Justin

Modern Monday history with Wendy Carlos & Bob Moog

January 10, 2012 in Modern Monday

Last week I wrote about the TRON scherzo after dissecting it the best I could by ear.
http://tron.wikia.com/ about what she used for the soundtrack:

Wendy Carlos used two synthesizers to accompany the orchestra with:

 

A Moog Modular Synthesizer

and a

Crumar GDS (GDS stands for General Development System).

The Crumar GDS deserves some special interest as this was Carlos’ first significant involvement with a digital synthesizer.  The Moog Modular is a analog synthesizer (and one of the very first commercially available synthesizers in history) that some enthusiasts consider to be the original and definitive synthesizer. While digital synthesizers today are much cheaper and easier to use than analog synthesizers, analog “synths” produce a sound that is very hard to recreate perfectly in a digital environment.

The Moog Modular and Crumar GDS were used quite a lot on Tron, with the Moog providing “fat” and sometimes “chorus-like” sounds, while the Crumar GDS provided sounds that were very complex and used a lot for the drones and (according to Carlos in TRON soundtrack’s CD liner notes) “wild organic sounds”.[2] The Moog was also used a lot for the bass lines. 

 

I got my hands on Wendy Carlos’ Sercrets of Synthesis (above) in which she talks extensively about her methods she used to create all the amazing arrangements and sounds found throughout Hooked on Bach and the clockrwork orange soundtrack.  Some of my favorite recordings!  In the recording she talks about her close work with Bob Moog.  I didn’t know this, but she was his outlet for understanding how to make his instruments more accessible and functional for musicians.

The two of them apparently met in 1964, he was an engineer that spoke music, she was a musician who spoke science. In 1966, they came up with their first prototype and Bob Moog apparently delivered it to her apartment.  It looked like this:

AWESOME! but looks really complex….

What’s really exciting about this machine pictured, is not only was this what was used for the timeless Switched on Bach album (right), this keyboard had the first custom velocity and depth sensitivity function that Wendy Carlos was apparently involved in designing and helping finalize.

All the synths we play today have this feature thanks to her and Bob!!!

One thing that I discovered in learning about Carlos and her work with Moog was in the Secrets of Synthesis recording where she talks about how Moog created a 10-band Vocoder called the “Spectrum Encoder Decoder” in 1970.

She used this in the famous clock work orange soundtrack.

LISTEN!!!!
Beethoven’s 9th sample using the Spectrum Encoder Decoder

The top tier of this synthesizer has the famous first official musical vocoder or spectrum encoder decoder. 

Anyway, I hope this was interesting for you all.  If you enjoy Wendy Carlos as much as I do, leave a comment!

Thank you Wendy Carlos for existing and I hope this page proves useful for people as interested in her work as I am .

 

Enjoy!

okbye

Justin

Teaching Tuesday – TRON SCHERZO – musical structure

January 4, 2012 in Teaching Tuesday

I’ve been a big fan of Wendy Carlos since I discovered she did the music for TRON, and Clockwork Orange. I have since collected all of her albums. She is very inspiring in today’s modern music world. She has contributed to all sorts of advancements in synthesis and development of modern music today.

Here is an excerpt from Wikipedia about her:

Wendy Carlos: is an American composer and electronic musician. Carlos first came to notice in the late 1960s (as Walter Carlos) with recordings made on the Moog synthesizer, then a relatively new and unknown instrument; most notable were LPs of synthesized Bach and the soundtrack for Stanley Kubrick’s film A Clockwork Orange. Several years prior, two Carlos compositions using classical (pre-Moog) electronic techniques had been issued on LP (Variations for Flute and Tape and Dialogues for Piano and Two Loudspeakers). Although the first Carlos Moog albums were interpretations of the works of classical composers, she later resumed releasing original compositions. Carlos used the Synergy synthesizer, one of the first polyphonic digital additive synthesizers.

My all time favorite Carlos’ cue is from the movie TRON, which if you know me, I’m a big TRON fan (own a TRON adidas jacket and keychain). This week I decided to transcribe and interpret what I could of the TRON SCHERZO.

This is a SCHERZO, which frequently refers to a fast-moving humorous composition which may or may not be part of a larger work. The word “scherzo” means “joke” in Italian. Not to imply this is a joking piece, but a rather playful one. The musical form is sort of A B A B C D. A being the intro, B the main melody, C the transition to D. Beethoven was famous for using scherzo in his symphonies and often modified the 2nd B a lot. Carlos does this as well.

Listen here: Tron Scherzo by Wendy Carlos
Read on!

I love her use of quartal and quintal movements in the melody. Very modern and computer like. Perfect for TRON.

The opening has that awesome F C G E riff that appears throughout the movie. The riff then modulates up to Ab Eb Bb A. I don’t think I managed to get all the notes in the hits, but a few are right. After that the strings come in with quartal movement going down “B F C” over and over leading us to the main B theme in the beginning

The 5th action in the bass when the melody kicks is G D A pulsing then moving up in half steps. (remember when that was against the rules to have parallel 5ths in part writing class? learn the rules to break em’!) The melody moves up in 5ths and 4ths down in 5ths then up in 4ths. The theme modulates up a whole step from where it started and repeats.

A comes back, this time harmonized a minor 3rd down then a major 3rd.

B comes back with a string voice playing the melody up an octave. The bass is now pumping the same thing in 4/4 while the synth voice in 6/8 is doubling the bass but in 4ths instead of 5ths putting the bass note doubled 2 octaves up and playing 8th notes.
The voicing bottom up is
G D A A D G
Good polyrhythm tension here.

A is hinted at in the middle of B then a new theme “C” comes in to connect the new D section.

This C melody is one of my favorites. I always sing this when I tell people about the TRON soundtrack. Good jazz riff too!

The D section is super slick in 6/8 with a guitar like riff that moves in alternating patterns. I really like the variation on 4ths moving down in 6/8 and sometimes 5/8.

I love how Wendy moves the 5/8 to different places almost randomly. Great way to keep things interesting. I wasn’t able to transcribe the FM BELL sound that swells in and ends the song.

I know if I had written this D section, I wouldn’t have come up with 5/8 or any kind of variation. Just loop it and leave it. Sequencing programs make me lazy. Not that I know much about composing anyway.

Here’s my transcription. Sloppy I know. A good first try!

page 1

page 2
page 3

page 4

This is for educational purposes. Do not download this mp3. It’s a great soundtrack! Buy it! It’s worth a listen. Especially in contrast to the newest TRON soundtrack. Thumbs up to friends Joseph Trapanese and Mark Satoshi Noguchi for the TRON Legacy soundtrack.

Enjoy!

okbye