Original Keys For Singers
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Description: 152 Pages Arguably the best female jazz singer ever, no one could out-swing or out-scat 'The First Lady of Song.' This fine book features authentic transcriptions in the original keys of 25 Fitzgerald classics in voice with piano accompaniment format.
The album's second single, \"A Woman's Worth\", was released in February 2002 and peaked at seven on the Hot 100 and number three on Billboard's Hot R&B/Hip-Hop Songs; becoming her second top ten single on both charts. Released in June, \"How Come You Don't Call Me\", Keys's cover of Prince's song, served as the album's third single, peaking at 59 on the Hot 100. The album's fourth single \"Girlfriend\" was released in the United Kingdom where it peaked at 82. The following year, the album was reissued as Remixed & Unplugged in A Minor, which included eight remixes and seven unplugged versions of the songs from the original.
Keys performed and taped her installment of the MTV Unplugged series in July 2005 at the Brooklyn Academy of Music. During this session, Keys added new arrangements to her original songs and performed a few choice covers. The session was released on CD and DVD in October 2005. Simply titled Unplugged, the album debuted at number one on the U.S. Billboard 200 chart with 196,000 units sold in its first week of release. The album sold one million copies in the United States, where it was certified Platinum by the RIAA, and two million copies worldwide. The debut of Keys's Unplugged was the highest for an MTV Unplugged album since Nirvana's 1994 MTV Unplugged in New York and the first Unplugged by a female artist to debut at number one. The album's first single, \"Unbreakable\", peaked at number 34 on the Billboard Hot 100 and number four on the Hot R&B/Hip-Hop Songs. It remained at number one on the Billboard Hot Adult R&B Airplay for 11 weeks. The album's second and final single, \"Every Little Bit Hurts\", was released in January 2006, it failed to enter the U.S. charts.
In September 2012, Keys collaborated with Reebok for her own sneakers collection. In October 2012, Keys announced her partnership with Bento Box Entertainment's Bento Box Interactive to create an education mobile application titled \"The Journals of Mama Mae and LeeLee\" for iOS devices about the relationship between a young New York City girl and her wise grandmother. The app featured two of Keys's original songs, \"Follow the Moon\" and \"Unlock Yourself\".
Keys has earned numerous awards including 15 Grammy Awards, 17 NAACP Image Awards, 9 Billboard Music Awards and 7 BET Awards. Keys received 5 Grammy Awards in 2002, becoming the second female artist to win as many in one night. In 2005, Keys was awarded the Songwriters Hall of Fame Hal David Starlight Award, which honors \"gifted songwriters who are at an apex in their careers and are making a significant impact in the music industry via their original songs\". That year, ASCAP awarded Keys Songwriter of the Year at its Rhythm & Soul Music Awards. In 2007, she was a recipient of The Recording Academy Honors, which \"celebrate outstanding individuals whose work embodies excellence and integrity and who have improved the environment for the creative community.\" In 2014, Fuse ranked her as the thirteenth-most awarded musician of all time. In 2020,Pollstar listed Keys among top female artists of the 21st century in the concert industry; according to the publication, she sold more than 1.7 million tickets, with an earning exceeding $111.5 million.
Usher and American R&B-soul singer Alicia Keys had previously collaborated with the remix of Keys' 2004 single \"If I Ain't Got You\", which was released in the United Kingdom. During the production of Usher's fourth studio album, Confessions, they thought for various female singers to pair him with the song. However, Jermaine Dupri, who co-wrote the song including Usher's number-one hits \"Yeah!\", \"Burn\" and \"Confessions Part II\", felt that he had established good relationship with Keys since she had worked with him and Usher.
\"My Boo\" is an R&B-hip hop song with a mid-tempo melody. It is composed in the key of F major, in common time. The lyrics are constructed in verse-chorus-chorus form. Usher starts the intro, and Keys followed her rap-intro, with background vocals from Usher. He proceeds to the first verse and chorus, leading to Keys singing another chorus, altering some of the lyrics of the original chorus to create a dialogue. Keys sings the second verse and Usher for the chorus, with background vocals from Keys. Keys repeats her version for the chorus. The song breaks with Usher and Keys singing \"My oh, My oh, My oh, My oh, My Boo\", one after the other. Usher repeats the chorus again, and they sing the intro of Keys.
THE SINGER'S MUSICAL THEATRE ANTHOLOGY, \"16-BAR\" AUDITION. A collection of songs from the musical stage, categorized by voice type, in authentic settings and original keys, edited for \"16-bar\" auditions. Compiled and Edited by Richard Walters. Four volumes: Soprano, Mezzo Soprano/Belter, Tenor, Baritone/Bass. Hal Leonard, 2010.
Containing over one hundred song excerpts from volumes 1-5 of The Singer's Musical Theatre Anthology, each of these volumes presents valuable material for the singer auditioning for music theater roles. The song excerpts are stopwatch timed at thirty seconds. Each volume contains a Contents page that indexes each excerpt to the entire song in the appropriate volume of The Singer's Musical Theatre Anthology, an Index of Song Categories, an insightful Preface by the editor that gives much useful information about preparing for an audition, and the musical scores in their original keys and accompaniments. No CD is included. The categories of songs are...
Only the vocal score survived from 1863, and it was the source for several worthy attempts to realize Bizet's original orchestral intentions. Considering the various changes evident in the earliest recordings, it appears that the opera's rather inconclusive stage action leaves room for different dramatizations of its finale. But Bizet's music, fortunately, covers them all, uniformly resulting in the demise of Zurga, one of opera's noble villains. One important return to Bizet's 1863 thoughts, while doubtless authentic, leaves me rather cold. The show-stopping act 1 duet between Nadir and Zurga, \"Au fond du temple saint,\" has usually ended with the repeat of the main theme. In this recording we hear an expanded version of the duet, which makes the whole scene a tad too long and far less effective (this is, of course, a personal opinion).
This Venice performance has much in its favor. The late Marcello Viotti keeps everything under firm control. He treats Bizet's gentle orientalism just right, supplying the needed atmosphere without wallowing in it. The cast is headed by Annick Massis, a soprano in full command of her showy arias, portraying a Leïla who faces her predicament with vigor and courage. Mme Massis's top range is phenomenal, capable of a full-force interpolated high D in the third act. Tenor Yasu Nakajima sings his familiar arias with sweetness of tone and in the original keys, but his singing lacks the special magic of such predecessors as Simoneau, Kraus, and Vanzo. Luca Grassi is a vigorous and convincing Zurga. There have been more potent Nourabads in previous casts than Luigi De Donato, but he is more than adequate. Some of the best recorded versions of this opera seem to have vanished from the catalogue. In their absence, Dynamic has given us an honorable alternative. 59ce067264