Orchestration 1: From Sketch to Orchestra
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</h4>

<hr>

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

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

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

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

[description]

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


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

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





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

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



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

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

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



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








</div>

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

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

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

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

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

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

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





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





<div class="row">


<div class="col-md-7 mt-3">
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<div class="col-md-5 mt-3">
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</div>


</div>


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

<hr>

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

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

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

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

[description]

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


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

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





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

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



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

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

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



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








</div>

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

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

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

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

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

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

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





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





<div class="row">


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


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


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


</div>


<p></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><br></p><p><span style="letter-spacing: 0.1px;">&nbsp;[header=What others have asked][faq]</span></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><span style="letter-spacing: 0.1px;"><br></span><br></p><p></p><p></p><p><br></p><p>
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		'content' => '<p>The woodblocks are idiophones made up of pieces of rectangular hard wood with a deep, narrow and longitudinal slot that makes the instrument resonate. They are available in sets of three to five sizes which produce indefinite pitches from low (the bigger) to high (the smaller). To make&nbsp; the performance of different woodblocks easier, they are mounted on a stand or placed on a table.</p><p>[img=/uploads/topics/woodblocks-1500-59dbb676d2c96.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>When we have one woodblock we use a 1 line stave and neutral clef. However, when we have a set we notate them on a 5 lines stave with one woodblock per line (in pitch order).</p><p>[img=/uploads/topics/woodblocks-notation-59de542a79f5b.jpeg]<br></p><p><br></p><p><b>TECHNIQUES</b></p><p>Common techniques with the woodblock include single strokes, rolls, and quick passages combining the different parts of the set.</p><p><br></p><p><b>MALLETS</b></p><p>The woodblock is usually played with wooden mallets, like xylophone and snare drum mallets. It can also be played with hard rubber, marimba, or plastic mallets.</p><p><br></p><p><i>Go to Temple-blocks to watch/listen an example comparing the two of them.</i></p>',
		'es_version' => '<p>TLos bloques de madera son idiófonos compuestos de piezas de madera dura rectangular con una ranura profunda, estrecha y longitudinal que hace que el instrumento resuene. Están disponibles en juegos de tres a cinco tamaños que producen tonos indefinidos de grave (el más grande) a agudo (el más pequeño). Para facilitar el rendimiento de diferentes bloques de madera, se montan en un soporte o se colocan sobre una mesa.</p><p>[img=/uploads/topics/woodblocks-es-5edd843e0b16f.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>Cuando tenemos un bloque de madera, usamos una 1 línea y una clave neutral. Sin embargo, cuando tenemos un conjunto, los anotamos en un pentagrama de 5 líneas con un bloque de madera por línea (en orden de tono).</p><p>[img=/uploads/topics/woodblocks-notation-59de542a79f5b.jpeg]<br></p><p><br></p><p><b>TÉCNICAS</b></p><p>Las técnicas comunes con los bloques de madera incluyen golpes simples, rolls y pasajes rápidos que combinan las diferentes partes del set.</p><p><br></p><p><b>MAZOS</b></p><p>El bloque de madera generalmente se toca con mazos de madera, como xilófono y mazos de redoblante. También se puede tocar con mazos de goma dura, marimba o plástico.</p><p><br></p><p><i>Vaya a los bloques del Templo para ver / escuchar un ejemplo comparándolos.</i></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]
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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>





<div class="row">


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


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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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</p><p>[enroll]


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

[description]

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


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

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





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

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



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

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

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



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








</div>

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

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

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

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

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

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

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





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





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	'name' => 'unPitched/Idioph: the Woodblocks',
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	'content' => '<p>The woodblocks are idiophones made up of pieces of rectangular hard wood with a deep, narrow and longitudinal slot that makes the instrument resonate. They are available in sets of three to five sizes which produce indefinite pitches from low (the bigger) to high (the smaller). To make&nbsp; the performance of different woodblocks easier, they are mounted on a stand or placed on a table.</p><p>[img=/uploads/topics/woodblocks-1500-59dbb676d2c96.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>When we have one woodblock we use a 1 line stave and neutral clef. However, when we have a set we notate them on a 5 lines stave with one woodblock per line (in pitch order).</p><p>[img=/uploads/topics/woodblocks-notation-59de542a79f5b.jpeg]<br></p><p><br></p><p><b>TECHNIQUES</b></p><p>Common techniques with the woodblock include single strokes, rolls, and quick passages combining the different parts of the set.</p><p><br></p><p><b>MALLETS</b></p><p>The woodblock is usually played with wooden mallets, like xylophone and snare drum mallets. It can also be played with hard rubber, marimba, or plastic mallets.</p><p><br></p><p><i>Go to Temple-blocks to watch/listen an example comparing the two of them.</i></p>',
	'es_version' => '<p>TLos bloques de madera son idiófonos compuestos de piezas de madera dura rectangular con una ranura profunda, estrecha y longitudinal que hace que el instrumento resuene. Están disponibles en juegos de tres a cinco tamaños que producen tonos indefinidos de grave (el más grande) a agudo (el más pequeño). Para facilitar el rendimiento de diferentes bloques de madera, se montan en un soporte o se colocan sobre una mesa.</p><p>[img=/uploads/topics/woodblocks-es-5edd843e0b16f.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>Cuando tenemos un bloque de madera, usamos una 1 línea y una clave neutral. Sin embargo, cuando tenemos un conjunto, los anotamos en un pentagrama de 5 líneas con un bloque de madera por línea (en orden de tono).</p><p>[img=/uploads/topics/woodblocks-notation-59de542a79f5b.jpeg]<br></p><p><br></p><p><b>TÉCNICAS</b></p><p>Las técnicas comunes con los bloques de madera incluyen golpes simples, rolls y pasajes rápidos que combinan las diferentes partes del set.</p><p><br></p><p><b>MAZOS</b></p><p>El bloque de madera generalmente se toca con mazos de madera, como xilófono y mazos de redoblante. También se puede tocar con mazos de goma dura, marimba o plástico.</p><p><br></p><p><i>Vaya a los bloques del Templo para ver / escuchar un ejemplo comparándolos.</i></p>',
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		'content' => '<p>The anvil is a metal idiophone consisting of a large steel block with the shape of a blacksmith’s anvil, and struck with a metal hammer. Except for a few exceptions the anvil is always unpitched. Dynamically the anvil can sound fairly soft, but the characteristic sound of the anvil is forte, where it can cut through an entire orchestra in fortissimo.</p><p>In case of nonavailability, it can be substituted by metal tubes, a small section of a railroad track, or a steel rafter.</p><p>[img=/uploads/topics/anvil-1500-59dbb4c336e27.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The triangle is notated n a one line stave and neutral clef.</p><p>[img=/uploads/topics/anvil-notation-59de541764a58.jpg]</p><p><br></p><p><b>TECHNIQUES</b></p><p>Simple strikes are pretty much the only technique performed with the anvil, both because it is an instrument hard to play quickly and it can become very tiresome very soon.</p><p><br></p><p><b>MALLETS</b></p><p>The anvil is struck, as a general rule, by a metal hammer.</p><p><br></p><p>[vzaar=11730464]</p>
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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		'es_version' => '<p>El yunque es un idiófono de metal que consiste en un gran bloque de acero con la forma del yunque de un herrero y golpeado con un martillo de metal. Excepto por algunas excepciones, el yunque siempre es de altura indeterminada. Dinámicamente, el yunque puede sonar bastante suave, pero el sonido característico del yunque es fuerte, donde puede cortar a toda una orquesta en fortissimo.</p><p>En caso de no disponibilidad, puede sustituirse por tubos de metal, una pequeña sección de una vía de ferrocarril o una viga de acero.</p><p>[img=/uploads/topics/anvil-esp-5edd71e96d477.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>El yunque está marcado en un pentagrama de una línea y una clave neutra.</p><p>[img=/uploads/topics/anvil-notation-59de541764a58.jpg]</p><p><br></p><p><b>TÉCNICAS</b></p><p>Los golpes simples son prácticamente la única técnica que se realiza con el yunque, porque es un instrumento difícil de tocar de forma rápida y puede volverse muy cansador de pronto.</p><p><br></p><p><b>MAZOS</b></p><p>El yunque es golpeado, como regla general, por un martillo de metal.</p><p><br></p><p>[vzaar=11730464]</p>
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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		'name' => 'unPitched/Idioph: the Temple-blocks',
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		'content' => '<p>The temple-blocks are an idiophone instrument made of hard wood, similar to the woodblocks, but with a darker and more resonant sound. They traditionally have the shape of a shell, with a bigger opening in the middle than the woodblocks, but nowadays they are usually square.</p><p>They come in a set of 5 sizes with different pitches, and they are mounted on a stand.</p><p>[img=/uploads/topics/temple-blocks-1500a-59dbb7a609dba.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The temple-blocks are written on a 5 line stave with neutral clef, with one size per line.</p><p>[img=/uploads/topics/temple-blocks-notation-59de54499019b.jpeg]</p><p><br></p><p><b>TECHNIQUES</b></p><p>The temple-blocks are normally played with the same techniques used on the woodblocks.</p><p><br></p><p><b>MALLETS</b></p><p>As with the techniques, the temple-blocks are usually played with the same mallets that a percussionist would use with the woodblocks.</p><p><br></p><p>[vzaar=11730485]</p>
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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		'es_version' => '<p>Los bloques del templo son un instrumento idiófono hecho de madera dura, similar a los bloques de madera, pero con un sonido más oscuro y resonante. Tradicionalmente tienen la forma de una concha, con una abertura más grande en el medio que los bloques de madera, pero hoy en día son generalmente cuadrados.</p><p>Vienen en un set de 5 tamaños con diferentes tonos, y están montados en un soporte.</p><p>[img=/uploads/topics/xtemple-blocks-esp-5edd84cce096d.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>Los bloques del templo están escritos en un pentagrama de 5 líneas con clave neutral, con un tamaño por línea.</p><p>[img=/uploads/topics/temple-blocks-notation-59de54499019b.jpeg]</p><p><br></p><p><b>TÉCNICAS</b></p><p>Los bloques del templo normalmente se tocan con las mismas técnicas utilizadas en los bloques de madera.</p><p><br></p><p><b>MAZOS</b></p><p>Al igual que con las técnicas, los bloques del templo generalmente se tocan con los mismos mazos que un percusionista usaría con los bloques de madera.</p><p><br></p><p>[vzaar=11730485]</p>
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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