Orchestration 1: From Sketch to Orchestra
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</h4>

<hr>

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

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

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

<hr>
<br>
<h3 style="line-height: 140%; text-align: center; color:#427cc2;">UNDERSTAND HOW TO <b>BALANCE ORCHESTRAL FAMILIES</b> AND HOW TO<br><b>ARRANGE FOR FULL ORCHESTRA</b></h3>
<br>
<br>
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[header=Understand the basics of each instrument<br> and the role it plays in the orchestra*CONFIDENTLY WRITE FOR FULL ORCHESTRA]

[description]

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


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

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





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

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



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

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

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



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








</div>

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

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

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

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

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

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

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





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





<div class="row">


<div class="col-md-7 mt-3">
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<div class="col-md-5 mt-3">
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</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]
</div>








</div>

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

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

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

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

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

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

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





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





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[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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</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>





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<p style="text-align: center;"><br></p><p style="text-align: center;">The course is constantly under development, with new content added on a steady basis. As a student, you'll get every update completely for free.</p>
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<p></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><br></p><p><span style="letter-spacing: 0.1px;">&nbsp;[header=What others have asked][faq]</span></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><span style="letter-spacing: 0.1px;"><br></span><br></p><p></p><p></p><p><br></p><p>
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	'content' => '<p>El equilibrio es una de las preocupaciones más importantes al orquestar una pieza. Especialmente clave en estos días, cuando nuestros DAW se llenan con las librerías de muestras de diferentes compañías, él equilibrio siempre debe ser la máxima prioridad para el orquestador moderno.</p><p>Al principio, uno podría pensar en el equilibrio en la orquesta como un juego de números. Lejos de la realidad, logramos un equilibrio en la orquesta al reconocer el peso de los diferentes instrumentos y secciones de la orquesta. Este no es el único factor, pero definitivamente es el más importante en el resultado final.</p><p>Hemos discutido esto en detalle en los módulos anteriores de este curso, cuando revisamos el rango dinámico de cada instrumento en la orquesta. Pero no lo pusimos en el contexto de toda la orquesta.</p><p>En general, las 4 secciones de la orquesta pueden equilibrarse entre sí cuando tenemos la misma dinámica. Pero, todavía hay algunas áreas en el espectro dinámico que no todas las secciones pueden alcanzar. En el siguiente cuadro veremos cuáles son los límites de cada sección de la orquesta en términos muy generales:</p><p>[img=/uploads/topics/xorchestral-sections-dynamic-range-esp-5edd50b53df51.jpg]</p><h5>Por favor, tome esta tabla como una guía, ya que no es aplicable a todos los instrumentos de cada familia y también cambia según el registro en el que se desempeñen estos instrumentos. Sin embargo, cuando se acerque a la cuestión del equilibrio por primera vez pueden usarlo como referencia. Usamos en este gráfico un rango dinámico absoluto que va de ppp (incluyendo también la n) a ffff. Hay compositores que usaron un rango mayor que este (especialmente en el siglo XX), y también compositores que usaron uno más estrecho (compositores románticos, clásicos, barrocos y anteriores).<br></h5>',
	'es_version' => '<p>El equilibrio es una de las preocupaciones más importantes al orquestar una pieza. Especialmente clave en estos días, cuando nuestros DAW se llenan con las librerías de muestras de diferentes compañías, él equilibrio siempre debe ser la máxima prioridad para el orquestador moderno.</p><p>Al principio, uno podría pensar en el equilibrio en la orquesta como un juego de números. Lejos de la realidad, logramos un equilibrio en la orquesta al reconocer el peso de los diferentes instrumentos y secciones de la orquesta. Este no es el único factor, pero definitivamente es el más importante en el resultado final.</p><p>Hemos discutido esto en detalle en los módulos anteriores de este curso, cuando revisamos el rango dinámico de cada instrumento en la orquesta. Pero no lo pusimos en el contexto de toda la orquesta.</p><p>En general, las 4 secciones de la orquesta pueden equilibrarse entre sí cuando tenemos la misma dinámica. Pero, todavía hay algunas áreas en el espectro dinámico que no todas las secciones pueden alcanzar. En el siguiente cuadro veremos cuáles son los límites de cada sección de la orquesta en términos muy generales:</p><p>[img=/uploads/topics/xorchestral-sections-dynamic-range-esp-5edd50b53df51.jpg]</p><h5>Por favor, tome esta tabla como una guía, ya que no es aplicable a todos los instrumentos de cada familia y también cambia según el registro en el que se desempeñen estos instrumentos. Sin embargo, cuando se acerque a la cuestión del equilibrio por primera vez pueden usarlo como referencia. Usamos en este gráfico un rango dinámico absoluto que va de ppp (incluyendo también la n) a ffff. Hay compositores que usaron un rango mayor que este (especialmente en el siglo XX), y también compositores que usaron uno más estrecho (compositores románticos, clásicos, barrocos y anteriores).<br></h5>',
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		'content' => '<p>Balance is one of the most important concerns when orchestrating a piece. Especially key these days, when our DAWs get filled with different companies’ sample libraries, this should always be the top priority for the modern orchestrator.</p><p>At first, one might think of balance in the orchestra as a game of numbers. Far from reality, we achieve balance in the orchestra by acknowledging the weight of the different instruments and sections in the orchestra. This is not the only factor, but it is definitely the most important in the end result.</p><p>We discussed this in detail over the previous modules of this course, when we went over the dynamic range of each instrument in the orchestra. But we didn’t put that in the context of the whole orchestra.</p><p>In general, the 4 sections of the orchestra can balance each other when we have the same dynamics. But, there are still some areas in the dynamic spectrum that not all the sections can reach. In the following chart we will see what are the boundaries of each section in the orchestra in very general terms:</p><p>[img=/uploads/topics/orchestral-sections-dynamic-range-5a92f531ecdec.jpg]</p><h5>Please, do take this chart with a grain of salt, as it is not applicable to all instruments in each family and also changes depending on the register these instruments are performing in. However, when you are approaching the matter of balance for the few first times you can use it as a reference. We used in this chart an absolute dynamic range going from ppp (including also the n) to ffff. There are composer that used a greater range than this (especially in the 20th century), and also composer who used a narrower one (Romantic, Classical, Baroque, and earlier composers).<br></h5>'
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		'id' => (int) 921,
		'name' => 'Layers: Association and Separation',
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		'content' => '<p>Before getting deeper into the craft of orchestrating for the whole orchestra, it is worth to remind us the concept of layer and its consequences in both separating or bringing ideas together.</p><p>A layer is, in music, a series of events that share a number of characteristics in common. Not sharing these characteristics will produce two or more different layers depending on how many are not in common and the degree of dissimilarity.</p><p>These characteristics are the following:</p><p><br></p><p><b>RHYTHM</b></p><p>This is the most important characteristic to keep a layer together: when several instruments have in common the same or similar rhythmic pattern would be understood as one single layer. The line’s direction/shape, timber/color, and even articulations and register can be very different as long as the rhythmic pattern is the same.</p><p>This rhythmic pattern don’t have to appear exactly in the same way in all the lines that make up the layer. It can both appear with slight variations on each line, or be built upon different sub-patterns that complement each other to make up the pattern that we end up listening, like those complex ones that we often find in the percussion section.</p><p><br></p><p><b>ARTICULATION</b></p><p>The different articulations affect not only the beginnings of the notes but also their endings, therefore affecting their length. This is why this can be also understood as an extension of the previous element. However, the similarities between different lines can happen rhythmic wise or articulation wise to unify a layer, or both shared for a stronger tie. An extension, also, because this wouldn’t make sense if there is not a minimum of parallelism in the rhythm between the two or more group of instruments that share the same articulation.</p><p><br></p><p><b>STARTING POINT</b></p><p>Starting different layers at different moments can also contribute tremendously to help the listener separate groups of instruments into different layers, even when these share ideas that are very close in rhythm, articulations, register, and timber.</p><p>Introducing ideas in an instrument first also teaches the listener that this is a different layer.</p><p><br></p><p><b>REGISTER</b></p><p>As we mentioned before, we can have different pitches laid out in a section and still group them when listening as one layer. But another thing is to not share the same register at all. Pitch can be used to separate lines that otherwise would sound very much together. However, if all the previous characteristics (rhythm and articulations) are shared between these lines, the separation created by register is rarely enough powerful to consider it a different layer, but rather a different sublayer.</p><p><br></p><p><b>LINE’S DIRECTION/SHAPE</b></p><p>Depending on the type of harmonic language we are using in the piece we are orchestrating, this can be also both bring instruments together into a layer, or split them into different layers.</p><p>Nevertheless, this is usually really hard to achieve and is usually reinforced by other ways to separate layers. This is because of two (or more) chords that are superimposed can be easily understood as the same chord and layer, although we can see successful examples of this in works by Stravinsky or Milhaud.</p><p><br></p><p><b>TIMBRE/COLOR</b></p><p>As it happens with register, the differences in timber between two instruments/groups of instruments are rarely strong enough to help separate two lines into two layers, if the rhythmic pattern and articulations are very close each other. Still, this can help separate a group of instruments into two or more sublayers.</p><p>We can achieve differences in timber not only by using different instruments, but also with the same or close type of instrument performing different techniques.</p><p><br></p><p><b>DYNAMICS</b></p><p>A difference in dynamics can place a layer in the foreground or background and, therefore, separate it or keep it together with another layer or layers.</p><p><br></p><p><b>SPACE</b></p><p>Space is more important than we generally think. The instruments are placed in a stage in two dimensions: in the left-right axis and foreground-background axis. Having different layers in &nbsp;instruments or groups of instruments that are distant in the stage is going to have an effect on the audience, but also in the mix. Elements from the background are going to take some extra milliseconds to reach the mics and will come with louder reflections than if they were closer to them. Additionally, elements from the left will reach the mics on the left with more loudness than the ones on the right side and vice versa.</p><p><br></p><p>Obviously, the less elements in common, or the less alike, the easier for the listener to understand them as different things.</p>',
		'es_version' => '<p>Antes de profundizar en el oficio de orquestar para toda la orquesta, vale la pena recordarnos el concepto de capa y sus consecuencias tanto en la separación como en la unión de ideas.</p><p>Una capa es, en música, una serie de eventos que comparten una serie de características en común. No compartir estas características producirá dos o más capas diferentes dependiendo de cuántas no son comunes y el grado de disimilitud.</p><p>Estas características son las siguientes:</p><p><br></p><p><b>RITMO</b></p><p>Esta es la característica más importante para mantener una capa unida: cuando varios instrumentos tienen en común el mismo patrón rítmico o similar se entendería como una sola capa. La dirección / forma de la línea, la madera / el color e incluso las articulaciones y el registro pueden ser muy diferentes siempre que el patrón rítmico sea el mismo.</p><p>Este patrón rítmico no tiene que aparecer exactamente de la misma manera en todas las líneas que forman la capa. Ambos pueden aparecer con ligeras variaciones en cada línea, o construirse sobre diferentes subpatrones que se complementan entre sí para formar el patrón que terminamos escuchando, como los complejos ritmos&nbsp; que a menudo encontramos en la sección de percusión.</p><p><br></p><p><b>ARTICULACIÓN</b></p><p>Las diferentes articulaciones afectan no solo el comienzo de las notas sino también sus terminaciones, lo que afecta su duración. Es por eso que esto también puede entenderse como una extensión del elemento anterior. Sin embargo, las similitudes entre las diferentes líneas pueden suceder rítmicamente o en términos de articulación para unificar una capa, o ambas al mismo tiempo para así crear un lazo más fuerte. Es también una extensión, porque esto no tendría sentido si no hay un mínimo de paralelismo en el ritmo entre los dos o más grupos de instrumentos que comparten la misma articulación.</p><p><br></p><p><b>PUNTO DE PARTIDA</b></p><p>Comenzar diferentes capas en diferentes momentos también puede contribuir enormemente a ayudar al oyente a separar grupos de instrumentos en diferentes capas, incluso cuando estos comparten ideas muy cercanas en ritmo, articulaciones, registro y timbre.</p><p>Introducir ideas en un instrumento primero también le enseña al oyente que ésta es una capa diferente.</p><p><br></p><p><b>REGISTRO</b></p><p>Como mencionamos anteriormente, podemos tener diferentes tonos dispuestos en una sección y aun así agruparlos cuando se escuchan como una capa. Pero otra cosa es no compartir el mismo registro en absoluto. El tono se puede usar para separar líneas que de otro modo sonarían juntas. Sin embargo, si todas las características anteriores (ritmo y articulaciones) se comparten entre estas líneas, la separación creada por el registro rara vez es lo suficientemente poderosa como para considerarla una capa diferente, sino más bien una subcapa diferente.</p><p><br></p><p>DIRECCIÓN / FORMA DE&nbsp; LA LINEA</p><p>Dependiendo del tipo de lenguaje armónico que estemos usando en la pieza que estamos orquestando, esto también puede juntar los instrumentos en una capa o dividirlos en diferentes capas.</p><p>Sin embargo, esto suele ser realmente difícil de lograr y generalmente se ve reforzado por otras formas de separar las capas. Esto se debe a que dos (o más) acordes superpuestos pueden entenderse fácilmente como el mismo acorde y capa, aunque podemos ver ejemplos exitosos de esto en trabajos de Stravinsky o Milhaud.</p><p><br></p><p><b>TIMBRE/COLOR</b></p><p>Como sucede con el registro, las diferencias en el timbre entre dos instrumentos / grupos de instrumentos rara vez son lo suficientemente fuertes como para ayudar a separar dos líneas en dos capas, si el patrón rítmico y las articulaciones son muy cercanas entre sí. Aun así, esto puede ayudar a separar un grupo de instrumentos en dos o más subcapas.</p><p>Podemos lograr diferencias en el timbre no solo mediante el uso de diferentes instrumentos, sino también con el mismo o cercano tipo de instrumento ejecutando diferentes técnicas.</p><p><br></p><p>DINÁMICA</p><p>Una diferencia en la dinámica puede colocar una capa en primer plano o en el fondo y, por lo tanto, separarla o mantenerla junto con otra capa o capas.</p><p><br></p><p>ESPACIO</p><p>El espacio es más importante de lo que generalmente pensamos. Los instrumentos se colocan en un escenario en dos dimensiones: en el eje izquierdo-derecho y en el eje de primer plano-fondo. Tener diferentes capas en instrumentos o grupos de instrumentos distantes en el escenario tendrá un efecto en la audiencia, y&nbsp; también en la mezcla. Los elementos del fondo tomarán algunos milisegundos adicionales para alcanzar los micrófonos y tendrán reflejos más fuertes que si estuvieran más cerca de ellos. Además, los elementos de la izquierda alcanzarán los micrófonos de la izquierda con más volumen que los del lado derecho y viceversa.</p><p><br></p><p>Obviamente, cuanto menos elementos en común, o menos parecidos, más fácil será para el oyente entenderlos como cosas diferentes.</p>',
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		'id' => (int) 923,
		'name' => 'Balance (2): the families',
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		'content' => '<p>But what about the balance within each section? While we know approximately the dynamic range of each instrument, there are some observations that we can still point out when we deal with each family individually.</p><p>Starting with the strings, the five sections are pretty much comparable in terms of dynamic range. Still, we should be careful with the viola section as they project sound less successfully than the others string instruments. We can also find the contrabass section in a similar situation when they get up in their register.</p><p>The string section can also get pretty loud, but where they exceed is in their ability to produce sound near almost the pure silence.</p><p>Woodwinds are slightly more powerful than the strings, but they cannot go as soft as them. There are a couple of exceptions for the latest: the whole range of the clarinet family and –approximately– the first octave of the concert flute and alto flute. They can go&nbsp; really soft in both cases and, in the case of the clarinet family, almost to no sound –niente–.</p><p>The dynamic range of each woodwind instrument change quite a bit, so it is difficult to compare directly all of them. However, throughout the comfortable register of each one of them they sound around the same. In this way one flute can be balanced with one oboe or an oboe with a bassoon, for example.</p><p>The brass family is in generally speaking slightly less able to go as soft as some of the woodwinds like the clarinets and flutes, but it is also able to produce very beautiful pp. Still, brass instruments are known for their loudness and can beat, if required, the rest of the orchestra.</p><p>As for the balance inside the section, the common distribution per note is two instruments when it comes to the French horns and one with trumpets, trombones and tuba. This rule can be overlooked when we have very soft dynamics, where we don’t need two French horns per note.</p>',
		'es_version' => '<p>Pero, ¿qué pasa con el equilibrio dentro de cada sección? Si bien conocemos aproximadamente el rango dinámico de cada instrumento, hay algunas observaciones que aún podemos señalar cuando tratamos a cada familia individualmente.</p><p>Comenzando con las cuerdas, las cinco secciones son bastante comparables en términos de rango dinámico. Aun así, debemos tener cuidado con la sección de viola, ya que proyectan el sonido con menos éxito que los otros instrumentos de cuerda. También podemos encontrar la sección de contrabajo en una situación similar cuando se elevan en su registro.</p><p>La sección de la cuerda también puede ser bastante fuerte en volumen, pero donde son inigualables es en su capacidad de producir sonido cerca del silencio puro.</p><p>Las maderas son un poco más poderosas que las cuerdas, pero no pueden ser tan suaves como ellos. Hay un par de excepciones para lo último: toda la gama de la familia de clarinetes y, aproximadamente, la primera octava de la flauta de concierto y la flauta alta. Pueden ir muy suaves en ambos casos y, en el caso de la familia del clarinete, casi sin sonido –niente–.</p><p>El rango dinámico de cada instrumento dentro de las maderas cambia bastante, por lo que es difícil compararlos directamente. Sin embargo, a lo largo del registro más cómodo de cada uno de ellos suenan casi igual. De esta manera, una flauta se puede equilibrar con un oboe o un oboe con un fagot, por ejemplo.</p><p>En general, la familia de metales es un poco menos capaz de ir tan suave como algunos de los instrumentos de viento de madera como los clarinetes y flautas, pero también es capaz de producir pp muy hermosos. Aun así, los instrumentos de metal son conocidos por su volumen y pueden golpear, si es requerido, al resto de la orquesta.</p><p>En cuanto al balance dentro de la sección, la distribución común por nota es de dos instrumentos cuando se trata de las trompas y uno con trompetas, trombones y tuba. Esta regla se puede pasar por alto cuando tenemos dinámicas muy suaves, donde no necesitamos dos trompas por nota.</p>',
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		'personalized_unavailable_message' => '',
		'personalized_unavailable_cta' => '',
		'created' => object(Cake\I18n\FrozenTime) {},
		'modified' => object(Cake\I18n\FrozenTime) {},
		'[new]' => false,
		'[accessible]' => [
			[maximum depth reached]
		],
		'[dirty]' => [[maximum depth reached]],
		'[original]' => [[maximum depth reached]],
		'[virtual]' => [[maximum depth reached]],
		'[hasErrors]' => false,
		'[errors]' => [[maximum depth reached]],
		'[invalid]' => [[maximum depth reached]],
		'[repository]' => 'Topics'
	
	}
]
$status = [
	'allowed' => false,
	'expired_enrollment' => false,
	'enrolledVersion' => false,
	'openingWeeks' => false,
	'available_revisions' => (int) 0,
	'is_a_demo_topic' => false,
	'is_a_demo_version' => false,
	'is_a_bonus_topic' => false,
	'is_available_to_suscribers' => false,
	'enrollment' => [],
	'upsell' => [],
	'course_enrollments' => [],
	'isTeacher' => false,
	'expired_suscription' => true
]
include - APP/Template/Element/aside/course-outline.ctp, line 21
Cake\View\View::_evaluate() - CORE/src/View/View.php, line 1435
Cake\View\View::_render() - CORE/src/View/View.php, line 1393
Cake\View\View::_renderElement() - CORE/src/View/View.php, line 1879
Cake\View\View::element() - CORE/src/View/View.php, line 783
include - APP/Template/Element/aside-main-sidebar.ctp, line 22
Cake\View\View::_evaluate() - CORE/src/View/View.php, line 1435
Cake\View\View::_render() - CORE/src/View/View.php, line 1393
Cake\View\View::_renderElement() - CORE/src/View/View.php, line 1879
Cake\View\View::element() - CORE/src/View/View.php, line 783
include - APP/Template/Layout/adminlte.ctp, line 85
Cake\View\View::_evaluate() - CORE/src/View/View.php, line 1435
Cake\View\View::_render() - CORE/src/View/View.php, line 1393
Cake\View\View::renderLayout() - CORE/src/View/View.php, line 939
Cake\View\View::render() - CORE/src/View/View.php, line 897
Cake\Controller\Controller::render() - CORE/src/Controller/Controller.php, line 791
Cake\Http\ActionDispatcher::_invoke() - CORE/src/Http/ActionDispatcher.php, line 126
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