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By Alan Belkin

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To some extent this can be approximated by taking a loud brass sound and programming a filter to open, following a midi controller as needed. Also the resonance created between brass instruments in a real ensemble (the metal of each instrument vibrates slightly in sympathy with the others playing around it) is very prominent and creates strong beating effects that enrich the sound considerably. To simulate this effect, some discrete chorus must be applied to any brass group sound. Finally, simulation is always made more realistic by a panning setup which imitates the normal geography of the orchestra.

Finally, simulation is always made more realistic by a panning setup which imitates the normal geography of the orchestra. 32 Conclusion The most important conclusion to be drawn from our study of orchestration is that orchestration can bring out and enhance any aspect of the music. Once the composer gets into the habit of thinking about how timbre can mark and enrich important formal points, clarify and bring into better focus details of rhythmic design, as well as of harmony and counterpoint, orchestration becomes what it should be for maximum artistic effect: An integral part of composition itself.

Orchestral simulation Recent advances in computer technology have made possible fairly realistic simulation of the orchestra. Such simulation is very common in film music, and can be used as a valuable pedagogical tool, since rarely does a student have sufficient access to real ensembles as needed, to try out every idea. Also, simulation permits learning from mistakes more easily than with a real ensemble, where the sheer work of regenerating and printing corrected parts makes the immediate tryout of alternative versions impossible.

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Artistic orchestration by Alan Belkin

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