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">


<div class="col-md-7 mt-3">
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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>The cymbal is a metal idiophone with no pitch that is made of a circular convex metal plate. The center of the plate has&nbsp; a bulge –the bell– with a hole in the very center of it to attach either a leather strap or the rod of the stand. The bow extends from the bell to the edge, covering most of the plate’s surface.</p><p><br></p><p><b>TYPES</b></p><p>Orchestral crash cymbals:</p><p>These are the most common type of cymbals in the orchestra. They are made up of two identical cymbals that are held by the player with the leather straps attached to the center of the bell.</p><p>They are available in sizes from 33 to 61 cm (15” to 24”).</p><p>[img=/uploads/topics/orchestral-crash-cymbals-1500a-59dbaf969e881.jpg]</p><p><br></p><p>Suspended cymbals:</p><p>A suspended cymbal is a cymbal hanging from a strap on a stand or, most commonly, attached to a stand through which a rod goes through the center hole of the cymbal –as we always see in a drum kit–. In the first case, the leather strap, and in the second, the loosely tighten felts that the cymbal lies on, warranties that the cymbal is going to be able to vibrate at its maximum potential. There are five main types of suspended cymbals:</p><p></p><p></p><p></p><ul><li>Crash cymbal: is most used in the orchestral repertoire and the only suspended cymbal the composer should expect an orchestra to have. It has a bright sound and quick response.</li></ul><ul><li>Ride cymbal: they have a shimmery sustaining and still clear sound, best for playing rhythmic patterns.</li></ul><ul><li>Splash cymbal: a small cymbal with fast response and very explosive, bright and high sound.</li></ul><ul><li>Chinese-style cymbal: it has the edges bended outwards (upwards as you see it from the top) and it produces a brighter sound than cymbals with the same size and thickness. It has a oriental sound quality in comparison to traditional orchestral cymbals.</li></ul><ul><li>Sizzle cymbal: it is a cymbal that is drilled in several spots of the bow and edge to attach little metal rivets. The sound it produces is brighter and sizzling, and it resonates longer than most cymbals.</li></ul><p></p><p></p><p></p><p>[img=/uploads/topics/suspended-cymbal-1500a-59dbaf9ca5b38.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The orchestral crash cymbals are always written on a one line stave in neutral clef. The suspended cymbal is also written on a one line stave in neutral stave, but when there are several of them they are written on a 5 line stave. In this case, they are written on the lines.</p><p>[img=/uploads/topics/cymbal-notation-5a03935c48351.jpeg]</p><p><br></p><p><b>TECHNIQUES</b></p><p>Orchestral crash cymbals:</p><p>When the composer doesn’t give any extra instruction in the score, the player will crash the cymbals together between them. When forte, the player will additionally raise them so the vibrations of the tail spread across the orchestra to the audience. The pair of cymbals can also be dampened with the chest of the player.</p><p>[img=/uploads/topics/cymbal-techniques-5a039366e9180.jpeg]</p><p><br></p><p>Suspended cymbals:</p><p>Suspended cymbals are usually struck with mallets, although they can also be played with the hands.</p><p>With the suspended crash cymbals the most common technique is the roll, both as a sustained element, or for big swells, alone, or supporting an orchestral tutti. However it is also&nbsp; common to use single strokes or slow pace rhythmic patterns.</p><p>[img=/uploads/topics/sus-cymbal-techniques-5a039351377e3.jpeg]<br></p><p>A particularly effective technique with the traditional suspended cymbal is to bow it with a cello or contrabass bow, which produces a sustained and very eery sound.</p><p>[img=/uploads/topics/sus-cymbal-bowed-5a03936d245a9.jpeg]<br></p><p>With the rest of the suspended cymbals, since they belong to other genres of music and they are not usual members of the orchestra, they are incorporated to the orchestra to add the specific color and techniques from the style they belong. For example, with the ride cymbal, it will probably&nbsp; be used with rhythmic patterns from the style the piece is referencing, such as jazz, rock, etc.</p><p><br></p><p><b>MALLETS</b></p><p>Orchestral cymbals are not possible to play with mallets, but suspended cymbals are meant to be struck with different types of mallets. Common types of mallets used are&nbsp; snare drum sticks or plastic mallets, for more percussive and clear strikes and patterns, or timpani, marimba, vibraphone, rubber, ping-pong mallets, or brushes, or, for a particularly metallic sound, a triangle beater. As we mentioned already, it is also possible to bow a suspended cymbal with a cello or contrabass bow.</p><p><br></p><p>[vzaar=11744580]
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		'es_version' => '<p>El platillo es un idiófono de metal sin tono que está hecho de una placa metálica convexa circular. El centro de la placa tiene una protuberancia, la campana, con un agujero en el centro para sujetar una correa de cuero o la barra del soporte. El arco se extiende desde la campana hasta el borde, cubriendo la mayor parte de la superficie del plato.</p><p><br></p><p><b>TIPOS</b></p><p>Platillos crash orquestales:</p><p>Estos son los tipos más comunes de platillos en la orquesta. Están formados por dos platillos idénticos que el ejecutante sostiene con las correas de cuero unidas al centro de la campana</p><p>Están disponibles en tamaños de 33 a 61 cm (15 "a 24").</p><p>[img=/uploads/topics/orchestral-crashesp-5edd87be33779.jpg]</p><p><br></p><p>Platillos suspendidos:</p><p>Un platillo suspendido es un platillo que cuelga de una correa en un soporte o, más comúnmente, está sujeto a un soporte a través del cual una varilla atraviesa el orificio central del platillo, como siempre vemos en un kit de batería. En el primer caso, la correa de cuero, y en el segundo, los fieltros apretados sin apretar sobre los que descansa el platillo, garantiza que el platillo podrá vibrar a su máximo potencial. Hay cinco tipos principales de platillos suspendidos:</p><p></p><p></p><p></p><ul><li>Platillo crash: es el más utilizado en el repertorio orquestal y el único platillo suspendido que el compositor debe esperar que tenga una orquesta. Tiene un sonido brillante y una respuesta rápida.</li></ul><ul><li>Platillo Ride: tienen un sonido brillante y sostenido y aún claro, lo mejor para tocar patrones rítmicos.</li></ul><ul><li>Splash cymbal: un platillo pequeño con respuesta rápida y sonido muy explosivo, brillante y alto.</li></ul><ul><li>Platillo de estilo chino: tiene los bordes doblados hacia afuera (hacia arriba como se ve desde arriba) y produce un sonido más brillante que los platillos con el mismo tamaño y grosor. Tiene una calidad de sonido oriental en comparación con los platillos de orquesta tradicionales.</li></ul><ul><li>Platillo sizzle: es un platillo que se perfora en varios puntos del arco y el borde para unir pequeños remaches metálicos. El sonido que produce es más brillante y chisporrotea, y resuena más tiempo que la mayoría de los platillos.</li></ul><p></p><p></p><p></p><p>[img=/uploads/topics/suspended-esp-5edd87dbb5086.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>Los platillos de choque orquestales siempre se escriben en un pentagrama de una línea en clave neutral. El platillo suspendido también se escribe en un pentagrama de una línea en pentagrama neutro, pero cuando hay varios de ellos se escriben en un pentagrama de 5 líneas. En este caso, están escritos en las líneas.</p><p>[img=/uploads/topics/cymbal-notation-5a03935c48351.jpeg]</p><p><br></p><p><b>TÉCNICAS</b></p><p>Platillos crash orquestales:</p><p>Cuando el compositor no da ninguna instrucción adicional en la partitura, el ejecutante chocará los platillos entre ellos. Cuando se ejecute en&nbsp; forte, el intérprete los elevará adicionalmente para que las vibraciones de la cola se extiendan a través de la orquesta hacia la audiencia. El par de platillos también se puede amortiguar con el pecho del intérprete.</p><p>[img=/uploads/topics/cymbal-techniques-5a039366e9180.jpeg]</p><p><br></p><p>Platillos suspendidos:</p><p>Los platillos suspendidos generalmente se golpean con mazos, aunque también se pueden tocar con las manos.</p><p>Con los platillos de choque suspendidos, la técnica más común es el roll, tanto como un elemento sostenido, o para grandes olas, solo, o para soportar un tutti orquestal. Sin embargo, también es común usar golpes simples o patrones rítmicos de ritmo lento.</p><p>[img=/uploads/topics/sus-cymbal-techniques-5a039351377e3.jpeg]<br></p><p>Una técnica particularmente efectiva con el platillo suspendido tradicional es tocarlo con un arco de violonchelo o contrabajo, lo que produce un sonido sostenido y muy extraño.</p><p>[img=/uploads/topics/sus-cymbal-bowed-5a03936d245a9.jpeg]<br></p><p>Con el resto de los platillos suspendidos, ya que pertenecen a otros géneros de música y no son miembros habituales de la orquesta, se incorporan a la orquesta para agregar el color y las técnicas específicas del estilo al que pertenecen. Por ejemplo, con el platillo ride, probablemente se usará con patrones rítmicos del estilo al que hace referencia la pieza, como jazz, rock, etc.</p><p><br></p><p><b>MAZOS</b></p><p>Los platillos de orquesta no se pueden tocar con mazos, pero los platillos suspendidos pueden golpearse con diferentes tipos de mazos. Los tipos comunes de mazos utilizados son baquetas o mazos de plástico, para golpes y patrones más percusivos y claros,&nbsp; timbales, marimba, vibráfono, goma, mazos de ping-pong o escobillas, o, para un sonido particularmente metálico, un mazo triangular. Como ya mencionamos, también es posible tocar un platillo suspendido con un arco de violonchelo o contrabajo.</p><p><br></p><p>[vzaar=11744580]
</p><p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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	'description' => '<h4 style="line-height:140%; text-align:center;">This manual will teach you everything you need to know about each <b>instrument </b>and <b>section </b>for <b>composing orchestral music</b>. It will also show you how to <b>balance</b>, distribute and arrange your musical ideas in an orchestral context.
</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]

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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] 

</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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	'subtitle' => 'Develop your skills as an orchestrator',
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	'description' => '<h4 style="line-height:140%; text-align:center;">This manual will teach you everything you need to know about each <b>instrument </b>and <b>section </b>for <b>composing orchestral music</b>. It will also show you how to <b>balance</b>, distribute and arrange your musical ideas in an orchestral context.
</h4>

<hr>

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

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

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

<hr>
<br>
<h3 style="line-height: 140%; text-align: center; color:#427cc2;">UNDERSTAND HOW TO <b>BALANCE ORCHESTRAL FAMILIES</b> AND HOW TO<br><b>ARRANGE FOR FULL ORCHESTRA</b></h3>
<br>
<br>
',
	'certificate_text' => 'a course that teaches how to orchestrate for strings, brass, woods, percussion, voicing, balance between different families, etc. and gives an in-depth knowledge about how to arrange for orchestra.',
	'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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[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>
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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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	'content' => '<p>The cymbal is a metal idiophone with no pitch that is made of a circular convex metal plate. The center of the plate has&nbsp; a bulge –the bell– with a hole in the very center of it to attach either a leather strap or the rod of the stand. The bow extends from the bell to the edge, covering most of the plate’s surface.</p><p><br></p><p><b>TYPES</b></p><p>Orchestral crash cymbals:</p><p>These are the most common type of cymbals in the orchestra. They are made up of two identical cymbals that are held by the player with the leather straps attached to the center of the bell.</p><p>They are available in sizes from 33 to 61 cm (15” to 24”).</p><p>[img=/uploads/topics/orchestral-crash-cymbals-1500a-59dbaf969e881.jpg]</p><p><br></p><p>Suspended cymbals:</p><p>A suspended cymbal is a cymbal hanging from a strap on a stand or, most commonly, attached to a stand through which a rod goes through the center hole of the cymbal –as we always see in a drum kit–. In the first case, the leather strap, and in the second, the loosely tighten felts that the cymbal lies on, warranties that the cymbal is going to be able to vibrate at its maximum potential. There are five main types of suspended cymbals:</p><p></p><p></p><p></p><ul><li>Crash cymbal: is most used in the orchestral repertoire and the only suspended cymbal the composer should expect an orchestra to have. It has a bright sound and quick response.</li></ul><ul><li>Ride cymbal: they have a shimmery sustaining and still clear sound, best for playing rhythmic patterns.</li></ul><ul><li>Splash cymbal: a small cymbal with fast response and very explosive, bright and high sound.</li></ul><ul><li>Chinese-style cymbal: it has the edges bended outwards (upwards as you see it from the top) and it produces a brighter sound than cymbals with the same size and thickness. It has a oriental sound quality in comparison to traditional orchestral cymbals.</li></ul><ul><li>Sizzle cymbal: it is a cymbal that is drilled in several spots of the bow and edge to attach little metal rivets. The sound it produces is brighter and sizzling, and it resonates longer than most cymbals.</li></ul><p></p><p></p><p></p><p>[img=/uploads/topics/suspended-cymbal-1500a-59dbaf9ca5b38.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The orchestral crash cymbals are always written on a one line stave in neutral clef. The suspended cymbal is also written on a one line stave in neutral stave, but when there are several of them they are written on a 5 line stave. In this case, they are written on the lines.</p><p>[img=/uploads/topics/cymbal-notation-5a03935c48351.jpeg]</p><p><br></p><p><b>TECHNIQUES</b></p><p>Orchestral crash cymbals:</p><p>When the composer doesn’t give any extra instruction in the score, the player will crash the cymbals together between them. When forte, the player will additionally raise them so the vibrations of the tail spread across the orchestra to the audience. The pair of cymbals can also be dampened with the chest of the player.</p><p>[img=/uploads/topics/cymbal-techniques-5a039366e9180.jpeg]</p><p><br></p><p>Suspended cymbals:</p><p>Suspended cymbals are usually struck with mallets, although they can also be played with the hands.</p><p>With the suspended crash cymbals the most common technique is the roll, both as a sustained element, or for big swells, alone, or supporting an orchestral tutti. However it is also&nbsp; common to use single strokes or slow pace rhythmic patterns.</p><p>[img=/uploads/topics/sus-cymbal-techniques-5a039351377e3.jpeg]<br></p><p>A particularly effective technique with the traditional suspended cymbal is to bow it with a cello or contrabass bow, which produces a sustained and very eery sound.</p><p>[img=/uploads/topics/sus-cymbal-bowed-5a03936d245a9.jpeg]<br></p><p>With the rest of the suspended cymbals, since they belong to other genres of music and they are not usual members of the orchestra, they are incorporated to the orchestra to add the specific color and techniques from the style they belong. For example, with the ride cymbal, it will probably&nbsp; be used with rhythmic patterns from the style the piece is referencing, such as jazz, rock, etc.</p><p><br></p><p><b>MALLETS</b></p><p>Orchestral cymbals are not possible to play with mallets, but suspended cymbals are meant to be struck with different types of mallets. Common types of mallets used are&nbsp; snare drum sticks or plastic mallets, for more percussive and clear strikes and patterns, or timpani, marimba, vibraphone, rubber, ping-pong mallets, or brushes, or, for a particularly metallic sound, a triangle beater. As we mentioned already, it is also possible to bow a suspended cymbal with a cello or contrabass bow.</p><p><br></p><p>[vzaar=11744580]
</p><p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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<p></p>',
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Tiene un sonido brillante y una respuesta rápida.</li></ul><ul><li>Platillo Ride: tienen un sonido brillante y sostenido y aún claro, lo mejor para tocar patrones rítmicos.</li></ul><ul><li>Splash cymbal: un platillo pequeño con respuesta rápida y sonido muy explosivo, brillante y alto.</li></ul><ul><li>Platillo de estilo chino: tiene los bordes doblados hacia afuera (hacia arriba como se ve desde arriba) y produce un sonido más brillante que los platillos con el mismo tamaño y grosor. Tiene una calidad de sonido oriental en comparación con los platillos de orquesta tradicionales.</li></ul><ul><li>Platillo sizzle: es un platillo que se perfora en varios puntos del arco y el borde para unir pequeños remaches metálicos. El sonido que produce es más brillante y chisporrotea, y resuena más tiempo que la mayoría de los platillos.</li></ul><p></p><p></p><p></p><p>[img=/uploads/topics/suspended-esp-5edd87dbb5086.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>Los platillos de choque orquestales siempre se escriben en un pentagrama de una línea en clave neutral. El platillo suspendido también se escribe en un pentagrama de una línea en pentagrama neutro, pero cuando hay varios de ellos se escriben en un pentagrama de 5 líneas. En este caso, están escritos en las líneas.</p><p>[img=/uploads/topics/cymbal-notation-5a03935c48351.jpeg]</p><p><br></p><p><b>TÉCNICAS</b></p><p>Platillos crash orquestales:</p><p>Cuando el compositor no da ninguna instrucción adicional en la partitura, el ejecutante chocará los platillos entre ellos. Cuando se ejecute en&nbsp; forte, el intérprete los elevará adicionalmente para que las vibraciones de la cola se extiendan a través de la orquesta hacia la audiencia. El par de platillos también se puede amortiguar con el pecho del intérprete.</p><p>[img=/uploads/topics/cymbal-techniques-5a039366e9180.jpeg]</p><p><br></p><p>Platillos suspendidos:</p><p>Los platillos suspendidos generalmente se golpean con mazos, aunque también se pueden tocar con las manos.</p><p>Con los platillos de choque suspendidos, la técnica más común es el roll, tanto como un elemento sostenido, o para grandes olas, solo, o para soportar un tutti orquestal. Sin embargo, también es común usar golpes simples o patrones rítmicos de ritmo lento.</p><p>[img=/uploads/topics/sus-cymbal-techniques-5a039351377e3.jpeg]<br></p><p>Una técnica particularmente efectiva con el platillo suspendido tradicional es tocarlo con un arco de violonchelo o contrabajo, lo que produce un sonido sostenido y muy extraño.</p><p>[img=/uploads/topics/sus-cymbal-bowed-5a03936d245a9.jpeg]<br></p><p>Con el resto de los platillos suspendidos, ya que pertenecen a otros géneros de música y no son miembros habituales de la orquesta, se incorporan a la orquesta para agregar el color y las técnicas específicas del estilo al que pertenecen. Por ejemplo, con el platillo ride, probablemente se usará con patrones rítmicos del estilo al que hace referencia la pieza, como jazz, rock, etc.</p><p><br></p><p><b>MAZOS</b></p><p>Los platillos de orquesta no se pueden tocar con mazos, pero los platillos suspendidos pueden golpearse con diferentes tipos de mazos. Los tipos comunes de mazos utilizados son baquetas o mazos de plástico, para golpes y patrones más percusivos y claros,&nbsp; timbales, marimba, vibráfono, goma, mazos de ping-pong o escobillas, o, para un sonido particularmente metálico, un mazo triangular. Como ya mencionamos, también es posible tocar un platillo suspendido con un arco de violonchelo o contrabajo.</p><p><br></p><p>[vzaar=11744580]
</p><p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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		'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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		'id' => (int) 432,
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		'content' => '<p>The triangle is an idiophone made of a metal rod in the shape of an equilateral triangle, with one of its angles open. The player plays it with a holder by which the triangle hangs, thanks to a yarn that connects them.</p><p>There are three kinds of triangle: high (6”), medium (8”), and low (10”). The sound is very high and pure, sharp and has a long decay. The sound in forte can be tiresome if one abuses&nbsp; it, but in piano it sounds very delicate so it is not a problem.</p><p>[img=/uploads/topics/triangle-1500a-59dbb133137ac.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The triangle is notated on a one line stave and neutral clef.</p><p>[img=/uploads/topics/triangle-notation-59dd61909f088.jpeg]</p><p><br></p><p><b>TECHNIQUES</b></p><p>Simple strikes and rolls are the most common techniques performed with the triangle, but it is also common to see acciaccaturas and rhythmic patterns.&nbsp; Rolls are performed by striking the triangle in-between one of its angles and alternating the sides.</p><p><br></p><p><b>MALLETS</b></p><p>The standard beater for the triangle is a simple metal rod with different thicknesses. It is also possible to strike it with snare drum stick.</p><p><br></p><p>[vzaar=11744485]</p>
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		'es_version' => '<p>El triángulo es un idiófono hecho de una barra de metal en forma de triángulo equilátero, con uno de sus ángulos abiertos. El intérprete&nbsp; lo toca con un soporte por el que cuelga el triángulo, gracias a un hilo que los conecta.</p><p>Hay tres tipos de triángulos: alto (6 "), medio (8") y bajo (10 "). El sonido es muy alto y puro, agudo y tiene una larga caída. El sonido en forte puede ser agotador si se abusa de él, pero en piano suena muy delicado, por lo que no es un problema.</p><p>[img=/uploads/topics/triangle-esp-5eddae0727152.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>El triángulo está marcado en un pentagrama de una línea y una clave neutral.</p><p>[img=/uploads/topics/triangle-notation-59dd61909f088.jpeg]</p><p><br></p><p><b>TÉCNICA</b></p><p>Los golpes y rolls simples son las técnicas más comunes que se realizan con el triángulo, pero también es común ver acciaccaturas y patrones rítmicos. Los rolls se realizan golpeando el triángulo entre uno de sus ángulos y alternando los lados.</p><p><br></p>MAZOS<p>El&nbsp; mazo estándar para el triángulo es una varilla de metal simple con diferentes espesores. También es posible golpearlo con una baqueta de redoblante.</p><p><br></p><p>[vzaar=11744485]</p>
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