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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<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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</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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[img=uploads/topics/macbook-mockup2-1-5a8cdbf730c3e.png]
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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>



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[img=uploads/topics/live-video-chats2-5a8cbcfc44510.png]
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</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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<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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	'name' => 'unPitched/Idioph: the Claves',
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	'content' => '<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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        <p>[vzaar=15657275]</p>
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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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		'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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		'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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		'name' => 'unPitched/Idioph: the Castanets',
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		'content' => '<p>The castanets are an idiophone made of two shell-shaped pieces of hardwood that produce their sound by being clicked against each other. Both castanets are connected by a cord that is attached to each side by little holes on top of each piece of wood. Their sound is high and sharp, with a very short decay.</p><p><br></p><p><b>TYPES</b></p><p>There are three types of castanets:</p><p></p><ul><li>Hand castanets: they are held with one pair in each hand by attaching the cord to the thumb and clicking the pieces of wood alternately with the rest of the fingers. The technique of hand castanets is extremely hard to master so they are not popular in orchestras.</li></ul><ul><li>Paddle castanets: a pair of wooden paddles with a pair of castanets attached to each one. They are played by striking the castanets against the lap or a soft pad, which is considerably easier to perform for the player.</li></ul><ul><li>Castanet machine: two pairs of castanets are attached to a table. The player performs on this type by clicking the top castanet (movable) against the bottom one (attached to the table) with the hands or some type of hard mallet. It is very common in orchestras nowadays, and quick and complex rhythmic patterns as well as rolls or other type of difficult gesture is very easy to play on this type.</li></ul><p></p><h5>[img=/uploads/topics/castanets-3000-59dc1299bccd6.jpg]From left to right: Hand Castanets; Paddle Castanets; Castanet Machine</h5><p><br></p><p><b>NOTATION</b></p><p>The castanets are notated on a one line stave and neutral clef.</p><p>[img=/uploads/topics/castanets-notation-59de547d74d65.jpeg]</p><p><br></p><p><b>TECHNIQUES</b></p><p>Common techniques for the castanets include single strikes –often to add more attack to the rest of the orchestra–, acciaccaturas, rolls, or rhythmic patterns, very much like snare drum technique.</p><p><br></p><p><b>MALLETS</b></p><p>Hand castanets and paddle castanets are always played&nbsp; with the hands, but castanet machines can be operated by both the fingertips of the pointer finger, or even by hard mallets like snare drum’s.</p><p><br></p><p>[vzaar=11730704]</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 castañuelas son un idiófono hecho de dos piezas de madera dura en forma de concha que producen su sonido al ser presionadas una contra la otra. Ambas castañuelas están conectadas por un cable que está unido a cada lado por pequeños agujeros en la parte superior de cada pieza de madera. Su sonido es alto y penetrante, con una envolvente muy corta.</p><p><br></p><p><b>TIPOS</b></p><p>Hay tres tipos de castañuelas:</p><p></p><ul><li>Castañuelas de mano: se sostienen con un par en cada mano uniendo el cordón al pulgar y haciendo clic en los pedazos de madera alternativamente con el resto de los dedos. La técnica de las castañuelas manuales es extremadamente difícil de dominar, por lo que no son populares en las orquestas.</li></ul><ul><li>Castañuelas de paleta: un par de paletas de madera con un par de castañuelas unidas a cada una. Se tocan golpeando las castañuelas contra el regazo o una almohadilla suave, que es considerablemente más fácil de realizar para el intérprete.</li></ul><ul><li>Máquina de castañuelas: dos pares de castañuelas están unidas a una mesa. El intérprete ejecuta&nbsp; este tipo de castañuelas haciendo clic en la castañuela superior (móvil) contra la inferior (unida a la mesa) con las manos o algún tipo de mazo duro. Es muy común en las orquestas hoy en día,&nbsp; los patrones rítmicos rápidos y complejos, así como los rollo u otro tipo de gesto difícil, son muy fáciles de tocar aquí.</li></ul><p></p><h5>[img=/uploads/topics/castanets-3000-59dc1299bccd6.jpg]De izquierda a derecha: Castañuelas de mano; Castañuelas de paleta; Castañuela</h5><p><br></p><p><b>NOTACIÓN</b></p><p>Las castañuelas están marcadas en un pentagrama de una línea y una clave neutral.</p><p>[img=/uploads/topics/castanets-notation-59de547d74d65.jpeg]</p><p><br></p><p><b>TÉCNICAS</b></p><p>Las técnicas comunes para las castañuelas incluyen golpes únicos, a menudo para agregar más ataque al resto de la orquesta, acciaccaturas, rolls o patrones rítmicos, muy parecidos a la técnica del redoblante.</p><p><br></p><p><b>MAZOS</b></p><p>Las castañuelas de mano y las castañuelas de paleta siempre se tocan con las manos, pero las máquinas de castañuelas se pueden operar con la punta de los dedos del dedo índice o incluso con mazos duros como el redoblante.</p><p><br></p><p>[vzaar=11730704]</p>
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Cake\View\View::_renderElement() - CORE/src/View/View.php, line 1879
Cake\View\View::element() - CORE/src/View/View.php, line 783
include - APP/Template/Element/aside-main-sidebar.ctp, line 22
Cake\View\View::_evaluate() - CORE/src/View/View.php, line 1435
Cake\View\View::_render() - CORE/src/View/View.php, line 1393
Cake\View\View::_renderElement() - CORE/src/View/View.php, line 1879
Cake\View\View::element() - CORE/src/View/View.php, line 783
include - APP/Template/Layout/adminlte.ctp, line 85
Cake\View\View::_evaluate() - CORE/src/View/View.php, line 1435
Cake\View\View::_render() - CORE/src/View/View.php, line 1393
Cake\View\View::renderLayout() - CORE/src/View/View.php, line 939
Cake\View\View::render() - CORE/src/View/View.php, line 897
Cake\Controller\Controller::render() - CORE/src/Controller/Controller.php, line 791
Cake\Http\ActionDispatcher::_invoke() - CORE/src/Http/ActionDispatcher.php, line 126
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unPitched/Idioph: the Claves

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unPitched/Idioph: the Claves

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