volver a la técnica normal, tenga en cuenta lo que hicimos en el párrafo anterior.</li></ul></ul><p></p><p>[img=/uploads/topics/tambourine-techniques-5a038c83cd2e4.jpeg]</p><p><br></p><p><b>MAZOS</b><br></p><p>La pandereta generalmente se toca con las manos desnudas, pero también se puede&nbsp; tocar con mazos como el del redoblante o los mazos de goma.</p><p><br></p><p>[vzaar=11744506]</p>
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unPitched/Memb: the Congas (Tumbadoras)

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unPitched/Memb: the Congas (Tumbadoras)

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