(May, 2003) Winnetka, California.
Background: I've been making up songs ever since I can remember. Though I had a year of accordion lessons at age 10 and some glee club and chorus classes in junior high and high school, I'm basically self-taught. When I was in the 9th grade, a classmate played guitar and sang folk songs at a class talent show. That convinced me to trade in my accordion for a guitar. Mostly, I just sang and played chords on my guitar, though I did write one instrumental ("Trav'lin'"), which I later sequenced. (It will be included in Volume 2.) I wrote a lot of folk/protest-type songs back then, a couple of which I've sequenced and even recorded digitally as MP3 files.
When my son was 9, I used to take him to his piano lessons, and I picked up a few things by watching and listening. I've learned a great deal by experimenting with my PSR 740 and MIDI software. This has allowed me to broaden the kind of music I can create. I was introduced to MIDI music as a byproduct of my public policy work on disability rights. I attended a conference in Orlando, FL, in 1995 and visited Epcot Center during my free time. While looking at one exhibit at the "Hall of Innoventions," I overheard a staff member answering some questions about the music that had been playing during a demonstration at an exhibit behind me. Intrigued, I wound up talking with the staff member myself. I was astounded to learn that all the "instruments" I had heard really were voices on a single instrument, a MIDI keyboard. (I had assumed the music was on CD or tape.) Then the staff member pulled a computer monitor around so that I could see what happened as he played notes on the keyboard.
I was thrilled as I watched the notes appear on a staff in the MIDI software as he played! Although I had been "writing" music for years, I never was very confident in my ability to notate my songs accurately. This seemed like a dream come true -- a dream I was sure I couldn't afford. But when I returned home, I was astonished to find that I already had a "light" version of a MIDI sequencing program on my computer! So in December 1995, I treated myself to my first MIDI keyboard. In June, 2000, I got my PSR 740, and I love it. I know there are newer models, but I'm still discovering all the wonderful things I can do with the 740.
Meanwhile, getting a MIDI keyboard encouraged me to learn more about music theory. I have found some excellent books, web sites and e-mail groups to help me in that endeavor. I still play my 740 for personal enjoyment, but most of my MIDI recordings are at least somewhat edited or step-recorded. (As you may have guessed by now, I am primarily a composer these days.)
My musical tastes are varied, and my compositions range from what might be called contemporary classical, to jazz and blues, to folk music, to easy listening, to some pieces I can't really categorize. (Volume 1 of my music could be considered contemporary classical. It includes "As Heaven Weeps," the tone poem I wrote in tribute to and remembrance of the heroes and victims of the Sept. 11, 2001. Eventually, I hope to post additional volumes with some of my music from other genres, including several that have lyrics.)
I have some disabilities that make performing with conventional instruments very difficult for me. So I really appreciate my 740 and MIDI software. (Currently, I use Cakewalk Pro Audio 8.) I know I still have a lot to learn, but these tools allow me to share with others some of the music that is in my mind and in my heart.
I hope you enjoy listening.
-- Laura
Please note: Since all of my songs are original compositions, they are Copyright (various years) by Laura Remson Mitchell. Feel free to download my music for personal use. If you want to use the music in any other way, please contact me at af752@lafn.org.
Click on this link to download Laura's complete MIDI library: LRMitchell-30.zip.
| Title | T | TS | L | C | Style | V | K |
|---|---|---|---|---|---|---|---|
| As Heaven Weeps (c) | 120 | 4/4 | N | N | 01 | 74 | |
| Lectronata (c) | 100 | 4/4 | N | N | 01 | 74 | |
| Motive Fantasy (c) | 135 | 4/4 | N | N | 01 | 74 | |
| SevenEight | 100 | 7/8 | N | N | 01 | 74 | |
| SevenEight | 100 | 7/8 | N | N | 01 | 74 | |
| SevenEight | 100 | 4/4 | N | N | 01 | 74 | |
| SevenEight | 100 | 7/8 | N | N | 01 | 74 | |
| SevenEight | 100 | 7/8 | N | N | 01 | 74 | |
| SevenEight | 100 | 7/8 | N | N | 01 | 74 | |
| SevenEight | 100 | 7/8 | N | N | 01 | 74 | |
| Crystal Citadel (c) | 100 | 4/4 | Y | N | 02 | 74 | |
| Diversity Prayer (c) | 80 | 4/4 | Y | N | 02 | 74 | |
| Freedom Land (c) | 150 | 4/4 | Y | N | 02 | 74 | |
| Getaway (c) | 125 | 4/4 | Y | N | 02 | 74 | |
| Haunted Carouse (c) | 100 | 3/4 | N | N | 02 | 74 | |
| Justice For All (c) | 75 | 4/4 | Y | N | 02 | 74 | |
| Kickin' It Up (c) | 125 | 4/4 | N | N | 02 | 74 | |
| Someone Choir (c) | 90 | 4/4 | Y | N | Jazz Ballad | 02 | 74 |
| Still At It (c) | 130 | 4/4 | N | N | 02 | 74 | |
| Travlin (c) | 140 | 4/4 | N | N | 02 | 74 | |
| Grade Boo Meevies (c) | 98 | 4/4 | N | N | Ragtime | 03 | 74 |
| Horsin' Around (c) | 120 | 4/4 | N | N | 03 | 74 | |
| Jingle Rock Shufle (c) | 137 | 4/4 | N | N | 03 | 74 | |
| Lazy Days (c) | 68 | 4/4 | N | N | 03 | 74 | |
| London Bridge Variations (c) | 150 | 6/4 | N | N | 03 | 74 | |
| Mood Music (c) | 112 | 4/4 | N | N | 03 | 74 | |
| On The Road (c) | 105 | 4/4 | N | N | 03 | 74 | |
| Step To My Blues (c) | 120 | 4/4 | N | N | 03 | 74 | |
| Thinking Of You (c) | 80 | 4/4 | N | N | Cool Night | 03 | 74 |
| True Blue (c) | 120 | 4/4 | N | N | 03 | 74 |