This is Paul Shillito’s Tomita-style version of Stravinsky’s The Rite Of Spring Introduction.

Shillito calls this his classitonic style – influenced by the electronic interpretations of classical music done by Isao Tomita and Wendy Carlos in the late 60’s and 70’s.

He plans a complete version of The Rite Of Spring.

Soft synths used on this included the Arturia Minimoog V2, Arturia Moog Modular, Arturia Jupiter 8V, Arturia Yamaha CS80V and soundtoys effects.

via paulshillitomusic:

Stravinsky – The Rite of Spring – Introduction.

Done in my Classitronic style, Classitronic is what I call electronic classical music with my style being heavily influenced by Isao Tomita.

This is the first part of the classic Stravinsky ballet The Rite of Spring which caused a near riot when it was premiered in Paris on May 29th 1913.

The rest of this work is to follow, so watch this space

Goldie, who was taken out of his comfort zone of drum ‘n’ bass to conduct a classical orchestra for television, is here put back into his own world by Addictive TV. This time it’s the orchestra playing d ‘n’ b.

Who else would like to see their local orchestra take this on?

via VJTV

Is the Turntable a musical instrument?

Can it work as a ‘classical’ instrument?

These were the first questions posed by idea of a Concerto for Turntables.

Gabriel Prokofiev’s Concerto for Turntables & Orchestra (Heritage Orchestra Feat. DJ Yoda) attempts to answer those questions.

Should the turntable join the instruments of the classical orchestra?

Give it a listen and let me know what you think.

via apc

Synthesis has changed a lot since the days of Switched On Bach – and it’s getting to the point that recordings of virtual instruments, and even virtual orchestras, are nearly indistinguishable from the “real” thing.

Of course, this begs the question – what is the real thing?

How close are virtual orchestras coming to traditional orchestras?

You be the judge.

I’ve embedded an example below that contains short sections from three symphonies, by Beethoven & Schumann. See if you can identify the one that is virtual – and if you can articulate why you think it sounds “virtual”.

Image: jordanfischer

This video offers an introduction to TTM (turntablist transcription method), a system of notation designed for notating turntable-based music.

TTM is derived from a graph of the rotation of the record vs. time. The vertical axis of the staff represents the rotation of the record, and the horizontal axis represents time.

About The TTM System

The Turntablist Transcription Method, also known as TTM, appears to be the most popular method of transcribing turntablism. This structure consists of a grid that subdivides the beats of the song being played. This grid consists of thicker lines to separate the beats, and thinner lines for subdivisions within the beat. Lines are drawn going in an upward motion to indicate that the record is going forwards and downward to indicate that the record is going backwards. This method is read from left to right and the lines drawn represent the scratches, which slant from left to right. Slower movements are always slanted but appear to be 45 degrees or less from the horizontal axis and faster movement appear greater than 45 degrees but never can fully reach a 90 degree angle from the horizontal access. Due to the fact that a turntablist is always scratching a music sample, the word or name of the sample is listed to the left of the grid. The beginning of this sample is present at the bottom of the grid and the end of the sample is at the top, with all the subdivisions of the sample being subdivided by the grid that appears vertically. The name of the record being scratched is listed above and to the right of the grid. Although this method is extremely unique in its notation structure, it does use conventional dynamic markings such as crescendo and diminuendo. These are listed underneath the grid and appear to be the only characteristic similar to that of standard music notation. Another unique characteristic of this system is the use of drum scratching. When scratching drums, a unique symbol is given to the kick, snare, or hi-hat and these are drawn on the grid along with lines indicating if the record is going backwards or forwards. When a record is simply played, lines are drawn from the lower left corner of the grid section representing each beat to the upper right corner.

This method has many strong points that can allow a turntablist to utilize its methods. Any DJ with scratching experience can learn this system in a relatively short period of time. With practice, a DJ could possibly sight read with some efficiency but there are some factors that could prevent one from doing so. This method features a way to notate scratching on a turntable but may prove more difficult when focusing on a song in its entirety. It is true that two of the TTM staffs can be used to identify a song with one record being scratched and the other record being played. Sight-reading various scratches is possible but notating or reading a full-length song could prove to be difficult and extremely lengthy. In order for a DJ to read a full-length song, he would be constantly flipping through multiple pages, even if the song only appeared to be very short. This would require a turntablist to flip through many pages, which is similar to when a guitarist reads guitar tab. A lengthy song would be difficult to keep on a music stand. For this reason, sight-reading using this method might only appear useful for learning scratching techniques or short etudes. The only other downside to reading using this method for a full song would be that it doesn’t appear to address sections of a full-length song. Measures can be numbered but due to it’s lengthy use and absence of defining sections of a song, it would be easy for the turntablist to become lost when reading the song.

This is not to say that reading using this method is impossible, but would require one to be quite familiar with the song before attempting to read it. As noted earlier, the turnablist will face the same challenges that appear when a guitar player attempts to read guitar tab. If the player has heard the song already, he will have a much easier time reading the song. Without hearing the song, the player may be able to play something similar to the song that the composer intended but it would require lots of practice and the turntablist would face some limitations when sight reading.

The TTM system is a revolutionary method that allowed the turntablist to notate music for the first time. Despite it major differences from that of standard music notation other than its use of crescendo and diminuendo, it appears to be an effective way of transcribing turntable music.

via TTMethod

This is a gorgeous transcription and performance for theremin of Russian composer Sergei Rachmaninoff’s song, Opus 21 #7, Zdes Xorosho (How Fair This Spot).

Peformed by Peter Pringle.

via copperleaves:

According to the New York Times, Rachmaninoff attended a demonstration of the theremin in 1930, given by its inventor, Leon Theremin (a fellow Russian), at the Plaza Hotel in New York City. Apparently there was a woman in the audience who leapt to her feet after the first number applauding and shouting “Bravo! Bravo!” Rachmaninoff who, according to the article, was sitting behind her, loudly exclaimed, “Sit down Madame! You Exaggerate!”

At the time, the instrument was unknown and there were no musicians, other than its inventor, who were competent to play it.

Although Rachmaninoff never wrote anything for the theremin, one of his compositions, VOCALISE, has become one of the standard transcription compositions for the instrument. In regard to this song, HOW FAIR THIS SPOT, written for piano and voice in 1901, I found the following information on the internet:

“Rachmaninoff and his wife were on their honeymoon when he composed the work, which, not surprisingly, he also dedicated to her. Moreover, he had recently recovered from a depression caused by the disastrous 1897 premiere of his Symphony No. 1, which undermined his confidence and ability to compose until the appearance in 1901 of his ever-popular Piano Concerto No. 2. This was obviously a blissful time in his life, then, true to his nature, Rachmaninoff was moved to write music here about romance and passion, leaving out the sunshine and merriment he must also have felt. The song features one of the composer’s most soaring, beautiful vocal melodies that would not have been out of place in a slow movement of one of his concertos or symphonies. The accompaniment is appropriately subdued and just as romantic as the vocal line. The text, by G. Galina, describes a pastoral scene where young lovers have come to be alone with nature and themselves. This lovely song typically has a duration of just over two minutes.”

Der Erlkonig on Burns B3 Theremin, performed by Thomas Grillo.

via ThomasGrillo:

Enjoy a rendition of Schubert’s Der Erlkonig performed by thereminist Thomas Grillo on the Burns B3 Original theremin, with recorded audio accompaniment by pianist, Kristian Banatzianou.

Find the B3 theremin, and more at
http://www.soundslikeburns.com

Accompaniments available at
http://www.pianoaccompaniments.com

They don’t make music videos like this anymore – if they ever did.

This video pairs Les Baxter’s version of Bach’s Prelude # 1 in C, from the Album Moog Rock, with a clip from the German TV show PARIS AKTUELL from 1967.

Anybody else think it’s time for these styles to come back?

Notion Music has announced that Notion3, a major new version of its notation software, will start shipping on September 24, 2009.

Notion3 features an entirely new design, an expanded and enhanced sample library, new live performance features, and compatibility with plug-ins, sample libraries and digital audio workstations (DAWs).

Notion3 has an MSRP of $249 (a street price of around $199). Notion Music is also offering free upgrades to registered users of Notion 2.0 or earlier. Registered users of Notion Music’s other products, Progression, and Protégé, as well as competitive notation products like Finale and Sibelius can upgrade to Notion3 for $99.

Details on Notion3 below.

Notion3 Features

Sleek, Intuitive Interface and Workflow: allowing you to use notation, guitar tab, or MIDI devices to craft music of any style, be it orchestral, jazz, or rock. The screen view is designed to remain uncluttered, and to provide easy access to the most frequently used tools. For musicians writing for guitar or bass, Notion3 features an interactive fretboard and chord library.

Over 10GB of Instrument Samples: exclusively featuring the sounds of The London Symphony Orchestra. The LSO sample library included in earlier versions of Notion has been expanded and enhanced with new close mic stereo samples that truly capture the essence of each instrument. Notion3 includes both the legacy and new sample libraries. In addition to the orchestral sounds, Notion3 features electric and acoustic guitar by Neil Zaza, electric bass by Victor Wooten, drums by Roy “FutureMan” Wooten — all recorded at world-famous studios.

Professional Audio Mixer: Notion3’s pro audio mixer is complete with buses, inserts, sends, multiple direct channel outs and VST effects. Resembling what you would see in a digital audio workstation, the Notion3 mixer, along with the dynamic markings in the score, provide detailed control of the mix and sound. You have the flexibility to control and mix your entire score or group the mixer into instrument sections to adjust volume, panning, reverb, and effects.

Unmatched Studio Compatibility: Built to be compatible, Notion3 offers full ReWire integration that supports both host and slave options. It also works effortlessly with VST effects and VSTi libraries with built-in presets to easily integrate with popular sample libraries such as: Vienna Symphonic Library Special Edition and Special Edition Plus, Miroslav Philharmonik, East West Quantum Leap Platinum, and Garritan Personal Orchestra (ARIA). Notion3 comes bundled with IK Multimedia’s AmpliTube X-Gear and CSR Hall Reverb.

SequencerStaff: a feature unique to Notion3 that brings the world of notation and sequencers together. This feature enables you to record MIDI input directly onto a standard notation staff while retaining all the MIDI data such as modulations, bends and dynamics. The MIDI data displayed on the staff includes duration, range in pitch, and dynamic information, which can be easily edited.

Live Performance with NTempo: Notion3’s suite of live performance features make it possible to “play” a notated score like a musical instrument for accompaniment, rehearsal, or professional live performances. It is the only notation product with real-time tempo control that includes vamps, repeats, and other advanced score navigation features. With the NTempo feature, you can tap the speed of a score to the fraction of note level, providing the kind of rhythmic nuance you hear when playing a traditional musical instrument. Notion has been used in numerous touring productions worldwide ranging from hit musicals like Annie and The Wizard of Oz to Meatloaf’s Bat Out of Hell tour.

This is a performance of J.S.Bach’s Toccata in Dm, by the Stylophone Orchestra of Great Britain.

via hschle69:

Johann Sebastian Bach-Toccata in D-minor by Stylophone Orchestra of Great Britain. Played by Harald Schoenbrodt; Thomas Muellen; Ryan Clark;

This is a performance of Albinoni’s Adagio, arranged for Stylophone, via T0ht0ri:

We use only original Stylophones from 60’s and 70’s.

Here we play Adagio by Albinoni with four stylophones. Stylophone’s sound range is very limited and this composition had to be arranged for this ensemble first.

The venue here is bus and from the window you can see snowy finnish view from the middle of nowhere.

Stylophone forever!

Buy only original Stylophones!

Tiësto Power Mix

via officialtiesto

This documentary, from 1980, takes a look at synth music pioneer Isao Tomita and his studio.

In the late 60s and early 70s, many people got their first taste of synth music from the electronic orchestrations of classical music by Tomita and Walter/Wendy Carlos.

If you can translate the commentary, leave a comment below!

via 5488773

This is a very nice Switched On (Wendy Carlos style) rendition of Bach’s Bourrée #1 from Orchestral Suite no. 2 on synth.

via syntesen:

For this fast-paced piece from Bach’s second orchestral suite, i chose the Native Instruments Pro53 software synthesizer (emulation of the Sequential Circuits Prophet-5) as the logical continuation from the Moog Modular on the Gavotte (suite #4 in Bm).

Even though the Pro53 only has two oscillators, a single filter, I was able to coax some very nice sounds from it, naturally tuned in Werckmeister III-tuning for maximum authenticity.

The continuo (improvised chordal and ornamental line, typically played with a harpsichord) is one of my finest yet, I believe. And it was fully improvised in one go to guarantee that taste of synthetic authenticity you just don’t find these days

Anyway, I hope you enjoy it.

Bach’s Invention #13 for Recorder and Synthesizer, Switched On by Baroque Now from their first album, The Bach Album.

Organist Robert Ridgell shows just how funky Episcopalians can be, with a tribute to Michael Jackson in the postlude for the service from June 28th at Trinity Wall Street Church, Broadway, New York.

Beat It and ABC come together seamlessly in a earth-shaking performance.

via alloam

This gorgeous video captures a performance of Oraison, composed by Olivier Messiaen in 1937 for six Ondes Martenot, transcribed for Buchla 200e synthesizer and Haken Continuum Fingerboard controller and performed by Richard Lainhart in 2009.

Here’s Lainhart’s background for this performance:

From the time I first touched the Haken Continuum, I’d wanted to use it to play a composition by Olivier Messiaen called “Oraison”. I first heard “Oraison” years ago as a student of electronic music, and had fallen in love with its simple, beautiful harmonies and profound sense of mystery.

“Oraison” is not only a lovely piece of music, but has historical interest too – it may be the first piece of purely electronic music written expressly for live performance. Also of note is that Messiaen re-arranged “Oraison” for cello and piano and used it for the fifth movement of “Quartet for the End of Time”, which he composed in a German prisoner-of-war camp in 1941; the “Quartet” is one of the great classics of 20th-century music.

“Oraison” (”prayer”) is from a suite of pieces for six Ondes Martenot called “Fete des Belles Eaux” (”Celebration of the Beautiful Waters”), composed for the Paris International Exposition in 1937. The Ondes Martenot was among the first electronic instruments, and is still among the most expressive. The Continuum’s own expressive qualities seemed at least the equal of the Ondes Martenot’s, while allowing for polyphony and the possibility of performance of the work by a single player. I transcribed “Oraison” for my Buchla 200e/Continuum system, programmed the modern system in homage to the sound of the Ondes Martenot, and now offer this performance to you.

Fantastic, isn’t it? Leave a comment with your thoughts!

This video for Johann Sebastian Bach’s Toccata & Fugue In D Minor has nary a synth in site, but captures gloriously the majesty possible with keyboards before synths.

via japaq13

This is a transcription of the Wiegenlied by German composer Richard Strauss, arranged for theremin, accompanied by MIDI theremin.

via copperleaves:

When I listened to Strauss’ original arrangement of this song, written for soprano and piano (later arranged for orchestra by the composer), it seemed to me he was trying to get a “celestial” sound from the keyboard. Since the Moog Ethervox MIDI theremin can produce amazing cascades of notes, I thought it might be able to capture the sort of heavenly, dreamy, harp-like feeling that Strauss was looking for.

I believe that the Moog Ethervox theremin (with full MIDI capabilities) is the finest theremin ever made. It is my understanding that only about 50 of them were manufactured in the 1990’s (the one in this video is serial # 007). The creation of the instrument was a collaboration between the late Robert Moog and German software designer, Rudi Linhard.

It is actually two instruments in one, a gestural MIDI controller and a traditional theremin. Although this work is a cradle song it is far more complex than it seems on the surface. It is divided into three parts, which I believe symbolize the three ages of a man: the child, the hero and the wise man.

Unfortunately, there isn’t enough space here for me to go into the details of why I think this. Anyone familiar with the operas of Richard Strauss knows that his music is filled with the rich symbolism of a composer/philosopher.

Torley’s Tangerine Dream Love On A Real Train Piano Variations is a classical piano work based on Tangerine Dream’s electronic music based on Steve Reich’s classical ensemble works based on his experimental electroacoustic work and his experiences with West African rhythms.

Torley explains it better:

I was humming Tangerine Dream’s Love on a Real Train (as featured in Risky Business) so much (mostly because I can’t whistle) that I decided to improvise some piano variations around it.

It’s a free download, from the player above or via Torley’s site, where you can also watch his piano-roll style video for the work. To download, click the down arrow in the SoundCloud player.

Leave a comment with your thoughts on Torley’s take on a Tangerine Dream classic.