DOCSLIB.ORG

Harmony and Voice Leading in the Music of the Four Freshmen, 1955–19611

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Harmony and Voice Leading in the Music of the Four Freshmen, 1955–19611 Clifton Boyd (November 2018) 1 Harmony and Voice Leading in the Music of The Four Freshmen, 1955–19611 During the high point of their popularity in the mid-1950s, the Four Freshmen possessed a rich sound that went on to inspire many musicians of the following generation, most notably Brian Wilson of the Beach Boys.2 Despite this, or perhaps because their popularity was not sustained after the cultural shift of the early 1960s, little analytic research on their music has been undertaken. In this paper, I investigate the vocal harmony and voice leading in the music of the Four Freshmen from 1955–1961, the first seven years during which they released albums. I have looked at five albums from the period: Voices in Modern (1955), Four Freshmen & Five Trombones (1956), Freshmen Favorites (1956), Voices in Love (1958), and The Freshman Year (1961; see Table 1 for the track listings of all five albums). I will begin with a discussion of three notable chords that frequently appear in their arrangements, helping to create the signature “Four Freshmen Sound.” I will then examine their voice leading techniques (in other words, the way they move from one chord to the next) in order to see how this horizontal parameter interacts with the vertical parameters of spacing and range. To this end, I have chosen three songs to analyze by tracking the pitch intervals between the voices in each chord, and between adjacent notes in the top voice. After a brief consideration of how the group’s different arrangers affected the construction of the final product, I close with an analysis of the song “Graduation Day,” comparing the Beach Boys cover to the Freshmen original. Through these techniques, I will highlight some of the exceptional features of their style, suggesting 1 This research has been sponsored by a generous grant from the Four Freshmen Music Foundation. Dave Bentley, the treasurer of the Foundation, was kind enough to let me borrow from his vast collection of Four Freshman charts, which allowed this project to extend far beyond its originally conceived scope. 2 “[T]he most profound influence on Brian Wilson’s early musical development [was] the music of the Four Freshmen.” Philip Lambert, Inside the Music of Brian Wilson: The Songs, Sounds and Influences of the Beach Boys’ Founding Genius (New York: Continuum, 2007): 4. Clifton Boyd (November 2018) 2 further research about the Four Freshmen not only with respect to the Beach Boys but also to twentieth-century popular music at large. Table 1: Track Listings of Four Freshmen Albums Under Consideration Voices in Modern (1955) Four Freshmen & 5 Trombones (1956) After You Angel Eyes Over the Rainbow Love Is Just Around the Corner My Heart Stood Still Mam’selle The Nearness of You Speak Low Holiday The Last Time I Saw Paris Stormy Weather Somebody Love Me Street of Dreams You Stepped Out of a Dream We’ll Be Together Again I Remember You Circus Love Mood Indigo Love Is Here to Stay It Happened Once Before You Made Me Love You It’s a Blue World Guilty Freshmen Favorites (1956) Voices in Love (1958) Day by Day I’m Always Chasing Rainbows It Never Occurred to Me There Is No Greater Love Graduation Day Moonlight Poinciana It Could Happen to You Love Turns Winter into Spring Out of Nowhere The Day Isn’t Long Enough In the Still of the Night In This Whole Wide World I’ll Remember April Charmaine While You Are Gone Lonely Night in Paris Warm Seems Like Old Times Time Was (Duerme) Now You Know You’re All I see I Heard You Cried Last Night (and So Did I) The Freshman Year (1961) The Freshman Year Fools Rush In Where Do I Go from Here I’m Getting Sentimental over You It Happens Every Spring Show Me the Way to Get Out of This World Their Hearts Were Full of Spring If I Knew Then My Funny Valentine It’s Only a Paper Moon But Beautiful Dream Clifton Boyd (November 2018) 3 1a: 1b: 1c: "Peg chord" Inverted sixth "Money chord" w w w w w w ∑ ∑ ∑ ∑ ∑ & w w bbw ‹ w Example 1: Prominent Chords in wthe Music of The Four Freshmen ∑ ∑ w ∑ ∑ ∑ ∑ ∑ ∑ ∑ While there are& many stylistic traits of theirw music that associate them with other jazz vocal ‹ w groups from the 1950s, in his 1995 book Now You Know: The Story of the Four Freshmen, founding Freshman Ross Barbour writes about what he calls the Freshmen’s “peg chord,” a distinctive sound & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ that set them apart from‹ their competitors. He states, “If you’re a student of music, it is not that difficult to communicate. We had the fifth of the chord in the top voice, the ninth in the second, the & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ major seventh in the ‹third part and the third of the chord in the low part.”3 This description corresponds to a MM9, assuming that the root will be sounded in the double bass (see Example 1a). This is because each of& the Freshman∑ plays∑ an instrument,∑ one∑ of which∑ being the∑ double∑ bass, ∑ ∑ ∑ ‹ which carries out the bass line. This voicing can be heard in “Time Was” (0:12 “time was”). In “Love is Just Around the Corner” (0:23 “just waiting for you”), and “Day by Day” (0:30 “by far than any & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ocean”), the chord is voiced‹ not as a MM9, but rather as subsets of a Madd6 and a mm7, respectively. While the voicing of the peg chord is not terribly difficult to locate in their repertoire, the added & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ constraint of the chord‹ functioning within a specific harmonic context significantly limits the number of appearances. Although Barbour’s writing suggests a strong connection to particular 9 add6 harmonies (such as the& MM or the∑ M ), and perhaps∑ specific functions,∑ I suspect that∑ he would ∑ ∑ ‹ aurally associate the prototypical instance of the voicing with particular songs, solidifying its importance in his mind.4 & ∑ ∑ ∑ ∑ ∑ ∑ ‹ 3 Ross Barbour, Now You Know: The Story of the Four Freshmen (Lake Geneva, WI: Balboa Books, 1995): 32– 33. 4 “There wasn’t a song we sang that didn’t use the peg chord.” Now You Know, 33. This claim is far from true, especially if he is only referring to the voicing when used in a MM9 chord. Clifton Boyd (November 2018) 4 Shortly after discussing the peg chord, Barbour notes, “When the two middle parts of the peg chord go down a whole step, you’ve arrived at another distinctive Freshmen sound, an inverted sixth.”5 By this he simply means a major add6 chord in first inversion (without taking the double bass part into consideration; see Example 1b). This voicing appears in “Time Was” (0:16 “when we had”), “We’ll Be Together Again” (0:00 “Oo-oo…”), and “Guilty” (1:28 “like I do-oo”). Similarly to the peg chord, this voicing acts as a subset to other chords, in this case the mm9 and MM9. Major add6 chords are quite common in cadences for the Freshmen,6 but they often appear either with a different scale degree in the top voice, a different spacing, or with an added ninth. Former Freshmen Brian Eichenberger (active 1996–2014) is surely familiar with the two prominent chords discussed by Barbour; nonetheless, he identifies yet a different sound as being their “money chord”: the MM7. Specifically, the chord is in close position with the fifth in the bass and the seventh in the first tenor (see Example 1c).7 It is the result of lowering the baritone and bass voices of the Madd6 by a semitone. This chord can be found in “Angel Eyes” (1:12 “so drink up”), “Lonely Night in Paris” (0:15 “love of yesterday”), and “Poinciana” (2:50 “soon my love”). It is frequently part of a mm9, making it more closely related to the Madd6, which also acts as a subset for this harmony. It is notable that all three voicings feature a third (i3 or i4) in the middle, and a perfect fourth and fifth between adjacent inner and outer voices. According to Morris’ five basic spacing types, these chords can be labeled as “focused,” meaning that smaller intervals are between 5 Ibid., 33. 6 “Angel Eyes,” “Graduation Day,” and “It’s a Blue World,” among others. 7 “[The] ‘money’ chord in the frosh=>maj7 chord with 2nd inversion triad on the bottom, maj7 on top. i.e. F maj7 from the bottom up would be spelled C F A E. That thing always works.” Brian Eichenberger, e-mail message to author, October 25, 2017. Clifton Boyd (November 2018) 5 the central pitches, while larger intervals separate the extremes from their adjacent notes.8 This helps account for the thick sound that comes across in their recordings. But their vitality is also the result of singing technique: “We tried to always apply pressure to the listener with the chords, to put enough energy into the chords that it would be transmitted to the listener. In short, we sang loud!”9 To aid in this discussion of spacing, I have recorded the pitch intervals between adjacent voices in each chord of the songs “Day by Day,” “It’s a Blue World,” and “Angel Eyes.” Additionally, I have cataloged the ordered pitch intervals between adjacent notes in the top voice. From this data, the range of each chord as well as the voice leading of the lower three voices can be extrapolated. Charts created from this data can be found in the appendix. The “range breakdown” charts demonstrate that the spacing of the large majority of chords in each of these songs fall within an octave.
Load more

Recommended publications
  • Proposed Cultural Awareness Schedule for 2000
    CULTURAL ARTS SERIES 2008– 2009 (Schedule) A Classical Celebration! Oklahoma City Community College Artist Performance Date Lark Chamber Artists – Strings, Piano, Woodwinds, and Percussion Tues. Sept. 16, 7:00 P.M. The Romeros – Guitar Quartet (Special venue; Westminster Presbyterian Church) Tues. Oct. 7, 7:00 P.M. Jerusalem Lyric Trio – Soprano, Flute, and Piano Tues. Nov. 18, 7:00 P.M. The Four Freshmen – Vocal Quartet Tues. Dec. 2, 7:00 P.M. The Texas Gypsies – Gypsy/Texas Swing Jazz Quintet Tues. Feb. 17, 7:00 P.M. Rosario Andino – Pianist Tues. Mar. 3, 7:00 P.M. Best of Broadway – Vocal Trio Tues. Apr. 14, 7:00 P.M. Brad Richter, Viktor Uzur – Guitar and Cello Thurs. May 7, 7:00 p.m. • Lark Chamber Artists – Strings, Piano, Woodwinds, and Percussion Ensemble Lecture – TBA Performance – Tuesday, September 16, 2008, 7:00 p.m., Oklahoma City Community College Theatre. A diverse selection of musical delights. (Short) Lark Chamber Artists present a broad range of musical styles, embracing the traditional as well as adventuresome commissions and collaborations. (Medium) Lark Chamber Artists is a uniquely structured ensemble who present a broad range of musical styles, embracing the traditional favorites of the chamber music repertoire, as well as adventuresome commissions and collaborations for a new standard in innovative programming. (Long) As an outgrowth of the world-renowned Lark Quartet, Lark Chamber Artists (LCA) is a uniquely structured ensemble featuring some of today's most active performers who have come together to present a broad range of musical styles, embracing the traditional favorites of the chamber music repertoire, as well as adventuresome commissions and collaborations for a new standard in innovative programming.
    [Show full text]
  • Girl Talk: Feminist Phonocentrism As Act of Resistance in the Musical Hair
    Articles Sarah Browne Girl talk Girl talk: Feminist phonocentrism as act of resistance in the musical Hair Sarah Browne University of Wolverhampton Sarah Browne is Head of the School of Performing Arts at the University of Wolverhampton. She has worked extensively as a conductor, arranger and music director. Her research interests include the politics of race and feminist approaches to musical theatre, American musicals of the 1960s, and stage-to-screen transitions of musicals. She has contributed to edited collections for Oxford University Press, Routledge, and Palgrave. Contact: The School of Performing Arts, The Performance Hub, Walsall Campus, University of Wolverhampton,Gorway Road, Walsall WS1 3BD, UK E-mail: [email protected] https://orcid.org/0000-0003-2002-9794 Abstract In response to Wollman’s assertion that ‘despite its left-leaning approach to the many social and political issues it tackles, Hair is jarringly old-fashioned in its depictions of women’, this article instead proposes that Hair’s sung moments function as acts of resistance against the hegemonic, patriarchal values of musical theatre in both form and content. By adopting Annette Schlichter’s proposition of a ‘feminist phonocentrism’ which positions the voice as a ‘metaphor of agency and self-representation [...] thereby allowing for an authentic self-presence’, the analysis presented illustrates a rejection of historical discourses that persistently link the female voice to an absence of social and cultural authority. With specific reference to songs from the score and their interpretations, this article celebrates ‘girl talk’ forming at the margins. Keywords Hair girl groups feminist phonocentrism gender African American In her 2014 article, entitled ‘Busted for Her Beauty: Hair’s Female Characters’, Elizabeth Wollman observes the musical’s ‘landmark status’ but questions its ‘jarringly old- fashioned approach in its depictions of women’, branding it as nothing short of ‘sexism’ (Wollman 2014: 1).
    [Show full text]
  • WE'll REMEMBER ALWAYS - GRADUATION DAY by Neil and Sara Lou Lantz
    Brian Eichenberger Lead Voice Volume 22, No.3 July, August, September 2008 Curtis Calderon Vince Johnson 2nd Voice Baritone Voice "WE'LL REMEMBER ALWAYS - GRADUATION DAY By Neil and Sara Lou Lantz On a beautiful Spring day in Indianpolis, Ross and Bob became Dr. Ross Barbour and Dr. Bob Flanigan at the Commencement ceremony of Butler University on May 10, 2008. It was, indeed, a grand event as Butler President Bobby Fong and the Butler University Board of Trustees presented Bob Ferreira Ross and Bob with honorary Doctor of Arts degrees in the presence of 9,000 Bass Voice friends and families of the nearly 900 graduates. President Fong acknowledged Bob, Ross, the late Don Barbour and Hal Kratzsch, and the Freshmen beginnings at the beginnings at the Jordan Conservatory of Butler University where the guys were music majors in 1948. He went on to express Butler's appreciation for the group's acknowledgement of their roots in their performance travels throughout the world. Along with Bob and Ross, the only other recipient of an honorary degree at Butler in 2008 was Dr. Susan Solomon, a world leader in the field of atmospheric science and co-recipient of the 2007 Nobel Peace Prize with former Vice President Al Gore. Obviously, Ross and Bob were in distinguished company on this wonderful occasion! The weekend began with a private dinner Friday evening at the beautiful home of President and Mrs. Fong. In attendance were Bob and Mary Flanigan, Ross and Sue Barbour, FFS President Dick Baldwin and wife Carolyn, David Bentley, Bob Davis, Joyce Sommers, Greg and Nancy Lewis, and Neil and Sara Lou Lantz.
    [Show full text]
  • The Four Freshmen...ON the ROAD!
    Volume 22, No.4 October, November, December 2008 Brian Eichenberger "AND SO IT'S OVER" Lead Voice Borrowing on that great closer of the Freshmen, the curtain came down on the 60th anni- versary celebration in Indianapolis on August 23rd. Closing on the 21st edition of the Four Freshmen Society's annual get-together was indeed a bittersweet moment for the conven- tion planning committee which had worked for the past two and a half years to organize the event, attended by nearly 600 "guests" from 36 states and nine countries. On behalf of the planning committee, we hope everyone in attendance had a great experi- ence, and we're sorry for those of you who couldn't be here. From all reports, the hotel accomodations, the food, the 113 Club (music mart, silent auction, FF gallery, etc), the tour, the overflow Wannabee sessions, Fresh Talk, and especially the music did not disappoint. For all of that and the new and renewed friendships of the legions of Freshmen fans, we are most thankful. Curtis Calderon And, of course who will ever forget the presence and performances of Freshmen Bob Flani- 2nd Voice gan, Ross Barbour, Bob Ferreira, Brian Eichenberger, Vince Johnson, Curtis Calderon, Ray Brown, Rod Henley, Kirk Marcy, and Greg Stegeman. Mrs. Don Barbour also joined in the anniversary festivities. In the event that anyone missed the opportunity to purchase some of the extra registration "goodies", we have a few of each of the following for sale. Commemorative poster (14" x 20") $5 each or 3 for $10 plus $3 shipping CD Holder $5 each plus $3 shipping Commemorative Logo Lapel Pin $10 each plus $2 shipping COMBINATION OF ABOVE PRODUCT TOTAL PLUS $5 SHIPPING All proceeds, of course, will go to the Four Freshmen Society.
    [Show full text]
  • Ambassador Auditorium Collection ARS.0043
    http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity.
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • The Four Freshmen Group Bios
    The Four Freshmen group bios BOB FERREIRA auditioned for The Four Freshmen in 1992 for bass voice and percussion,while a music student at Central Washington University. The group asked Ferreira to join, presenting him with a difficult decision of whether or not to leave his academics behind in lieu of a career in entertainment. Bob is still pleased with his decision and has not looked back since. H enjoys being part of such an iconic musical legacy having performed in fifty states, ten countries, and on nine Freshmen recordings. When not on the road with The Four Freshmen, Ferreira occasionally freelances as a drummer in Las Vegas. TOMMY BOYNTON is the newest member of The Four Freshmen, singing 1st tenor and playing bass. Growing up in Aurora, Co., his musical journey began in the 3rd grade, singing in a children’s chorus, and studying piano and drums. Tommy’s love for music lead him to Phil Mattson’s prestigious School for Music Vocations in Creston, Iowa. He then graduated from the New England Conservatory in Boston, MA, where he studied with Dominique Eade and Ran Blake. Boynton continued to share his love and passion for music by returning to SMV to teach. Tommy has shared the stage with several Grammy nominated musicians, including jazz pianist Fred Hersch, and critically acclaimed jazz vocalist Kate McGarry. While on the road, he does miss his kitties, Alice and Little Brother, more than anything. STEIN MALVEY sings the 2nd tenor and plays guitar with The Four Freshmen. He began his musical journey at age four, studying piano at St.
    [Show full text]
  • The Phenomenological Experience of Singing in Vocal Harmony With
    A Phenomenological Experience of Singing Vocal Harmony With Another Person A Thesis Submitted to the Faculty of Drexel University by Krista F. Winter in partial fulfillment of the requirements for the degree of Masters of Creative Arts in Therapy May 2009 © Copyright 2009 Krista F. Winter. All Rights Reserved ii Acknowledgments To my dad for being my biggest fan, I miss you. To mom, for constant support, telephone calls, and the gift of faith you have passed on to me. For prayers and patience. For being someone that I aspire to be. To my family, for your love and strength. For prayers, African safaris, skype calls and text messages. For family traditions, new and old. For putting up with your little sister and for being proud of your little sister. I appreciate you beyond words. To my friends, for your time, listening ears, and words of encouragement. For moments of laughter, sushi and box seats at the Kimmel, popcorn, and prayers. As always, your love, your patience and your grace are life-giving and unparalleled. To Paul Nolan, for your excitement and personal interest in this topic. For your advisement, motivation during challenging times, honesty, and support. I appreciate your investment of time, patience through my doubts, and cheers for my progress. To Dr. Sherry Goodill, for supporting me on my thesis committee. For your insight, suggestions, and guidance throughout all aspects of my growth as a clinician and researcher. I appreciate your encouragement and excitement for the finished product. To Sr. Donna Marie Beck, for taking an unexpected opportunity and fully committing.
    [Show full text]
  • AQA Music a Level Area of Study 4: Music for Theatre
    AQA Music A Level Area of Study 4: Music for Theatre NAME: TEACHER: 1 Contents Page Contents Page number What we are studying 3 Timeline 4 Kurt Weill 5 The Threepenny Opera 6 Rise and Fall of Mahagonny 9 Richard Rodgers 10 Oklahoma! 11 Carousel 15 Stephen Sondheim 16 Sweeney Todd 17 Into The Woods 21 Claude-Michel Schonberg 22 Miss Saigon 23 Les Miserables 26 Jason Robert Brown 27 The Last Five Years 28 Parade 31 Essay Questions and unfamiliar listening tests 32 Vocabulary specific to this unit 33 2 One essay question will be set on this topic. You will choose between answering an essay on Music for Theatre or on Jazz. You will need to answer listening questions and shorter essay questions on both topics, so you must study both. You will be studying these named artists and these suggested pieces from the board: Artists Pieces (Suggested listening) Kurt Weill Rise and Fall of the City of Mahagonny: - ‘Alabama Song’ - ‘Havana Song’ The Threepenny Opera: - ‘Ballad of Mack the Knife’ - ‘Jealousy Duet’ - ‘Pirate Jenny’ Richard Rogers Oklahoma!: - ‘Oh, What a Beautiful Mornin’’ - ‘Lonely Room’ - ‘Oklahoma’ Carousel: - ‘Louise’s Ballet: Pas de deux’ - ‘What’s the Use of Wond’rin?’ Stephen Sondheim Sweeney Todd: - ‘Prelude’ - ‘Green Finch and Linnet Bird’ - ‘A Little Priest’ - ‘My Friends’ Into The Woods: - ‘On the Steps of the Palace’ - ‘Agony’ - ‘Giants in the Sky’ - ‘Last Midnight’ Claude-Michel Miss Saigon: Schönberg - ‘I’d Give My Life for You’ - ‘Bui Doi’ - ‘I Still Believe’ Les Miserables: - ‘One Day More’ - ‘Bring Him Home’ Jason
    [Show full text]
  • The History of Music Music Has Taken an Incredible Journey from Where It Started to Where It Is Today. It Is Arguably One Of
    The History Of Music Music has taken an incredible journey from where it started to where it is today. It is arguably one of the most powerful forces we have as human beings. It can start a revolution, make a political statement, and even heal a war. Music can bring light where darkness has fallen and can heal those who have forgotten how to live. Music is an idea of unconditional expression and the feeling that no matter what happens, there is always hope. When given full creative ability to do anything regarding the history of modern music, I didn’t know where to start. I feel as if I could take about this forever and still not give it the credit it deserves. I concluded that I would form a chronological playlist. I felt that a playlist was one of the better ways to not only visually show the changes, but also audibly. The first thing that stands out when looking at the playlist is the titles of the songs. It starts off in the 1600s where we are graced with the birth of Opera. You’ll notice that all of the songs from this section have numbers in their titles and are mainly in a different language. These songs are from some of the first Operas that became well known. You’ll hear the difference in texture and melodic movement throughout these songs. The vocalists possess a large amount of vibrato that echoes in your ears. The harpsichord and strings make up the most of instrumental music during this period.
    [Show full text]
  • MUSIC MART - April, May, June 2006
    MUSIC MART - April, May, June 2006 VINTAGE STUFF: NEW! Studio Album, Compact Disc only Produced by The Four Freshmen Society Capitol Collectors Series IN SESSION - Songs in our new “book” The Four Freshmen (Groups 1-3) CD only _______ @ $20.00 = _________ CD only _______ @ $15.00 = _________ FF Live in Holland Five Trombones and Five Trumpets CD only _______ @ $20.00 = _________ CD only _______ @ $14.00 = _________ Live in The New Millennium - Pat’s Gold Five Saxes & Five Guitars - Import (Bob-Brian-Greg-Vince) CD only _______ @ $20.00 = _________ CD Only _______ @ $17.00 = _________ Voices in Latin and The Freshman Year Pat Boone’s Gold Label - STILL FRESH! CD only _______ @ $17.00 = _________ (Greg-Brian-Kevin-Bob) CD only _______ @ $14.00 = _________ Love Lost and Voices In Love CD only _______ @ $15.00 = _________ Voices in Standards (Ranwood) CD only _______ @ $15.00 = _________ First Affair & Voices in Fun - EMI Import CD only _______ @ $20.00 = _________ 50 Years Fresh - Disney Institute (Sound Track PBS TV) Produced by Michael Krauss The Swingers and Stars in Our Eyes CD only _______ @ $16.00 = _________ CD only _______ @ $17.00 = _________ More Five Trombones and In Person II TWO-FER! CD only _______ @ $17.00 = _________ The Four Freshmen: In Person (1958) Voices and Brass (1960) Live at Butler University - Crescendo CD only ________ @ $17.00 = _________ (with Stan Kenton) CD only _______ @ $15.00 = _________ Out of the past come the thundering hoofbeats of the 1961 Old Friends - FFS new release from Group #5 Four Freshmen and June Christy on the “BBC in (Bob Flanigan, Ray Brown, Ross Barbour, Ken Albers) London” CD only _______ @ $20.00 = _________ CD only ________ @ $17.00 = _________ The Four Freshmen - 50th Anniversary Released in Sept.
    [Show full text]
  • Song Lists - Jan.-March 2003
    Song Lists - Jan.-March 2003 1. THE FOUR FRESHMEN "LIVE IN THE NEW MILLENNIUM" 6. The Four Freshmen Group #21 - Bob, Brian, Vince, Greg Stegeman LIVE AT PENN STATE 1957 Day By Day - I Concentrate On You Somebody Loves Me - Please Remember Intro's - I'm Gonna Go Fishin' - I Fall In Love Too Easily My Heart Stood Still - Angel Eyes Can't Take You Nowhere - Poinciana There Will Never Be Another You - Old Folks Love Dance - Route 66 Day By Day - Stormy Weather - Graduation Day Polka Dots & Moonbeams After You've Gone - How Can I Tell Her - Circus This October - Graduation Day In This Whole Wide World - Sweet Lorraine - Goodby You Came A Long Way From St. Louis Santa Claus Is Comin' To Town After You've Gone - Walkin' My Baby Back Home It's a Blue World - Street of Dreams Their Hearts Were Full of Spring 2. MORE FOUR FRESHMEN AND FIVE TROMBONES/ 7. Part One - Four Freshmen and 5 Trombones FOUR FRESHMEN IN PERSON II Angel Eyes - Love is Just Around the Corner I Left My Heart in San Francisco - The Girl From Ipanema Mam'selle - Speak Low - The Last Time I Saw Paris Misty - A Taste of Honey - Hello Dolly - Days of Wine & Roses Somebody Loves Me - You Stepped Out of a Dream Midnight Sun - The Second Time Around I Remember You - Love - Our Love is Here to Stay Call Me Irresponsible - What Kind of Fool Am I? - Route 66 You Made Me Love You - Guilty Poinciana - You Came a Long Way from St. Louis Moon River - Take Your Shoes Off Baby Part Two - Four Freshmen and 5 Trumpets Once in Love With Amy - Wail For the Bread Easy Street - Everytime We Say Goodbye Please Don't Talk About Me When I'm Gone Laughing On The Outside - After You've Gone Act III - Santa Claus Is Flat Gonna' Come to Town There Will Never Be Another You Blues in the Night - And So It's Over Got A Date With An Angel - Something in the Wind Someone Like You - The Night We Called It A Day Give Me The Simple Life - Goodnight Sweetheart - Goodbye 3.
    [Show full text]