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And to enable all those interested in this area to specialize in it, TECH has decided to launch a Professional Master’s Degree based on Musical Instrumentation and Orchestration. This is an avant-garde and dynamic program through which graduates will be able to delve into aspects such as harmony, notation, vocal repertoire and tuning. Furthermore, they will acquire a broad and specialized knowledge of the piano and the organ as key elements in the creation of pieces, focusing on their history, their characteristics and their employability in today's classical-cultural sector.
For this purpose, the student will have 1,500 hours of diverse content: the syllabus, elaborated by experts in musical direction, practical cases based on real situations and additional high-quality material presented in various multimedia formats. Everything will be available in a state-of-the-art Virtual Campus, which can be accessed through any device with Internet connection, whether it is a PC, Tablet or cell phone and without schedules or on-site classes. In this way, you will be able to combine the program with any other activity, investing your time in mastering your professional skills to become the next Simon Rattle.
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Module 1. Introduction to the Piano
1.1. The Piano
1.1.1. Organological Description of the Piano Musical Instrument
1.1.2. Main Parts of the Piano
1.1.3. Evolution of the Piano as a Musical Instrument
1.1.4. Most Important Composers
1.2. The Musical Notes
1.2.1. Location of the Notes
1.2.2. G Clef and F Clef
1.2.3. Association of Right Hand and Left Hand
1.2.4. Ascending and Descending Musical Notes
1.2.5. Fingering
1.3. Figures, Dynamics and Musical Nuances
1.3.1. Musical Figures and their Practical Applications
1.3.2. Dynamics and their Practical Application
1.3.3. Musical Nuances and their Practical Applications
1.3.4. Figures, Dynamics and Musical Nuances Together on the Piano
1.4. Introduction to Musical Reading
1.4.1. Reading Sheet Music in G Clef
1.4.2. Reading Sheet Music in F Clef
1.4.3. Combination of the Two Musical Clefs
1.4.4. Internalization of the Concepts Acquired in the Piano
1.5. Improvisation
1.5.1. Main Musical Scales
1.5.2. Main Musical Chords
1.5.3. The Main Tones
1.5.4. Techniques of Musical Improvisation
1.6. Aural Application
1.6.1. Aural Recognition of Melodic Intervals
1.6.2. Aural Recognition of Major and Minor Chords
1.6.3. Aural Recognition of Augmented and Diminished Chords
1.6.4. Playing Intervals
1.6.5. Playing Major and Minor Chords
1.7. Composition
1.7.1. Written Composition of a Short Musical Piece in G Clef
1.7.2. Written Composition of a Short Musical Piece in F Clef
1.7.3. Composition of a Passage of a Musical Piece Using Both Musical Clefs
1.7.4. Improvised Composition of a Short Musical Piece
1.8. Sight-Reading
1.8.1. Sight-Reading Intonation
1.8.2. Rhythm at First Sight
1.8.3. Sight-Reading of a Short Musical Piece in G Clef
1.8.4. Sight-Reading of a Short Musical Piece in F Clef
1.8.5. Sight-Reading of a Passage in G and F Clef
1.9. The Pedal
1.9.1. Introduction to the Pedal
1.9.2. Recognition of the Three Piano Pedals
1.9.3. Recognition of the Pedal Symbols
1.9.4. Coordination and Internalization of the Pedal with Both Hands
1.10. Four-Hand Technique
1.10.1. What is Four-Hand Playing?
1.10.2. Main Repertoire Composed to be Played by Four Hands
1.10.3. Performance of a Four-Hand Piece in its Melodic Part
1.10.4. Performance of a Four-Hand Piece in its Harmonic Part
Module 2. Instrumentation and Orchestration
2.1. The Orchestra
2.1.1. What is an Orchestra?
2.1.2. What Instruments Make Up an Orchestra?
2.1.3. Beginnings of the Orchestra
2.1.4. The Baroque Orchestra
2.1.5. The Classical Orchestra
2.1.6. Beethoven's Orchestra
2.1.7. The Post-Beethoven Orchestra
2.1.8. The Contemporary Orchestra
2.2. Stringed Instruments
2.2.1. What Are the Stringed Instruments?
2.2.2. Tessitura
2.2.3. Special Mention of the Piano
2.2.4. The String Quartet
2.2.5. Roles of the Stringed Instruments in the Orchestra
2.3. Woodwind Instruments
2.3.1. Which Are the Woodwind Instruments?
2.3.2. Woodwind Quintet
2.3.3. Tessitura
2.3.4. Roles of the Woodwind Instruments in the Orchestra
2.4. Brass Instruments
2.4.1. Which Are the Brass Instruments?
2.4.2. Tessitura
2.4.3. Roles of the Brass Instruments in the Orchestra
2.4.4. Types of Brass Instruments: Conical Bore and Cylindrical Bore
2.5. Chamber Ensembles
2.5.1. What are Chamber Formations?
2.5.2. What is Chamber Music?
2.5.3. Origins of Chamber Ensembles
2.5.4. Most Common Chamber Ensembles
2.6. Percussion
2.6.1. Which are the Percussion Instruments?
2.6.2. Classification of Percussion Instruments
2.6.3. Types of Percussion
2.6.3.1. Percussion of Drumhead
2.6.3.2. Percussion of Blades
2.6.3.3. Minor Percussion
2.6.4. Role of Percussion
2.7. Harp and Guitar
2.7.1. Brief Description of the Harp
2.7.2. Origins of the Harp
2.7.3. Brief Description of the Guitar
2.7.4. Origins of the Guitar
2.7.5. Role of the Harp in the Orchestra
2.7.6. Role of the Guitar in the Orchestra
2.8. Keyboard Instruments
2.8.1. Which are the Keyboard Instruments?
2.8.2. Characteristics of Keyboard Instruments
2.8.3. The Piano in the Orchestra
2.8.4. Historical Evolution of the Piano
2.9. Solo Instruments in the Orchestra
2.9.1. What is a Solo Instrument and What is its Role?
2.9.2. Which are the Soloist Instruments?
2.9.3. The Most Important Solo Instruments in the 15th-16th Centuries
2.9.4. Today's Most Important Solo Instruments
2.10. The Arrangement in the Orchestra
2.10.1. Stringed Instruments
2.10.2. Woodwind Instruments
2.10.3. Brass Instruments
2.10.4. Percussion
Module 3. Harmony I
3.1. Harmony
3.1.1. What is Harmony in Music?
3.1.2. Evolution of the Harmonic Concept
3.1.3. Functional Harmony
3.1.4. Harmony in Schools
3.2. Figured Bass
3.2.1. What is a Figured Bass?
3.2.2. History of the Figured Bass
3.2.3. Performance and Execution of a Figured Bass
3.2.4. Basic Figures
3.3. Conduction of Voices
3.3.1. What is Conduction of Voices?
3.3.2. Rules for Arrangement of Voices
3.3.3. Rules of the Melodic Movement of Each Voice
3.3.4. Rules of the Harmonic Movement Between Two Voices
3.3.5. Rules for Notes of Compulsory Resolution
3.4. The Chords of the Scale
3.4.1. Triad Chord Links
3.4.2. Chord Sequences
3.4.3. Chords Derived From the Major Scale
3.4.4. Seventh Chords Derived From the Major Scale
3.4.5. Chords Derived From the Minor Scale
3.5. The Seventh and Ninth Chords
3.5.1. What are Seventh Chords?
3.5.2. Types of Seventh Chords
3.5.3. What are Ninth Chords?
3.5.4. Types of Ninth Chords
3.6. The Cadences
3.6.1. Perfect Cadence
3.6.2. Plagal Cadence
3.6.3. Broken Cadence
3.6.4. Semi-Cadence
3.6.5. Andalusian Cadence
3.6.6. Imperfect Cadence
3.7. The Dissonance
3.7.1. Concept
3.7.2. Role of the Dissonance
3.7.3. Harmonic Resolution of Dissonance
3.7.4. Melodic Resolution of Dissonance
3.8. Chord Inversions
3.8.1. What is an Inversion?
3.8.2. Inversions of Triad Chords
3.8.3. Seventh Chord Inversions
3.8.4. Ninth Chord Inversions
3.9. Ornamental Notes
3.9.1. What is an Ornamental Note?
3.9.2. Passing Note
3.9.3. Fioriture
3.9.4. Ritardando
3.9.5. Anticipation
3.9.6. Appoggiatura
3.9.7. Échapée
3.9.8. Cambiata
3.9.9. Pedal Point
3.10. Modulation
3.10.1. Concept and Operation
3.10.2. Modulation by Pivot Chord
3.10.3. Chromatic Modulation
3.10.4. The Enharmonic Modulation
Module 4. Vocal-Orchestral Repertoire
4.1. Classification of Voices
4.1.1. Introduction to Voice Types
4.1.2. Soprano
4.1.3. Mezzo Soprano
4.1.4. Contralto
4.1.5. Countertenor
4.1.6. Tenor
4.1.7. Baritone
4.1.8. Bass
4.2. Opera
4.2.1. The Beginnings of Opera
4.2.2. The Italian Opera
4.2.2.1. Baroque
4.2.2.2. Reforms of Gluck and Mozart
4.2.2.3. The Bel Canto
4.2.3. German Opera
4.2.4. Composers and Opera to Highlight
4.3. Structure of the Opera
4.3.1. Acts and Scenes
4.3.2. The Recitative
4.3.3. Duets, Tercets
4.3.4. Choral Part
4.4. The Operetta
4.4.1. What is the Operetta?
4.4.2. The French Operetta
4.4.3. The Viennese Operetta
4.4.4. Influence of the Operetta in the Beginnings of the Musical
4.5. The Opera Bufa
4.5.1. What is the Opera Bufa?
4.5.2. Beginnings of the Opera Bufa
4.5.3. The Cilla. Michelangelo Faggioli
4.5.4. Most Important Bufa Operas
4.6. The French Comic Opera
4.6.1. What is the French Comic Opera?
4.6.2. When did French Comic Opera Emerge?
4.6.3. Evolution of the French Comic Opera at the End of the 18th Century
4.6.4. Main Composers of French Comic Opera
4.7. The English Ballad Opera and the German Singspiel
4.7.1. Introduction to the Ballad Opera
4.7.2. Introduction to the Singspiel
4.7.3. Origins of the Singspiel
4.7.4. The Singspiel in the Rococo Period
4.7.5. Main Singspiel and its Composers
4.8. Zarzuela
4.8.1. What is the Zarzuela?
4.8.2. Beginnings of Zarzuela
4.8.3. Main Zarzuelas
4.8.4. Main Composers
4.9. The Mass
4.9.1. Description of the Mass Genre
4.9.2. Parts of the Mass
4.9.3. The Requiem
4.9.4. Most Outstanding Requiems
4.9.4.1. Mozart's Requiem
4.10. The Symphony and the Chorus
4.10.1. The Choral Symphony
4.10.2. Birth and Evolution
4.10.3. Main Symphonies and Composers
4.10.4. Unaccompanied Choral Symphonies
Module 5. Harmony II
5.1. The Scales
5.1.1. The Seven Modal Scales
5.1.2. The Minor Scales
5.1.3. Scale Degrees
5.1.4. The Tonal and Modal Degrees
5.2. The Movements of the Voices
5.2.1. The Direct Movement
5.2.2. The Contrary Movement
5.2.3. The Oblique Movement
5.2.4. The Arrangement of the Voices
5.3. Extension and Duplication of Voices
5.3.1. Bass Extension
5.3.2. Tenor Extension
5.3.3. Contralto Extension
5.3.4. Soprano/Treble Extension
5.3.5. Voice Duplication Rules
5.4. Harmonization
5.4.1. Harmonization of Figured and Non-Figured Basses
5.4.2. Harmonization of Trebles
5.4.3. Harmonization of Mixed Works (Bass-Treble or Treble-Bass)
5.4.4. Creation and Harmonization of Self-Works
5.5. Tonal and Modal Ligatures
5.5.1. Tonal Ligatures: (V-I) (I-IV)
5.5.2. Tonal Ligatures: (V-I) (I-IV)
5.5.3. Tonal Ligatures: (I-VI) (IV-II)
5.5.4. Modal Ligatures: (V-II) (IV-I)
5.5.5. Modal Ligatures: (V-IV) (II-I)
5.5.6. Modal Ligatures: (I-III) (II-IV)
5.6. Modulation
5.6.1. Modulation by Pivot Chord
5.6.2. Chromatic Modulation
5.6.3. The Enharmonic Modulation
5.6.4. Modulation to the Third Ascending Circle of Fifths
5.7. Sixth Chords
5.7.1. Origin
5.7.2. The Italian Sixth
5.7.3. The French Sixth
5.7.4. The German Sixth
5.8. The Dominant Ninth
5.8.1. The Major Dominant Ninth
5.8.2. The Minor Dominant Ninth
5.8.3. Notes of Compulsory Resolution
5.8.4. The Ligature
5.9. Harmonic Rhythm/Subdivisions
5.9.1. What is Harmonic Rhythm?
5.9.2. History of Harmonic Rhythm
5.9.3. What is Rhythmic Subdivision?
5.9.4. Subdivision of Harmonic Rhythm
5.10. Harmonization of a Chorale
5.10.1. Harmonic Sequencing
5.10.2. Prioritization of Cadences
5.10.3. Modulation Points
5.10.4. The Use of the V with Seventh in Inversions
Module 6. Organ
6.1. The Organ
6.1.1. Introduction to the Organ
6.1.2. The Organ in Ancient and Middle Ages
6.1.3. The Organ in Classicism and Romanticism
6.1.4. The Organ in the Baroque
6.2. How the Organ Works
6.2.1. How is the Sound Made?
6.2.2. The Change of Pitch and Timbre
6.2.3. The Valves and Windchests
6.2.4. Positive Organ
6.3. Structural Composition of the Organ
6.3.1. The Box
6.3.2. The Console
6.3.3. Manual
6.3.4. Pedalboard
6.4. Parts of the Organ
6.4.1. Records
6.4.2. Pipes
6.4.3. Secret
6.4.4. Mechanisms
6.4.5. Bellows
6.5. The German Music of the 17th-18th Centuries
6.5.1. Bach
6.5.2. Pachelbel
6.5.3. Walter
6.5.4. Boehm
6.6. Most Relevant Organ Pieces
6.6.1. Baroque Period
6.6.2. Classicism
6.6.3. Romanticism
6.6.4. 20th Century
6.7. The Portable Organ, Realejo and Positive
6.7.1. Introduction
6.7.2. The Portable Organ
6.7.3. The Realejo
6.7.4. Positive Organ
6.8. The Wanamaker Organ
6.8.1. Introduction
6.8.2. History
6.8.3. The Architectural Layout of the Organ
6.8.4. Music Composed Specifically for the Wanamaker Organ
6.9. The Organ in Cinema and Videogames
6.9.1. Pirates of the Caribbean
6.9.2. Interstellar
6.9.3. The Legend Of Zelda
6.9.4. Final Fantasy IV
6.10. The Most Famous Organs in the World
6.10.1. The Organ of the Cathedral of Notre Dame (Paris)
6.10.2. The Organ of St. Stephen's Cathedral (Passau)
6.10.3. The Organ of the Basilica of Notre-Dame (Alençon)
6.10.4. The Organ of the Oliwa Cathedral (Gdańsk)
Module 7. Piano Tuning
7.1. The Invention of the Piano
7.1.1. What is a Piano?
7.1.2. Predecessors and Origins of the Piano
7.1.3. Bartolomeo Cristofori
7.1.4. The Transformations Undergone by the Piano
7.2. Types of Piano
7.2.1. The Upright Piano
7.2.2. The One-Quarter and Half-Tail Piano
7.2.3. The Grand Piano
7.2.4. The Electric Piano
7.3. Tuning Tools
7.3.1. The Tuning Key
7.3.2. Tuning Fork
7.3.3. Mutes, Tweezers and Felt Strips
7.3.4. Rubber Wedges
7.4. Beat
7.4.1. What is the Beat?
7.4.2. Slow Beat
7.4.3. Fast Beat
7.4.4. Beat Frequencies
7.4.5. Beat Tones
7.5. Temperament
7.5.1. What is the Temperament?
7.5.2. Acoustic Physics and Temperament
7.5.3. Mesotonic Temperament
7.5.4. Equal Temperament
7.6. Piano Strings
7.6.1. What is the Piano String?
7.6.2. Steel or Flat Strings
7.6.3. The Bordone Strings
7.6.4. Main Manufacturers of Strings
7.7. The Condition of the Piano
7.7.1. Evaluation of the Condition of the Piano Cabinet
7.7.2. Evaluation of the Condition of the Piano Pedals
7.7.3. Evaluation of the Condition of the Piano Tuning
7.7.4. Evaluation of the Condition of the Piano Harmonization
7.8. Replacement of the Parts and Elements of the Piano Mechanics
7.8.1. Preparation of the Piano for its Accessibility
7.8.2. Applying Corrections to Elements of the Piano Harmonic Set
7.8.3. Assembly and Disassembly of Piano Parts to be Repaired
7.8.4. Selection and Preparation of Strings and/or Bass Strings
7.9. The Octaves
7.9.1. Ora Railsback and the Octave Stretching
7.9.2. Inharmonicity
7.9.3. The Central Piano with its First Four Theory Harmonics
7.9.4. Tuning of a Piano's Theory Octave
7.9.5. Tuning of a Piano's Real Octave
7.10. Piano Manufacture
7.10.1. Piano Manufacturing Materials
7.10.2. Creation of the Basic Structure
7.10.3. The Tension Resonator and Harmonic Table
7.10.4. The Pegbox
7.10.5. Key and Hammers
Module 8. Musical Notation
8.1. Gregorian Chant Notations
8.1.1. The Neumes, Breathing, Custos
8.1.2. Adiasmatic Notations
8.1.3. Diasthematic Notations
8.1.4. Modern Editions of Gregorian Chant
8.2. First Polyphonies
8.2.1. The Parallel Organum Musica Enchiriadis
8.2.2. The Dasian Notation (First Polyphonies)
8.2.3. Alphabetic Notation
8.2.4. The Notation of St. Martial of Limoges
8.3. The Codex Calixtinus
8.3.1. The Diasthematic Notation of the Codex
8.3.2. The Authorship of the Codex Calixtinus
8.3.3. Type of Music Found in the Codex
8.3.4. The Polyphonic Music of the Codex Book V
8.4. The Notation at the School of Notre Dame
8.4.1. The Repertoire and its Sources
8.4.2. Modal Notation and Rhythmic Modes
8.4.3. The Notation in the Different Genres: Organa, Conducti and Motets
8.4.4. Main Manuscripts
8.5. The Notation of the Ars Antiqua
8.5.1. Ars Antiqua and Ars NovaTerminology
8.5.2. The Pre-Franconian Notation
8.5.3. The Franconian Notation
8.5.4. The Petronian Notation
8.6. Notation in the 14th Century
8.6.1. The Notation of the French Ars Nova
8.6.2. The Notation of the Italian Trecento
8.6.3. The Division of Longa, Breve and Semibreve
8.6.4. The Ars Subtilior
8.7. The Copyists
8.7.1. Introduction
8.7.2. The Origins of the Calligraphy
8.7.3. History of Copyists
8.7.4. Music Copyists
8.8. The Printing Press
8.8.1. Bi Sheng and the First Chinese Printing Press
8.8.2. Introduction to Printing Press
8.8.3. The Gutenberg Printing Press
8.8.4. The First Printings
8.8.5. The Printing Press Today
8.9. Music Printing Press
8.9.1. Babylon. First Forms of Musical Notation
8.9.2. Ottaviano Petrucci. Printing with Movable Type
8.9.3. John Rastell's Printing Model
8.9.4. Intaglio Printing
8.10. The Current Musical Notation
8.10.1. The Representation of Durations
8.10.2. The Representation of Pitches
8.10.3. Musical Expression
8.10.4. Tablature
Module 9. Organology
9.1. The Organology
9.1.1. What is Organology?
9.1.2. Concept of Musical Instrument
9.1.3. Concept and Purpose of Musical Instrument Classifications
9.1.4. Musical Instruments Classification. Hornbostel-Sachs
9.2. Historical Process of Musical Instruments
9.2.1. The First Musical Instruments. Prehistoric Instruments
9.2.2. Ancient Instruments
9.2.3. Instruments in the Middle Ages
9.2.4. Instruments in the Modern Age
9.2.5. The Instruments in the Renaissance and Baroque
9.2.6. Instruments in Classicism and Romanticism
9.3. Idiophones
9.3.1. What is an Idiophone?
9.3.2. Percussive Idiophones
9.3.3. Shaken Idiophones
9.3.4. Plucked Idiophones
9.3.5. Friction Idiophones
9.3.6. With the Hand
9.4. Membranophones
9.4.1. What is a Membranophone?
9.4.2. Percussed Membranophones
9.4.3. Fretted Membranophones
9.4.4. Singing Membranophone
9.5. Aerophone
9.5.1. What is an Aerophone?
9.5.2. Classification According to Manufacturing Materials
9.5.2.1. Brass Aerophones
9.5.2.2. Woodwind Aerophones
9.5.2.3. Wind-Mechanical Aerophones
9.5.3. Single Reed Aerophones
9.5.4. Double Reed Aerophones
9.5.5. Embouchure Aerophones
9.5.6. Mouthpiece Aerophones
9.5.7. Aerophones with Air Reservoir
9.6. Chordophones
9.6.1. What is a Chordophone?
9.6.2. Plucked String Chordophones
9.6.3. Fretted Stringed Chordophones
9.6.4. Plucked String Chordophones
9.7. Electrophones
9.7.1. What is an Electrophone?
9.7.2. Sachs and Galpin
9.7.3. Electromechanical Electrophones
9.7.4. Electronic Electrophones
9.8. The Musical Iconography
9.8.1. Definition of Musical Iconography
9.8.2. The Musical Iconography in the Prehistory and Ancient Times
9.8.3. The Medieval Musical Iconography
9.8.4. Main Pictorial Art Pieces
9.9. The Portico of Glory
9.9.1. Introduction
9.9.2. Master Mateo
9.9.3. The Architectural Structure of the Portico of Glory
9.9.4. Musical Instruments
9.10. The Codex Calixtinus
9.10.1. What is the Codex Calixtinus?
9.10.2. The History of the Codex Calixtinus
9.10.3. The Structure of the Codex Calixtinus
9.10.4. Music of the Codex Calixtinus
Module 10. Orchestra Conducting
10.1. Orchestra Conductors
10.1.1. Introduction
10.1.2. Role of the Orchestra Conductor
10.1.3. Composer-Conductor Relationship
10.1.4. Most Renowned Conductors
10.2. The Gesture
10.2.1. The Levare
10.2.2. The Vertical Gesture
10.2.3. The Cross
10.2.4. Triangle
10.3. The Free Pulse
10.3.1. The Free Pulse in the Fundamental Figures
10.3.2. Regular Time Signatures
10.3.3. Irregular Time Signatures
10.3.4. Irregular Cross Time Signatures
10.4. The Anacrustic Beginning
10.4.1. What is an Anacrusis?
10.4.2. Anacrustic Beginning on Fundamental Figures
10.4.3. The Normal Levare
10.4.4. The MetricLevare
10.5. The Tempo
10.5.1. Tempo Alterations as Part of Musical Speech
10.5.2. Tempo Changes after a Pause
10.5.3. Progressive Changes
10.5.4. The Change of Tempo, Pulse and Time Signature
10.6. The Baton
10.6.1. Introduction. Origin and Creator of the Baton
10.6.2. The Handle
10.6.3. Rod
10.6.4. Length
10.7. The Piano
10.7.1. Sight-Reading of Sheet Music for Two Hands
10.7.2. Musical Transport
10.7.3. Harmonic Connections
10.7.4. Composition
10.8. Vocal Groups
10.8.1. The Human Voice and its Classification
10.8.2. Technical Rudiments of Conducting Applied to Vocal Music
10.8.3. The Vocal Repertoire
10.8.4. The Rehearsal, the Planning and the Concert
10.9. Instrumental Groups
10.9.1. Organology
10.9.2. Technical Rudiments of Conducting Applied to Instrumental Music
10.9.3. The Instrumental Repertoire
10.9.4. The Rehearsal, the Planning and the Concert
10.10. Tuning
10.10.1. Steps in Orchestral Tuning
10.10.2. The Oboe and the Tuning of the Orchestra
10.10.3. The Concertmaster
10.10.4. Historical Evolution of the Tuning
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