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]

[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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</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>
</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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</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>
</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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	'content' => '<p>En esta lección, hemos aprendido algunas ideas clave que nos ayudarán a comprender mejor cómo funciona la sección de metales y cuáles son sus capacidades. Entre estos conceptos podemos encontrar los siguientes:</p><p></p><p></p><ul><li>Una breve reseña histórica de la sección y de cada instrumento</li></ul><ul><li>Las funciones principales de la sección</li></ul><ul><li>Las principales características de cada instrumento</li></ul><ul><li>Las funciones principales de cada instrumento</li></ul><ul><li>Transposiciones comunes y auxiliares</li></ul><ul><li>Common techniques and specifics in each instrument</li></ul><ul><li>Subdivisiones</li></ul><p></p><p></p>',
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		'content' => '<p>In this lesson, we learnt some key ideas that will help us to better understand how the brass section works and what its capabilities are. Among these concepts we can find the following ones:</p><p></p><p></p><ul><li>A brief historical background of the section and each instrument</li></ul><ul><li>The main functions of the section</li></ul><ul><li>The main characteristics of each instrument</li></ul><ul><li>The main functions of each instrument</li></ul><ul><li>Common transpositions and auxiliaries</li></ul><ul><li>Common techniques and specifics in each instrument</li></ul><ul><li>Subdivisions</li></ul><p></p><p></p>'
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		'content' => '<p>As with the woodwinds, the brass section has several parts per type of instrument and they are grouped usually in pairs in the same stave. To make clear what line is played by which instrument, they are marked with the following indications:</p><p><br></p><p><b>1., 2., 3., etc.</b></p><p>A number state which player plays which line when either there is only one line at a time, two that cross with each other, or any other reason that makes the music not clear to the conductor. Since parts are usually separated by player such a confusion doesn’t exist. Numbers &nbsp;are placed above the stave, unless it needs to be clearer and one of the numbers goes below and besides the line it refers to.</p><p>When a single line is only played by one instrument, it has more individuality, like a story or a song that is sung by one person, or the dialogue between two or three individuals as opposed to a group or choir singing altogether. The dramatic effect is totally different. It is also a way to give more subtlety and delicacy to a melody or contrapunctual line.</p><p><br></p><p><b>A2, A3, A4, etc.</b></p><p>Used even more than in the woodwind family, the terms “a” immediately followed by a number states the number of players that play that line. Unlike the strings and woodwinds, a pair of French horns sound very good in unison. This also applies when a bigger number of horns play a chord together. For example, in an instrumentation of 6 horns, these will usually play three notes in the chords, 2 per note.</p><p>Trumpets and trombones are also used in pairs, though not nearly as much as the horns. Unisons in a3, a4, a6, a8, or as many as we can afford, are used extensively through the big symphonic repertoire of the 20th century.</p><p>When using a number of instruments in unison, the reason for using French horns in pairs (a2) is to give a little more body and dynamic to each line so they can compete fairly with the rest of the brass instruments. While the purpose, though, of using a3 or a4 in brass instruments is to change the actual sound quality of the line, as well as to significantly increase the dynamic power. Just as when two different instruments of the same or different family blend in unison into a hybrid of the two, when some of the same brass instruments play in unison they blend into a new brassier, heavier and more epic version of the instrument.</p><h5>[vzaar=12526144]Examples of horns a2, a3, and a4 passages in G. Holst's&nbsp;The Planets: Jupiter<br><p></p></h5>
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<h5>[vzaar=12581662]Examples of trumpets 1., 2., a2, a3, and a4 passages in G. Holst's The Planets: Jupiter<p></p></h5>
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		'es_version' => '<p>Al igual que con las maderas, la sección de metales tiene varias partes por tipo de instrumento y se agrupan generalmente de a&nbsp; pares en el mismo pentagrama. Para dejar en claro qué línea toca cada instrumento, se marcan con las siguientes indicaciones</p><p><br></p><p><b>1., 2., 3., etc.</b></p><p>Un número indica qué interprete tocara qué línea cuando solo hay una línea a la vez, dos que se cruzan entre sí, o cualquier otra razón que hace que la música no sea clara para el director. Dado que las partes suelen estar separadas por cada interprete, tal confusión no existe. Los números se colocan por encima del pentagrama, a menos que sea más claro y uno de los números vaya debajo y además de la línea a la que se refiere.</p><p>Cuando una sola línea se toca solo con un instrumento, tiene más individualidad, como una historia o una canción que canta una persona, o el diálogo entre dos o tres personas en lugar de un grupo o coro cantando en conjunto. El efecto dramático es totalmente diferente. También es una forma de dar más sutileza y delicadeza a una melodía o línea contrapuntística.</p><p><br></p><p><b>A2, A3, A4, etc.</b></p><p>Usado incluso más que en la familia de las maderas, los términos "a" seguidos inmediatamente por un número indican el número de ejecutantes que interpretaran esa línea. A diferencia de las cuerdas y de las maderas, un par de trompas suenan muy bien al unísono. Esto también se aplica cuando una mayor cantidad de trompas tocan un acorde juntos. Por ejemplo, en una instrumentación de 6 trompas, estas generalmente tocarán tres notas en los acordes, 2 por cada nota.</p><p>Las trompetas y los trombones también se usan en parejas, aunque no tanto como las trompas. Los unísonos en a3, a4, a6, a8, o todas las que nos podemos permitir, se utilizan ampliamente a través del gran repertorio sinfónico del siglo XX.</p><p>Cuando se usan varios instrumentos al unísono, la razón para usar trompas en pares (a2) es dar un poco más de cuerpo y dinámica a cada línea para que puedan competir de manera justa con el resto de los instrumentos de metal. Sin embargo, aunque el propósito de usar a3 o a4 en instrumentos de metal es cambiar la calidad del sonido real de la línea, así como aumentar significativamente la potencia dinámica. Al igual que cuando dos instrumentos diferentes de la misma familia o de una familia diferente se mezclan al unísono en un híbrido de los dos, cuando algunos de los mismos instrumentos de metal&nbsp; tocan al unísono, se mezclan en una nueva versión del instrumento más fuerte, más pesada y más épica.</p><h5>[vzaar=21592926]Examples of horns a2, a3, and a4 passages in G. Holst's&nbsp;The Planets: Jupiter<br><p></p></h5>
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<h5>[vzaar=21592896]Examples of trumpets 1., 2., a2, a3, and a4 passages in G. Holst's The Planets: Jupiter<p></p></h5>
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		'id' => (int) 86,
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		'content' => '<p><b>SOLO BRASS INSTRUMENTS</b></p><p>Write a passage of 4 bars for French horn, the trumpet, the trombone, and tuba paying attention to what you just learnt. Be always aware of what register, dynamics, and kind of figuration you are using, so you are always in the comfort zone of the instrument or just around it. Mark always the dynamic you want the performer to play and don’t forget to write the passage in the right transposition, should the instrument so require.</p><p>Use and mark accordingly at least two of the “general articulations” and two of the “other techniques” for each of the instruments, trying to use the most techniques as possible by the end of the exercise. Don’t try by any means to squeeze all of them in one of the passage, but distribute them musically along the 8 bars. Also include at least one trill or tremolo in four of the instruments, making sure that you don’t use them in awkward places of the register.</p><p><br></p><p><b>MUTES</b><br></p><p>Write one passage of 4 bars for French horn, another for trumpet, and another for trombone including some of the mutes that we studied. In case you change from&nbsp;<span style="letter-spacing: 0.1px;">senza sordino to con sordino or viceversa, make</span>&nbsp;sure you always give the player enough time to change. Apply everything you learnt so far about these instruments regarding techniques and registers.</p><p><br></p><p><b>SUBDIVISIONS</b></p><p>Write three passages of 4 bar each for:</p><p></p><ul><li>Passage 1: 4 French horns (2 horns per stave)</li></ul><ul><li>Passage 2: 3 Trumpets (1st and 2nd trumpet in the first stave and 3rd in the second)</li></ul><ul><li>Passage 3: 2 tenor trombones and 1 bass trombone (1st and 2nd trombone in the first stave and bass trombone in the second)</li></ul><p></p><p>Use the mark 1., 2. and a2, making always sense with the dynamics you marked and the sound you want. Pay close attention to each instrument’s transposition, and remember everything you learnt in this lesson when writing each line.</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><br></p>',
		'es_version' => '<p><b>INSTRUMENTOS DE METALES SOLISTA</b></p><p>Escribe un pasaje de 4 compases para trompa, trompeta, trombón y tuba prestando atención a lo que acabas de aprender. Sea siempre consciente de qué registro, dinámica y tipo de figuración está utilizando, de modo que siempre esté en la zona de confort del instrumento o justo a su alrededor. Marque siempre la dinámica que desea que toque el intérprete y no olvide escribir el pasaje en la transposición correcta, si el instrumento así lo requiere.</p><p>Utilice y marque en consecuencia al menos dos de las "articulaciones generales" y dos de las "otras técnicas" para cada uno de los instrumentos, tratando de utilizar la mayor cantidad de técnicas posible al final del ejercicio. No intente de ninguna manera exprimirlos todos en uno de los pasajes, sino distribuirlos musicalmente a lo largo de las 8 compases. También incluya al menos un trino o trémolo en cuatro de los instrumentos, asegurándose de no usarlos en lugares incómodos del registro.</p><p><br></p><p><b>SORDINAS</b><br></p><p>Escribe un pasaje de 4 compases para trompa, otro para trompeta y otro para trombón, incluyendo alguna de las sordinas que estudiamos. En caso de que cambie de senza sordino a con sordino o viceversa, asegúrese de darle siempre al interprete el tiempo suficiente para cambiar. Aplique todo lo que aprendió hasta ahora sobre estos instrumentos con respecto a técnicas y registros.</p><p><br></p><p><b>SUBDIVISIONES</b></p><p>Escriba tres pasajes de 4 compases cada uno para:</p><p></p><ul><li>Pasaje 1: 4 trompas (2 trompas por pentagrama)</li></ul><ul><li>Pasaje 2: 3 trompetas (1ra y 2da trompeta en el primer pentagrama y 3ra en la segunda)</li></ul><ul><li>Pasaje 3: 2 trombones tenor y 1 trombón bajo (primer y segundo trombón en el primer pentagrama y trombón bajo en el segundo)</li></ul><p></p><p>Use la marca 1., 2. y a2, siempre teniendo sentido con la dinámica que marcó y el sonido que desea. Preste mucha atención a la transposición de cada instrumento y recuerde todo lo que aprendió en esta lección al escribir cada línea.</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><br></p>',
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En esta lección, hemos aprendido algunas ideas clave que nos ayudarán a comprender mejor cómo funciona la sección de metales y cuáles son sus capacidades. Entre estos conceptos podemos encontrar los siguientes:

Una breve reseña histórica de la sección y de cada instrumento

Las funciones principales de la sección

Las principales características de cada instrumento

Las funciones principales de cada instrumento

Transposiciones comunes y auxiliares

Common techniques and specifics in each instrument

Subdivisiones

The Brass Section

Conclusion

Langdon's Birthday

Frodo Updated His Profile

Nora Joined Mailing List

Cron Job 254 Executed