If you are looking for a program to specialize in instrumentation and ऑर्केस्ट्रेशन, this Postgraduate diploma is perfect for you. Are you going to pass up the opportunity to take it 100% online?" 

ऑर्केस्ट्रेशन as a field goes beyond the study and practice of writing music for any ensemble. It is also in charge of adapting the works to the different genres, as well as to the instruments that compose the group that will perform them. Therefore, through the mastering of the most sophisticated harmonic techniques, the composer contributes to cultural creation through the creative and specialized interpretation of classical and modern pieces. However, this is a field that requires an exhaustive handling of the main techniques, as well as an intensive knowledge of the characteristics of the different types of orchestras and their components. 

For this reason, TECH and its team versed in musicology and musical direction have developed this complete and extensive program in ऑर्केस्ट्रेशन, an innovative and multidisciplinary degree through which graduates will be able to handle the necessary information to master instrumentation and musical notation in just 6 months of multidisciplinary training. In addition, the student will work conscientiously in the acquisition of the necessary competencies to carry out an effective orchestral conducting, based on the different styles that exist today and the interpretative resources of each one of them. 

To that end, we offer 600 hours of the best theoretical, practical and additional content, which will be presented in a convenient and accessible 100% online format. In this way, the professional will be able to access the program's course whenever they want and need it, without having to worry about tight schedules or on-site classes. The virtual campus, where all the content is hosted, is compatible with any device with Internet connection, so you can access it from anywhere you want through a cell phone, a PC or a Tablet. 

You will work on enhancing your skills related to musical notation and conducting through 600 hours of the best theoretical, practical and additional content"

This Postgraduate diploma in ऑर्केस्ट्रेशन contains the most complete and up-to-date program on the market. The most important features include:

• The development of case studies presented by experts in musical conducting
• The graphic, schematic and practical contents of the book provide technical and practical information on those disciplines that are essential for professional practice
• Practical exercises where self-assessment can be used to improve learning
• Its special emphasis on innovative methodologies
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

You will delve into the intricacies of the orchestra, from the instruments that compose it to the characteristics of chamber formation according to the acoustics of the venue" 

Its teaching staff includes professionals from the sector who bring their work experience to this program, in addition to recognized specialists from leading societies and universities. 

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive education programmed to learn in real situations. 

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise during the academic year. This will be done with the help of an innovative system of interactive videos made by renowned experts.

You will acquire specialized knowledge about the characteristics of the different instruments: percussion, string and wind (and their modalities)"

You will have unlimited access to the Virtual Campus, without timetables or on-site classes and through any device with Internet connection"

The quality and prestige that define TECH and place it as one of the best digital universities worldwide has been the result of years of effort and struggle to shape the best 100% online educational programs. In each of them, a team versed in the fields works, which is responsible for selecting not only the theoretical information that makes up the syllabus, but also use cases based on real situations and hours of additional high-quality material. Thanks to this, it is possible to offer highly educational experiences in a comfortable and flexible format that facilitates the specialization of the graduate from any place, without schedules and through any device with Internet connection. 

With this Postgraduate diploma, you will work on the composition and adaptation of zarzuelas and masses to your own style, so that you can create unique pieces based on your professional criteria" 

Module 1. Instrumentation and Orchestration

1.1. The Orchestra

1.1.1. What is an Orchestra?
1.1.2. What Instruments Make Up an Orchestra?
1.1.3. Beginnings of the Orchestra
1.1.4. The Baroque Orchestra
1.1.5. The Classical Orchestra
1.1.6. Beethoven's Orchestra
1.1.7. The Post-Beethoven Orchestra
1.1.8. The Contemporary Orchestra

1.2. Stringed Instruments

1.2.1. What Are the Stringed Instruments?
1.2.2. Tessitura
1.2.3. Special Mention of the Piano
1.2.4. The String Quartet
1.2.5. Roles of the Stringed Instruments in the Orchestra

1.3. Woodwind Instruments

1.3.1. Which Are the Woodwind Instruments?
1.3.2. Woodwind Quintet
1.3.3. Tessitura
1.3.4. Roles of the Woodwind Instruments in the Orchestra

1.4. Brass Instruments

1.4.1. Which Are the Brass Instruments?
1.4.2. Tessitura
1.4.3. Roles of the Brass Instruments in the Orchestra
1.4.4. Types of Brass Instruments: Conical Bore and Cylindrical Bore

1.5. Chamber Ensembles

1.5.1. What are Chamber Formations?
1.5.2. What is Chamber Music?
1.5.3. Origins of Chamber Ensembles
1.5.4. Most Common Chamber Ensembles

1.6. Percussion

1.6.1. Which are the Percussion Instruments?
1.6.2. Classification of Percussion Instruments
1.6.3. Types of Percussion

1.6.3.1. Percussion of Drumhead
1.6.3.2. Percussion of Blades
1.6.3.3. Minor Percussion

1.6.4. Role of Percussion

1.7. Harp and Guitar

1.7.1. Brief Description of the Harp
1.7.2. Origins of the Harp
1.7.3. Brief Description of the Guitar
1.7.4. Origins of the Guitar
1.7.5. Role of the Harp in the Orchestra
1.7.6. Role of the Guitar in the Orchestra

1.8. Keyboard Instruments

1.8.1. Which are the Keyboard Instruments?
1.8.2. Characteristics of Keyboard Instruments
1.8.3. The Piano in the Orchestra
1.8.4. Historical Evolution of the Piano

1.9. Soloist Instruments in the Orchestra

1.9.1. What is a Solo Instrument and What is its Role?
1.9.2. Which are the Soloist Instruments?
1.9.3. The Most Important Solo Instruments in the 15th-16th Centuries
1.9.4. Today's Most Important Solo Instruments

1.10. The Arrangement in the Orchestra

1.10.1. String Instruments
1.10.2. Woodwind Instruments
1.10.3. Brass Instruments
1.10.4. Percussion

Module 2. Vocal-Orchestral Repertoire

2.1. Classification of Voices

2.1.1. Introduction to Voice Types
2.1.2. Soprano
2.1.3. Mezzo Soprano
2.1.4. Contralto
2.1.5. Countertenor
2.1.6. Tenor
2.1.7. Baritone
2.1.8. Bass

2.2. Opera

2.2.1. The Beginnings of Opera
2.2.2. The Italian Opera

2.2.2.1. Baroque
2.2.2.2. Reforms of Gluck and Mozart
2.2.2.3. The Bel Canto

2.2.3. German Opera
2.2.4. Composers and Opera to Highlight

2.3. Structure of the Opera

2.3.1. Acts and Scenes
2.3.2. The Recitative
2.3.3. Duets, Tercets
2.3.4. Choral Part

2.4. The Operetta

2.4.1. What is the Operetta?
2.4.2. The French Operetta
2.4.3. The Viennese Operetta
2.4.4. Influence of the Operetta in the Beginnings of the Musical

2.5. The Opera Bufa

2.5.1. What is the Opera Bufa?
2.5.2. Beginnings of the Opera Bufa
2.5.3. The Cilla. Michelangelo Faggioli
2.5.4. Most Important Bufa Operas

2.6. The French Comic Opera

2.6.1. What is the French Comic Opera?
2.6.2. When did French Comic Opera Emerge?
2.6.3. Evolution of the French Comic Opera at the End of the 18th Century
2.6.4. Main Composers of French Comic Opera

2.7. The English Ballad Opera and the German Singspiel 

2.7.1. Introduction to the Ballad Opera
2.7.2. Introduction to the Singspiel
2.7.3. Origins of the Singspiel
2.7.4. The Singspiel in the Rococo Period
2.7.5. Main Singspiel and its Composers

2.8. Zarzuela

2.8.1. What is La Zarzuela?
2.8.2. Beginnings of Zarzuela
2.8.3. Main Zarzuelas
2.8.4. Main Composers

2.9. The Mass

2.9.1. Description of the Mass Genre
2.9.2. Parts of the Mass
2.9.3. The Requiem
2.9.4. Most Outstanding Requiems

2.9.4.1. Mozart's Requiem

2.10. The Symphony and the Chorus

2.10.1. The Choral Symphony
2.10.2. Birth and Evolution
2.10.3. Main Symphonies and Composers
2.10.4. Unaccompanied Choral Symphonies

Module 3. Musical Notation

3.1. Gregorian Chant Notations

3.1.1. The Neumes, Breathing, Custos
3.1.2. Adiasmatic Notations
3.1.3. Diasthematic Notations
3.1.4. Modern Editions of Gregorian Chant

3.2. First Polyphonies

3.2.1. The Parallel Organum Musica Enchiriadis
3.2.2. The Dasian Notation (First Polyphonies)
3.2.3. Alphabetic Notation
3.2.4. The Notation of St. Martial of Limoges

3.3. The Codex Calixtinus

3.3.1. The Diasthematic Notation of the Codex
3.3.2. The Authorship of the Codex Calixtinus
3.3.3. Type of Music Found in the Codex
3.3.4. The Polyphonic Music of the CodexBook V

3.4. The Notation at the School of Notre Dame

3.4.1. The Repertoire and its Sources
3.4.2. Modal Notation and Rhythmic Modes
3.4.3. The Notation in the Different Genres: Organa, Conducti and Motets
3.4.4. Main Manuscripts

3.5. The Notation of the Ars Antiqua

3.5.1. Ars Antiqua and Ars NovaTerminology
3.5.2. The Pre-Franconian Notation
3.5.3. The Franconian Notation
3.5.4. The Petronian Notation

3.6. Notation in the 14th Century

3.6.1. The Notation of the French Ars Nova 
3.6.2. The Notation of the Italian Trecento 
3.6.3. The Division of Longa, Breve and Semibreve
3.6.4. The Ars Subtilior

3.7. The Copyists

3.7.1. Introduction
3.7.2. The Origins of the Calligraphy
3.7.3. History of Copyists
3.7.4. Music Copyists

3.8. The Printing Press

3.8.1. Bi Sheng and the First Chinese Printing Press
3.8.2. Introduction to Printing Press
3.8.3. The Gutenberg Printing Press
3.8.4. The First Printings
3.8.5. The Printing Press Today

3.9. Music Printing Press

3.9.1. Babylon. First Forms of Musical Notation
3.9.2. Ottaviano Petrucci. Printing with Movable Type
3.9.3. John Rastell's Printing Model
3.9.4. Intaglio Printing

3.10. The Current Musical Notation

3.10.1. The Representation of Duration
3.10.2. The Representation of Pitches
3.10.3. Musical Expression
3.10.4. Tablature

Module 4. Orchestra Conducting

4.1. Orchestra Conductors

4.1.1. Introduction
4.1.2. Role of the Orchestra Conductor
4.1.3. Composer-Conductor Relationship
4.1.4. Most Renowned Conductors

4.2. The Gesture

4.2.1. The levare
4.2.2. The Vertical Gesture
4.2.3. The Cross
4.2.4. Triangle

4.3. The Free Pulse

4.3.1. The Free Pulse in the Fundamental Figures
4.3.2. Regular Time Signatures
4.3.3. Irregular Time Signatures
4.3.4. Irregular Cross Time Signatures

4.4. The Anacrustic Beginning

4.4.1. What is an Anacrusis?
4.4.2. Anacrustic Beginning on Fundamental Figures
4.4.3. The levare normal
4.4.4. El levare metric

4.5. The Tempo

4.5.1. Tempo Alterations as Part of Musical Speech
4.5.2. Tempo Changes after a Pause
4.5.3. Progressive Changes
4.5.4. The Change of Tempo, Pulse and Time Signature

4.6. The Baton

4.6.1. Introduction. Origin and Creator of the Baton
4.6.2. The Handle
4.6.3. Rod
4.6.4. Length

4.7. The Piano

4.7.1. Sight-Reading of Sheet Music for Two Hands
4.7.2. Musical Transport
4.7.3. Harmonic Connections
4.7.4. Composition

4.8. Vocal Groups

4.8.1. The Human Voice and its Classification
4.8.2. Technical Rudiments of Conducting Applied to Vocal Music
4.8.3. The Vocal Repertoire
4.8.4. The Rehearsal, the Planning and the Concert

4.9. Instrumental Groups

4.9.1. Organology
4.9.2. Technical Rudiments of Conducting Applied to Instrumental Music
4.9.3. The Instrumental Repertoire
4.9.4. The Rehearsal, the Planning and the Concert

4.10. Tuning

4.10.1. Steps in Orchestral Tuning
4.10.2. The Oboe and the Tuning of the Orchestra
4.10.3. The Concertmaster
4.10.4. Historical Evolution of the Tuning

Choose a program like this one, which will raise your musical level to the highest to help you get the orchestra conducting position you've always wanted"