1. The Appeal of “DTM & Classical Music”: Digital Classical Music
To master an instrument like the piano or violin to a reasonable level normally requires continuous effort from a young age. Along the way, many people lose interest, give up, and eventually set their instruments aside.
For such people, “DTM” offers a new possibility.
In Japan, DTM (Desktop Music) is a commonly used term for creating music with a computer, and it has a uniquely fascinating appeal. The charm lies in the fact that—even without the ability to play an instrument—you can still enter a world of personal musical creation through DTM. You can compose, and you can even “perform.”
As long as there are no input mistakes, you can produce a flawless rendition of a great piano piece—but accuracy alone does not make it music.
2. MIDI sequencing in DTM
Let’s explain this using the piano as an example.
Using specialized software called a DAW (Digital Audio Workstation), you can simulate for each individual note its pitch, velocity, timing, pedaling, and so on—essentially reproducing the detailed actions of piano performance. This process is called “MIDI sequencing using a DAW,” based on the standardized MIDI format.
Reference: MIDI (Musical Instrument Digital Interface)
MIDI is a digital representation of musical parameters (instrument type, pitch, intensity, duration, etc.). Unlike audio data, it is simply numerical information, which makes it easy for a computer to process.
I personally use a DAW called Cubase Pro. The sound is produced by the piano library integrated into the system. When the score is entered correctly, it can generate a convincing performance as if a skilled pianist were playing.
However, without proper musical interpretation beyond what is written on the score, it is impossible to achieve a truly expressive performance. In other words, everything depends on whether you can understand the music and translate that interpretation into MIDI input. That challenge is what makes this work fascinating.
When performing piano sonatas at recitals, unless it's a piece you're extremely familiar with, you spend considerable time mapping out the overall flow of the piece and designing how each individual note should sound. MIDI input is exactly the same; for me, most pieces take a significant amount of time to complete through remote lessons with my teacher.
3. Sound Libraries Used in the DAW
A piano sound library consists of audio samples recorded from a real piano under various conditions. The one I use now—Synchron Concert D-274, released by the Vienna Symphonic Library—is sampled from the Steinway & Sons D-274, the flagship concert grand from Steinway Hamburg, which costs over 22 million yen.
The library is enormous, about 120 GB, and the DAW selects the appropriate samples for each MIDI input condition to generate the sound. Because of the processing required to select and play these samples instantly, a certain level of computer performance is essential. It is also possible to connect a physical keyboard and use the library as a real-time digital piano. In a sense, it is an electronic instrument of its own.
4. The Expansion of World of DTM
By switching sound libraries, you can create anything—from full orchestral works to African folk music or even traditional Japanese instruments such as Shamisen. The key is the quality of sampling.
So far, instruments with natural decay—such as the piano—are considered closest to the sound of the real instrument.
For bowed string instruments like the violin, the player constantly shapes the tone quality throughout the note. Reproducing this digitally is extremely challenging, and creating natural-sounding string performances requires far more effort than piano sequencing.
As AI technology continues to advance, these processes may become easier.
Although not discussed in detail here, such systems are already widely used in composition, film scoring, and live performance. They are also essential tools in recording and CD production. I suspect that only a minority of people approach sound creation in quite the same way I do.
5. Classical music with DTM
You can find countless classical MIDI files online. It is difficult to find a piece that isn’t available. However, most of them are simple MIDI conversions without DAW-based musical shaping, and they lack the expressive elements that define classical performance.
Here, I take my time using a DAW to shape the sound into something I personally would want to perform.
Although I have always loved classical music, I never formally studied it. Even the cello I took up after retirement is now mostly for mental exercise. I began MIDI sequencing simply because I wanted to play my favorite pieces myself, but as I continued, I found myself increasingly absorbed in the craft.
A decisive turning point was when a former colleague—now a pianist—agreed to give me remote lessons using cloud-based tools. He performs annual recitals featuring Beethoven’s piano sonatas and Bach. Our lessons began with me attempting the main sonata from one of his recitals.
At first, my low musical ability and lack of MIDI technique made progress slow. But under his strict guidance, things have gradually begun to sound more musical.
In researching this field, I discovered that in Japan, surprisingly few people create classical music using DAW-based sequencing. Some individuals post their works on YouTube or SoundCloud, but among those who publish regularly, the examples I found are the following. These sites are in Japanese, so please use your browser to translate them.
Classical Music Sequencing Study
I-Dur Virtual Orchestra
Windy softmedia service