Frank Sinatra

Frank Sinatra

Frank Sinatra was born in Hoboken in the state of New Jersey, December 12, 1915.

Grew up in a tough and humble: mother Dolly, originally from Liguria (rate in the municipality of Lumarzo), is the midwife and his father Martin, amateur boxer originally from Sicily (Palermo), is firefighter.From boy Frank is forced by economic needs to do the most menial jobs. Growing up on the street and not at school, before doing the longshoreman and then the painter and newsboy. At sixteen, he has his own band, the Turk.Frank Sinatra goes down in history as ‘The Voice’, for his unique vocal charisma.During his career he affects more than two thousand two hundred songs for a total of 166 albums, also devoted himself, with luck, to the big screen.Aspects of his private life are found precisely in its many successful films.Famous Latin lover, married four times: the first twenty-four years, Nancy Barbato, 1939 to 1950, with whom he has three children: Nancy, Frank Jr. and Christina who, at the time of separation, respectively eleven, seven and three years.

Then, from 1951 to 1957, Sinatra had an intense love affair with Ava Gardner, who fills the gossip columns of newspapers of the time to the sound of confetti criticized (for she leaves the family), of beatings and quarrels.For only two years, from 1966 to 1968, he marries the actress Mia Farrow and from 1976 until his death remains alongside his last wife, Barbara Marx.But printing continues, even in recent years, to attribute flirt: Lana Turner Marilyn Monroe, Anita Ekberg Angie Dickinson.

Always close to the causes for human rights, in the early 50s is in favor of blacks, next to his inseparable friend Sammy Davies Jr.Until the last is not exempt from performing noble deeds of charity in favor of children and disadvantaged classes.Video: Frank Sinatra in Jamestown.

The Frank Sinatra star knows no shadows.Only between 1947 and the early 50s, through a brief career crisis due to an illness that affects the vocal cords; time to fogging is successfully passed through the films of Fred Zinnemann’s “From Here to Eternity”, which wins the Oscar for Best Supporting Actor.Among the many accusations made most famous interpreter of the century, as it is considered by many, that of Mafia ties. Especially with the gangster Sam Giancana, owner of a casino in Las Vegas. Ben safer, the names of his closest friends: Dean Martin Sammy Davis Jr., Peter Lawford.

The song that is perhaps the most famous in the world is the “My Way”, shot by many artists, and revisited in many versions.Among the latest gifts that America pays for this great showman, there is a special present for his eightieth birthday, in 1996, for his blue eyes, the Empire State Building for a night lights of blue between cups champagne and the inevitable celebration, where The Voice is used.

The tribute was repeated on the occasion of his death on 14 May 1998.



Copeland Woodwinds – Makers of fine handmade wooden flutes & irish whistles

Copeland Woodwinds – Makers of fine handmade wooden flutes & irish whistles

In 1949, Michael Copeland was born into a musical family in Westport, Connecticut. His father was an artist and trumpet player, and made sure all four of his sons had musical instruments to enjoy. Michael became interested in the pipe organ during his teen years. Through junior high and high school, he played electric guitar and organ in several rock bands. After high school, Michael attended Berklee School of Music in Boston. He soon realized that he was a rock musician in a jazz school! After leaving Berklee, he worked for a year at the Fisk Pipe Organ Company in Gloucester, Massachusetts. This was where he had his first shop experience. The road beckoned, and by his mid 20’s Michael had traveled the country and resided in several communes. It was during that time that he began gathering tools to make bamboo flutes. He started widdling with a pocketknife given to him by his father, originally owned by his grandfather. Michael also enjoyed
making jewelry at this time.

He purchased his first wood lathe in the early 70’s to make highland and lowland bagpipes. Flutemaking gradually took over pipe making. By the late 70’s, Michael had made his first keyless flute. In 1974, Michael met Fred Oster, owner of Vintage Instruments in Philadelphia. He eventually moved his shop there. Fred’s shop had plenty of antique instruments for Michael to study and repair. This repair work (especially on the older instruments) helped Michael develop his own design. Michael moved his shop to his home in Conshohocken, Pennsylvania in 1986.

In that same year, Michael received a Pennsylvania Council of the Arts Grant for his instrument making. This grant helped him to purchase a metal lathe and milling machine. Soon, Michael tried his hand at penny whistle making. Through his flute making experience, Michael understood the advantages of a tapered bore. This was evident to him through the mellow sound of a Clarke Penny Whistle. Michael applied the tapered bore of the flute to his Low D whistle design. Soon, other pitches followed and the family of Copeland whistles was launched. Michael jumped into the industry head first with the help of skilled whistle players including Tim Britton, Bill Ochs, and Wendy Morrison. Michael first met Jim Rementer in the fall of 1997. Once Michael and Jim
decided to join forces in August of 1998, Copeland Woodwinds Company was born.

Jim Rementer was born in 1952 in Philadelphia, PA. After graduating from Deptford High School in New Jersey, he entered the US Navy. Jim married his high school sweetheart in 1972 and not long after began working as an apprentice in a violin maker’s shop in South Philadelphia. He was trained to work on guitar, banjo, mandolin repair and various other string instrument
restorations. After a few years working various jobs, including photography, cabinet making, and finish carpentry, Jim began an apprenticeship with the Department of the Navy in 1980. Three years later, he earned journey machinist papers from the Commonwealth of PA. Jim continued to work on Automatic Boiler Control Systems and Catapult & Arresting Gear systems on aircraft carriers.

By the late 80’s, Jim had landed a job as a Mechanical Engineering Technician for a few years and eventually received a lateral position as a Computer Systems Analyst due to his self-taught computer programming skills. He continued working in the computer field until 1994 when he left the Department of the Navy to start his own consulting business, Genesis
Computing, Inc. In the fall of 1997, Jim was introduced to Michael Copeland through a mutual friend, Tim Britton. They met in an Irish pub in Center City Philadelphia and talked intently about music and instrument making. Their friendship began by sitting outside the pub on the front step playing several whistles that Michael was carrying that night.

Soon, Jim began visiting Michael’s shop. They discussed ways to improve the fit of whistle tuning slides, making wooden flutes, as well as ways to build business infrastructure and develop a
website. It became obvious to both men that there was something more to be gained from spending time working together. In August of 1998, Jim began to work with Michael with a promise of
getting whistles as pay. After three months, the first “pay check” arrived – a Brass Low D whistle! Michael and Jim found that they had a synergy that made working together a great success. By
February of 1999, Michael and Jim decided that it was time to formalize their working relationship by becoming partners.

Thus began Copeland Woodwinds Company. Michael continued to teach Jim the art of whistle making. Jim’s business sense, organizational ability and aptitude for the production process helped the Copeland shop become more efficient. They have been working together ever since. Copeland Woodwinds was created & designed by Genesis Computing, Inc.

This interesting article is sponsored by Leigh Glass.


Bassoon Music Grade Four

Bassoon Music Grade Four –

A music publisher likes to see a clean score. It is important to be able to read the score easily. Proper settings for margins, fonts, titles, number of measures per page, and number of staves on the page can determine whether the publisher can work with the musical composition in order to publish it. Ask the publisher what kind of page setup they are looking for and what kind of music writing software they prefer. Do they prefer Sibelius or Finale? How many staves should be on a page?Recordings are very important
A composer needs to hear his/her composition performed. This gives the composer a chance to make minor changes that could make an average piece great. The more input he/she can receive from directors and players that have the opportunity to hear and play his/her music the better. After the composer has heard and received information from various sources, a final good recording needs to be made for submission. Obviously, the better the recording is, the better the impression to the publisher. Subsequently, an excellent recording can be used to advertise the music.Strategy and planning make a difference.

A composer needs to have a specific plan in mind before starting to write his/her music. The grade level of the work must be consistent throughout the composition. If he/she is writing a grade two concert band piece (grade one being the easiest level and grade 5 or 6 being the most difficult), it doesn’t make sense to have the trumpet part go up to a high C above the staff. A helpful guide for instrument ranges can be found here Also, the composer needs to keep in mind rhythm and key signatures that are consistent with the grade level of his/her piece. The template, number of parts, is very important in adhering to the grade level of the piece.

Final Submission.

After the final version is written and performed, the composer is ready to submit his/her work. He/she can submit the work (better to start with the best work than to send all of the composer’s works) with a PDF file and mp3 recording, or send a hard copy to the publisher. If he/she has a preference of publishers, he/she should send a clean score and a good recording to that publisher first. If the composer does not get the response he/she wants from that publisher, he/she should try some others. The composer should not be discouraged by rejections. Some works may fit one publisher’s catalog better than another. A publishing company may have all the music it can handle for the year. A week after submission, the composer should check with the publisher to see if the company received his/her submission. The publisher may have had internet problems or slow mail or may not have received the composer’s communications. Again, perseverance and patience are important.Tips that help.

If the composer’s music is selected for publication, he/she can help the publisher by finding out what set-up the publishing staff uses for final publication. Also, if the composer can extract the parts for the publisher, keeping in mind the margins, page turns and number of pages the publisher uses, he/she is likely to push up the date of publication. Four pages or less per part make publication easier and less expensive. Sixty pages or less for scores are also easier on the publisher. The composer should get an idea from the publisher where he/she is on the publication list (# 3 or # 33). There are special reasons to have pieces moved up on the publication list. For example, the music may be performed on honored occasions (Midwest Clinic, TMEA, etc.) that require an early publication.




Compass Rose quintet

Compass Rose quintet

A lifelong Chicagoan, Gary is classically trained. He studied at the Chicago Musical College of Roosevelt University and privately with current and former members of the Chicago Symphony, as well as other noted professionals such as Warren Benefield, Joe Guasafeste, Jim Palacek, Brian Ferguson, Jack LaSpina. Early in his career, Gary performed in the Chicago Lyric Opera, Basically Bach, a number of the local symphonic orchestras, and various jazz groups, as well as in the pit for many of the musicals that came through Chicago’s top-rated theaters.

Compass Rose is his return to regular performances in the Chicago music scene. CRq’s array of ethnic musical influences encourages him to draw upon the full range of his musical background and to indulge the joy of music that has brought so much to his life.

Dave EffgenBorn and raised in Boston, Dave played drums for ten years before the urge to write songs led him to the guitar at age 18. He studied with a variety of mentors: guitar & theory with Ian Buchanan, Alan DeMause, & John Berenzy, and composition and guitar at the Berklee School of Music, and songwriting at the Songwriters Workshop in New York City. In 1977, Dave and current bandmate Larry Howe won second prize in the C & W category of the American Songwriters Festival.

Dave’s performing credits include numerous venues in major American cities: in New York fronting the Dave Effgen Band, and The Chairs, and as a sideman with Cindy Peress; in Houston with Buxdelux; and in Chicago with The Explorers, in the band accompanying the Pilgrim Church Gospel Choir, and in the pit of CAST and the Open Door Repertory Theatre. He draws on all of this experience in his writing, arranging, and improvising with Compass Rose.Larry HoweLarry came out of musical retirement when he helped form an earlier version of Compass Rose, called Hip Fetish. In the 1970s, he had fronted a variety of bands playing blues-based music–from country to R&B to jazz–in the college and club circuit in and around Boston. Between gigs, he studied guitar and theory with Steve Cantor and Will McFarland.

Here is the Youtube channel for the qiuintet;

1980, he moved to the San Francisco Bay Area where he took up other kinds of cultural study. Fifteen years later, his academic career brought him to Chicago, where he reunited with his old friend David Effgen, and began playing the mandolin in 1998. After 30 years on the guitar, he found this new instrument to be an avenue to new musical possibilities, influenced by David Grisman, Don Stiernberg, Ry Cooder, David Lindley, and Bill Frisell. Playing with Compass Rose has helped him grow as a mandolin player, but especially as a writer and arranger. He’s happy to report he’s having the time of his life.Atiba Y. JaliAtiba joined Compass Rose for their first performance and has been an integral member of the band ever since. His career has been a long and varied one. In addition to playing with CRq, he leads BUSA–an African drum, dance, and storytelling ensemble. Atiba is a master drummer, performer, and teacher of various African instruments including the djembe, kalimba, bataphone, berim-bau, shekere, yidake, and harp.

Andy SteesA long-time Chicago resident, Andy was raised in a musical family. He took up the violin at age 8, studying over the years with Susan Starrett and Angel Reyes. His classical beginnings laid the foundation for wide array of musical experiences, playing at different periods with the St. Olaf College Orchestra, the classical quintet Fünf, and the urban-folk group Fate Saved Us. His violin has taken him to the Mozarteum in Salzburg, Austria, the Corn Palace in Mitchell, SD, Chicago’s Orchestra Hall, as well as contemporary music venues like Schuba’s and Fitzgerald’s. Andy draws his musical inspiration from a similarly broad range of influences: Mozart and Mahler, Coltrane and Django, Sonic Youth and Yo la Tengo. This musical variety complements the life he enjoys with his wife, Cheryl and daughter, Eva.