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">
<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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</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><b>LEGATO</b></p><p>Is the most common technique for all woodwinds, especially considering the melodic nature commonly associated with this group. As in the strings where legato phrasing is controlled with bow direction, in the woodwinds –and the rest of the winds– phrasing is controlled by the continuity of the air flow during a particular group of notes.</p><p>The notes we want to have legato are marked with a slur above/below. Special care should be taken to make sure the length of the slur corresponds the breath limitations of each instrument, being a particular concern in all flutes –specially in the lower ones–, bass and contrabass clarinet, and contrabassoon. This compares to the oboe, which is one of the instruments that can hold breaths the longest.</p><p><br></p><p><b>STACCATO</b></p><p>Staccato in the woodwinds is, as in the rest of the instruments, a technique that involves a more precise attack followed by a shorter duration of a given note value. All woodwinds are very agile when producing clear staccatos in slow and fast tempos, although bigger instruments like the bass&nbsp;clarinet and contrabassoon are slower and less agile performing this articulation.</p><p>As for the method to perform this technique, all woodwinds, except the flutes, can produce in most cases very precise staccatos with a single consonant: tee for sharper sounds and da for softer ones. In the case of the flutes, especially in fast tempos, it is required to do what it is called double or triple tonguing, which is the alternation between the consonants tee-kee or da-ga for double tonguing, and tee-kee-tee for triple tonguing.</p><p>Staccato notes are pointed with a staccato mark above/below the notehead.</p><p><br></p><p><b>MARCATO and ACCENTS</b></p><p>All woodwinds are very capable of doing marcatos and accents, this would usually imply the interruption of the air flow just before the marcato or accented note to emphasis it. They are indicated with a marcato or accent mak respectively.</p><p><br></p><p><b>TENUTO</b></p><p>As with marcatos and accents, all woodwinds feel pretty comfortable doing this articulation. The separations between notes with tenuto are done through the soft interruption of the air flow. They are pointed with a tenuto mark.</p>',
		'es_version' => '<p><b>LEGATO</b></p><p>Es la técnica más común para todos los instrumentos de viento de madera, especialmente teniendo en cuenta la naturaleza melódica comúnmente asociada con este grupo. Al igual que en las cuerdas donde el fraseo de legato se controla con la dirección del arco, en las maderas, y el resto de los vientos, el fraseo se controla por la continuidad del flujo de aire durante un grupo particular de notas.</p><p>Las notas que queremos tener legato están marcadas con una ligadura escrita arriba / abajo. Se debe tener especial cuidado para asegurarse de que la longitud de la ligadura corresponda a las limitaciones de respiración de cada instrumento, siendo una preocupación más grande en todas las flautas, especialmente en las inferiores, clarinete bajo y contrabajo, y contrabajo. Esto contrasta con el oboe, que es uno de los instrumentos que puede contener la respiración por más tiempo.</p><p><br></p><p><b>STACCATO</b></p><p>El Staccato en las maderas es, como en el resto de los instrumentos, una técnica que implica un ataque más preciso, seguido de una duración más corta de un valor de nota dado. Todas las maderas son muy ágiles cuando producen staccatos claros en tempos lentos y rápidos, aunque los instrumentos más grandes como el clarinete bajo y el contrafagot son más lentos y menos ágiles para realizar esta articulación.</p><p>En cuanto al método para realizar esta técnica, todas las maderas, excepto las flautas, pueden producir en la mayoría de los casos staccatos muy precisos con una sola consonante: Tee para sonidos más punzantes y Da para sonidos más suaves. En el caso de las flautas, especialmente en tempos rápidos, se requiere hacer lo que se llama lenguas dobles o triples, que es la alternancia entre las consonantes tee-kee o Da-Ga para lenguas dobles y tee-kee-tee para lenguas triples.</p><p>Las notas de Staccato se señalan con una marca de staccato arriba / debajo de la cabeza de la nota.</p><p><br></p><p><b>MARCATO y ACENTOS</b></p><p>Todos los instrumentos de viento de madera son capaces de hacer marcatos y acentos, esto generalmente implicaría la interrupción del flujo de aire justo antes del marcato o de la nota acentuada para enfatizarlo. Se indican con un marcato o marca de acento respectivamente.</p><p><br></p><p><b>TENUTO</b></p><p>Al igual que con los marcatos y acentos, todas las maderas se sienten bastante cómodas haciendo esta articulación. Las separaciones entre notas con tenuto se realizan a través de la interrupción suave del flujo de aire. Están señalados con una marca de tenuto.</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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</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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<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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</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>
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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.
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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.
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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>





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	'content' => '<p><b>LEGATO</b></p><p>Is the most common technique for all woodwinds, especially considering the melodic nature commonly associated with this group. As in the strings where legato phrasing is controlled with bow direction, in the woodwinds –and the rest of the winds– phrasing is controlled by the continuity of the air flow during a particular group of notes.</p><p>The notes we want to have legato are marked with a slur above/below. Special care should be taken to make sure the length of the slur corresponds the breath limitations of each instrument, being a particular concern in all flutes –specially in the lower ones–, bass and contrabass clarinet, and contrabassoon. This compares to the oboe, which is one of the instruments that can hold breaths the longest.</p><p><br></p><p><b>STACCATO</b></p><p>Staccato in the woodwinds is, as in the rest of the instruments, a technique that involves a more precise attack followed by a shorter duration of a given note value. All woodwinds are very agile when producing clear staccatos in slow and fast tempos, although bigger instruments like the bass&nbsp;clarinet and contrabassoon are slower and less agile performing this articulation.</p><p>As for the method to perform this technique, all woodwinds, except the flutes, can produce in most cases very precise staccatos with a single consonant: tee for sharper sounds and da for softer ones. In the case of the flutes, especially in fast tempos, it is required to do what it is called double or triple tonguing, which is the alternation between the consonants tee-kee or da-ga for double tonguing, and tee-kee-tee for triple tonguing.</p><p>Staccato notes are pointed with a staccato mark above/below the notehead.</p><p><br></p><p><b>MARCATO and ACCENTS</b></p><p>All woodwinds are very capable of doing marcatos and accents, this would usually imply the interruption of the air flow just before the marcato or accented note to emphasis it. They are indicated with a marcato or accent mak respectively.</p><p><br></p><p><b>TENUTO</b></p><p>As with marcatos and accents, all woodwinds feel pretty comfortable doing this articulation. The separations between notes with tenuto are done through the soft interruption of the air flow. They are pointed with a tenuto mark.</p>',
	'es_version' => '<p><b>LEGATO</b></p><p>Es la técnica más común para todos los instrumentos de viento de madera, especialmente teniendo en cuenta la naturaleza melódica comúnmente asociada con este grupo. Al igual que en las cuerdas donde el fraseo de legato se controla con la dirección del arco, en las maderas, y el resto de los vientos, el fraseo se controla por la continuidad del flujo de aire durante un grupo particular de notas.</p><p>Las notas que queremos tener legato están marcadas con una ligadura escrita arriba / abajo. Se debe tener especial cuidado para asegurarse de que la longitud de la ligadura corresponda a las limitaciones de respiración de cada instrumento, siendo una preocupación más grande en todas las flautas, especialmente en las inferiores, clarinete bajo y contrabajo, y contrabajo. Esto contrasta con el oboe, que es uno de los instrumentos que puede contener la respiración por más tiempo.</p><p><br></p><p><b>STACCATO</b></p><p>El Staccato en las maderas es, como en el resto de los instrumentos, una técnica que implica un ataque más preciso, seguido de una duración más corta de un valor de nota dado. Todas las maderas son muy ágiles cuando producen staccatos claros en tempos lentos y rápidos, aunque los instrumentos más grandes como el clarinete bajo y el contrafagot son más lentos y menos ágiles para realizar esta articulación.</p><p>En cuanto al método para realizar esta técnica, todas las maderas, excepto las flautas, pueden producir en la mayoría de los casos staccatos muy precisos con una sola consonante: Tee para sonidos más punzantes y Da para sonidos más suaves. En el caso de las flautas, especialmente en tempos rápidos, se requiere hacer lo que se llama lenguas dobles o triples, que es la alternancia entre las consonantes tee-kee o Da-Ga para lenguas dobles y tee-kee-tee para lenguas triples.</p><p>Las notas de Staccato se señalan con una marca de staccato arriba / debajo de la cabeza de la nota.</p><p><br></p><p><b>MARCATO y ACENTOS</b></p><p>Todos los instrumentos de viento de madera son capaces de hacer marcatos y acentos, esto generalmente implicaría la interrupción del flujo de aire justo antes del marcato o de la nota acentuada para enfatizarlo. Se indican con un marcato o marca de acento respectivamente.</p><p><br></p><p><b>TENUTO</b></p><p>Al igual que con los marcatos y acentos, todas las maderas se sienten bastante cómodas haciendo esta articulación. Las separaciones entre notas con tenuto se realizan a través de la interrupción suave del flujo de aire. Están señalados con una marca de tenuto.</p>',
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		'content' => '<p>As we mentioned before the woodwind section is one of the most versatile and agile of the orchestra. Besides auxiliary instruments like the contrabass clarinet and contrabassoon, they all do a wide variety of techniques with impressive ease.</p><p>We can divide the techniques that these instruments can do between the general articulations all instruments do, and the more specific techniques that have do more with the particularities of this family.</p>',
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		'content' => '<p><b>TRILLS and TREMOLOS</b></p><p>Because of the agility of the woodwinds it is easy to do trills or tremolos, just like the strings. However, since each instrument has a different system of keys, there are some specific trills and tremolos harder to produce than others –or simply impossible. In the following chart we listed some of the most important that we should avoid.</p><p>[img=uploads/topics/woodwind-s-trills-593a493f33a89.png]</p><p>[img=uploads/topics/trill-and-tremolo-5958ce10744af.png]<br></p><p><br></p><p><b>HARMONICS</b></p><p>The flutes are the only woodwinds that are capable of successfully perform this technique. On a regular flute, all notes above the C#4 (and over the corresponding register in the auxiliaries) are overblown notes that coincide with the second partial<span style="letter-spacing: 0.1px;">. However, for this technique, the same notes are performed in a way that </span><span class="">sound</span><span style="letter-spacing: 0.1px;"> purer and softer than the regular notes. The result would be akin to what you listen in string instruments.</span></p><p>The symbol used to mark these notes is, like in the strings, a circle above/under the notehead.</p><p>[img=uploads/topics/harmonics-5958ce6fdef05.png]</p><p><br></p><p><b>FLUTTERTONGUE (also found as FRULLATO)</b></p><p>This technique lies in rolling an “r” with the tongue or in the throat while producing a particular pitch with the instrument. It is easy to do with all the flutes and clarinets, but harder in the oboe and bassoon families. Performed usually on long notes it is not very easy to do on very soft dynamics, although not impossible.</p><p>It is marked both with the words fluttertongue or frullato depending on the preferred language.</p><p>[img=uploads/topics/fluttertongue-5958ce1817c8c.png]</p><p><br></p><p><b>MULTIPHONICS</b></p><p>Although it is possible to do multiphonics<span style="letter-spacing: 0.1px;">&nbsp;in all woodwinds is not only one of the hardest techniques to achieve, but also one of the most unreliable, since it </span>depends<span style="letter-spacing: 0.1px;"> a lot on the model of the instrument the performer is using. For this </span>reason<span style="letter-spacing: 0.1px;"> we truly discourage the use of multiphonics without having a conversation with the performer previous to the rehearsal or recording session, both to make sure </span>a particular multiphonic<span style="letter-spacing: 0.1px;">&nbsp;is possible in that specific instrument, and to check if it is easy for the player to do it.</span></p><p>In general, the notation of the multiphonic will always be<span style="letter-spacing: 0.1px;">&nbsp;a chord with the approximate notes of the multiphonic, plus a small diagram with the fingering above the chord.</span></p><p>[img=uploads/topics/oboe-multiphonic-5958cbfe52f04.png]</p>',
		'es_version' => '<p><b>TRINOS y TREMOLOS</b></p><p>Debido a la agilidad de los instrumentos de viento de madera, es fácil hacer trinos o trémolos, al igual que en las cuerdas. Sin embargo, dado que cada instrumento tiene un sistema de llaves diferente, hay algunos trinos y trémolos específicos más difíciles de producir que otros, o simplemente imposibles. En el siguiente cuadro enumeramos algunos de los más importantes que debemos evitar.</p><p>[img=uploads/topics/woodwind-s-trills-593a493f33a89.png]</p><p>[img=uploads/topics/trill-and-tremolo-5958ce10744af.png]<br></p><p><br></p><p><b>ARMÓNICOS</b></p><p>Las flautas son los únicos instrumentos de viento de madera que son capaces de realizar con éxito esta técnica. En una flauta regular, todas las notas sobre el C # 4 (y sobre el registro correspondiente en los auxiliares) son notas sobre sopladas&nbsp; que coinciden con el segundo parcial. Sin embargo, para esta técnica, las mismas notas se ejecutan de una manera que suena más pura y suave que las notas regulares. El resultado sería similar a lo que se escucha&nbsp; en los instrumentos de cuerda.</p><p>El símbolo utilizado para marcar estas notas es, como en las cuerdas, un círculo arriba / debajo de la cabeza de la nota.</p><p>[img=uploads/topics/harmonics-5958ce6fdef05.png]</p><p><br></p><p><b>FLUTTERTONGUE (también encontrado como FRULLATO)</b></p><p>Esta técnica consiste en rodar una "r" con la lengua o en la garganta mientras se produce un tono particular con el instrumento. Es fácil de hacer con todas las flautas y clarinetes, pero más difícil en las familias de oboe y fagot. Realizado generalmente en notas largas, no es muy fácil de hacerlo en dinámicas muy suaves, aunque no imposible.</p><p>Está marcado con las palabras fluttertongue o frullato según el idioma preferido.</p><p>[img=uploads/topics/fluttertongue-5958ce1817c8c.png]</p><p><br></p><p><b>MULTIFÓNICOS</b></p><p>Aunque es posible hacer multifónicos en todas las maderas, no solo es una de las técnicas más difíciles de lograr, sino que también es una de las menos confiables, ya que depende mucho del modelo de instrumento que esté usando el intérprete. Por esta razón, realmente desaconsejamos el uso de multifónicos sin tener una conversación con el intérprete antes de la sesión de ensayo o grabación, tanto para asegurarnos de que un multifónico particular sea posible en ese instrumento específico y para verificar si es fácil para el intérprete hacerlo.<span style="letter-spacing: 0.1px;"></span></p><p>En general, la notación del multifónico siempre será un acorde con las notas aproximadas del multifónico, más un pequeño diagrama con la digitación sobre el acorde.</p><p>[img=uploads/topics/oboe-multiphonic-5958cbfe52f04.png]</p>',
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