You are listening to cues from "The Simpsons"

Television trends have come and gone over the years...witness the current rash of “reality” television productions that feature the participation of few if any professional performers on-camera, and utilize musical scoring done with synthesizers instead of a room full of live musicians. The budget advantages of reality television seem to rule the day and the public is certainly responding positively.

Looking back a few decades,Best Replica Watches in a nostalgic view of the television of the “sixties” one finds a great number of Musical Variety shows offered to the public - “THE RED SKELTON SHOW”, “DANNY KAYE”, “CAROL BURNETT”, “SMOTHERS BROTHERS”, and “JUDY GARLAND”. These shows offered a wonderful opportunity for young singers and dancers – a training ground, in which to hone their skills and enter into the business. Rehearsing and performing new “special material” each week kept us on their toes.

The chorus performers were often used in on-camera sketches, and there was always a number prepared which involved both singing and dancing, with varying levels of expertise. These “chorus” jobs were an entry into the whole world of “session singing” because the busier, more established singers didn’t want to work on them, as the long rehearsal hours took them out of availability for the more lucrative “jingle market”. So variety shows were how many of us got started. Because of these longer hours of being together rehearsing, there developed too, a real sense of family among the performers.

The only “variety” shows left on the air now, other than “specials”, are the numerous awards shows - The Academy Awards, the Country Music Awards, The Grammys, The SAG Awards, etc.. These shows still often employ live singers. Also of course " American Idol" and "Dancing With The Stars" are now employing union singers for both solo and back-up work, and are employing live musicians every week as well.

During the sixties the half-hour “sit-coms” such as “HAPPY DAYS”, “THE PARTRIDGE FAMILY” and “THE MONKEYS” found tremendous public acceptance. They utilized the popular music of the day as their centerpiece and there was a tremendous amount of “sound alike” recording done, which involved duplicating the vocal performances of the hit records of the time. Sit-coms have remained a successful part of the entertainment television landscape and there is still some work in that area, primarily on-camera situations where a church choir is seen, or a group is performing as part of the story line, but this source of employment certainly is far less plentiful today.

In the seventies and eighties the development of “cop” shows, “lawyer” shows, heavier dramatic content, etc. increased. These shows like “MIAMI VICE”, and eventualy “NYPD”, “L.A. LAW”, and “LAW & ORDER” evolved out of the earlier, softer approach to detective and/or episodic dramatic shows, like “MATLOCK”, “DIAGNOSIS MURDER”, “CHINA BEACH”, “HOME FRONT”, etc. The composers who scored these shows often used voices or solo voice as a color in their underscores.

Television production expanded more recently to include the innovative, edgier content of the premium cable shows of today, - “SEX & THE CITY”, “OZ”, “THE SOPRANOS”, “SIX FEET UNDER”, etc. There is not so much use of voices as a color in the instrumental underscores of these shows, but often records are used as “source cues” or simply as voice-over to create an atmosphere, a mood, or to make a comment on the action.


Partial list of TELEVISION CREDITS



ACADEMY AWARDS - Choral Director, Ensemble 1987 -2008
ALIEN NATIONS - Vocal Contractor, Ensemble
ANGELS IN AMERICA - Ensemble
BIONIC WOMAN - Ensemble
BOB HOPE SPECIALS
BOLD AND THE BEAUTIFUL - Ensemble
BRUBAKER - Ensemble
BURT BACHARACH SPECIAL, Featured Soloist & Ensemble
CAROL BURNETT SHOW - Ensemble
CHARLIE BROWN CHRISTMAS - Ensemble
CHINA BEACH - Soloist, Underscore Music
CONONDRUM – Solo Vocal Cues, Mark Snow, Composer
COOGAN’S BLUFF – Ensemble
COUNTRY MUSIC AWARDS - Ensemble
DANNY KAYE WEEKLY VARIETY SHOW - Ensemble
DAY TIME EMMY – ’94
DAYS OF OUR LIVES - Ensemble
DIAGNOSIS MURDER - Soloist, Underscore Music
FAMILY GUY - Vocal Contractor, Main Title, & Ensemble
FRASIER - On Camera, Ensemble
GRAMMY AWARDS - Vocal Contractor, Ensemble
HAPPY DAYS - Ensemble
HAUNTING OF HELEN WALKER – Vocal Contractor
HUNTER - Ensemble
IN HER SISTER’S SHADOW – Solo Vocal Cues
JAY LENO SHOW – Backup/ Various Guest Artists
JOHNNY CARSON SHOW – Backup, Various Guest Artists
JUDY GARLAND SHOW - Ensemble
KANE AND ABEL - Ensemble
KING OF QUEENS – Ensemble
KING OF THE HILL - Vocal Contractor & Ensemble
LAVERNE & SHIRLEY – Ensemble
MAGNUM PI - Ensemble
MASH - Ensemble
MATLOCK - Source Cues, Vocal Contractor
MAX HEADROOM - Voice-Over Character
MILLENIUIM - Vocal Contractor, Ensemble
PBS NATALIE COLE SPECIAL
PEOPLE’S CHOICE AWARDS - Ensemble
PICKET FENCES - Vocal Contractor, Ensemble, & Soloist
QUANTUM LEAP - Ensemble
RED SKELTON HOUR – Singer-Dancer
SINATRA MINISERIES - Vocal Contractor, Ensemble
SIX FEET UNDER – Ensemble
SMOTHERS BROTHERS VARIETY - Ensemble
SOUL OF THE GAME - Vocal Contrator, Ensemble
STAR TREK 4 - Ensemble, Vocal Coaching
STAR TREK/THE NEXT GENERATION- Vocal Coach, Vocal Contractor & Ensemble
TESTAMENT - Enemble
THE AMERICAN TEACHER AWARDS - Ensemble
THE CRITIC - Vocal Contractor, Ensemble
THE HUEY LONG STORY; KINGFISHER - Ensemble
THE LAST DON - Ensemble
THE LOVE BOAT - Theme
THE PRACTICE - Ensemble
THE SIMPSONs-Main Title & Vocal Contractor, Ensemble & Solo, Continuing

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