[linux-audio-user] Music

Jordan Nash jordan at jdnash.org
Sun Jul 23 03:23:12 EDT 2006

I downloaded and listened to
http://www.xscd.com/pub/music/audio/ogg/stephen-doonan_blues-in-c-2.ogg . 

They both sound really good. 

Sounds very much like a real grand piano being recorded professionally.
Very nice.

Sounds a bit more like MIDI. I don't hear as much expression from the
flute. If a synth is being used, it sounds VERY nice and lifelike.

By the way, which license are you planning to release these under?

On Sun, 2006-07-23 at 00:57 -0600, Steve D wrote:
> Hello all--
> It feels good to finally get back to composing and recording a little.
> I've been working on an old piece I never finished. The draft audio
> files are here:
> Blues in C 1
>   OGG
>   http://www.xscd.com/pub/music/audio/ogg/stephen-doonan_blues-in-c-1.ogg
>   MP3
>   http://www.xscd.com/pub/music/audio/mp3/stephen-doonan_blues-in-c-1.mp3
> Usually I record the audio directly into Ardour or Audacity, but this
> time I recorded the MIDI performance instead, into Rosegarden (I also like
> Muse very much), then played back the slightly cleaned up MIDI file and
> recorded the audio produced by the tone generator (a rack-mounted Roland
> Fantom XR) that was being "played" by the MIDI file, which is here:
> Blues in C 1, MIDI (standard MIDI file type 1)
> http://www.xscd.com/pub/music/midi/stephen-doonan_blues-in-c-1_version-2.mid
> A much older version of Blues in C 1, MIDI file:
> http://www.xscd.com/pub/music/midi/stephen-doonan_blues-in-c-1_version-1.mid
> My Blues in C 2, a more recent composition that I finished and recorded
> before finishing Blues in C 1:
> http://www.xscd.com/pub/music/audio/ogg/stephen-doonan_blues-in-c-2.ogg
> http://www.xscd.com/pub/music/audio/mp3/stephen-doonan_blues-in-c-2.mp3
> Both of these "blues in C major" were created with one original idea: to
> take a standard, bare-bones, dirt-simple blues progression in C
> (tonic/subdominant/dominant "1, 4, 5" song) and try to do something
> "interesting" with it, but retaining the essential skeleton of the blues
> in C major. In Blues in C 1, I aimed for putting in a different "passing
> chord" for every beat of every bar, only briefly landing on C, F and G
> at their mandatory times. For Blues in C 2, the more recent composition
> but the first to be completed and recorded, the idea and intent remained
> the same, but the technique I used was to have a bass line that shifted
> all around the C, F and G which formed the piece's structure, and that
> technique allowed for some interesting melodic composition.
> Anyway, I hope everybody's doing well--
> Steve Doonan
> New Mexico US

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