Orchestration 1: From Sketch to Orchestra
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</h4>

<hr>

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

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

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

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

[description]

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


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

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





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

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



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

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

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



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








</div>

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

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

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

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

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

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

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





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





<div class="row">


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</div>


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<p></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><br></p><p><span style="letter-spacing: 0.1px;">&nbsp;[header=What others have asked][faq]</span></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><span style="letter-spacing: 0.1px;"><br></span><br></p><p></p><p></p><p><br></p><p>
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</h4>

<hr>

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

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

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

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

[description]

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


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

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





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

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



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

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

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



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








</div>

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

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

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

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

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

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

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





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





<div class="row">


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


<div class="col-md-5 mt-3">
<h2 style="text-align: center;"><br></h2><h2 style="text-align: center;">Lifetime updates</h2>


<p style="text-align: center;"><br></p><p style="text-align: center;">The course is constantly under development, with new content added on a steady basis. As a student, you'll get every update completely for free.</p>
</div>


</div>


<p></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><br></p><p><span style="letter-spacing: 0.1px;">&nbsp;[header=What others have asked][faq]</span></p><p><span style="letter-spacing: 0.1px;">[header=Click below and get started]&nbsp;</span><span style="letter-spacing: 0.1px;">[countdown]&nbsp;</span><span style="letter-spacing: 0.1px;">[prices]</span><span style="letter-spacing: 0.1px;"><br></span><br></p><p></p><p></p><p><br></p><p>
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		'content' => '<p>Now that we have an idea of how to compensate sections and subsections in the orchestra, let’s get a little bit deeper in the concept of balance.</p><p>As everything in music, one thing is the theory and other is how we put that into practice. For instance, it is not the same to write a homophonic texture –i.e. a chorale– that writing a complex multi-layer texture: on the second a new factor starts to become more relevant: separation.</p><p>Separation is what helps us achieving balance between different layers in a texture that, otherwise, we would not consider fully counterweighted. We can achieve the separation of layers applying the elements that we learnt in the first section of this module: rhythm, articulations, register, pitch, timber/color, and starting point. In fact, we should combine several of them to succeed when trying to balance two layers that don’t have the same weight<span style="letter-spacing: 0.1px;">.</span></p><p><span style="letter-spacing: 0.1px;"><br></span></p><p>[vimeo=https://player.vimeo.com/video/304510578]<br></p>',
		'es_version' => '<p>Ahora que tenemos una idea de cómo compensar secciones y subsecciones en la orquesta, profundicemos un poco más en el concepto de equilibrio.</p><p>Como todo en música, una cosa es la teoría y otra cosa es la práctica. Por ejemplo, no es lo mismo escribir una textura homofónica, -por ejemplo un coral - que escribir una textura compleja de múltiples capas: en el segundo, un nuevo factor comienza a ser más relevante: la separación.</p><p>La separación es lo que nos ayuda a lograr el equilibrio entre las diferentes capas en una textura que, de lo contrario, no consideraríamos totalmente contrapesada. Podemos lograr la separación de capas aplicando los elementos que aprendimos en la primera sección de este módulo: ritmo, articulaciones, registro, tono, timbre / color y punto de partida. De hecho, deberíamos combinar varios de ellos para tener éxito al tratar de equilibrar dos capas que no tienen el mismo peso.<span style="letter-spacing: 0.1px;"></span></p><p><span style="letter-spacing: 0.1px;"><br></span></p><p>[vimeo=https://player.vimeo.com/video/304510578]<br></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>


</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>
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	'name' => 'Balance (3): separation and balance',
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	'content' => '<p>Now that we have an idea of how to compensate sections and subsections in the orchestra, let’s get a little bit deeper in the concept of balance.</p><p>As everything in music, one thing is the theory and other is how we put that into practice. For instance, it is not the same to write a homophonic texture –i.e. a chorale– that writing a complex multi-layer texture: on the second a new factor starts to become more relevant: separation.</p><p>Separation is what helps us achieving balance between different layers in a texture that, otherwise, we would not consider fully counterweighted. We can achieve the separation of layers applying the elements that we learnt in the first section of this module: rhythm, articulations, register, pitch, timber/color, and starting point. In fact, we should combine several of them to succeed when trying to balance two layers that don’t have the same weight<span style="letter-spacing: 0.1px;">.</span></p><p><span style="letter-spacing: 0.1px;"><br></span></p><p>[vimeo=https://player.vimeo.com/video/304510578]<br></p>',
	'es_version' => '<p>Ahora que tenemos una idea de cómo compensar secciones y subsecciones en la orquesta, profundicemos un poco más en el concepto de equilibrio.</p><p>Como todo en música, una cosa es la teoría y otra cosa es la práctica. Por ejemplo, no es lo mismo escribir una textura homofónica, -por ejemplo un coral - que escribir una textura compleja de múltiples capas: en el segundo, un nuevo factor comienza a ser más relevante: la separación.</p><p>La separación es lo que nos ayuda a lograr el equilibrio entre las diferentes capas en una textura que, de lo contrario, no consideraríamos totalmente contrapesada. Podemos lograr la separación de capas aplicando los elementos que aprendimos en la primera sección de este módulo: ritmo, articulaciones, registro, tono, timbre / color y punto de partida. De hecho, deberíamos combinar varios de ellos para tener éxito al tratar de equilibrar dos capas que no tienen el mismo peso.<span style="letter-spacing: 0.1px;"></span></p><p><span style="letter-spacing: 0.1px;"><br></span></p><p>[vimeo=https://player.vimeo.com/video/304510578]<br></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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		'id' => (int) 925,
		'name' => 'Voicing for a symphony orchestra',
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		'content' => '<p>The same principles that apply for each section of the orchestra apply for the whole orchestra: the harmonic series is the acoustic phenomenon that has the greatest influence on how we voice chords, orchestrate, and, ultimately, compose.</p><p>As we already learnt in the previous modules, this principle has consequences in the following elements:</p><p></p><p></p><ul><li>The order of the notes inside the chord.</li></ul><ul><li>The separation between these notes depending on how low or high we are inside the chord.</li></ul><ul><li>The number of times we double each note of the chord.</li></ul><p></p><p></p><p>Another factor to keep in mind is that music is not just just the consequence of the implementation of acoustics. Music is a cultural phenomenon and, as a such, depends also on the culture of its time and, ultimately, its taste.</p><p>To name a few of the consequences of culture over music harmonic wise we have:</p><p></p><ul><li>Minor chords</li></ul><ul><li>added tone chord and suspended chord</li></ul><ul><li>Augmented and diminished chords</li></ul><ul><li>Other chromatizations (augmented 7th, minor 9th, etc.)</li></ul><ul><li>Inverted chords</li></ul><ul><li>Chords by 5ths, 4ths, and other intervals</li></ul><ul><li>Etc.</li></ul><p></p><p><br></p><div>[vimeo=https://player.vimeo.com/video/306036318]<br></div>',
		'es_version' => '<p>Los mismos principios que se aplican a cada sección de la orquesta se aplican a toda la orquesta: la serie armónica es el fenómeno acústico que tiene la mayor influencia en cómo expresamos los acordes, orquestamos y, en última instancia, componemos.</p><p>Como ya aprendimos en los módulos anteriores, este principio tiene consecuencias en los siguientes elementos:</p><p></p><p></p><ul><li>El orden de las notas dentro del acorde.</li></ul><ul><li>La separación entre estas notas dependiendo de cuán bajo o alto estemos dentro del acorde.</li></ul><ul><li>El número de veces que duplicamos cada nota del acorde.</li></ul><p></p><p></p><p>Otro factor a tener en cuenta es que la música no es solo la consecuencia de la implementación de la acústica. La música es un fenómeno cultural y, como tal, depende también de la cultura de su época y, en última instancia, de su gusto.</p><p>Por nombrar algunas de las consecuencias de la cultura sobre la música armónicamente tenemos:</p><p></p><ul><li>Acordes menores</li></ul><ul><li>acorde con notas agregadas y acorde suspendido</li></ul><ul><li>Acordes aumentados y disminuidos</li></ul><ul><li>Otras agregados cromáticos (séptima aumentada, novena menor, etc.)</li></ul><ul><li>Acordes invertidos</li></ul><ul><li>Acordes por 5tas, 4tas y otros intervalos</li></ul><ul><li>Etc.</li></ul><p></p><p>Este video no cuenta con traducción al Español aún.</p><div>[vimeo=https://player.vimeo.com/video/306036318]<br></div>',
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Balance (3): separation and balance

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Balance (3): separation and balance

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