Three new charts added, all with a NEW product available!

With the addition of three new charts for the Fall, "Give Me the Simple Life," "At Last" and "Come Back To Me", I've also introduced a new educational tool called Part MINUS Tracks!  Here's a comparison of all three currently available audio educational tools available for charts on this website:

Part Tracks: LEARN YOUR PART...

Individual mp3 files of the full demo for each voice part (including all soprano 2 and baritone splits, when needed), in which the voice part is brought significantly into the front of the mix and the remaining parts are either muted or severely ducked in volume, helping your students use their ears to learn the parts to the arrangement.  These have been on sale for the past four years and are now available on nearly all charts.  Newer releases have vocal part tracks while older releases have piano part tracks, with a piano loudly playng the part on top of the demo, which is reduced in volume.

Part MINUS Tracks: SINGERS GAIN INDEPENDENCE AND PREPARE FOR REHEARSAL and DIRECTORS CAN USE THESE FOR ASSESSMENT/AUDITIONS.  ALSO WITH A MINUS-SOLO TRACK WHEN APPLICABLE

NEW! Individual mp3 files of the full demo for each voice part (including all soprano 2 and baritone splits, when needed), in which the voice part is muted entirely (except where needed for tempo reference), but the remainder of the parts are mixed normally.  These tracks lack reverb, and the vocals are generally well in front of the rhythm section in the mix.  There are multiple obvous uses for these tracks:  1. Students can practice singing their parts along with all the other parts, helping them work on their independence and blending skills, 2. Directors may use these in class to check whether or not students have done their part-learning homework, 3. Directors may use these (or segments of these) for auditions, 4. Soloists may use the MINUS SOLO track to practice lyric solos or improvisation.

Rhythm Tracks: RHYTHM SECTION ACCOMPANIMENT TRACKS FOR REHEARSAL AND/OR PERFORMANCE

Depending on the arrangement, Rhythm Tracks may work for performance purposes, but they certainly are useful for rehearsals, as they also contain click tracks in sections of a cappella breakdowns and to count the group in when necessary.  With most Rhythm Tracks purchases, two files are included...a MONO and a STEREO file, as sometimes the mono file will work better with a sound system, which is often in mono mode, making the stereo file undergo some phasing in certain frequencies bands and intstruments.

I'll update this post with new Part MINUS Tracks as they become available.  

Currently available (as of 5/5/14 at 10:30pm):

Give Me the Simple Life
At Last
Come Back to Me
The Luckiest (SAB and SSA)
Woods 
Centerpiece
Here Comes the Sun
Line For Lyons
Lua Soberana
Mr PC (SAB and SSA)
Skyfall
We’ve Got a World That Swings
Sunday Morning
We Kiss In a Shadow
Aha
Don’t You Worry 'Bout a Thing
Hallelujah I Love Him So
I’m Hip (SATB and SSAB)
Kaleidoscope Heart/Bluebird

Rhythm Tracks Price Reduction

I've just reduced the price on all Rhythm Tracks to $25.  These tracks are useful for rehearsal and often for performance, when a rhythm section isn't available to rehearse or perform with your group.  

News about a new audio teaching tool for the charts in my catalog is forthcoming...

An Important Milestone For KerryMarsh.com

After working towards full copyright legitimacy on my website not just for the past, but also for the future, I've now signed agreements with Hal Leonard and Alfred Publishing to pay them back-royalties owed for all sales of their controlled titles since I started my business in 2000, and I'll be spending the next year and half making payments to complete that process, while operating completely above board from now on in regards to copyright.

Although I started my career as a writer and, well...publisher, in a very small way while a senior at KU, the scope of the operation grew about five years ago to such an extent that I realized two things: 1. Julia and I rely on publishing and arranging income for our livelihood and will need to do so indefinitely and 2. In order to fairly earn the trust and respect of the publishers needed for them to reasonably wish to allow me to have my own independent publishing business, the right thing to do would be to go to them with my historical sales figures and ask that they allow me to make payments toward retroactive royalties owed in order to clear the way for licensing new titles properly now and in the future.

The seeds of this process were started five years ago when I had this realization, but with the help of the copyright departments at Alfred and Hal Leonard, with the help and benevolence of Michael Spresser and Emily Crocker, the heads of the choral divisions at each company, and with considerable time and effort of many people in both companies' copyright divisions, as well as advice and encouragement from my dear friend Roger Emerson, who fielded many an anxious and occasionally tearful phone call from me, we've all worked toward a mutually respectful agreement and understanding that will work for the long term and will keep my publishing business running, fair and square, for as long as I can write charts that my vocal jazz director friends continue to find useful for their groups.

You can get all the info you need to license your arrangements at these websites:

http://www.alfred.com/Licensing.aspx
http://www.halleonard.com/permissions/index.jsp
http://www.tresonamultimedia.com/

And for titles for which you don't know the licensing administrator, you will need to refer to ASCAP, BMI and SESAC repertory searches to learn the publishers' information, so you can contact them directly.

An important bit of advice is to work ahead as much as possible when dealing with licensing. The companies all have backlogs and sometimes take several weeks to reply, but I encourage you to stay persistent, because it's worth it to do the right thing and breathe easy in your life, especially if you mean to make arranging and publishing part of your livelihood.

There will now be 15 arrangements coming down from my website for a number of reasons, as I do some important Spring Cleaning. Some are coming down due to inability to license them, others are coming down due to low (or no) sales and the fact that they ought not clutter up the better offerings on my site. The following are the titles that will be going away this afternoon:

Because
But Beautiful
Compared To What
Eleanor Rigby
Fly Me To the Moon
Here To Stay
In This Time
Lullaby
Norwegian Wood
Pegasus
Radiance
Sacred Black
Sketch 8
Widow's Walk
You Are Here

My thanks to Julia Dollison and my folks for their loving support through this whole process, and to all my fellow vocal jazz directors and arrangers, who have been kind of me and have encouraged me to work toward this major milestone with the long term goal of making a lifetime of music to share with the world.

Vertical Voices' Debut CD, "Fourward", Has Finally Arrived!!

Vertical Voices are thrilled to announce that our debut CD, in the works for over two years, is now available through CD Baby and iTunes. Featured are the following nine tracks:

1. Timeline (Yellowjackets)
2. First Train Home (Imogen Heap)
3. The Cry and The Smile (Nando Lauria)
4. Emily (standard)
5. New Day (Carol Welsman)
6. Hand in Hand (Oregon)
7. Dandaya (Jasperse original)
8. Travel On By (Pat Metheny Group)
9. Lee's Summit (Marsh/Dollison original)



Here's a PREVIEW of the album...

 

JEN 2014. A weekend of win.

I'm feeling more uplifted than ever after this year's JEN conference in Dallas, capped by an exciting opportunity for Vertical Voices to perform on the big stage in front of a wonderfully receptive audience! We released our debut CD, "Fourward" and sold a buncha copies, we had a super-fun after-hang with a who's whom of vocal jazz heavies in Frank DeMiero's hotel suite, and this was all after seeing the best set of vocal jazz solo and ensemble performances at a national conference that I've EVER seen, going back to mid-90s IAJE...seriously! High level stuff, including Groove For Thought, who were just stupendously good and highly entertaining, Christine Helferich Guter's CSU Long Beach "Pacific Standard Time" mainstage performance that just flat out sets the bar for all of us teaching at the college level, Curtis Gaesser's Folsom High School Jazz Choir who sang a crazy-challenging set and put on a fantastic show, Thomas Almli's Bellevue Celebration group who delivered wonderfully once again on some diverse literature, Kate Paradise's "Jazzmin" from Belmont who started things off with a really great set and Kate Prather Reid's "Extensions" from U-Miami, who utilized student charts in a great way and built on a strong tradition in Kate's first semester on the job. 

Many things I'm sad to have missed, but I was able also have been there forRosana Eckert's killing solo set featuring her compositions and best-on-the-planet scatting and song styling, Justin Binek's solo set where he demonstrated excellence at his triple threat of writing/singing/jazz piano, and Roseanna Vitro, who was a total pro and excellent vocal artist in her eclectic set. Wonderful vocal jazz topic clinics from Greg JasperseJennifer Barnes and Rosana Eckert. Paris Rutherford's new VJ music reading session was fun as always, and I'm grateful to have had two charts on the session. 

AND...I'm so excited to have been able to spend time with and make music with my UNC friends/colleagues Dana LandryErik ApplegateSteve Kovalcheck, and to hang with Amy MurphySocrates GarciaRex Burchett and Kelsey Shiba. Steve Barnes isn't on Facebook, so he's not taggable, but he played the heck out of the drums on our concert and was otherwise heavily involved in the conference, which was a treat. I got to be a part of my two former students Gaw Vang and Ian Brekke's first conference experiences as professional jazz educators, and that's particularly meaningful.

And most importantly, by a longshot, I got to make lots of my favorite kind of music with and spend a lot of quality time with Julia Dollison in what was one of the most remarkable and important weekends of our lives so far. Truly a worthwhile and memorable past few days.