Cinematic Composing

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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]

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[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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</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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</h4>

<hr>

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

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

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

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

[description]

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


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

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





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

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



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

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

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



<div class="col-md-5 mt-3">
[img=uploads/topics/live-video-chats2-5a8cbcfc44510.png]
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<p><br></p><p>[header=Have you ever had this feeling of not managing to pick the right instruments to bring your musical idea to life?][featured]</p>

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

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

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

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

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

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





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





<div class="row">


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


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</h4>

<hr>

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

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

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

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


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

[description]

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


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

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





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

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



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

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

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



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








</div>

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

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

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

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

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

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

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





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





<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>
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	'content' => '<p>En esta lección vamos a aprender los conceptos básicos de la sección de metales. Repasaremos los antecedentes y la función de la familia en la orquesta, así como los instrumentos que actualmente forman parte de ella y sus características clave. También aprenderemos las técnicas comunes que utilizan y sus subdivisiones habituales.</p><p>Al final de la lección habrás aprendido:</p><p></p><p></p><ul><li>El fondo y la función de la sección de metales.</li></ul><ul><li>Disposición instrumental</li></ul><ul><li>     Principales características y funciones de los instrumentos</li></ul><ul><li> Técnicas comunes</li></ul><ul><li>Subdivisiones: 1., 2., a2, a3, etc.</li></ul><p></p><p></p>',
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		'content' => '<p>In this lesson we are going to learn the basics of the brass section. We will go over the background and function of the family in the orchestra, as well as the instruments that are currently part of it and their key features. We will also learn the common techniques these use and their usual subdivisions.</p><p>At the end of the lesson you will have learnt:</p><p></p><p></p><ul><li>The background and function of the brass section</li></ul><ul><li>Instrument makeup</li></ul><ul><li>Instruments main features and functions</li></ul><ul><li>Common techniques</li></ul><ul><li>Subdivisions: 1., 2., a2, a3, etc.</li></ul><p></p><p></p>'
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		'id' => (int) 84,
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		'content' => '<p><b>SOLO STRING INSTRUMENTS<br></b></p><p>Write a passage for violin, viola, cello and contrabass of 4 bars each including one bar in each of their 4 strings (one bar in the 1st string, one bar in the 2nd string, another in the 3rd and a last one in the 4th). You can also break a bar or alter the order of strings as long as you have the instrument playing the same amount of time in the four strings.&nbsp;<span style="letter-spacing: 0.1px;">Indicate which string you are at all times with the written instruction “sul G/D/A/E” and add also dynamics.</span></p><p><span style="letter-spacing: 0.1px;">Also, use 3 of the on the string techniques, 1 off the string, and 1 of the remaining categories. Mark each technique accordingly and try to use a different set of techniques for each instrument.</span></p><p><br></p><p><b>DOUBLE, TRIPLE, AND QUADRUPLE STOPS<br></b></p><p>Write 2 small passages of 3 bars each, one for violin and one for cello, combining single notes with double, triple and quadruple stops. Remember that, while more common in solo music, series of 3rds and 6ths are rarer in orchestral music for violin, so don’t abuse of them.&nbsp;<span style="letter-spacing: 0.1px;">As for the triple and quadruple stops, try to&nbsp;</span><span style="letter-spacing: 0.1px;">add the chords only in places that make sense musically for the melody, like in the beginning or end of the phrase or semi-phrases.&nbsp;</span><span style="letter-spacing: 0.1px;">Also, try to use as much open strings as possible in the multiple stops.</span></p><p><br></p><p><b>SUBDIVISIONS<span style="letter-spacing: 0.1px;">&nbsp;</span></b></p><p>Write a passage for violin I of 6 bars including a section in tutti, divisi, solo and multiple soli. As with the video examples, you can combine the soloist playing along with the rest of the section (gli altri), or even the soloist with the rest in divisi.</p><p><br></p><p><b>Note: please, include an mp3 for all exercises. It doesn't have to be a great sounding mockup, just a quick export from your notation software.</b></p>',
		'es_version' => '<p><b>INSTRUMENTOS DE CUERDA SOLISTA<br></b></p><p>Escriba un pasaje para violín, viola, violonchelo y contrabajo de 4 compases cada una incluyendo un compás en cada una de sus 4 cuerdas (un compás en la primera cuerda, un compás en la segunda cuerda, otra en la 3ra y una última en la 4ta.) También puedes dividir una compás o alterar el orden de las cuerdas siempre que tenga el instrumento tocando la misma cantidad de tiempo en las cuatro cuerdas. Indique en qué cuerda se encuentra en todo momento con la instrucción escrita "sul G / D / A / E" y agregue también signos de dinámica.<span style="letter-spacing: 0.1px;"></span></p><p><span style="letter-spacing: 0.1px;">Además, utilice 3 de las técnicas sobre las cuerdas, 1 fuera de la cuerda y 1 de las categorías restantes. Marque cada técnica de manera correcta e intente utilizar un conjunto diferente de técnicas para cada instrumento.</span></p><p><br></p><p><b>CUERDAS DOBLES, TRIPLES Y CUADRUPLES <br></b></p><p>WEscriba 2 pequeños pasajes de 3 compases cada uno, uno para violín y otro para violonchelo, combinando notas individuales con cuerdas dobles, triples y cuádruples. Recuerda que, aunque es más común en la música solista, las series de 3ras y 6tas son más raras en el repertorio orquestal para violín, así que no abuses de ellas. En cuanto a las cuerdas triples y cuádruples, intente agregar los acordes solo en lugares que tengan sentido musicalmente para la melodía, como al principio o al final de la frase o semifrases. Además, intente utilizar la mayor cantidad posible de cuerdas abiertas en la técnica de cuerdas múltiples.<span style="letter-spacing: 0.1px;"></span></p><p><br></p><p><b>SUBDIVSIONES<span style="letter-spacing: 0.1px;"></span></b></p><p>Escriba un pasaje para violín I de 6 compases que incluya una sección en tutti, divisi, solista y soli múltiple. Al igual que con los ejemplos de video, puede combinar el solista tocando junto con el resto de la sección (gli altri), o incluso el solista con el resto en divisi.</p><p><br></p><p><b>Nota: por favor, incluya un mp3 para todos los ejercicios. No tiene que ser una maqueta que suene excelente, solo una exportación rápida de su software de notación.</b></p>',
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		'id' => (int) 62,
		'name' => 'The Brass Section',
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		'content' => '<p>Despite its name the brass family is a group of instrument that has more in common with the way they produce sound, rather than the material they are built with. Common instruments like the flutes and saxophones in the woodwind family are made out of brass, by contrast instruments like the serpent (an ancestor of the tuba) are mostly built from wood. The instruments that usually make up this section nowadays are the horn, trumpet, tenor trombone, bass trombone, and tuba.</p><p>As with the woodwind section, it is not until the beginning of the Classical period that the brass section starts to evolve into the makeup we know today. Before that, in the Renaissance and Baroque era, brass instruments were only used in particular works, especially in operas, to give a unique color to the music. Examples of this include “L’Orfeo” by C. Monteverdi and “Israel in Egypt” by G. F. Handel.</p><p>From the Classical period –or even the late Baroque period– there was a gradual growth of the brass section. A pair of horns and oboes were commonplace in orchestras in those days, complemented with a pair of trumpets in the bigger symphonies. Trombones, as well as the antecessors of the tuba (the serpent and then the ophicleide), were incorporated from the end of the Classical period and beginning of Romanticism.</p><p>But the breaking point for this section occurred with the development of valves in the beginning of the 19th century, which was widely adopted by orchestras and musicians by the second half of the century. With this system, a new world of possibilities opened for this group of instruments, which lead to more complex parts and important roles at the end of the 19th century and into the 20th century.</p><p>To realize how big this milestone was, we need to understand how a brass instrument produces sound. All brass instruments’ sound starts with the vibration of the lips of the player, which is transmitted to the pipe, making it resonate at a certain frequency according to the speed of the airflow, lip and mouth configuration, and length of the tube.</p><p>Natural brass instruments (without valves) have only a single fixed length of pipe so only overtones of the series (starting from the 2nd partial) can be produced by adjusting the airflow and lip and mouth configuration. This gives the player a limited amount of possibilities, confining him or her to play just in the key the instrument is tuned in. To get around this, players have either the option of using different instruments in different keys to change between pieces or movements, or using Crooks, a little segment of tubing that, added to the main pipe, adjusts its total length. Since both of these methods require a considerable amount of time, valves revolutionized brass instrument’s playability, allowing for the first time the performance of complex chromatic passages.</p><h5>[img=uploads/topics/valve-s-mechanics-5947a330c0326.png]1. Valve bypassed: the air goes through the main pipe.</h5><h5>2. Valve not bypassed: the air goes through the additional piping.</h5><p><br></p><p>Brass instruments are divided into two categories depending on the shape of its bore:</p><p></p><p></p><p></p><p></p><p></p><ul><li>with cylindrical bore: have the same diameter throughout their whole pipe, only flaring right at the end, just before the bell. Brass instruments with this type of pipe have a more focused, bright, and “brassy” sound. All trumpets, trombones, and the cimbasso have cylindrical bores.</li></ul><p></p><ul><li>with conical bore: have a pipe that changes diameter throughout its length, starting smaller right after the mouthpiece, and widening until the bell starts. Brass instruments with this type of pipe have a rounder, slightly duller, darker, and less “brassy” sound than brass instruments with a cylindrical bore with similar range. The French horn, all tubas, as well as the flugelhorn, Wagner tuba and euphoniums have conical bores.&nbsp;</li></ul><p></p><p></p><p></p><p></p><p></p><p></p><p>There is also another element that participates in the production of the sound of brass instruments, &nbsp;the mouthpiece. Just like the woodwinds, it &nbsp;has a lot to do with the sound which we identify with a particular instrument.</p><p>In the brass family, there are two types of mouthpieces:</p><p></p><p></p><p></p><ul><li>Semi-spherical: produce a more focused and brighter sound. All brass instruments, except the French horn and Wagner tuba, use semi-spherical mouthpieces.</li></ul><p></p><p></p><ul><li>Conical: produce less defined sound. Only the French horn and the rare Wagner tuba use this type of mouthpiece.</li></ul><p></p><p></p><p></p><p>Mouthpieces also vary in size and depth. Instruments with a lower range use a larger and deeper mouthpiece, as opposed to higher instruments, which don’t need as much room for the lips to vibrate.</p><h5>[img=uploads/topics/brass-mouthpieces-5947a1bade8f5.png]Mouthpieces of:&nbsp;<span style="color: inherit;">1. French horn,&nbsp;</span><span style="color: inherit;">2. Trumpet,&nbsp;</span><span style="color: inherit;">3. Tenor trombone,&nbsp;</span><span style="color: inherit;">4. Tuba and </span>cimbasso</h5><p><br></p><p>The brass section currently has a makeup of around 4 to 8 French horns, 2 to 4 trumpets, and rarely anything different than 3 trombones and 1 tuba. Additionally, the cimbasso is a very popular instrument among the biggest budget film scores and Italian orchestras, but hard to find in most symphonic orchestras.</p>',
		'es_version' => '<p>A pesar de su nombre, la familia de metales es un grupo de instrumentos que tiene más en común con la forma en que producen sonido, en lugar del material con el que están construidos. Los instrumentos comunes como las flautas y los saxofones de la familia del viento de madera están hechos de metal, en contraste, los instrumentos como la serpiente (un antepasado de la tuba) están hechos principalmente de madera. Los instrumentos que generalmente componen esta sección hoy en día son la trompa, trompeta, trombón tenor, trombón bajo y tuba.</p><p>Al igual que con la sección de maderas, no es hasta el comienzo del período clásico que la sección de metales comienza a evolucionar hacia el estado en que lo conocemos hoy. Antes de eso, en la época del Renacimiento y el Barroco, los instrumentos de metal solo se usaban en obras particulares, especialmente en óperas, para dar un color único a la música. Ejemplos de esto incluyen "L’Orfeo" de C. Monteverdi e "Israel en Egipto" de G. F. Handel</p><p>Desde el período clásico –o incluso el período barroco tardío– hubo un crecimiento gradual de la sección de metales. Un par de trompas y oboes eran comunes en las orquestas de esos días, complementados con un par de trompetas en las sinfonías más grandes. Los trombones, así como los antecesores de la tuba (la serpiente y luego el oficleido), se incorporaron desde el final del período clásico y el comienzo del romanticismo.</p><p>Pero el punto de ruptura para esta sección se produjo con el desarrollo de las válvulas a principios del siglo XIX, que fue ampliamente adoptado por las orquestas y los músicos en la segunda mitad del siglo. Con este sistema, se abrió un nuevo mundo de posibilidades para este grupo de instrumentos, que condujo a partes más complejas y roles importantes a fines del siglo XIX y en el siglo XX.</p><p>Para darnos cuenta de cuán grande fue este hito, necesitamos entender cómo un instrumento de metal produce su sonido. El sonido de todos los instrumentos de metal comienza con la vibración de los labios del interprete, que se transmite a l tubo, haciendo que resuene a una frecuencia determinada de acuerdo con la velocidad del flujo de aire, la configuración de los labios y la boca, y la longitud del tubo.</p><p>Los instrumentos de metal natural (sin válvulas) tienen una sola longitud fija de tubo, por lo que solo se pueden producir overtones de la serie (a partir del segundo parcial) ajustando el flujo de aire y la configuración de boca y labio. Esto le da al intérprete una cantidad limitada de posibilidades, limitándolo a tocar solo en la tonalidad en que está afinado el instrumento. Para evitar esto, los intérpretes tenían la opción de usar diferentes instrumentos en diferentes tonalidades para cambiar entre piezas o movimientos, o usando Crooks, un pequeño segmento de tubería que, agregado a la tubería principal, ajusta su longitud total. Dado que ambos métodos requieren una cantidad considerable de tiempo, las válvulas revolucionaron la capacidad de interpretación del instrumento de metal, lo que permitió por primera vez la ejecución de pasajes cromáticos complejos.</p><h5>[img=uploads/topics/valve-s-mechanics-5947a330c0326.png]1.. Válvula con bypass: el aire pasa a través del tubo principal.</h5><h5>2.Válvula sin bypass: el aire pasa a través de la tubería adicional.</h5><p><br></p><p>Los instrumentos de metal se dividen en dos categorías según la forma de su orificio:</p><p></p><p></p><p></p><p></p><p></p><ul><li>Con agujero cilíndrico: tienen el mismo diámetro en toda su tubería, solo se ensanchan al final, justo antes de la campana. Los instrumentos de metal con este tipo de tubería tienen un sonido más enfocado, brillante y "metálico". Todas las trompetas, trombones y el cimbasso tienen agujeros cilíndricos.</li></ul><p></p><ul><li>Con agujero cónico: tienen una tubería que cambia&nbsp; de diámetro a lo largo de su longitud, comenzando más pequeña justo después de la boquilla, y ensanchándose hasta que comienza la campana. Los instrumentos de metal con este tipo de tubería tienen un sonido más redondeado, ligeramente más opaco, más oscuro y menos "metálico" que los instrumentos de metal&nbsp; con un orificio cilíndrico con un rango similar. La trompa, todas las tubas, así como la trompeta, la tuba Wagner y los bombardinos tienen agujeros cónicos.</li></ul><p></p><p></p><p></p><p></p><p></p><p></p><p>También hay otro elemento que participa en la producción del sonido de los instrumentos de metal, la boquilla. Al igual que los instrumentos de viento de madera, tiene mucho que ver con el sonido que identificamos con un instrumento en particular.</p><p>En la familia de metal, hay dos tipos de boquillas:</p><p></p><p></p><p></p><ul><li>Semiesférica: produce un sonido más enfocado y brillante. Todos los instrumentos de metal, excepto la trompa y la tuba Wagner, utilizan boquillas semiesféricas.</li></ul><p></p><p></p><ul><li>Cónica: produce un sonido menos definido. Solo la trompa y la rara tuba Wagner usan este tipo de boquilla.</li></ul><p></p><p></p><p></p><p>Las boquillas también varían en tamaño y profundidad. Los instrumentos con un rango más bajo usan una boquilla más grande y profunda, a diferencia de los instrumentos más agudos, que no necesitan tanto espacio para que los labios vibren.</p><h5>[img=uploads/topics/brass-mouthpieces-5947a1bade8f5.png]Boquillas de: 1. trompa, 2. trompeta, 3. trombón tenor, 4. tuba y cimbasso</h5><p><br></p><p>La sección de metales&nbsp; actualmente tiene una composición de alrededor de 4 a 8 trompas francesas, de 2 a 4 trompetas y rara vez algo diferente a 3 trombones y 1 tuba. Además, el cimbasso es un instrumento muy popular entre las partituras cinematográficas de mayor presupuesto y las orquestas italianas, pero es difícil de encontrar en la mayoría de las orquestas sinfónicas.</p>',
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En esta lección vamos a aprender los conceptos básicos de la sección de metales. Repasaremos los antecedentes y la función de la familia en la orquesta, así como los instrumentos que actualmente forman parte de ella y sus características clave. También aprenderemos las técnicas comunes que utilizan y sus subdivisiones habituales.

Al final de la lección habrás aprendido:

El fondo y la función de la sección de metales.

Disposición instrumental

Principales características y funciones de los instrumentos

Técnicas comunes

Subdivisiones: 1., 2., a2, a3, etc.

The Brass Section

Introduction

Langdon's Birthday

Frodo Updated His Profile

Nora Joined Mailing List

Cron Job 254 Executed