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From: casa@netcom.com (CASA - Deke Sharon)
Subject: The New FAQ - Part 1
Message-ID:
Organization: NETCOM On-line Communication Services (408 261-4700 guest)
Date: Mon, 27 Feb 1995 02:08:21 GMT
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t's been far too long since the FAQ has been updated, and we've tried
repeatedly to get in touch with Brendan Quinn with no luck. The FAQ is too
valuable a resource to lat sit and gather dust, so we've decided to breathe
some new life into it. Here it is, expanded and updated. Please let us know
if there are any errors or omissions, or if you think that something else
should be included. Without further ado...
The rec.music.a-cappella & alt.music.a-cappella Frequently Asked Questions
Part One: General Information and A Cappella Organizations
---------------------------------------------------------------------
Since the inception of the alt.music.a-cappella newsgroup in early
April 1993, a cappella singers and fans the world over have been discussing all
manner of topics on both a cappella newsgroups, and as people come and go, the
same questions will no doubt be asked several times. To make the newsgroup a
better place for us all, please read this file before asking a question that
might have been asked before. Of course, if a topic is not covered within to
your satisfaction, feel free to discuss it on the net.
The topics are arranged in Q/A form. The questions have been arranged
into four sections:
1) General Information and A Cappella Organizations
2) A Cappella Services
3) Arranging & Performing A Cappella
4) Specific A Cappella Groups and Recordings
5) A Cappella Internet Resources
Album reviews and advertisements for albums aren't included in this
FAQ. Although some may say it isn't fair to include discographies and such for
professional groups and not for collegiate groups (for example), we have
included this information because people frequently ask for it. Album reviews
are often posted, but including them in this file would make it much larger
than it is.
Todd Biske (biske@cs.uiuc.edu) keeps a file of advertisements for
collegiate albums posted on the net, which he posts periodically to the
newsgroup and which is stored on the archive at Princeton. If you have anything
to add to the list, please email him.
If you have any ideas for questions to add to the list, please contact
us. We can be emailed by replying to this post, or mail direct to
casa@netcom.com. Feel free to ask us any a cappella related questions as well.
----------------------------------------------------------------
Q. What is a cappella? Is there a standard definition of "a cappella music",
and what makes an "a cappella group"?
The phrase "a cappella" is Italian in origin, as are most musical
terms. Literally it translates to "in the style of the chapel", which does
*not* mean "unaccompanied". It refers to choral music without *separate*
instrumental accompaniment. Instruments may be used to double the vocal parts,
such as using an electric bass to strengthen the vocal bass line, and the piece
is still a cappella.
In light of this, an "a cappella group" is one that sings a cappella
music, with or without instrumental doubling. But does a group such as the
Nylons, who often use synthesized bass and drum machine, or Boyz II Men, who
perform some songs a cappella but are usually accompanied, qualify as an a
cappella group? This question is left to individual discretion and opinion.
The spelling of "a cappella" can also get on some people's nerves if
not done properly: a letter to the editor in the CAN commented:
"In truth, 'a capella' means 'in your hair,' 'a cappello' means
'in your hat,' and 'A Capella' is an astronomical reference to the
first planet circling the star Capella in the constellation Auriga."
Q. How do I learn to sing in an a cappella group? Can just anyone do it?
Sure, but like most things in life, it takes practice to be great. A
good sense of pitch is important, as is a good singing voice (particularly one
that can blend with others). Singing a cappella is much like singing in a
chorus, except there is usually only one person singing each part, so it
demands more from each vocalist. Novices might find more enjoyment (and less
stress) by joining an a cappella chorus initially, rather that a group that has
them alone on their part. Other ways to improve are to take voice lessons, and
to practice singing background parts along with a cappella recordings.
Q. What is the range of the various vocal parts?
The standard range, or compass, of the traditional parts is as follows:
(with C4 = middle C, C3 = C below middle C, etc.)
Soprano: C4 - A5 (Also known as treble)
Alto: G3 - D5 (Also known as contralto)
Tenor: C3 - G4
Bass: F2 - D4
Note for vocalists: If you're wondering what voice part you are,
realize that range is only part of the equation. The "center" or "sweet part"
of your range may tell you more than a laundry list of the notes you can hit.
For example, many male a cappella vocalists are tenors, even though they can
sing all of the bass notes above (or even lower). Also, some popular musical
styles and techniques have challenged these traditional ranges, as many singers
are often singing outside of their previously accepted range. For example,
second altos in female quartets often sing a "bass line" that pushes the bottom
of their range, and many groups utilize modern or non-western vocal techniques
(like vocal percussion) that aren't as dependent on pitch as they are on
timbre.
Note for arrangers: You should arrange (or transpose) your music so
that your vocalists can stay roughly within these boundaries, unless you know
that a specific vocalist can sing outside them comfortably. These voice ranges
are the standard upon which most traditional choral writing and arranging is
done. However, for example, many a cappella groups incorporate a man singing in
his falsetto voice, which usually adds at least an octave to the top of his
range. Your best bet is to find out the specific ranges of the voices you're
arranging for before hand.
Q. Are there any organizations for a cappella singers and/or fans?
Yes! There are several....
* CASA - The Contemporary A Cappella Society of America *
is a non-profit membership organization that was formed in 1990 to foster and
promote a cappella music. Members include thousands of fans and vocalists as well
as professional, collegiate, and recreational a cappella groups from around the
US and abroad. There are a number of free services for members:
# The Contemporary A Cappella Newsletter # (the CAN) is published
bi-monthly and includes:
CURRENT NEWS about what's going on in a cappella
in the US and overseas.
CALENDAR of upcoming a cappella concerts and events
all around the country.
CONCERT REVIEWS of performances by your favorite groups.
INTERVIEWS with the big names in a cappella like Take 6,
the Bobs, Rockapella and the Persuasions.
ALBUM REVIEWS of new releases by professional and
collegiate groups.
ARTICLES ranging from starting your own group, to music theory,
to microphone and recording techniques.
ADVERTISING including classifieds announcing new albums,
groups looking for members, and gig opportunities.
OTHER ITEMS such as letters to the editor, tips on arranging
a cappella, and our annual trivia contest.
# The A Cappella Directory # is a listing of hundreds of professional,
collegiate, and recreational groups as a well as important contacts and a
cappella affiliated organizations all around the world.
# The Contemporary A Cappella Recording Awards # (CARAs) are the a
cappella equivalent of the Grammies, and are awarded annually for the best new
releases from collegiate and professional groups.
# The Arrangement Library # is comprised of hundreds of a cappella
arrangements of all styles from doo-wop, gospel and traditional to the latest
pop, rock, and R&B hits. A cappella arrangements for male, female or mixed
voices from three to twelve parts are available free of charge to members.
# Telephone Consultation and Help # is available every day of the year.
We offer experience and advice for professional and collegiate groups,
individuals looking to start or join a group, and organizations looking for a
cappella groups. We can help you find a group to perform at the last minute,
help your group make a great recording, and tell you the best way to make the
jump from singing on the weekends to full-time status as a professional group.
# The Ambassador Program # consists of ret $30. Note that this manual
only deals with barbershop-style arranging, which deals almost solely with
major, minor, and dominant seventh chords. SPEBSQSA run a week-long training
camp in the first week of August in St. Joseph, Missouri called Harmony
College, and run competitions extensively.
S.P.E.B.S.Q.S.A.
6315 Third Avenue
Kenosha, WI 53143-5199
Phone: 1-800 876-SING (8464)
or (414) 653-8440
Fax: (414) 654-4048 or 654-5552
Email: brian-lynch@genie.gis.com
There are a number of affiliated (but independent) organizations in
several countries, including:
Australian Association of Men Barbershop Singers (AAMBS)
Mell McMichael, President,
16 Booral Street
Buderim, Queensland 4556, Australia
Barbershop in Germany (BinG!)
Hans-Jurgen Wieneke, President
Muhlgasse 8-12,
6000 Frankfurt am Main 90, Germany
[mit umlauts over the u's in Jurgen and Muhlgasse]
British Association of Barbershop Singers (BABS)
Bob Walker, Chairman
"St. Catherines", Highfield Road,
East Grinstead, Sussex RH19 2DX, England
Dutch Association of Barbershop Singers (DABS)
Herman Feitsma, President,
Klavermeen #1
Harderwyk 3844 BR, The Netherlands
New Zealand Association of Barbershop Singers (NZABS)
Ross Gainsford, President
25 Gordon Street
Avalon, Lower Hutt, New Zealand
Society of Nordic Barbershop Singers (SNOBS)
Kjell Lindberg, President
Norrangsvagen 54 (two dots over both a's)
S-141 43 Huddinge, Sweden
Southern Part of Africa Tonsorial Singers (SPATS)
Chris Molyneux, President
P.O. Box 242, Rondebosch 7700
Cape Province, South Africa
* Sweet Adelines International *
The Sweet Adelines are the female counterpart to SPEBSQSA, with around
29,000 members around the world. Although they also emphasize the barbershop
style of harmonizing, they don't make as much of an effort to "preserve the
style" as SPEBSQSA.
Sweet Adelines International
PO Box 470168
Tulsa, Oklahoma 74147
Phone: 1-800 992-SING
* Harmony Incorporated *
Another women's barbershop singing organization. Legend has it that a
major schism in the Sweet Adelines lead to the formation of this group several
years ago.
Harmony Incorporated
c/o Joanne Rohrer, Editor "Keynote"
RFD-1 Box 142,
East Calais, VT, 05650.
* Sydney A Cappella Association (Australia) *
Based in Sydney Australia (surprise), they publish a newsletter (the
"Oral Majority"), support local & touring groups, promote and sponsor
workshops, singing classes and performances. Too bad they can't spell a
cappella properly...
Sydney A Cappella Association
PO Box 40
Broadway NSW 2007
AUSTRALIA
Phone: +61 2 692-0969 (Ann Babinard, Secretary)
* Harmony Sweepstakes *
An annual a cappella competition throughout the US. Heats are held in
various parts of the country. They also join forces with CASA to present the
annual A Cappella Summit in San Francisco.
Harmony Sweepstakes
John Neal, Producer
PO Box D
San Anselmo, CA, 94979
Phone: (415) 459-3955
Fax: (415) 459-1622
Email: harmonys@netcom.com
* Associated Male Choruses of America *
They're an organization comprised of choruses in the US and Canada,
They also publish a newsletter, "The Chorister."
Associated Male Choruses of America
c/o Ron Felsch
1204 South First St.
Stillwater, MN 55082
* Chorus America *
An organization comprised of the best classical choruses in the US
(Chanticleer, Dale Warland Singers, etc.). They publish a newsletter that
includes information about these groups and the classical choral scene in
general.
Chorus America
2111 Sansom Street
Philadelphia, PA 19103
(215) 563-2430
* United Group Harmony Association *
UGHA is the SPEBSQSA of doo-wop, although its membership is comprised
of a higher percentage of record collectors and fewer performers. They sponsor
a large annual convention each year, as well as a number of concerts, mostly in
the New York, New Jersey Area. If you love doo-wop, this is the organization
for you.
UGHA
PO Box 185
Clifton, NJ 07011
* The 4-Part Harmony Newsletter *
This newsletter distills information from the publications by the three
major barbershop organizations (SPEBSQSA, SAA, and Harmony Inc.), and a few
other sources such as the CAN and the internet. A good publication if you're
primarily interested in the Barbershop style, but don't want to join all three
organizations.
The 4-Part Harmony Newsletter
c/o Becky McDuffee
PO Box 11432
Champaign, IL 61826-1432
(217) 356-0531
email: mcduffbe@ux1.cso.uiuc.edu
* Michigan Vocal Jazz Society *
Yup - Vocal Jazz in Michigan...
Michigan Vocal Jazz Society
63360 Dequindre Rd.
Washington, MI 48095
* Southern California Doo Wop Society *
You guessed it: Doo-Wop in So-Cal.
Southern California Doo Wop Society
1077 Pacific Coast Highway #153
Seal Beach, CA 90740
(818) 331-4399
:w
--
THE CONTEMPORARY A CAPPELLA SOCIETY OF AMERICA _/_/_/ _/ _/_/_/ _/
1850 Union St. #1441, San Francisco, CA 94123 _/ _/ _/ _/ _/ _/
Phone (415) 563-5224 * Fax (415) 921-2834 _/ _/_/_/ _/ _/_/_/
information: "finger -m casa@netcom.com" _/_/_/ _/ _/ _/_/_/ _/ _/
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From: casa@netcom.com (CASA - Deke Sharon)
Subject: The New FAQ - Part 2
Message-ID:
Organization: NETCOM On-line Communication Services (408 261-4700 guest)
Date: Mon, 27 Feb 1995 02:11:30 GMT
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c.a-cappella & alt.music.a-cappella Frequently Asked Questions
Part Two: A Cappella Services
---------------------------------------------------------------------
Q. Where can I find a cappella recordings?
* Primarily A Cappella *
The major source for a cappella recordings is the Primarily A Cappella
Catalog, which was founded by Don Gooding in New Jersey, and is now based in
California in the same place as the Harmony Sweepstakes. New catalogues
featuring the latest releases and the best selling albums are sent out several
times a year. Call, write, or email for a free catalog.
Primarily A Cappella
PO Box D
San Anselmo, CA, 94979
Phone: (415) 459-3955
Fax: (415) 459-1622
Email: harmonys@netcom.com
* DJ Records *
DJ Records is the official album distributor for all King's Singers
recordings in the US, and they also carry a number of choral recordings,
scholastic choral recordings, and other materials that would be of interest to
choral organizations. Contact them for a free catalogue.
DJ Records
Doug Anderson
PO Box 95
McMinnville, OR 97128
Phone: (503) 472-6971
* Hall of Records *
The largest mail order catalogue of Barbershop and Sweet Adeline
recordings in the world. They will send out a catalogue for $5 ($7.50 for
Canada and Europe).
Hall of Records
Dan Jordan
PO Box 11244
Glendale, CA 91206-7244
Phone: (818) 240-4868
Q: How can I obtain a cappella arrangements?
As far as sheet music goes, your best bet is to contact CASA or
SPEBSQSA (addresses above). They both have an extensive variety of free and
inexpensive arrangements (approx. 1,000 each). Contact either organization for
a catalog of available arrangements.
Other options include:
* Hal Leonard Publishing *
They publish an astounding number of choral arrangements each year, and
luckily a decent percentage of them are a cappella. Be sure to check to see
that the titles you're ordering are a cappella.
Hal Leonard Publishing Corporation
7777 West Bluemound Road
PO Box 13819
Milwaukee WI 53213
Phone: (414) 774-3630
Paul Bartholomew (pdb059@ipl.jpl.nasa.gov) has typed out a list of all
the titles listed as a cappella in their catalogue. The list is posted to the
newsgroup periodically, and is kept at the princeton.edu archive (see Part
Three) as:
pub/rec.music.a-cappella/info/Hal.Leonard.list
Here's one hint: a great book of King's Singers Arrangements:
The King's Singers
25th Anniversary Jubilee!
Hal Leonard Publishing Corporation
HL08602135
ISBN 0-7935-2135-1
US $12.95
Contents: I'm a Train, You Are the New Day, Can't Buy Me Love, Short
People, Le Baylere, Musik der Nacht (Schlummerlied), Greensleeves, Loch
Lommond, Eriskay Love Lilt, That Lonesome Road, And So It Goes, Shenandoah.
(Note: the songs have been re-arranged for SATB.)
* Voices Music Publishing *
They publish the CASA Contemporary A Cappella Songbook Volume 1
(Available in April '95) as well as a wide variety of pop, Christian, and
contemporary Christian a cappella sheet music. Most are simple SATB format.
Voices Music Publishing
Chuck Munoz
PO Box 8178
Tyler, TX 75711-8178
Phone: (903) 597-3622
Song List for the CASA Songbook: Good Old A Cappella, Under The
Boardwalk, In The Still of the Night, Only You, Zombie Jamboree, Silhouettes,
Longest Time, Up On The Roof, Kiss Him Goodbye, Goodnight Sweetheart. (These
arrangements are based on the most popular a cappella versions of these songs,
and are arranged in SATB format that's easy to adapt to TTBB or SSAA.)
* A Cappella Junction *
They inventory consists almost entirely of Christian music, and they
have a wide variety of materials for singing groups as well as arrangements
(including cassettes, CD's, choral octavos, videos, song books, t-shirts, tote
bags, research reports, children's music, caps, etc.). Write for a free
catalog.
A Cappella Junction
PO Box 48464
Fort Worth, TX 76148
* Columbia Pictures Publishing *
Another publisher that has some a cappella arrangements.
Columbia Pictures Publishing
PO Box 4340
Hialeah, FL 33014
Phone: (305) 620-1500
* Ken Purchase *
Ken will email or regular mail a list of arrangements to anyone
interested. He has men's, women's and mixed music, and sends it out for either
a small copying fee or a trade:
Ken Purchase
705 E Colorado #207
Urbana, IL 61801-6372
Email: k-purchase@uiuc.edu
* Other Resources *
Max Ziff (ziff@cs.uchicago.edu) posts "Basic Collections for A Cappella
Singing" to the rec.music.early, rec.music.classical.performing and
rec.music.a-cappella newsgroups periodically - this lists sources for
madrigals, motets, chansons, etc. around the world.
Ruth Cross posted information about a book published by Hampton
Institute Press called "Religious Folk-Songs of the Negro", edited by R.
Nathaniel Dett. It is available from:
University Store
Hampton University
Hampton, Virginia 23668
"The book is a hymnal-size hard-cover, containing over 200 spirituals
collected in the late 1800's at the Hampton Institute, one of the first
colleges for former slaves. The songs were transcribed as sung by the students,
with some harmonies added, and are meant to be sung a cappella. Almost all are
4-part, often with solo parts; some are solo/tutti. The current book is a
reprint of the 1927 edition, edited by Nathaniel Dett, and includes a new
introduction with a history of the music, and copies of prefaces from the
previous editions.
Q. Where do I go to get a song custom arranged for my group?
* UAAS *
The Ultimate A Cappella Arranging Service is staffed by professional
arrangers experienced in creating custom tailored a cappella arrangements for
groups of any size, composition or style.
UAAS
1850 Union Street, Suite 1441
San Francisco, CA 94123
Phone: (415) 563-5224
Fax: (415) 921-2834
Email: casa@netcom.com
CASA members receive a 33% discount.
* Zach Nelson's Arranging Service *
Zach - I know you're doing custom arranging now - please send us info
so that we can include it :
Q. Where can I get one of those electronic pitchpipes?
The Franz Quartz Pitchpipe is a small black electronic device, about
the size of a wallet, that can generate over 2 octaves worth of pitches.
They're useful if you want more than one person in your group to be able to get
the pitch (standard pitchpipes vary in tuning quite a bit), or if you're sick
of lint getting stuck in your pitchpipe's reeds.
Franz Manufacturing
240 Sargent Dr.
New Haven, CT 06511
Phone: (800) THE BEAT
Q. Are there any a cappella conferences or workshops?
Yes, several organizations and groups do.
*A Cappella Summit *
Held semi-annually (In October on the West Coast and in April on the
East Coast), the A Cappella Summit is a weekend of concerts, workshops, master
classes, seminars and sing-alongs that is co-sponsored by CASA, the Harmony
Sweepstakes, and Primarily A Cappella. For more information about the next
summit, contact:
John Neal
PO Box D
San Rafael, CA 94979
Phone: (415) 455-8602
Email: harmonys@netcom.com
* Phil Mattson *
Phil Mattson (of the Phil Mattson Singers) has set up a school for
vocal jazz and arranging that offers summer workshops.
Phil Mattson
Southwestern Community College
1501 West Townline Road
Creston, IA 50801
Phone: (515) 782-7081
You can also attend the school full time (fall-spring) and receive a
certificate in a variety of different vocal and a cappella related topics
* Steve Zegree *
Steve arranges vocal jazz music for Hal Leonard and other publishers,
and offers week-long summer workshops on vocal jazz singing and education.
Steve Zegree
School of Music
Western Michigan University
Kalamazoo, MI 49008
Phone: (616) 387-4689
School: (616) 387-4667
* Western Wind *
Western Wind, an a cappella group based in New York City, runs
workshops several times a year. You can enroll as a group. You get coaching
for your group by real experts, and a chance to prepare and perform several
works (with the rest of the attendees as audience). The summer workshops are
typically a week, and perhaps they've done some that are just a long weekend
during the school year. It is also (or at least was) possible to arrange a
private coaching session with them. Their performing repertoire spans just
about everything - renaissance, folk, jazz, etc. They announce their concerts,
recordings, workshops, etc., in a sporadic but free newsletter: call
1-800-788-2187.
Western Wind
263 West 86th St.
NY, NY 10024
Phone: (212) 873-2848
* The A Cappella Company *
Keith Lancaster, Acappella and AVB host the annual Acappella Christian
Music Seminar (ACMS) in July in Murray KY on the campus of the state
university. It is a week long (Sunday through Friday night) series of
workshops and concerts capped by Acappella's and AVB's annual homecoming
concert on Friday night. (Murray KY is about 30 miles from their homebase in
Paris, TN.) There is choir, men's voice and women's voice training. The choir
this past summer got to open the Friday night concert as well as sing for a
convalescent hospital earlier in the day.
The Acappella Company
PO Box 15
Paris TN 38242
Phone: (901) 644 1771
or (800) 233-2031
* The Melbourne A Cappella Festival *
* Sydney A Cappella Association *
Both are held annually (what month?) in their regions of Australia, and
include performances as well as workshops. Anyone with information, please
contact
Q. Are there any a cappella radio shows in my area?
Here's a list of all radio shows of which we're currently aware. If
you're in a group (professional, recreational, or collegiate) it would be an
*excellent* idea to send a copy of any recordings you have made to each and
every one of the addresses below.
WKAR 90.5FM
Bob Blackman
PO Box 504
Haslett, MI 48840
Radio Show - Sun 6-7PM
Jersey Spotlight
Tom Petullo
47 Jefferson St.
Nulty, NJ 07110
(201) 235-0690
Doo-wop/R&B Radio&TV Show
KUSP
Welles B. Goodrich
6401 1/2 BonnyDoon Rd.
Santa Cruz, CA 95060
(408) 427-1015
Annual A Cappella Radio Show
WERS 88.9 FM
Kevin M. Evans
58 Townsend St.
Boston, MA 02199
(617) 267-6743
K2funky@aol.com
A Cappella Radio Show - Sat 2-5 PM
KRNU 90.3 FM
Rick Alloway
206 Avery Hall, U of Nebraska
Lincoln, NE 68588-0131
(402) 472-6856
Sun 6-8PM
'Vocal Chords' A Cappella Radio Show
CKUT 90.3 FM
Steve Methot
2427 Mariette, Notre Dame De Grace
Quebec H4B 2E7, CANADA
A Cappella Radio Show -Sun AM
WMNJ 88.9, Drew University
Chris Mayer
PO Box 802, CM BOX 941-DREW
Madison, NJ 07940-0802
A Cappella Radio Show -Sun 6-8AM
A Cappella & Beyond - KMUD 91.1 FM
Gretta Kirk
PO Box 135
Redway, CA 95560
(707) 923-3911
kmud@igc.apc.org
Radio Show - Sunday 3-4pm
(CASA Ambassador)
KKUP 91.1FM
Phil DeBar
1933 Hexem Ave.
Santa Rosa, CA 95404
Radio Show - Tues 7-10AM
WOBC 88.3FM
Joe Bonomo
c/o WOBC Radio
Wilder Hall, Oberlin College
Oberlin, OH 44074
(216) 775-6035
jbonomo@cs.oberlin.edu
"Cappellaland" Radio Show - Sat 10AM
WOGL 98.1FM
Harvey Holiday
Philadelphia, PA
Radio Show Sun 7-12PM
KPFA 94.1FM
Opal Nations
Berkeley, CA
Radio Show Fri 12-2AM
KBUT
Bonnie Chlipala
Colorado
Radio Show Sun 1-3PM
WPCD
Andy Isbell
Champaign,IL
Radio Show Sun 4-7PM
KDHX 88.1FM
Marjie Kennedy
St Louis, MO
Radio Show Sun 8-10AM
KPBX
Johanne Blank
1911 East Sixth Street,
Spokane, WA 99202
"Twentieth-Century Vox" vocal radio show
WDIY 88.1FM
Bob Cohen, music coordinator
301 Broadway, 3rd Floor
Bethlehem, PA 18015
programs a cappella all day
Q. Are their any places that feature only a cappella music?
* A Cappella's *
An all-a cappella restaurant/club in Denver that features performances
by great groups like the 17th Avenue All-Stars, the Diners, the Poor Boys, and
many others every weekend and once during the week. If you're in Denver for any
reason, be sure to drop by
A Cappella's
1336 E 17th Ave.
Denver, CO 80218
(303) 832-1479
--
THE CONTEMPORARY A CAPPELLA SOCIETY OF AMERICA _/_/_/ _/ _/_/_/ _/
1850 Union St. #1441, San Francisco, CA 94123 _/ _/ _/ _/ _/ _/
Phone (415) 563-5224 * Fax (415) 921-2834 _/ _/_/_/ _/ _/_/_/
information: "finger -m casa@netcom.com" _/_/_/ _/ _/ _/_/_/ _/ _/
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From: casa@netcom.com (CASA - Deke Sharon)
Subject: The New FAQ - Part 3
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Date: Mon, 27 Feb 1995 02:19:29 GMT
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The rec.music.a-cappella & alt.music.a-cappella Frequently Asked Questions
Part Three: Arranging and Performing A Cappella
---------------------------------------------------------------------
Q. Can anyone give some tips on transcribing music from a recording?
When transcribing a song, listen for the bass line and melody first.
Write these down - they'll often outline the chords, and are much easier to
"pick out" of a recording than anything else. Once this is done, focus on the
rhythm of the other background parts. Once you've figured this out, try to pick
out the background parts one by one, starting with the highest part. If you're
having trouble, focus on the highest background part as a counter melody or
descant, and write it down completely. Then try to figure out the chords, using
the pitches that you have written for the bass, lead, and top background voice.
If they don't cover all of the chord factors, mess around on the piano until
you have the correct chords. Then go back and reconstruct the background parts
based on this information. Finally, add anything else in the arrangement (vocal
percussion, sound effects, etc.)
The more you transcribe, the more you'll become familiar with certain
conventions (chord progressions, voice leading), and you'll find you become
better at "second guessing" the original arranger.
Q. Can anyone give some tips on translating an SATB score for use by my
TTBB/SSAA group?
For women, have the first sopranos read S, and the seconds read T up an
octave (not A); the first altos sing A as written, and the seconds sing B up an
octave. Same idea, mutatis mutandis, for a men's group: Basses read B,
Baritones read A down the octave, second tenors read T, firsts read S down the
octave. Schematically, then:
Men Mixed Women
T1 (-8ve) S S1
B1 (-8ve) A A1
T2 T S2 (+8ve)
B2 B A2 (+8ve)
The point is that this preserves the relation between the outer voices
and automatically transforms many common open voicings into standard closed
voicings with the four parts in the natural order; e.g. the open D-major chord
D-A-F#-D becomes D-F#-A-D. (Thanks to Noam Elkies: elkies@zariski.harvard.edu)
Note: If your tenors often sing up in falsetto range, you might try the
arrangement as is. For example, many doo-wop songs can just as easily be sung
SATB as TTBB with ever pitch in the same place.
Q. Can anyone recommend any books on arranging popular a cappella music?
[ This is basically a straight copy of a post by Chris Hebert: ] There
is a large manual available from the SPEBSQSA on barbershop arranging
(Arrangers Manual). It is very thorough, with lots of examples, and details
three different methodologies for approaching an arrangement. It goes into such
things as song forms, harmonic progressions, chord vocabulary, chord voicings,
etc. There is also a smaller manual called The Theory of Barbershop Harmony,
which you should know first before starting to arrange.
A very good text on SATB arranging is Choral Arranging by Hawley Ades,
Shawnee Press, Inc. (1966) It is loaded with examples, both classical and
popular in nature. Tables of contents includes: principles of part writing for
voices, 4-, 3-, 2-, and multi-part writing, contrapuntal techniques, special
effects, treble voices, male choruses (includes glee and barbershop, but not
much detail), key and tempo changes, intros and endings, planing arrangements,
scoring arrangements, chorus with instruments, etc.
Hawley Ades was the arranger for the Fred Waring's Pennsylvanians, and
in the 60's he did all their radio show music (five 30 minute shows a week plus
a one hour evening show over 7 years, so he has done a lot of arranging). Mr.
Ades believes that the techniques in part writing apply to all styles, voices,
etc., and a firm foundation in music and harmony is necessary as well. This has
been the only book I have gotten my hands on that discusses choral arranging
(and was published within the last 30 years). In the bibliography section he
mentions the normal books on harmony and counterpoint that most music students
use in their undergraduate work, and some more books that I have never found:
Delamont, Gordon. Modern Arranging Techniques - Kendor Music, NY 1965
Wilson, Harry. Choral Arranging - Robbins Music, NY 1949
Q. What is the best microphone technique for a four part a-cappella group? Does
one mike work well or should everyone have a mike?
Four directional mikes (hand held or on stands) are great *if* you have
a competent sound person, who understands that a properly-balanced quartet does
*not* mean that all four parts are of equal volume.
Next best is one omni-directional mike. Here, though, you need to work
very carefully to keep the singers at equal distances from the mike. Some
places provide two directional mikes, which is awful. With this set-up, try
pointing the two at the center of the quartet and cluster your group very close
together.
An important consideration is that low voices need to be closer to
mikes than high voices. The "proximity effect" occurs when a bass singer is
almost swallowing the microphone, and results in an extremely full low sound.
Each singer needs to take responsibility of getting closer to his/her own mike
at bottom of his/her range. It's safer to have individual mikes, practice your
technique and be sure to have an alert sound tech. Or consider the intermediate
approach - two singers on each of two mics. If the heights are close enough,
this works pretty well.
Q. What types of microphone are best for a quartet?
[ From David Boyes: ] For one mike, you must have strong vocalists, and
a *very* good omnidirectional. Sennheisers work acceptably well, but it's a lot
easier to get good sound levels and balances for recording with individual
mikes. One or two PZM-style surface mikes with extension stands work well for
larger groups; for individuals and studio work, the Sennheisers are absolutely
a better choice. They don't travel well, and they're expensive, but they're
worth it in response and sound. The SM58s are a good touring mike, but tend to
have somewhat uneven spectral response as the elements age. SM58s tend also to
become more directional with age, but that can be both a blessing and a problem
if your soundman isn't aware of it.
Q. What should we do about members missing or being late for rehearsals?
[ From Dave Damouth:] The first thing that is needed is an objective
measure of the impact of lateness or absence on the rest of the group. It's
important to get it out of the realm of emotion and personal opinion, and
establish something that is measurable independent of personalities.
The second key thing is to separate the actual impact of the absence
from the reason for the absence, and deal with the two separately. If someone
is absent a lot, for the best of reasons (car wrecks, command performances at
the White House, having a baby, whatever), it damages the preparedness and
quality of the performance just as much as if the excuses were bad. The nature
of the excuses is very important too, of course, but this is a very different
kind of discussion. When someone is missing frequently, the discussion is,
first, "how much have you damaged the group by not being here?" and, second,
quite separately, "is this behavior likely to continue in the future and does
the group value you enough to be willing to tolerate this damage?"
The attendance policy for Madrigalia, Dave's 16-voice madrigal group,
is stored at the Princeton archive as:
pub/rec.music.a-cappella/info/Rehearsal-Attendance-Policy
Q. Questions about Copyright & Legal Issues
[ Much of the following was learned from the Copyright FAQ, maintained
by Terry Carroll (tjc50@ccc.amdahl.com), posted to the misc.legal newsgroup
(and others) monthly and available for ftp from rtfm.mit.edu under
Copyright-FAQ/part[1-6]. Other info came from postings, especially those from
Jed Hartman.]
There are many detailed facts to be understood about copyright,
especially in a field such as ours where (for example) arrangements of other
people's (already copyrighted) works are used frequently. This section will not
attempt to address all possible factors relevant to us, but rather an overview
of the laws governing copyright.
1) The Berne Convention
Created by a group of countries in 1886 and joined by the US on March
1, 1988, the most recent document specifying the law is the Paris, 1971 text.
The main parts of the Berne Convention are as follows:
* National treatment: An author's rights are respected in another
country as though the author were a citizen of that country. For example, in
Australia, to use material copyrighted in the US, one must adhere to Australian
copyright law, not American. This is only true if both countries are
signatories to the Convention. (Most Western countries seem to be signatories;
check out the list in the Copyright FAQ if you're not sure)
* Preclusion of formalities: The copyright cannot depend upon
formalities (such as copyright notices or registration) for a copyright to
hold; this is why all material since 1988 is implicitly copyright, even without
a copyright message.
* Minimum terms of protection: The minimum duration for copyright
protection is the life of the author plus 50 years, but signatory nations may
choose to provide longer durations.
* Minimum exclusive rights: A nation must provide for protection of six
rights: translation, reproduction, public performance, adaptation, attribution
(paternity) and integrity. Apparently US law differs from this by removing
translation and adding display and distribution, but these points are covered
by other laws (trademark, patent etc.)
2) Public Domain material
A work in the public domain is one that can be freely used by anyone
for any purpose. A work is public domain if:
* the copyright has expired
* the work is a work of the US Government
* the work can't be copyrighted (short names, slogans etc. - however,
these can be trademarked)
* the copyright has been forfeited. This includes publishing without
copyright notice prior to March 1, 1988 (in the US)
* the copyright has been abandoned, i.e. the copyright holder has made
an unambiguous statement of his or her intent to dedicate the work to the
public domain.
3) Registering a Copyright
First of all, you don't *need* to register your work for it to be
copyrighted; since the Berne Convention, all works are copyright from the
moment of their creation. In fact, you don't even need a copyright notice (as
mentioned above), but it is a good idea: you should include a c-in-a-circle,
"Copyright", or "Copr.", the year, and your name on the work to make an
official copyright notice. There have been rulings in the past that (c) is
*not* an official copyright symbol, so watch out!
If you *do* want to formalize your copyright by registering it, which
helps in court, you do it by filing the appropriate form with the US Copyright
Office, with payment of $20. If you call the Copyright Office Information
Hotline, and leave your name, address and form number on the voice mail, they
will send you an information package on copyrighting a particular type of work.
The number is 202-707-9100, and the packages most readers of this group will be
interested in are:
Music (sheet or lyrics): Form PA, Package 105 and
Music (sound recording): Form SR, Package 121
You can also write to them at:
Copyright Office
LM 455
Library of Congress
Washington, DC 20559
[ From here on, the info starts to come less from the Copyright FAQ and
more from varied sources and *opinion*. In some cases, these issues have not
been adequately tested in a court of law, so there are different
interpretations of the law. ]
4) Derivative Works - the Legality of an Arrangement
Apparently an a cappella arrangement is legally a derivative work of
the original song. The definition of a copyright infringement is for the work
itself to have actually been copied from (either wholly or to create a
derivative work), (etc.) so as far as the law is concerned, an arrangement is
the same as the original song, and the songwriter actually "owns" the
arrangement [obviously, the a cappella music idiom was not a major concern of
the individuals drafting these laws.] However, one can copyright an arrangement
of a song, as long as the arranger has been given permission to arrange the
song in the first place.
5) Legalities of Performance, Distribution, etc.
If you can all learn your parts just from listening to an album, you
have done nothing illegal. If you writing anything down, you are in violation
of the composer's copyright. You are legally allowed to make one archival
recording of any performance without paying any fee. An interesting quirk to
this rule is that if you have several people with tape recorders record you
singing a song, all of those tapes are legal. If you make one recording and
copy it for all the people, you have to pay the licensing fee.
[Dan Wilson, ATDYW@ASUACAD.BITNET, from the Phoenix chapter of the
SPEBSQSA, says:] Serious Barbershop arrangers (not the backroom ones) get
written permission from the copyright holder to arrange a song. Our
International Office in Kenosha, WI handles the paperwork and gets clearances
for us. The fee is $10, and this allows you to arrange the song and make 4
copies - typically for a quartet. More copies may be made up to 200 at $.20 per
copy. If you want more than 200, you need to get extended permission. We went
to this formality years ago [in the 70's] as the result of a number
not-for-profit groups (churches, schools, etc.) being sued for copyright
infringement. The law allows a fine of $50,000 per TITLE, as I recall. I'd
rather spend the ten bucks and avoid the hassle.
[Another perspective on this issue] Most songs arranged in the
Barbershop style were written between 1900 and 1949, and these songs are owned
by a limited number of consolidated publishing companies who are eager to make
any money that they can off of a song. Songs written after 1950 are difficult
to chase down, and very often the songwriter or publisher decides not to allow
any arrangements of a song to be made (because they want to wait to sign
exclusive writes to be included in the Best of the 80's songbook, for example).
The result is that the law allows any song in the world to be performed and
recorded after it has been released by any artist for the first time, but no
one is allowed to jot down notes concerning their version. There needs to be a
law that allows a licensing fee to be paid for limited numbers of written
unpublished arrangements *of any song* (like recordings). This way, songwriters
will make money, and a cappella musicians will not have to break the law to
make music.
Performance rights are paid for by the performance location such as
clubs, theaters, auditoriums, radio stations, etc., and the revenue from the
license fees is divided among the members of the performing rights groups.
Mechanical license is required to make copies of audio tapes/records,
and Synchronization Rights license is required for making videos and movies.
The Harry Fox Agency handles the audio tapes and records, I'm not sure about
the videos. You send them a letter telling them the titles and the number of
copies you expect to make (not sell), and they'll send you a bill. The rate is
around 6.5 cents per title per recording for a song up to 5 minutes long & 1.?
cents for each additional minute.
Payment is irrelevant when it comes to copyright infringement. Money is
not the primary issue - control of intellectual property is. Irving Berlin was
always very careful about allowing people to perform, or arrange his music -
whether or not it was for profit. He felt some groups just didn't do his music
justice and refused permission to them. It is a common misconception that songs
performed or arranged without compensation do not need permission from the
copyright holder. The misconception is a result of assuming money is the issue
rather than control.
However these issues aren't entirely clear. One entertainment attorney
informs: "Yes, it's legal to transcribe a song off an album for your own use.
No you don't need permission to arrange a song, perform an arrangement, or
record an arrangement (that doesn't have altered lyrics or melody), though you
will need to pay mechanicals on recordings. Yes, you can arrange for money, but
you're selling a service & not music. You can make copies of an arrangement for
fair use - study purposes within your group. CASA can give out a few
arrangements for rehearsal & performance purposes, but they can't be published
in any way - that right belongs to the composer.
As mentioned before, some of these issues aren't clear, or at least not
all attorneys agree.
6) Fair Use
This is a very tricky matter. Fair use governs the extent to which the
copyright rules may be "bent" if their purpose includes "criticism, comment,
news reporting, teaching, scholarship, and research." (from Section 107 of the
Copyright Act, as quoted in the Copyright FAQ).
Four factors are used in determining whether something counts as fair
use:
1. Purpose of the use - commercial or nonprofit and educational.
2. Nature of the work being copied.
3. How much of the work is copied.
4. The effect of copying on the potential market for the work.
Things that have been considered fair use in the past by courts
include: quotations of brief excerpts of works in reviews and criticism; use in
a parody; summary with brief quotations; a teacher copying part of a work to
use in class; and so on.
--
THE CONTEMPORARY A CAPPELLA SOCIETY OF AMERICA _/_/_/ _/ _/_/_/ _/
1850 Union St. #1441, San Francisco, CA 94123 _/ _/ _/ _/ _/ _/
Phone (415) 563-5224 * Fax (415) 921-2834 _/ _/_/_/ _/ _/_/_/
information: "finger -m casa@netcom.com" _/_/_/ _/ _/ _/_/_/ _/ _/
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From: casa@netcom.com (CASA - Deke Sharon)
Subject: The New FAQ - Part 4
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Date: Mon, 27 Feb 1995 02:22:48 GMT
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c.a-cappella & alt.music.a-cappella Frequently Asked Questions
Part Four: Specific A Cappella Groups and Recordings
---------------------------------------------------------------------
Q. Are there any compilation-type albums of modern a cappella music?
*Modern A Cappella*
Put out by Rhino records, This is probably the best a cappella album
available for the first time listener. It's available from the Primarily A
Cappella catalog (415-455-8602), or phone Rhino direct on 1-800-432-0020.
Tracks, in order:
National Anthem En Vogue
I Feel Good Bobby McFerrin
Only You The Flying Pickets
Zombie Jamboree Rockapella
Higher and Higher The Mint Juleps
Caravan of Love The Housemartins
Spread Love Take 6
Unomathemba Ladysmith Black Mambazo
Heaven Longhouse
Silhouettes The Nylons
My Husband Was A Weatherman The Bobs
Papa-Oom-Mow-Mow The Persuasions
Mighty Love Todd Rundgren
Leave It Yes
Walk Like An Egyptian The Bangles
The Hallelujah Chorus The Roches
*Spike & Co. Do It A Cappella*
Also available from Primarily A Cappella, this is the soundtrack album
from the now legendary PBS special that helped bring a cappella back into the
limelight (Elektra ELE60953).
Tracks, in order:
I Need You True Image
Don't Let Your Heart The Mint Juleps
Zombie Jamboree Rockapella
Looking for an Echo The Persuasions
"Down in the Mines" Ladysmith Black Mambazo
I Want to Live Easy The Mint Juleps
Under the Boardwalk Rockapella & True Image
Up on the Roof The Persuasions
Higher and Higher The Mint Juleps
Get Away Jordan Take 6
"God Bless Africa" Ladysmith Black Mambazo
Pass on the Love The Persuasions
The Lion Sleeps Tonight Ladysmith Black Mambazo &
The Mint Juleps
A 90-minute video cassette is available for $19.95 + about $3.50
postage and handling, within the US. Call 1-800-336-1917.
Gerard Brown mentioned at the CASA Summit in 1993 that he had started
work on Do It A Cappella II, but would not give any more information. Don't
worry, when something happens, you'll hear it first on rec.music.a-cappella...
* Harmony Sweepstakes *
Both the 1993 & 1994 Harmony Sweepstakes National Finals have been
immortalized on Disc, and are available from Primarily A Cappella: (415)
455-8602. Both discs contain a wide variety of a cappella from a number of
different groups. The series will continue annually, and each year's recording
is available a couple of months after the competition.
* Best Of College A Cappella *
Slated for release in March of 1995, Volume 1 of the Best of College A
Cappella will include 19 tracks by 19 different college groups. There's
information in the liner notes of the album that will tell you how to get in
touch with each group and purchase their full-length recording. For more info,
contact CASA: (415) 563-5224. Volume 2 is currently in the planning stages.
Q. What's the story with...
* Acappella, AVB, etc. *
Acappella and AVB are contemporary Christian a cappella groups that are
part of the A Cappella Company. Founder Keith Lancaster is also responsible for
his own solo recordings, the prolific "A Cappella The Series" albums, and many
other recordings: over 40 in total.
The A Cappella Company
Keith Lancaster
PO Box 15
Paris, TN 38242
(800) 233-2031
* Acoustix *
One of the biggest names in barbershop, this quartet has a couple of
exceptional recordings: "The New Science of Sound" and "Stars and Stripes"
(Patriotic Songs). To order, contact:
Todd Wilson
10455 N Central Expressway, #109-128
Dallas, TX 75231
(214) 265-7849
* The Blenders *
A four part, Nylons-esque group with tight harmonies and great style.
They frequently tour the college circuit (schedule available from the Princeton
FTP site). They have two albums - "Totally Whipped" and "From The Mouth," two
of the best self released contemporary a cappella albums ever made.
The Blenders
PO. Box 26037
Minneapolis, MN 55426
(701) 239-8000
* The Bobs *
One of the biggest a cappella groups of the last 20 years, this quartet
(quintet for the brief period after Joe Finetti joined and before Gunnar Madsen
left) can do anything from Jimi Hendrix to They Might Be Giants. Their
discography includes:
The Bobs (1983)
My, I'm Large (1987)
Songs for Tomorrow Morning (1988)
Sing the Songs Of... (1991)
Shut Up And Sing (1993)
Cover The Songs Of... (1994)
The older albums are now available from Rhino Records, and their newer
releases are on Rounder. Contact the group at:
The Bobs
PO Box 5645
Berkeley, CA 94705
(510) 649-9097
* Chanticleer *
This sensational male ensemble is known for its critically acclaimed
recordings of renaissance and 20th century choral works. They've also been
known to dabble in vocal jazz and gospel. You should be able to find them in
the classical section of your local record store. If not, contact Primarily A
Cappella or DJ Records.
* The Flying Pickets *
The original members of the group were: Rick Lloyd, Ken Gregson, Kareth
Williams, David Brett, Brian Hibbard, and Red Stripe (no joke - that's his
name). The group was formed in 1980, and their first single, 'Only You', was
Number 1 in the UK for six weeks in 1983. After a few years Brian and Stripe
returned to acting, after which the group disbanded, then reformed with mostly
new members, and finally the original group got back together. They have made a
number of albums, many of which are difficult to track down. There are a few
different "best of" albums floating around out there, however.
Discography (sort of):
"The Best of The Flying Pickets", Virgin Records VVIPD 111
[Apparently only available in the UK ]
"Flying Pickets Live", recorded 1984-5
"Waiting for Trains"
"Lost Boys", Moving Target MTD 021
[ The only album directly available in the US ]
"Blue Money", 1992. From PMF records, 90 637-2
[ This the "mostly different Flying Pickets" ]
"The Warning", 1993.
"The Original Flying Pickets Volume 1", 1994
[The original group reformed]
If you can't get the albums from a local import shop, try writing to
the following CD mail order company in London:
HMV UK Limited
Mail Order Department
150 Oxford Street
London, W1N 0DJ
England
* Flirtations *
This is the gay male quintet that can bee seen in the movie
Philadelphia. Sadly, founding member Michael Callen (also an AIDS activist)
passed away since then, and the group has yet to replace him - they currently
perform as a quartet. They have two wonderful albums: "The Flirtations" and
"Out On The Road"
The Flirtations
Jon Arterton
Box 655
Provincetown, MA 02657
Phone: (508) 487-0677 (fax also)
* The House Jacks *
Comprised of former collegiate a cappella singers (Tufts Beelzebubs,
Brown Jabberwocks, Dartmouth Aires, and UNC Clef Hangers - all class of 1991),
this group was put together by CASA president Deke Sharon. They have recently
signed a recording contract with Warner Brothers' Tommy Boy Records, and have a
self-released album ("Naked Noise") that they'll no longer be able to sell once
their Tommy Boy record is released (some time in the Summer of '95). For more
info on the group, or to get a copy of their recording:
The House Jacks
c/o Prince S/F Productions
1135 Francisco St. #7
San Francisco, CA 94109
Phone: (800) 757-4331
* King's Singers *
A group started by ex-students at King's College, Cambridge over 25
years ago, now one of the most respected a cappella groups in history. They
sing mostly madrigal and classical style music, including a cappella
arrangements of famous classical pieces, and have recently branched out into
the contemporary scene, making several successful pop albums as well. They have
recorded over 30 albums, many of which move in and out of print. Contact DJ
records or Primarily A Cappella for a list of their currently available
releases.
For information or subscription to the King's Singers Newsletter,
contact:
Erica Zaffarano
The King's Singers Newsletter
17005 11th Avenue N
Plymouth, MN 55447.
An annual subscription is $5.00 and that the newsletter comes out
quarterly.
* Ladysmith Black Mambazo *
This is the charming South African "Mbube" group that can be heard on
Paul Simon's "Graceland" album. Although many of their recordings aren't in
English, their rich sonorous music still speaks deeply.
Music Archives, "ftp.uwp.edu (131.210.1.4)", discography:
/pub/music/artists/l/ladysmith.black.mambazo/discog
Ladysmith Black Mambazo Fan Club
Roger Dean, President
104 Worral Drive
Newark, Delaware
19711 U.S.A.
* Mint Juleps *
This is the female sextet seen in the "Do It A Cappella" special. They
have made a few recordings, but only a couple are available.
A live album was recorded in Germany in 1990 at the Women In (e)Motion
festival, and four tracks in a London studio. Klaus Birken tells us this
album's number is T&M 104, and may (or may not) be available from:
Tradition & Moderne
Musikproduktion
Fehrfeld 28
28203 Bremen
Germany
Recently they released an album that's easy to obtain in the US. It's
called "One Time," and it can be obtained from Primarily A Cappella. To contact
the group:
Rita Ray at Flash Choice Management
46 Broomwood Rd.
London, SW11 6HT
England
Phone: +44 71 228-1161
* The Nylons *
A Canadian male quartet that sings contemporary covers and some
originals. They have been around for years and have been an inspiration for
many of today's a cappella singers. The members for most of their recordings
were Paul Cooper, Marc Connors, Arnold Robinson and Claude Morrison, and hit
songs for this group included Up the Ladder to the Roof, Happy Together, Kiss
Him Goodbye and The Lion Sleeps Tonight. Micah Barnes and Billy Newton-Davis
replaced Paul and Marc, and took the group in a more synthesized, hip-hop
direction. They were replaced by Garth and Gavin, and although their most
recording only has one a cappella song on it, their live show reflects the
group's early days of finger-snapping a cappella.
They have a number of albums, all of which should be available from
your local record store. They are:
"The Nylons" (Attic Records ACD 1125), 1982
"One Size Fits All" (Open Air OD-0301), 1982
"Seamless" (Open Air Records OD-0304), 1986
"Happy Together" (Open Air OD-0306), 1987
"Rockapella" (Windham Hill WD 1085), 1989
"Four On The Floor" (Scotti Bros. 72392 75224-2), 1991
"Live To Love" (Scotti Bros. 72392 75255-2), 1992 [hip-hop]
" Because" (Scotti Bros. 72392-75435-2), 1994 [not a cappella]
There's also a "Best Of The Nylons" album available, that consists of
tracks from their first five albums.
* The Persuasions *
The Godfathers of a cappella. Over 30 years, and they "still ain't got
no band." This legendary quintet became a quartet after the loss of baritone
"Toubo" Rhodes in 1988. The group still tours constantly, and shows no signs of
letting up. They've recorded countless albums, many of which are hard to find,
and some of which have been re-released on CD, only to be discontinued again.
Contact Primarily A Cappella for a list of albums currently available.
The Persuasions
Headline Talent
1650 Broadway Suite 508
NY, NY 10019
* Rockapella *
These guys can be seen in the "Do It A Cappella" special, and also
every weekday on the Kids quiz show "Where in the World is Carmen Sandiego?"
Originally a quartet, the group is now a quintet (they added a vocal
percussionist). They have a number of excellent recordings available in Japan
which can only be obtained by import from Sound City 2000 at (503) 654-2196 for
more than $40. They Are:
Rockapella One: To NY
Rockapella Two: From NY
Rockapella Three: Bash!
Rockapella Four: Vocobeat
Rockapella Five: Out Cold
Most People recommend getting #2 (if you prefer a cappella cover songs,
and a more "classic" a cappella sound, and #4 if you prefer original tunes and
vocal percussion). The Third and Fifth are Christmas albums.
The soundtrack to the children's' game show "Where in the World is
Carmen Sandiego?" features a few tunes by Rockapella, and one by Rockapella and
the Persuasions. It can be found in most record stores, or be ordered from
Primarily A Cappella.
Keep your eyes on the newsgroup for the periodically posted Rockapella
FAQ.
* Sweet Honey in the Rock *
With over 20 years under their belts as a cappella performers, this
female sextet (5 singers and one sign language interpreter) offers its vision
of world peace with a beautiful blend of styles: including elements of gospel,
folk, and world music. Their music is motivational, and their spirits
uplifting. They have several CD's available:
"Sweet Honey in the Rock" (Flying Fish FF 70022), 1976
"Feel Something Drawing Me On" (Flying Fish FF 70375), 1985
"The Other Side" (Flying Fish FF 70366), 1985
"Breaths" (Flying Fish FF 70105), 1988
"Live ate Carnegie Hall" (Flying Fish FF 70106), 1988
"All For Freedom" (Music For Little People), 1992
"In This Land" (Earthbeat 9 42522-2), 1992
"Still On The Journey" (Earthbeat 9 42536-2), 1993
"I Got Shoes" (Music for Little People 9 42534-2), 1994
* Take 6 *
A six-voice male a cappella "Contemporary Christian" (gospel) group,
with jazz and R&B influences. They started in the late eighties at school in
Hunstville, Alabama and have gone on to receive critical acclaim, including
several awards from the Gospel Music Association (Doves) and several Grammies.
Join their fan club by writing to:
Club TAKE 6
c/o Holley Ink
P.O. box 78009
Nashville,TN 37207
They have four albums out (all easily obtainable): "Take 6," "So Much
To Say," "He Is Christmas," and "Join The Band."
* The Trenchcoats *
Reigning Harmony Sweepstakes National Champions (1994), this
high-energy quartet has two albums available: "It Turns Me On" and "Your Joy."
Contact them at:
The Trenchcoats
Doug Wisness
PO Box 1444
Tacoma, WA 98401-1444
(206) 925-1856
* Zap Mama *
This amazing female quintet is based in Brussels, but their musical
influences span around the globe. They have two albums: "Adventures in Afropea
1" and "Sabsylma" which have won Best Album from the Contemporary A Cappella
Society for the last two years.
--
THE CONTEMPORARY A CAPPELLA SOCIETY OF AMERICA _/_/_/ _/ _/_/_/ _/
1850 Union St. #1441, San Francisco, CA 94123 _/ _/ _/ _/ _/ _/
Phone (415) 563-5224 * Fax (415) 921-2834 _/ _/_/_/ _/ _/_/_/
information: "finger -m casa@netcom.com" _/_/_/ _/ _/ _/_/_/ _/ _/
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From: casa@netcom.com (CASA - Deke Sharon)
Subject: The New FAQ - Part 5
Message-ID:
Organization: NETCOM On-line Communication Services (408 261-4700 guest)
Date: Mon, 27 Feb 1995 02:29:31 GMT
Lines: 199
Sender: casa@netcom20.netcom.com
The rec.music.a-cappella & alt.music.a-cappella Frequently Asked Questions
Part Five: A Cappella Internet Resources
---------------------------------------------------------------------
Q. Are there any electronic mailing lists dealing with a cappella music?
* The Friends of the Bobs *
The FOBS mailing list discusses all aspects of the Bobs, a contemporary
a cappella group. To subscribe, write to: fobs-request@netcom.com
* Barbershop*
There is also a mailing list for fans and performers of barbershop
music, which you can subscribe to by emailing: bbshop-request@fig.cray.com
* Shape Note Singing *
Discussion and announcements of Sacred Harp singing, based on "The
Sacred Harp" songbook published in 1844 and using shaped note notation, can be
obtained by contacting: shaped_note-request@tahiti.umhc.umn.edu
* Zap Mama *
Discussion about this international group by fans from around the
world. Contact:
Q. Is there a rec.music.a-cappella FTP site?
Yes! Greg Weiss (grweiss@phoenix.princeton.edu) has been maintaining an
FTP site at princeton.edu. The main directory is pub/rec.music.a-cappella, and
within it is a copy of this file (called FAQ), a directory containing archives
of postings to the rec.music.a-cappella and alt.music.a-cappella newsgroups
(archive), and a directory containing other relevant information (info). To
find out what's currently in both of these directories, check out Greg's
up-to-date README files in each directory. All of this is available for
anonymous FTP at:
princeton.edu (128.112.128.1)
To do this from UNIX, type "ftp princeton.edu", login as "anonymous",
and use your email address as the password. Typing "HELP" at a prompt will
describe the available commands. The normal files can be downloaded using the
standard "get" command, but the compressed files (those which end with .Z) must
be downloaded using binary mode, and either viewed using the "zcat" command, or
decompressed by simply typing "decompress .Z" at your UNIX prompt.
Thanks to Greg for providing this service, which will ensure that the
worldwide network a cappella community continues to grow.
If you don't know about FTP (File Transfer Protocol), ask someone at
your site to find out if you have access to the service. If you've tried using
FTP yourself but know it won't work, try sending "help" in an email message to
an ftp-by-mail server (please choose the nearest to you):
ftpmail@decwrl.dec.com
ftpmail@src.doc.ic.ac.uk
ftpmail@cs.uow.edu.au
ftpmail@grasp.insa-lyon.fr
Q. Can we store arrangements at the FTP site?
This has been a topic of much discussion, nearly since the inception of
the newsgroup. Most people have said that they would love to see an electronic
collection of a cappella arrangements on the Internet, but a few have raised
doubts concerning the legality of such a venture. Until such problems are
resolved, we can't store arrangements on the network.
However, this doesn't stop us storing arrangements of *original* songs
(i.e. written by the contributor) on the princeton site, and of course we can
store lists, reviews and other information as well.
Q. Does anyone have the to ?
Before you post a request for lyrics to the newsgroup, please check out
the archive at:
ftp.uwp.edu (131.210.1.4)
in the directory pub/music/lyrics
A caveat: the lyrics on this site were submitted by people in good
faith, but do not take their words as gospel. If you are recording or
performing on a large scale, it would probably be worth checking out the lyrics
against some sheet music or the lyric sheet from the album, if possible.
The chords to songs can sometimes be gleaned from the entries in the
guitar tablature archive at:
nevada.edu
The songs submitted here are organized according to group name, and a
comprehensive index can be downloaded. Many songs are written in tab, which is
harder to work out but will give you individual notes; but other songs have the
chords written out with the song lyrics, which are sometimes all an arranger
needs (you can usually work out the melody on your own if you have a
recording).
Q. Do any CD directories exist over the Internet?
Recently, a service was started under the Holonet information services
hierarchy, called the Compact Disc Connection. It is actually a commercial
venture (you can order the CDs in their catalogue), but it can also be used to
look up albums by a particular group or artist and obtain track listings of
most albums.
To use the service, telnet to:
holonet.net
and login as "cdc" (lower case). Menus will take you through the
directory. The ftp.uwp.edu archive also stores discographies for many groups,
and welcomes additions!
Q. Do any music tutorials exist for FTP access?
* The Jazz Primer *
The Jazz Primer was written by Marc Sabatella for the readers of the
rec.music.bluenote newsgroup (jazz and blues music). It was written
specifically for those who want to learn more about jazz and blues theory, to
improve their performing, improvising, or listening ability.
It assumes a basic knowledge of music and notation, and recommends that
you have access to a piano and the ability to play simple examples on it. The
primer discusses, among many other topics, chord/scale relationships (in all
modes), scale types, and chord voicings.
This text file (4064 lines, 29 sheets when printed using a2ps) can be
read at several levels, depending on your previous knowledge and experience. It
can be used as a harmony tutorial, improvisation guide, or technical discussion
of chord/scale relationships.
Although instrumental jazz music is discussed throughout, the
techniques can obviously be applied to arranging and composing a cappella
music. I can recommend this file as an introduction to harmony and chord/scale
relationships, but if you prefer verbose texts which continually emphasize the
topics, this isn't for you. It packs a lot of information into a small space.
The file may be obtained via FTP from:
ftp.njit.edu
and is called: /pub/jazz-primer/primer.asc
* GEMS *
The GEMS series of articles on music composition were written by
Matthew Fields, fields@eecs.umich.edu for readers of the newsgroup
rec.music.compose. It consists of five parts, each dealing with a different
aspect of music theory and/or composition.
The files may be obtained via FTP from ftp.hyperion.com, or via gopher
at gopher.cic.net. Matthew informs us: "Gems 5 may have a notice trimmed off.
If so, please splice it in on the bottom. The missing notice is as follows:
ORCHESTERSTUECK Op.16 No.1 (Arnold Schoenberg) Copr. 1952 by Henmar Music Corp.
Permission for use granted by C.F. Peters Corp."
Q. Are there any music typesetting programs I can use?
A program called MuTeX exists which enables users on most operating
systems to typeset single-staff music and lyrics, but a better option for a
cappella arrangers/composers is MusicTeX, a polyphonic system written by Daniel
Taupin (taupin@frups51.bitnet). The latest version is available via anonymous
FTP from:
nic.stolaf.edu
MuTeX is also available at this site. A TeX-and-music mailing list also
exists: to join, send a request to: mutex-request@stolaf.edu.
Be warned! The MusicTeX output looks nice, but is by no means easy to
get! You have to type in everything as text, using sometimes convoluted
commands, and many of these commands are in French. For those with MIDI
keyboards, a MIDI-to-MusicTeX program can be obtained somewhere.
Q. Why is alt.music.a-cappella so quiet these days?
Originally, the only a cappella newsgroup was alt.music.a-cappella. In
August '93, a vote was put forward to create a newsgroup rec.music.a-cappella
which, aside from having better USENET status, (supposedly) reaches more
network sites than an alt group. The vote was an overwhelming success (342:34
in favor), so the group was created. Thanks to Steve Simmons for suggesting the
rec group and controlling the voting process.
The charter of the group is as follows:
rec.music.a-cappella: For a-cappella music of all styles.
For friends, fans, and singers of all flavors of pure vocal
music. Barbershop, madrigals, chorales, rockers and folkies
are all welcome provided the instruments are left home (or
mostly home).
Many thanks to the countless 'netters who contributed, directly or
indirectly, to this FAQ list. Special thanks to Brendan Quinn who started the
FAQ, and wrote much of its contents.
---------------------------------------------------------------------------
End of rec.music.a-cappella Frequently Asked Questions list
Please send comments, corrections and information to CASA
--
THE CONTEMPORARY A CAPPELLA SOCIETY OF AMERICA _/_/_/ _/ _/_/_/ _/
1850 Union St. #1441, San Francisco, CA 94123 _/ _/ _/ _/ _/ _/
Phone (415) 563-5224 * Fax (415) 921-2834 _/ _/_/_/ _/ _/_/_/
information: "finger -m casa@netcom.com" _/_/_/ _/ _/ _/_/_/ _/ _/
Path:
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From: djs1719@ibm.net
Newsgroups: alt.music.a-cappella
Subject: BarberShop in Poughkeepsie
Date: 25 Jan 1995 00:26:54 GMT
Lines: 15
Message-ID: <3g45se$jej@news-s01.ny.us.ibm.net>
Reply-To: 70400-2142@compuserve.com
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X-Newsreader: IBM NewsReader/2 v1.09
Hi, everyone,
I'm a once-and-future barbershopper (is there really any such
thing as a 'former' barbershopper?). I'm looking to join others
with a love of barbershop singing, in the Poughkeepsie/Kingston
area of New York State, for the purpose of singing together,
perhaps performing informally, etc.
I sing bass, and my background is with the Jerusalem Barbershop
Ensemble (yes, there was/is a barbershop quartet in Jerusalem!).
If anyone is interested, please send me e-mail.
Daniel Schwartz
70400-2142@compuserve.com
----------------------------------------------------------------------
Newsgroups: alt.music.a-cappella
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From: jfrewen@magi.com
Subject: Nylons Fans, Stand Up and Cheer!
X-Nntp-Posting-Host: 1magip29.magi.com
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Date: Wed, 25 Jan 1995 02:39:44 GMT
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Following is an article by Paul Cantin in Monday's Ottawa Sun. When I finsihed
reading it this morning, I wanted to jump up on my workstation, pump my arm,
and yell (but decorum prevailed). The second to last paragraph is the
significant one here but I wanted to put it all in the proper context so I typed
it all (it's not too long). Here it is:
In the 16 years that Canadian vocal harmony group The Nylons have been
together,there have been plenty of lineup changes. So, aside from a great voice,
what does it take to be a Nylon?
"Just as important as a good voice is a good ear," says original Nylon Claude
Morrison as he prepares for a two-week tour that kicks off at Centrepointe
Theatre Friday and Saturday. "
"All you have are each other's voices , and you have to really, really listen
closely. The name of the game is blend. You have to match textures. It
requires a good deal of sensitivity.
"Beyond that, personal rapport is important. Respect for each other as people,
as musicians, I think is really important.
"If we're not having a good time, the audience is not going to have a good
time. What they go away with is a feeling of the camaraderie we have."
The current quartet, which sees new singers Garth Mosbaugh and Gavin Hope
joining Morrison and Arnold Robinson, actually came together in the studio
while working on their new album, entitled 'Because'.
"It was a much better way of bonding together as a musical group, as opposed
to having them come into the group and step into someone else's shoes and
having them tour for a year or something. This gave us a chance to create
music of our own. It was a lot better right off the bat.
"By the time we went out on the road, I had made two albums with these guys.
I think it was a good way to kick start the beginning of this incarnation. "
After recent forays into dance music and even trying out hip-hop and rap,
"Because" signals a return to the Nylons' strategy of mixing original material
with vocal-oriented arrangements of classic pop songs. The new LP includes
covers of The Zombies' "Time of the Season", Marvin Gaye's "Sexual Healing"
and Terence Trent D'Arby's "Sign Your Name".
"We made a return to the smooth sound we were known for," says Morrison.
"We're going back into the studio later this year and I think we'll be making a
return to a cappella (vocal only), which, at the end of the day is what people
loved us for.
"I don't apologize for the experimentation. If you stand still, you are bound to
get stagnant."
[the end]
Posted on this newsgroup with the kind permission of Paul Cantin, Ottawa Sun.
Thanks Paul.
An addtional fact gleaned from an inset to this article is that the Nylons will
be introducing a new a cappella song called "The Human Family" at the two
concerts this weekend. Actually it's not new. It was recorded, along with other
performers, while Marc Connors was still around (in fact he may have written
it) as a benefit song to raise money for aids (I believe). I've never heard it.
Has anybody else?
In the subject to this post I invited all Nylons fans to stand up and cheer for
the optimistic news of an apparent Nylons a cappella cd in 1995. What I should
have done is invite all a cappella fans to cheer this news for if it becomes
reality (and I suppose a lot of us have moved to Missouri on this) it would
truly benefit the entire a cappella community to have one of it's larger sheep
back in the flock. So anyone who wants to, please join me in a big cyber
high five!
Jim Frewen
Central Canada Ambassador
Contemporary A Cappella Society of America
----------------------------------------------------------------------
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From: casa@netcom.com (CASA - Deke Sharon)
Subject: 17th Avenue All-Stars seeking new member
Message-ID:
Organization: NETCOM On-line Communication Services (408 261-4700 guest)
Date: Sat, 28 Jan 1995 20:02:18 GMT
Lines: 15
Attention All Vocalists Looking To Make A Career Of A Cappella:
This is a once in a blue moon opportunity to become a part of one of the
nation's best a cappella groups...
The 17th Avenue All-Stars, 1993 Harmony Sweepstakes National Champs, are
seeking a tenor, low alto, and/or high baritone (3 octave range). Must have
solid performance experience. Songwriting & arranging ability a plus. Starting
salary: minimum of $15,000 annually plus bonuses. Submit picture, voice tape,
and resume to: All-Stars, PO Box 1002, Castle Rock, CO 80104. Questions or
contact call: (303) 595-1040.
--
THE CONTEMPORARY A CAPPELLA SOCIETY OF AMERICA _/_/_/ _/ _/_/_/ _/
1850 Union St. #1441, San Francisco, CA 94123 _/ _/ _/ _/ _/ _/
Phone (415) 563-5224 * Fax (415) 921-2834 _/ _/_/_/ _/ _/_/_/
information: "finger -m casa@netcom.com" _/_/_/ _/ _/ _/_/_/ _/ _/
----------------------------------------------------------------------
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From: casa@netcom.com (CASA - Deke Sharon)
Subject: Re: the 1995 Contemporary A Cappella Recording Awards
Message-ID:
Organization: NETCOM On-line Communication Services (408 261-4700 guest)
References: <3gs3cl$bcs@newsbf02.news.aol.com>
<1995Feb4.234147.17866@galileo.cc.rochester.edu>
Date: Sun, 5 Feb 1995 04:38:16 GMT
Lines: 52
In article <1995Feb4.234147.17866@galileo.cc.rochester.edu>,
Brad E. Price III wrote:
>AS one who has heard the Beelzebubs and their albums, and from one who has
>perfect pitch, I can say that they are consistantly flat (not as a group,
>but within parts which is a lot worse.) The Beelzebubs are not the a
>cappella gods that you have made them out to be. In fact I have heard many
>mens groups who top them. Wake up. You are unquestionably biased and
>frankly unprofessional.
1) I don't believe that I have made out the Beelzebubs to be a
cappella gods, whatever that means. How is it you believe that I have done so?
2) I appreciate your opinion, and I agree that the Bubs' tuning isn't
perfect. I would also agree that all college groups have tuning problems, to
varying degrees, but they're all amateur, student run groups that include a
majority of non-music majors. Put up against Take 6, college groups don't
stand a chance - that's why we judge them against eachother, and take their
abilities and deficiencies for what they are.
3) I too have heard a number of male groups who are better than the
Bubs in different ways. Whereas the Bubs are quite good at current modern &
alternative rock, they probably can't sing "Perfidia" to save their lives.
Also, they have great energy on stage, but they aren't very funny. They tend
to have great, complex arrangements, but their tuning & vocal control is far
from perfect. All of this is my opinion, for what it's worth. I think that the
Bandersnatchers are funnier, that the Whiffenpoofs have more precision, and
the the Fleet Street Singers are more versatile. So what. It turns out that my
opinion doesn't matter whan it comes to the CARAs, because I don't vote in the
Male Collegiate category.
4) I believe that I am capable of judging the Beelzebubs and their
recordings in an unbiased way, but nonetheless I don't allow myself to vote.
What is unprofessional about starting a non-profit organization in your dorm
room at college with the intent of bringing college a cappella groups
together, and then expanding it to include professional groups and fans. What
is unprofessional about spending 3 years publishing a newsletter, negotiating
discounts, offering advice, and promoting a cappella without ever getting paid
a penny? I love a cappella. Do you really think I'd do all of this work only
so that my old college group could get some attention even though I'm not in
it any longer? Did you notice that the House Jacks didn't win any awards? If I
wanted to promote myself or prop myself up, don't you think I'd have found a
way for us to win some awards?
Frankly, I don't understand the confidence with which you have made
your accusations. I respect your opinions, and your beliefs, but not your
libelous postings.
--
THE CONTEMPORARY A CAPPELLA SOCIETY OF AMERICA _/_/_/ _/ _/_/_/ _/
1850 Union St. #1441, San Francisco, CA 94123 _/ _/ _/ _/ _/ _/
Phone (415) 563-5224 * Fax (415) 921-2834 _/ _/_/_/ _/ _/_/_/
information: "finger -m casa@netcom.com" _/_/_/ _/ _/ _/_/_/ _/ _/
----------------------------------------------------------------------
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From: proorgano@aol.com (ProOrgano)
Newsgroups: rec.music.a-cappella
Subject: Re: "evil" music in history
Date: 3 Feb 1995 21:50:52 -0500
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Your question about parallelism (did I spell that right?) has several
facets.
Early on, when it was just monks singing Gregorian chant, all the music
was a single melodic line with no other parts for harmony. So one would
assume that it would all be strictly in unison. However, such was probably
not the case. When mixing trained and untrained singers, or people with
less than musical ears (the chant was a community affair), you get some
voices that sing along at a different, but parallel interval, most often
at the 5th, called "quint" singing. This was probably the origin or what's
called "organum". True organum was mostly parallel 5ths, but there was
some contrary motion around the cadence, so that an ending unison was
arrived at.
Side 2 to this question is when polyphonic writing came more widely into
practice and you have some voices moving parallel, some contrary, and some
oblique (same direction, different intervals, thus not parallel) - in
other words, separate voices moving all over. Since Music Theory always
comes after Music Practice, the rule began to become avoid writing in
parallel 5ths or 8ves. Parallel 4ths were not quite as bad, but 5ths were
frowned upon. The main reason is one of practical acoustics. When voices
are moving in parallel octaves or 5ths, the acoustic properties are such
that you lose the effect of having two separate voices. 5ths and 8ves
figure prominently in the overtone series, so it's esentially like the
parallel voice dropping out.
Side 3 to the question is about one particular interval: the Augmented-4th
(or Diminished-5th, they're the same). Example: C-F#. The sound of this
interval was so repugnant, either aesthetically or theoretically, to the
medieval mind (and later), that this interval was called the "Diabolus in
Musica" (Devil in the Music) and was to be avoided at all costs.
Since the Church often legislated every little thing back then, they may
well have had some "law" against these parallelisms and the Diabolus. I'm
not sure about that one. I'd need to do more canonical research.
The rock/blues aspect I hadn't thought of. Moving guitar chords often
produce parallelisms that are just part of how the instrument works, and
the musicians play
Hope this helps.
John Whitt (aka ProOrgano)
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From: k2funky@aol.com (K2FUNKY)
Newsgroups: rec.music.a-cappella
Subject: All A Cappella Playlist 2/4/95 WERS 88.9 FM Boston
Date: 4 Feb 1995 18:58:48 -0500
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Reply-To: k2funky@aol.com (K2FUNKY)
NNTP-Posting-Host: newsbf02.mail.aol.com
Hey A Cappella Fans:
Today show was the first Anniversary of All A Cappella. Thanks to all of
the groups who have contributed music to the show to keep it going for a
year. Let's keep it going. If you or your group would like to send me
music you can send it to:
WERS 88.9 FM/All A Cappella/Attn: Kevin Evans/126 Beacon St/Boston, Ma
02116
Upcoming All A Cappella events: February 18, 1995, Vox One Live in
studio.
Here is All A Cappella Playlist for Februuary 4, 1995.
*indicates request
Throat Culture/Fone Mate/A Cappella Head
The Trenchcoats/I Can See Clearly/Your Joy
The Bobs/White Room/ The Bobs Cover the Song of...
Extension Chords/Good Vibrations
Rockapella/Last Night/Out Cold
Tufts Amalgamates/Mermaid/Recorded Live @WERS
Vox One/The Water Is Wide/Vox One
Vocal Point/Free Ride/Recorded Live @ WERS
14 Karat Soul/Remember The Time/Cool Summer
Tufts Beelzebubs/But Anyway/Vince
BQE/Chain Gang-Cupid Medley/Starlight Serenade Vol. III
Off The Beat/Soul To Squeeze/Flail
North Shore A Cappella/Neither One Of Us/Live
The Persuasions/Luceille Has Mess My Mind Up/Right Around The Corner
Street Sounds/Down By The Riverside-This Little Light/Street Sounds
Five O'Clock Shadow/Jungle Beat/Recorded Live @ WERS
Five O'Clock Shadow/Tribute/FOCS
Five O'Clock Shadow/Down On The Corner/Recorded Live @ WERS
Take 6 with Ray Charles/My Friend/Join The Band
Rockapella/ I Like You Very Much/From NY
Zap Mama/Mr. Brown/Sabslyma
The Bobs/ Spontanaeous Human Conbustion/Shut Up And Sing
MIT Muses/ I'm Sorry/Recorded Live @ WERS
Toby Twining Music/ Hotel Destine'/Shamen
Sweet Honey In The Rock/ Dream Song of Love/ Live @ Carnagie Hall
*Vox One/ Time After Time/ Recorded Live @ WERS
The Real Group/ Vid Stranden/ Roster
The Persuasions/ He Ain't Heavy-You've Got A Friend/ Street Corner
Symphony
*Rockapella/ Shambala
*The Blenders/Don't Worry Be Happy/From The Mouth
*The Bobs/ Particle Man/The Bobs Cover The Songs Of...
* Throat Culture/ Easter Island Head/A Cappella Head
* White Noise/ Lullaby Of Broadway/ Recorded Live @ WERS
*Ambiance/ Phantom of The Opera Medley/Jazz Ladies
*Gas House Gang/Music Of The Night/A Little Night Music
*The Flirtations/Everything Possible/Live: Out On The Road
*Sweet Honey In The Rock/Wanting Memories/ Still On The Journey
* Rockapella/Zombie Jamboree/Spike & Co. Do It A Cappella
*True Image/ I Need You/Spike & Co. Do It A Cappella
*The Bobs/Slow Down Krishna/Shut up And Sing
*Rockapella/Peanut Shell/Vocobeat
*The Blenders/ Aunt Sue's Ant Soup/From The Mouth
The Trenchcoats/Stray Cat Strut/Your Joy
*The Flirtations/Mr. Sandman/Live; Out On The Road
Five O'Clock Shadow/Oh Sugar/FOCS
Mixed Company/867-5309 Jenny/Unanimous
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