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Juan Fernando Naranjo. Leo Vilar. Os Lobos. Rebecca Bunnell. Rodrigo y Gabriela. Waldir Calmon. Top More Music Adam Lambert. Ali Gatie. Andres Jimenez "El Jibaro". Brent Mason. De Lio. Rita Greene. Sabrina Claudio. The Pink Pound Experience. Tupac Shakur. Top Pop Aaron Carter. Alec Benjamin. Ariana Grande. Chris Brown. Crystal Nicole. Demi Lovato. Ed Sheeran. Elley Duhe. Haley Reinhart. Jason Mraz. Jorja Smith.

Kris Wu. Lee Kings. Loren Gray. Luna Aura. Sam Smith. Shawn Mendes. Taylor Swift. The Fairies. Top Rock The Swan Silvertones are my favorite of the quartets. Oh, and Dixie Hummingbirds as well, can't forget them.

I was raised on them and Soul Stirrers. But of the female groups, I love the Clara Ward Singers, both sets of them! I fell in love with the Meditation Singers and the Davis Sisters because they were some squalling women, as were the Caravans. When I want to hear sweet harmonies, I listen to the Barrett Sisters. Do you play any instruments or sing? I play drums in the group. As you can see, I'm very proud of my musical roots. TGEGB: If you could go back to any time and sing with any group, what year would you go back to and what group would you sing with?

I know I would be very fiery and every song would be a toe tapper lol! Thanks for the interview. I initially met through his YouTube uploads. Manny agreed to talk with me about his love and appreciation of Golden Era Gospel Music.

Manny : Well to believe it or not, only a few years ago. I've always been "Ole school gospel" at heart, but I went mainstream with my passion a few years ago.

Manny : I have to say I like about a handful of the gospel music that's coming out today. But I'm old school at heart. With the old school music you get a message you can't ignore, today's music it's so hard understand what the artist is even saying. Manny : This is a hard question. Have you had any troubles? Manny : Actually yes I have. This one particular character I'm not gonna mention his name. But this character goes as far as disputing anything with his aunt's voice on it if it's not uploaded from him.

She's gonna have a tarnished reputation he keeps getting our videos taken down! Some groups like The Roberta Martin Singers and The Clara Ward Singers either declined in popularity after their leaders died, or stopped recording altogether. What do you think The Caravans will do now that Albertina is gone? Manny : I do believe The Caravans can go on without Tina. See with the RMS, I believe at that time things were different.

You know by the time she passed, groups of the golden era were fading out as a new brand style of gospel music was coming out. I do believe some wanted to branch out on their own too. In today's time it's different. So together, that would be even great! Monday, November 8, R. Sad news from Bob Marovich via Dr. In a year filled with bad news, we are extremely saddened to report the passing of our close friend Calvin Williams. Calvin was born in Bucksport, SC, on November 8, Calvin began singing Gospel music and at the age of 15 joined with a local quartet called the Southern Four Gospel Singers.

After the war, Calvin moved to Trenton, NJ. By Calvin formed a new group called the Deep Tones. The Deep Tones recorded three fabulous spiritual records, done in the style of the Golden Gate Quartet. Two records were released on the King Solomon label later on Savoy and one on Muzicon.

Calvin sang with the Four Knights before joining the Stereos who recorded on the Robins Nest label during the 's. He spent the next 14 years with the Gates, touring numerous countries.

The group made one album CD. Calvin spent the final years of his life living in Far Rockaway, NY. Calvin was a guest at our wedding and our guest at UGHA on several occasions. Calvin Williams made a huge contribution to group harmony, but most of all he was a friend to us. Our grief is beyond words. Photo courtesy of Dr. Labels: calvin williams golden gate quartet ink spots deep tones hi lighters. What many don't know is that she also lent her image and name to a chain of chicken restaurants in the late s.

These restaurants were the brainchild of John Jay Hooker and his brother, Henry. The story begins in After seeing the success of Kentucky Fried Chicken, the Hooker brothers decided to apply the formula to their own chain of restaurants to give KFC a run for their money, as Wall Street was selling KFC at 40 times its earnings! John Jay Hooker contacted Sarah Colley Cannon, better known as Minnie Pearl of "Hee Haw" and asked her if she would want to appear as the spokeswoman for their new chicken restaurants.

She agreed. A lab in Chicago developed a fried chicken recipe and their first location opened up in Nashville. Mahalia did as Minnie Pearl did and lent her image and name to the same company to open up a franchise of take-out chicken restaurants in primarily black neighborhoods in cities such as Jacksonville, Houston, Chicago, Detroit and Memphis. The franchises were short lived. In , the SEC announced an investigation into Hooker's franchises. While most locations closed in the s, one located continued to operate until about in Nashville.

Labels: mahalia jackson's glori-fried chicken. I didn't find out until recent years that Miki's pipes have Golden Era origins.

With roots like that, it's no wonder that she can sing! In the program, Miki tells of her gospel roots, imparting information which may either surprise you, or in some cases, simply confirm what you'd heard in the past about her mother and her father.

The program of course is all about Miki, so only a little bit of time is devoted to Josephine and Clay, though a lot is told in those few minutes. The rest of the program is worth watching, too. Labels: miki howard unsung josephine howard the caravans clay graham the pilgrim jubilees chicago. Wednesday, October 27, R. Phelps was 78 years old.

Labels: james phelps soul stirrers clefs of calvary gospel songbirds holy wonders love is a five letter word. Then, there's the select few who like to reach WAY back, I'm talking about dusting off the vinyl and turning on the turntables.

The aforementioned artists may sound like your great-grandparents' favorites, but these young twenty-somethings have put a 21st century, or Generation Y or Millennial twist on things by starting YouTube channels, Facebook groups, blogs and websites to showcase their interest in this music and share the sounds with others. This new series will showcase some of those individuals. You already know a little bit about me, but there are others out there from the same age bracket who appreciate this music as I do, and you need to learn about them.

So, be on the lookout for the interviews in the coming days and weeks! Monday, October 11, Remembering Albertina Walker with a funny moment. In times of sadness, a laugh is always a good way to help get through the sorrow. For the many greiving fans of Albertina Walker, here's a video which was broadcasted at Ms. Walker's 80th birthday celebration last year. Walker regales the viewers with a tale about traveling with The Caravans through segregated America with a humorous ending.

Labels: albertina walker rememberance video from 80th birthday the caravans. Here is some information regarding tributes, the musical salute and funeral for Albertina Walker.

Don't miss out, tune in or listen live at www. If you happen to listen to the show, be sure to call Bob at WLUW to let him know you're tuned in. If you miss out, don't worry. The podcast will be available at www.

Bernard Jakes officiating. Labels: albertina walker tributes death funeral arrangement musical salute. The legendary Albertina Walker has died at age Walker passed around am Friday morning from respiratory problems. Walker's career spanned nearly six decades. In the late s, Ms. In , Anderson left the group, and Ms. Walker became the leader of the group. As leader of The Caravans, Ms.

Walker released her first solo album in the mid s, but continued to stay as the lead of The Caravans until During a period spanning from the late s to the late s, Ms. Commentary: If time has taught us anything within the Golden Era Gospel circle, it is that some groups from that era cease to operate without their leader with exception to many quartets.

For example, when Roberta Martin died in , The Roberta Martin Singers tried to soldier on without their leader, but did not make it past If The Caravans should cease to sing or record after Ms. Walker's death, or if they shall continue strongly with another member taking the reins in the absence of Ms.

Labels: albertina walker death notice obituary the caravans. By: Joseph Middleton To celebrate their 65th birthday, Ebony decided to recreate 12 of their most legendary covers with modern day singers and entertainers. To recreate their cover featuring Mahalia Jackson, Ebony turned to modern day gospel vocalist Yolanda Adams.

You can see the recreation in this post. Well, what do you think? Labels: ebony magazine 65th birthday cover photo recreation mahalia jackson yolanda adams. Doors open at pm, and the program will begin at pm. That sure sounds like a good lineup. Congratulations to the Swanee Quintet on 71 years of gospel singing. Labels: swanee quintet 71st anniversary concert augusta georgia.

Thursday, September 23, It's our Birthday! Today marks the 1st anniversary of the launch of Golden Era Gospel Blog. As the old cliche goes, time really does fly, doesn't it?

I've had some lulls in reporting due to lack of material but that's improving, as a comparison, I've had more posts this month alone than I had from the 3 month period of Sept. I want to say "thank you" to the subscribers, fellow bloggers, friends and fans who have shown support over this past year. God Bless Ya! Labels: the golden era gospel blog 1 year anniversary. Church in Chicago, IL.

Evans Ave. Labels: little lucy smith matthews collier death roberta martin singers funeral arrangements obituary. Monday, September 20, A message from Albertina Walker. Albertina Walker is "still here", and she wants the world to know that she appreciates the concern and prayers shown toward her during these last few weeks. Click the photo above to see the message more clearly from her to her friends and fans. Broughton McKenzie, a says, I think congas are great as long as theyre enhancing.

I think uses of vibes, xylophone, and marimba would be great to have different colors. To save doubling money in recording sessions, percussion is grouped into four categories where you have kit, timpani, mallets and toys.

Hagedorn , p. Ed Wilson states. Congas do help swing charts McKenzie, While normally used in small ensemble writing, the cited example in the project of a composite rhythm section part in a big band is It Came Upon a Midnight Clear arranged by Anderson Eighty six percent of survey respondents Table 23 agreed that small ensemble arranging should be included in a text.

Eight of fourteen texts investigated Table 37 include a chapter on small ensemble arranging. Project Section 7. Thomas also discusses form. The suggestion in the project to use rehearsal letters is supported by Lowell and Pullig , p. They state that key signatures should be placed on every part except for complex chromatic pieces written in open key p. The further listening example cited in the project is Slide Hamptons Day In Vienna Hampton, for its classic small band arrangement form. Introductions Further listening examples cited in the project for investigating types of introductions were Tip Toe Jones, b for not having an introduction, Buddy Richs recording of Love for Sale Porter, for having a drum only introduction, Count Basies recording of Splanky Hefti, for a piano introduction, Buddy Richs recording of Groovin Hard Menza, and Count Basies recording of Told You So Holman, for the reuse of material in the introduction.

Solos The discussion in the project text about instrumental solos is supported by a series of writers: "My first rule became: The first solo only happens when absolutely nothing else can happenYou don't write in a solo until you've completely exhausted what you have to say Brookmeyer cited in:Ratliff, , p.

This quote is used in the project text. Brookmeyer Garelick, also said, There should only be a solo when the only thing that can happen is a solo". Mintzer McKenzie, b likes to have something between solos suh as a trombone soli or a section with no rhythm section. Further listening examples cited in the project are Kentons recording of Theme and Variations Holman, as an example of a chart with no solos and Three and One Jones, b as an example of a chart where the melodic instruments from the head become the soloists.

Background Figures The discussion of backgrounds to solo sections in the project is supported by Lowell and Pullig , pp. They say to write sparsely, not use backgrounds for an entire solo, that backgrounds are more effective towards the end of a solo, and to use instruments of a different colour than the soloist. Jim McNeely Tafuri, n. While you cannot respond to the ideas and directions of the soloist, you can create a background that provides inspiration to the soloist.

Allow the soloist to respond to the arrangement rather than vice versaThe background parts can help establish the overall direction for the performance. If the background parts contain a lot of energy, the solo will have to match thatConversely, if the background parts are subdued, the solo will probably follow suit as well.

It was used as an example of an arrangement with background figures that develop well. Solis The discussion of solis plural of solo in the project text is supported by Lowell and Pullig , p. The most common is the sax soli. Shout Choruses The discussion of shout choruses in the project is supported by Lowell and Pullig , pp. Bristol refers to the shout chorus as: the pinnacle of the big band chart. Similar to the development section in Sonata Allegro form.

This is where the writer can exhibit. This is the most exciting part of the chart. Eighty six percent of respondents to the survey Table 23 agree that voicing styles are an important constituent of a text. Solomon also says, Voice leading is here defined as the motion of a single voice requiring step progression. In discussing which notes to leave out of a voicing, Mintzer McKenzie, b says that using a 5th in a voicing is bland. Basic Voice Leading Rules In discussing voice leading rules, the statement that classical rules are often overlooked in jazz arranging is supported by Nettles and Graf , p.

Mickey Baker , p. Rules 1 to 7 used in the project were also found in the Russo , pp. The inner voices, as well as the bass and melody tones should sound interesting and convey as closely possible, sub-melodies on their own Liebman, , p. Passing tones, neighbouring tones and auxiliary tones are discussed by Russo , p.

Blue notes are discussed by Russo , p. In this section of the project dealing with voicing horns, the chord voicing terminology discussed can be verified by the following sources: Lowell and Pullig , p.

Clusters are voicings in which the prevailing interval between Prater defines harmonic density: A chord can have many notes, but maybe only a few different pitch classes represented in those notes.

The total number of different pitch classes represented in a chord is the chord's harmonic density. The more different pitch classes represented, the more dense the chord. Prater, The composers referred to in the project as exponents of the pan-chromatic chord were Lazarof Cope, , Takemitsu Burt, , p. Density of One Density of One is defined in the project as unison or octaves.

Man, I never tire of that sound! This quote is used directly in the text of the project. Density of Three Example 76 in the project text, used as an example of close position density three voicing, is King Cobra Hancock, Example 77 in the project text, used as a close position density three example using minor seconds, is Day In Vienna. Hampton, Example 79 in the project, used as an open position density three example, is King Cobra Hancock, The term Quartal chord is used in the project - Berg , p.

Density of Four Root position, pyramid shaped voicings are illustrated in the project example 80a. The principal of doubling the melody is illustrated in the project examples 80c and 80d. Bill Broughton McKenzie, a says, It can never hurt to double the melody.

Density of Five The discussion of density five voicings in the project are left for the following project chapter. Target points are selected where chord based voicings are used and in between, more ambiguous, nonfunctional harmony results. The term Passing diminished chord is used in the project in discussing project example Nettles and Graf pp. In the project text, it is stated that repeated notes should be avoided. Half-Step Planing or Parallelism The terminology used in this section of the project text is supported by writers such as Frank Mantooth Goins, , p.

Example 85 in the project is an example of increasing the harmonic motion of a chord progression. It is assumed that earlier chapters involving small band arranging have been covered.

Bob Mintzer Jarvis, said, I approach big band writing as if it were a small group. He also says that his experience playing in various big bands has influenced his writing skills immensely.

Lowell and Pullig discuss how a working knowledge of small ensemble techniques is a prerequisite for grasping the arranging methods for large ensembles p. The actual name for a big band has many differing opinions and is addressed in the project as a tip. Art Dedrick Nestico, said in reference to some school band arrangements that were to be published , "We'll publish this music, but since jazz doesn't have a good name, we'll call it 'stage band.

The University of North Texas call their bands lab bands N. Slater, A band which has a more commercial aim, maybe playing for dancing or providing accompaniment for a singer, could be described as a big band. An ensemble that features an appreciable amount of improvisation could be described as a jazz orchestra. Brown, Ask questions is an important tip from Bill Broughton McKenzie, a who says that one should always ask questions of players around them to find out how to write effectively for those instruments.

He also says that it is essential that they receive a chance to hear their work played by real musicians. Project Section 8. Ten of the fourteen published texts investigated Table 37 included a chapter on saxophone voicings. Numerous sources support a discussion of the various saxophones and woodwinds. One such discussion is Brown who says, Saxophones are usually two Eb alto saxophones and two Bb tenor saxophones, with one Eb baritone saxophone. To these seventeen players may be added.

The cited example in the project text of a published arrangement using bass saxophone is Malaguena arranged by Bill Holman In discussing woodwind doubles, Bob Mintzer Jarvis, says that to play in a big band, you need to be proficient on flute and clarinet. They state that altos play flutes, tenors play clarinets and baritone plays bass clarinet.

Oboe and bassoon are rarely used Brown, The example of oboe and cor anglais quoted in the project is from the Album Aura Davis, The last further listening example is the cor anglais solo on The Door by Bob Brookmeyer Common Voicings for the Sax Section The previous section revealed the importance of discussing sax voicings. Examples 87 and 88 used in the project are the score of Upon a Rock Davidson, a and the recording of Upon a Rock Davidson, b both of which use unison and duet voicings.

Saxes and Higher Densities Various higher density sax voicings styles were discussed in this section as density 4 and 5 vocings can be handled in a variety of styles such as block or closed , drop two and open position. Block Voicings Example 89 in the project is the score of Hola Turcio, a and the associated Drop Two Nine of fourteen published texts investigated Table 37 included a chapter on drop two voicings.

Within this section of the project, voicings using fourths are mentioned. Open Voicing Density five and cluster voicings for saxophones are discussed in this section of the project text. Example 91 used in the project, as an example of inversion position density five sax scoring, is the score of Hola Turcio, a and the associated recording of Hola Turcio, b.

Example 92 used in the project text, as an example of root position density five sax scoring, is the score of Clouds on Blue Davidson, a and the associated recording of Clouds on Blue Davidson, b. Example 93 used in the project text, as an example of cluster position density five sax scoring, is the score of Legacy G. Slater, a and the associated recording of Legacy G.

Slater, b. The in-class discussion in the project text examines an excerpt of the score of Three and One Jones, a examples 94 to 98 in the project and uses the associated recording of Three and One Jones, b.

Malcolm Baker discusses Thad Jones voicings for saxes. Eight of the fourteen published texts investigated Table 37 included a chapter involving cluster voicings, thus justifying the inclusion of this topic in the project. Routine Scoring Moving Saxes with Block and Drop-2 Voicings This section of the project demonstrates a scoring routine for saxophones examples 99 to in the project. Part four of this routine introduces the concept of compatible chords or chord scales. The in-class discussion examines the voicings used by Supersax.

An exercise for sax voicings has been included which could be done in class or as extra work. Eleven of fourteen published texts investigated Table 37 included a chapter on brass voicings. The consituents of a brass section listed in the project are supported by Brown who states that the brass is comprised of four Bb trumpets and four trombones three tenors, one bass. To these seventeen players may be added more brass a fifth trumpet and fifth trombone are common , and maybe a couple of french horns.

Bob Mintzer McKenzie, b says, Using five trumpets in a section allows more interesting textures such as clusters but Im happy with just four. Bill Broughton McKenzie, a says that some students voice the trombones too Bob Mintzer McKenzie, b says build a solid foundation in the trombones. Choosing the Right Voicing Various voicing styles are discussed in the project text with associated examples.

The low range melody Example used in the project is the score of Dialmentia T. Davies, a and the recording of Dialmentia T. Davies, b. The open position example used in the project is the score of Hola Turcio, a and the recording of Hola Turcio, b. The inversion voicing example used in the project is the score of Clouds on Blue Davidson, a and the recording of Clouds on Blue Davidson, b.

Analysing a Melody Line for Voicings Examples to used in the project demonstrate various ways to voice a phrase for trombones depending on the context. An exercise for trombone voicings has been included which could be done in class or as extra work. Ill put an optional note in there I know their egos are big so if I put a parenthesis G, hell go. He also confirms that the upper high register should be reserved for specialists.

Voicing Trumpets Three types of voicing styles for trumpets are discussed in the project. The chapter discusses how the saxes are treated differently in this situation compared to being voiced as a stand alone section.

Project Section 9. The terminology used and inclusion of topics can be supported by the following sources: Basie Voicings Bob Mintzer Edelstein, said, Count Basies band it was a role model for my big band.

Malcolm Baker , ORourke n. Broughton McKenzie, a is an exponent of parallel coupling in his writing for brass. Sometimes he voices the trombones a little more open.

Example in the project is the score of Clouds on Blue Davidson, a and the associated recording of Clouds on Blue Davidson, b. Medium Range Leads Baker describes a medium range lead type voicing using trumpets in a closed four-part style. Mintzer McKenzie, b says to tighten up the voicings for stabs. Higher Trumpet Leads Baker describes a higher range trumpet lead type voicing as "added-note style 1st and 4th doubled at the octave. Ed Wilson McKenzie, almost always uses the voicing called neutral voicing in the project text, in his writing.

Easy Routine For Scoring Open Brass Chords In describing a routine for scoring open brass chord in the project text, it was emphasized that the distance between the trumpets and trombones was important.

Baker states that, in the lead trombone part, there should be enough distance from the root to allow it to sound without being muddy. Broughton McKenzie, a says that it does not matter if fourth trumpet and first Wilson McKenzie, sometimes doubles fourth trumpet and first trombone but is conscious of where they both sit in a voicing. Fifty percent of the texts investigated Table 37 included chapters on mutes. Broughton McKenzie, a quotes Eric Lodestone as saying, Dont use the mute to soften the instrument, use the mute to change its color.

Weirick describes the Harmon and Solotone mutes. Example , in the project, of cup muted trumpets is the score of Legacy G. Slater, a and the recording of Legacy G. Examples and in the project are score extracts of East Side Lonely Irwin, Examples and in the project are the score of Dialmentia T. Nesticos Basie Voicings Sammy Nesticos style of brass voicing is discussed in this section of the project.

An exercise for brass voicings has been included in the project which could be done in class or as extra work. Other Brass This section discusses other brass instruments used in big band arranging. Eight of fourteen published texts investigated Table 37 included a chapter on french horn and tuba.

Other sources supporting this discussion include Jim McNeely who likes to use a french horn in his ten-piece band. I've noticed that you put a french horn in the middle of almost anything, and it sounds better. Although it's a brass instrument, it's got such a different sound, it can really blend really great with saxophones, it can blend really well with other woodwinds. It's a very flexible instrument. Pirtle describes Stan Kentons mellophoniums.

Lutterbie, as cited in Simmonds, Further listening examples provided are Copenhagen Sights Evans, on the DVD Gil Evans and his Orchestra at Lugano for the use of piccolo trumpet, french horn and tuba in a big band. In-class discussion Sebesky includes in his book The Contemporary Arranger Sebesky, an example of voicing trumpets and trombones. He compares the same passage voiced correctly and incorrectly. These examples have been included in the project Examples and if the project were to be commercially produced, permission from the publisher would need to be obtained or the example replaced with an original composition demonstrating the same principles.

This method is supported by Lowell and Pullig , p. Example in the project text is the score of Dialmentia T. Davies, a and the associated recording of Dialmentia T. Example is the score of Ariba Schmidli, a and the associated recording of Ariba Schmidli, b.

The further listening examples provided in the project text are High Five Nestico, , Ya Gotta Try Nestico, and Freckle Face Nestico, , used as examples of combining saxes and brass. In a possible future commercial edition of this project, permission from the publisher would need to be obtained or the example replaced with an original composition.

In-class discussion Don Sebesky includes in his book The Contemporary Arranger Sebesky, an example of voicing brass and saxes. An exercise for tutti voicings has been included which could be done in class or as extra work. Three of fourteen published texts investigated Table 37 included a chapter on the analysis of arrangers.

The examples used in the project are the Thad Jones score to Three and One Jones, a examples and the associated recording of Three and One Jones, b.

Also used is the score of Us Jones, c Example , the associated recording of Us Jones, d , the score of Tiptoe Jones, a Example and the associated recording of Tiptoe Jones, b. The inclusion of Thad Jones work is supported by R. Wright , who devotes one third of his book to this topic. Scores used as examples in the project text are Hello and Goodbye Brookmeyer, a Examples and the associated recording of Hello and Goodbye Brookmeyer, b.

The inclusion of Brookmeyers work is supported by Ratliff , p. Cited works in this section of the project text using dissonant minor ninth intervals, are Pieces de Chair II Bussotti, , Bob Brookmeyer R. Wright, , p. Synthetic harmony harmony that is not identifiable as an idiomatic jazz chord [is] found throughout Brookmeyers writing. Avoidance of the minor 9th interval is mentioned in the project text. She creates her own colors and writes with beauty and sensitivity Lyall, Frank Mantooth Goins, gives credit to Schneider as a writer who rocks the boat.

The spaciousness and taking time to develop her ideas were refreshing and definitely pushed the boundaries of convention p.

Bristol suggests listening to work of Schneider. The score of Gush Sturm, Example and the associated recording of Gush Schneider, c are also used. Summary Chapter 10 of the project is summarised in this section of the project. Statements are made regarding Kentons use of tension which is supported by the following quotation: For four weeks, patrons of New York's Paramount Theater have been pinned against its back wall by Stan Kenton's klaxon-loud "progressive" blasts Bopera on Broadway, A list of arrangers to investigate is included in the project text as a suggestion to learn from the masters.

Bacharach studied with Darius Milhaud Dwyer, Tommy Tycho, in an interview Workman, , states that young arrangers should study the scores of the masters. The list includes these writers and is supported by the following sources: Sammy Nestico Frank Mantooth Goins, , p.

Bill Broughton McKenzie, a also finds Nesticos work worth studying. Lennie Niehaus Frank Mantooth Goins, , p. Gil Evans Frank Mantooth Goins, , p. Sebesky describes a typcal Gil Evans voicing style. Billy May Nestico describes Billy May as perhaps one of the greatest writers in the 20th century, if not the greatest.

Nelson Riddle. Broughton McKenzie, a and Corozine , p. Tommy Tycho, in an interview Workman, , highlights the writing of Riddle. Maria Schneider Maria Schneiders work was mentioned earlier in this chapter. Newcombe McKenzie, a uses Schneiders scores as reference material.

Bob Mintzer Frank Mantooth Goins, , p. He has all the tools--imagination, technique, dreams, ambition Bristol suggests listening to the work of McNeely. Maria Schneider Williamson, says, He's at a level above everybody else. He can make something out of anything. Sebesky uses an example of Bob Brookmeyers work. Bill Holman Lowell and Pullig , p. Sebesky uses an example of Holmans writing. Listen to Bill Holman's writing, it flows, and if you've every played them, you know how seamless the individual parts play LaBarbera, Duke Ellington Lowell and Pullig , p.

Newcombe McKenzie, a describes how he asks some students to research Ellingtons work. Neal Hefti Corozine , p. Others Frank Mantooth Goins, , p. Tommy Tycho, in an interview Workman, , mentions Mancini as a great arranger. Six of fourteen published texts investigated Table 37 included a chapter on orchestration. There are numerous texts devoted entirely to orchestration and references to some of these books are made within this chapter. Project Section Nestico says using somebody's original music - you don't change the melody.

You don't change anything. Broughton McKenzie, a believes that an orchestrator can have some creativity if there is a good working relationship with the composer. An orchestrator does not usually alter the musical quality, harmony, or rhythm. The orchestrator is important in movie scoring. Australian film composer Bruce Rowland admires in composers the ability to write a theme that can be performed in many ways, that people can remember, that sets a mood.

And to do all of this without relying on an orchestrator to do it for you Rowland, Broughton McKenzie, a believes that film scoring has changed dramatically in the past decade due to the advent of the synthesizer and computer. There is less done by orchestras and a lot of contemporary scores are percussion orientated.

He also Broughton McKenzie, a says I think its more exciting for orchestra because you have so many more choices. Anybodys writing can sound good with an orchestra, but a quartet is a bitch. The larger the ensemble, the more combinations of instruments there are to play with.

No brainer. Just keep changing or combining sections as the work plays along. A full orchestra is capable of so much variety of color that do-re-mi can sound fresh and vital. However, the fewer instruments you have, the harder it is to give the work the musical variety that's necessary to hold an audiences attention and interest. LaBarbera, Definition and Constitution of an Orchestra In this section of the project, the constitution of the orchestra is defined.

A group of musicians who play together on a variety of instruments, which usually come from all four instrument families brass, percussion, strings, and woodwinds Most orchestras, unlike chamber music groups, have more than one musician playing each musical part. The score order list used in the project was found on the Dartmouth College website Score Order, If you want to learn about orchestration, take a look at Ravels scores. Buddy DeFranco Levinson, , p.

The song became increasingly popular when it was featured in season 5 of the Big Vanity - Nollywood Stanley 1. Vanity Song written, performed and produced by Stanley Okorie. My Baby 2.