For this next piece by Giacomo Puccini we use a combination of ensemble and solo/accompaniment
playing. For the accompaniment and the solos we choose a string sound and also for
the solos the horn, flute and english horn. Signore Puccini wrote the orchestration
with an arpeggio harp accompaniment and here we hit a problem, we’ve run out of hands!
The solution is to pre-
In this first piece by Edward Elgar we feature the string section of the orchestra and then later on add in the brass section. A full string section would consist of double bass, cello, viola and violin. These all sound at different pitches and will typically be playing different parts. If we select a string sound at standard pitch and play in ensemble style i.e. both hands on the same keyboard we achieve the desired effect, the pedal and left hand providing the double bass and cello parts with the right hand providing the viola and violin. The same technique also applies for the construction of the brass section.
WERSI ORGAN SHOWCASE
For this final piece by Johann Strauss we make extensive use of the instrument’s Panorama feature. This enables any sound to be placed anywhere in the stereo soundfield from far left to far right. This is ideal for constructing an orchestra since the various sections of the orchestra are spread right across the sound stage. Horns to the far left, violins left of centre, violas, woodwind and percussion in the centre, cellos right of centre and double basses, trumpets and trombones to the far right. For even more accuracy we could employ the instrument’s individual reverberation feature to add more of this effect to instruments farther back on the stage thereby creating a three dimensional sound field. So in this piece you will hear the strings, flute and English horn at the centre, the vibraphone, horns and pizzicato violins to the left and the trombone and brass section to the right.
© Jeff Ormerod -