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>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>
</p>

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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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</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>





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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">



<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 Temple-blocks',
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	'content' => '<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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	'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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		'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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		'id' => (int) 435,
		'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 claves are an idiophone made of a pair of cylindrical wooden sticks each with a similar size and held with one hand each. In each pair of claves there is always one that sounds higher and one that sounds lower. The first hand (left or right) holds the high clave to strike the low in the middle. The second hand has the low clave resting on the fingertips while the fingers make a cavity in the palm of the hand that behaves as a resonance chamber.</p><p>The claves produce a high pitch sound with a short decay of the sound. Claves can be an alternative to woodblocks or temple-blocks, as well the bed of rhythmic patterns layered in different percussion instruments, especially in Latin-American influenced music.</p><p>[img=/uploads/topics/claves-1500-59dbb8104780e.jpg]</p><p><br></p><p><b>NOTATION</b></p><p>The claves are written on a 1 line stave with neutral clef.</p><p>[img=/uploads/topics/maracas-notation-59de54638736b.jpeg]</p><p><br></p><p><b>TECHNIQUES</b></p><p>The claves are especially known for playing the basic rhythm in multilayered rhythmic patterns, as well as for playing single strokes.</p><p><br></p><p>[vzaar=11730447]</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>Las claves son un idiófono hecho de un par de palos cilíndricos de madera, cada uno con un tamaño similar y sostenido con una mano cada uno. En cada par de claves siempre hay uno que suena más agudo y uno que suena más grave. La primera mano (izquierda o derecha) mantiene la clave aguda para golpear la grave en el medio. La segunda mano tiene la clave grave descansando en la punta de los dedos, mientras que los dedos forman una cavidad en la palma de la mano que se comporta como una cámara de resonancia.</p><p>Las claves producen un sonido de tono alto y poseen una rápida extinción del sonido. Los claves pueden ser una alternativa a los bloques de madera o de los bloque de templos, así como funcionar como cama de patrones rítmicos en capas, de diferentes instrumentos de percusión, especialmente en la música de influencia latinoamericana.</p><p>[img=/uploads/topics/claves-1500-59dbb8104780e.jpg]</p><p><br></p><p><b>NOTACIÓN</b></p><p>Las claves están escritas en un pentagrama de 1 línea con clave neutral.</p><p>[img=/uploads/topics/maracas-notation-59de54638736b.jpeg]</p><p><br></p><p><b>TÉCNICAS</b></p><p>Las claves son especialmente conocidas para tocar el ritmo básico en patrones rítmicos de varias capas, así como para tocar golpes únicos.</p><p><br></p><p>[vzaar=11730447]</p>
<p style="text-align: center;">Other languages: <a href="" data-toggle="modal" data-target="#ModalVideo1">FR</a>
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