Posts Tagged ‘carlos’
Main Theme – “A Clockwork Orange” Performed by Denise Hewitt
Originally written by Henry Purcell (1659 – 1695) for the Funeral March of Queen Mary II (Died 28th December 1694) – This 17th Century Classic Processional Music was adapted and abridged for the 1971 film “A Clockwork Orange” which was directed by Stanley Kubrick. The electronic synthesized soundtrack was composed by Wendy Carlos, together with Rachel Elkind, including adaptations of several other extremely well known classical music compositions including several parts of Beethoven’s Chorale 9th Symphony. The full soundtrack also includes excerpts from the William Tell Overture, the Thieving Magpie, Land of Hope and Glory, and the well-known 1st and 4th Pomp and Circumstance Marches composed by Sir Edward Elgar.
Wendy Carlos has been one of my musical inspirations and role models since my teenage years with her revolutionary & futuristic Moog Synthesizer adaptations that include “Switched-on-Bach” from way back in 1968, and of course the highly creative soundtrack for “A Clockwork Orange”. More info on music genius Wendy Carlos at: http://www.wendycarlos.com/
This very personal interpretation of Henry Purcell’s – “Music for the Funeral March & Procession of Queen Mary II” (1694) is performed on a 1990s Technics PR60 Electronic Keyboard by amateur transgendered musician – Miss Denise Hewitt.
Duration : 0:2:12
Title Theme – A Clockwork Orange – Played by Denise Hewitt
Originally written by Henry Purcell (1659 – 1695) for the Funeral March of Queen Mary II (Died 28th December 1694) – This 17th Century Classic Processional Funeral March was originally scored for 4 trumpets, and then adapted for the Main Opening Title Theme Music of the 1971 film “A Clockwork Orange” which was directed by Stanley Kubrick. The electronic synthesized soundtrack was orchestrated by Wendy Carlos, together with Rachel Elkind, including adaptations of several other extremely well known classical music compositions including several parts of Beethoven’s Chorale 9th Symphony. The full soundtrack also includes excerpts from the William Tell Overture, the Thieving Magpie, Land of Hope and Glory, and the well-known 1st and 4th Pomp and Circumstance Marches composed by Sir Edward Elgar.
Wendy Carlos has been one of my musical inspirations and role models since my teenage years with her revolutionary & futuristic Moog Synthesizer adaptations that include “Switched-on-Bach” from way back in 1968, and of course the highly creative soundtrack for “A Clockwork Orange”. More info on music genius Wendy Carlos at: http://www.wendycarlos.com/
This very personal interpretation of Henry Purcell’s – “Music for the Funeral March & Procession of Queen Mary” (1694) is performed on a vintage 1990s Technics PR60 Electronic Keyboard by amateur transgendered musician – Miss Denise Hewitt.
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Note: Anthony Burgess called his invented language in his 1962 Clockwork Orange Book – Nadsat – and is based upon words from the slavic group of languages such as Russian.
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Duration : 0:3:19
Samba de uma nota – Keyboard Guitar “Sampler”
A nice tune of Antonio Carlos Jobim.
it would be beautiful to have true percussions and perhaps a sax-solo,unfortunately you must be pleased only of mine keyboard-guitar 
however I have changed some chorus in this my version.
More info:
Antonio Carlos Brasileiro de Almeida Jobim (January 25, 1927 in Rio de Janeiro December 8, 1994 in Brazil), also known as Tom Jobim, was a Grammy Award-winning Brazilian songwriter, composer, arranger, singer, and pianist/guitarist. A primary force behind the creation of the bossa nova style, Jobim is acknowledged as one of the most influential popular composers of the 20th century. His songs have been performed by many singers and instrumentalists within Brazil and internationally.
More info about Sampler:
A sampler is an electronic musical instrument closely related to a synthesizer. Instead of generating sounds from scratch, however, a sampler starts with multiple recordings (or “samples”) of different sounds, and then plays each back based on how the instrument is configured. Because these samples are usually stored in RAM, the information can be quickly accessed.
The sampler has become an important instrument in hip hop, electronic music, and avant-garde music.
Unlike traditional digital audio playback, each sample is associated with a set of synthesis parameters, and can thus be modified in many different ways.
Most samplers have polyphonic capabilities – they are able to play more than one note at the same time. Many are also multitimbral: they can play back different sounds at the same time.
Types:
Samplers can be classified as phrase samplers or studio samplers. The latter term is informal, the former appears in the manufacturer’s documentation.
Phrase samplers work with the philosophy of a drum kit. Each keymap spans only a single key and generally has a different sample put under it. For a studio sampler, this would require a large number of zones (61 to fill a regular keyboard), each with its own settings; and each keymap has to be programmed as spanning just one key. This is a lot of work, especially on older menu-driven hardware samplers. Using the phrase sampling approach simplifies this and makes a translation to another interface (such as the 16 pads on the Akai MPC series) easier; the fact that each pad is actually a note is hidden from the user. It also saves computing power as the sampling engine does not have to re-pitch each sample (there is no need for an anti-aliasing algorithm) – it only has to play it back. Since the user interface is simplified in general, it is also a more attractive option for live use.
Studio samplers work as described above with the keymapping system. It is assumed that the user wants to “spread out” a sample over a certain range of keys. This has certain side-effects. These are desirable – such as speeding up or slowing down drum loops, effectively turning a sampler into a digital turntable. In some cases this is not desired; when for instance not enough samples are taken of an instrument, the higher and lower parts of a keymap may sound unnatural, and the transition from one keymap to another may be too noticeable. For mimicking realistic instruments, the art is to make transitions as smooth as possible.
The format differs in obvious ways – studio samplers are available in 19″ rack format, phrase samplers have a groovebox format; lightweight, easy to operate and carry.
Duration : 0:3:45