This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2010)

Sheet music is a handwritten or printed form of music notation that uses modern musical symbols; like its analogs — books, pamphlets, etc. — the medium of sheet music typically is paper (or, in earlier times, parchment), although the access to musical notation in recent years includes also presentation on computer screens. Use of the term "sheet" is intended to differentiate music on paper from an audio presentation, as in a sound recording, broadcast or live performance, which may involve video as well. In everyday use, "sheet music" (or simply "music") can refer to the print publication of commercial music in conjunction with the release of a new film, show, record album, or other special or popular event which involves music.

Sheet music is written representation of music. This is a homorhythmic (i.e., hymn-style) arrangement of a traditional piece entitled "Adeste Fideles", in standard two-staff format for mixed voices.  Play (help·info)

Tibetan musical score from the 19th century.

Score is a common alternative (and more generic) term for sheet music, and there are several types of scores, as discussed below. (Note: the term score can also refer to incidental music written for a play, television programme or film; for the last of these, see film score.)

[edit] Purpose and use

Sheet music can be used as a record of, a guide to, or a means to perform, a piece of music. Although it does not take the place of the sound of a performed work, sheet music can be studied to create a performance and to elucidate aspects of the music that may not be obvious from mere listening. Authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores.

Comprehending sheet music requires a special form of literacy: the ability to read music notation. Nevertheless, an ability to read or write music is not a requirement to compose music. Many composers have been capable of producing music in printed form without the capacity themselves to read or write in musical notation, as long as an amanuensis of some sort is available. Examples include the blind 18th-century composer John Stanley and the 20th-century composers and lyricists Lionel Bart, Irving Berlin and Paul McCartney.

The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece.

With the exception of solo performances, where memorization is expected, classical musicians ordinarily have the sheet music at hand when performing. In jazz music, which is mostly improvised, sheet music — called a lead sheet in this context — is used to give basic indications of melodies, chord changes, and arrangements.

Handwritten or printed music is less important in other traditions of musical practice, however. Although much popular music is published in notation of some sort, it is quite common for people to learn a piece by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral — and aural — tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-western cultures developed their own forms of musical notation and sheet music as well.

Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer writes the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions to render western and non-western music in readable form for study, analysis and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, 1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail.

Types[link]

Modern sheet music may come in different formats. If a piece is composed for just one instrument or voice (such as a piece for a solo instrument or for a cappella solo voice), the whole work may be written or printed as one piece of sheet music. If an instrumental piece is intended to be performed by more than one person, each performer will usually have a separate piece of sheet music, called a part, to play from. This is especially the case in the publication of works requiring more than four or so performers, though invariably a full score is published as well. The sung parts in a vocal work are not usually issued separately today, although this was historically the case, especially before music printing made sheet music widely available.

Sheet music can be issued as individual pieces or works (for example, a popular song or a Beethoven sonata), in collections (for example works by one or several composers), as pieces performed by a given artist, etc.

When the separate instrumental and vocal parts of a musical work are printed together, the resulting sheet music is called a score. Conventionally, a score consists of musical notation with each instrumental or vocal part in vertical alignment (meaning that concurrent events in the notation for each part are orthographically arranged). The term score has also been used to refer to sheet music written for only one performer. The distinction between score and part applies when there is more than one part needed for performance.

Scores come in various formats, as follows:

A conductor's score

• A full score is a large book showing the music of all instruments and voices in a composition lined up in a fixed order. It is large enough for a conductor to be able to read it while directing rehearsals and performances.
• A miniature score is like a full score but much reduced in size. It is too small for use in performance, but handy for studying a piece of music, whether it be for a large ensemble or a solo performer. A miniature score may contain some introductory remarks.
• A study score is sometimes the same size as, and often indistinguishable from, a miniature score, except in name. Some study scores are octavo size and are thus somewhere between full and miniature score sizes. A study score, especially when part of an anthology for academic study, may include extra comments about the music and markings for learning purposes.
• A piano score (or piano reduction) is a more or less literal transcription for piano of a piece intended for many performing parts, especially orchestral works; this can include purely instrumental sections within large vocal works (see vocal score immediately below). Such arrangements are made for either piano solo (two hands) or piano duet (one or two pianos, four hands). Extra small staves are sometimes added at certain points in piano scores for two hands in order to make the presentation more complete, though it is usually impractical or impossible to include them while playing. As with vocal score (immediately below), it takes considerable skill to reduce an orchestral score to such smaller forms because the reduction needs to be not only playable on the keyboard but also thorough enough in its presentation of the intended harmonies, textures, figurations, etc. Sometimes markings are included to show which instruments are playing at given points. While piano scores are usually not meant for performance outside of study and pleasure (Liszt's concert transcriptions of Beethoven's symphonies being one group of notable exceptions), ballets get the most practical benefit from piano scores because with one or two pianists they allow unlimited rehearsal before an orchestra is absolutely needed. They can be used also to train beginning conductors. Piano scores of operas do not include separate staves for the vocal parts, but they may add the sung text and stage directions above the music.

Excerpt of a piano-vocal score (from the opera William Ratcliff, by César Cui).

• A vocal score (or, more properly, piano-vocal score) is a reduction of the full score of a vocal work (e.g., opera, musical, oratorio, cantata, etc.) to show the vocal parts (solo and choral) on their staves and the orchestral parts in a piano reduction (usually for two hands) underneath the vocal parts; the purely orchestral sections of the score are also reduced for piano. If a portion of the work is a cappella, a piano reduction of the vocal parts is often added to aid in rehearsal (this often is the case with a cappella religious sheet music). While not meant for performance, vocal scores serve as a convenient way for vocal soloists and choristers to learn the music and rehearse separately from the instrumental ensemble. The vocal score of a musical typically does not include the spoken dialogue, except for cues.
  • The related but less common choral score contains the choral parts with no accompaniment.
  • The comparable organ score exists as well, usually in association with church music for voices and orchestra, such as arrangements (by later hands) of Handel's Messiah. It is like the piano-vocal score in that it includes staves for the vocal parts and reduces the orchestral parts to be performed by one person. Unlike the vocal score, the organ score is sometimes intended by the arranger to substitute for the orchestra in performance if necessary.
  • A collection of songs from a given musical is usually printed under the label vocal selections. This is different from the vocal score from the same show in that it does not present the complete music, and the piano accompaniment usually is simplified and includes the melody line.
• A short score is a reduction of a work for many instruments to just a few staves. Rather than composing directly in full score, many composers work out some type of short score while they are composing and later expand the complete orchestration. (An opera, for instance, may be written first in a short score, then in full score, then reduced to a vocal score for rehearsal.) Short scores are often not published; they may be more common for some performance venues (e.g., band) than in others.
• A lead sheet specifies only the melody, lyrics and harmony, using one staff with chord symbols placed above and lyrics below. It is commonly used in popular music to capture the essential elements of song without specifying how the song should be arranged or performed.
• A chord chart or "chart" contains little or no melodic information at all but provides detailed harmonic and rhythmic information. This is the most common kind of written music used by professional session musicians playing jazz or other forms of popular music and is intended primarily for the rhythm section (usually containing piano, guitar, bass and drums).
• A tablature is a special type of musical score — most typically for a solo instrument — which shows where' to play the pitches on the given instrument rather than which pitches to produce, with rhythm indicated as well. This type of notation, which dates from the late Middle Ages, has been used for keyboard (e.g., organ) and for fretted string instruments (lute, guitar).

Excerpt from a 13-century Dominican missal (parchment manuscript)

History[link]

Manuscripts[link]

Before the 15th century, western music was written by hand and preserved in manuscripts, usually bound in large volumes. The best-known examples of these are medieval manuscripts of monophonic chant. In the case of medieval polyphony, such as the motet, the parts were written in separate portions of facing pages. This process was aided by the advent of mensural notation to clarify rhythm and was paralleled by the medieval practice of composing parts of polyphony sequentially, rather than simultaneously as in later times. Manuscripts showing parts together in score format were rare, and limited mostly to organum, especially that of the Notre Dame school.

Even after the advent of music printing, much music continued to exist solely in manuscripts well into the 18th century.

Printing[link]

There were several difficulties in translating the new technology of printing to music. The first printed book to include music, the Mainz psalter (1457), had to have the notation added in by hand. This is similar to the room left in other incunabulae for capitals. The psalter was printed in Mainz, Germany by Johann Fust and Peter Schöffer, and one now resides in Windsor Castle and another at the British Library. Later, staff lines were printed, but scribes still added in the rest of the music by hand. The greatest difficulty in using movable type to print music is that all the elements must line up — the note head must be properly aligned with the staff, or else it means something other than it should. In vocal music, text must be aligned with the proper notes (although at this time, even in manuscripts, this was not a high priority).

The first machine-printed music appeared around 1473, approximately 20 years after Gutenberg introduced the printing press. In 1501, Ottaviano Petrucci published Harmonice Musices Odhecaton A, which contained 96 pieces of printed music. Petrucci's printing method produced clean, readable, elegant music, but it was a long, difficult process that required three separate passes through the printing press. Petrucci later developed a process which required only two passes through the press, but was still taxing since each pass required very precise alignment in order for the result to be legible. This was the first well distributed printed polyphonic music. Petrucci also printed the first tablature with movable type. Single impression printing first appeared in London around 1520. Pierre Attaingnant brought the technique into wide use in 1528, and it remained little changed for 200 years.

Frontispiece to Petrucci's Odhecaton

A common format for issuing multi-part, polyphonic music during the Renaissance was part-books. In this format, each voice-part for a collection of five-part madrigals, for instance, would be printed separately in its own book, such that all five part-books would be needed to perform the music. (The same part books could be used by singers or instrumentalists.) Scores for multi-part music were rarely printed in the Renaissance, although the use of score format as a means to compose parts simultaneously (rather than successively, as in the late Middle Ages) is credited to Josquin Des Prez.

The effect of printed music was similar to the effect of the printed word, in that information spread faster, more efficiently and to more people than it could through manuscripts. It had the additional effect of encouraging amateur musicians of sufficient means, who could now afford music, to perform. This in many ways affected the entire music industry. Composers could now write more music for amateur performers, knowing that it could be distributed. Professional players could have more music at their disposal. It increased the number of amateurs, from whom professional players could then earn money by teaching them. Nevertheless, in the early years the cost of printed music limited its distribution.

In many places the right to print music was granted by the monarch, and only those with a special dispensation were allowed to do so. This was often an honour (and economic boon) granted to favoured court musicians.

Cover, sheet music composed by W. J. D. Leavitt, Boston, 1884

In the 19th century the music industry was dominated by sheet music publishers. In the United States, the sheet music industry rose in tandem with blackface minstrelsy, and the group of New York City-based publishers and composers dominating the industry was known as "Tin Pan Alley". The late 19th century saw a massive explosion of parlour music, with a piano becoming de rigueur for the middle class home, but in the early 20th century the phonograph and recorded music grew greatly in importance. This, joined by the growth in popularity of radio from the 1920s on, lessened the importance of the sheet music publishers. The record industry eventually replaced the sheet music publishers as the music industry's largest force.

Current developments[link]

In the late 20th and into the 21st century, significant interest has developed in representing sheet music in a computer-readable format (see music notation software), as well as downloadable files. Music OCR, software to "read" scanned sheet music so that the results can be manipulated, has been available since 1991. In 1998, virtual sheet music evolved further into what was to be termed digital sheet music, which for the first time allowed publishers to make copyright sheet music available for purchase online. Unlike their hard copy counterparts, these files allowed for manipulation such as instrument changes, transposition and even MIDI (Musical Instrument Digital Interface) playback. The popularity of this instant delivery system among musicians appears to be acting as a catalyst of new growth for the industry well into the foreseeable future.

An early computer notation program available for home computers was Music Construction Set, developed in 1984 and released for several different platforms. Introducing concepts largely unknown to the home user of the time, it allowed manipulation of notes and symbols with a pointing device such as a mouse; the user would "grab" a note or symbol from a palette and "drop" it onto the staff in the correct location. The program allowed playback of the produced music through various early sound cards, and could print the musical score on a graphics printer.

Many modern digital audio workstation software products support generation of sheet music from MIDI files or by manual entry. Examples of products with this feature include free, open-source software like Aria Maestosa and MuseScore, as well as commercial programs like Cakewalk SONAR, Pro Tools and Logic Pro.

In 1999, Harry Connick, Jr. invented a system and method for coordinating music display among players in an orchestra.^[1] Connick's invention is a device with a screen which is used to show the sheet music for the musicians in an orchestra instead of the more commonly used paper. Connick uses this system when he's touring with his big band, for example.^[2]

Of special practical interest for the general public is the Mutopia project, an effort to create a library of public domain sheet music, comparable to Project Gutenberg's library of public domain books. The IMSLP (International Music Score Library Project) is also attempting to create a virtual library containing all public domain musical scores, as well as scores from composers who are willing to share their music with the world free of charge.

In addition to public domain efforts like Mutopia and IMSLP, many public domain musical works originally scored for piano, violin or voice are finding their way back into commercial circulation, now re-scored for other instruments. One example is WindsMusic,^[3] which re-scores public domain musical works from the original editions for various modern wind instruments and publishes arrangements with accompanying Finale, MIDI and mp3 files.

See also[link]

• Eye movement in music reading
• List of Online Digital Musical Document Libraries
• Manuscript paper
• Music theory
• Musical composition
• Musical notation
• Musical note
• Music stand, a device that holds sheet music in position
• scorewriter – music notation software
• Shorthand for orchestra instrumentation
• TabWiki

References[link]

External links[link]

Wikimedia Commons has media related to: Sheet music

Wikisource has original text related to this article: Sheet music

Archives of Scanned Works[link]

• International Music Score Library Project (Wikipedia article) — A public domain sheet music library featuring original scores scanned to PDF.
• Sheet Music Consortium — Metasearch using OAI-PMH.
• Music for the Nation — American sheet music archive.
• Historic American Sheet Music – Duke University Libraries Digital Collections Digital images of 3042 pieces of sheet music published in the United States between 1850 and 1920.
• Lester S. Levy Collection of Sheet Music — sheet music project of The Sheridan Libraries of The Johns Hopkins University.
• University of Washington Libraries Digital Collections — Pacific Northwest Sheet Music Collection This collection contains historical sheet music from and about Washington State, the Pacific Northwest and the University of Washington.
• The European Library — digital images of the most important pieces of sheet music published in Europe, free access.
• National Library of Australia — Australian sheet music archive.
• IN Harmony: Sheet Music from Indiana - sheet music from the Indiana University Lilly Library, the Indiana State Library, the Indiana State Museum, and the Indiana Historical Society.

Archives of Works in Other Formats[link]

• Choral Public Domain Library (ChoralWiki) — free sheet music archive with emphasis on choral music; contains works in PDF and also other formats.
• Mutopia project — free sheet music archive in which all pieces have been newly typeset with GNU LilyPond as PDF and PostScript.
• Project Gutenberg — sheet music section of Project Gutenberg containing works in Finale and/or MusicXML format.
• Three examples of sheet music as interactive hypermedia at the BinAural Collaborative Hypertext.
• Werner Icking Music Archive — free sheet music archive ; contains works in PDF and also other formats (MIDI files).

Flo Rida
Flo Rida on the set of "Sugar" in 2009.
Background information
Birth name	Tramar Dillard
Born	(1979-12-16) December 16, 1979 (age 32) Carol City, Florida, U.S.
Genres	Hip hop
Occupations	Rapper, songwriter, actor
Years active	2006–present
Labels	Atlantic, Poe Boy, International Music Group, Strong Arm
Associated acts	Akon, Brisco, Lady Gaga, Timbaland, David Guetta, Kesha, T-Pain, Nicki Minaj , Taio Cruz, Sia Furler, Ne-Yo, Avicii
Website	officialflo.com

Tramar Dillard (born December 16, 1979) better known by his stage name Flo Rida (pronounced  /floʊ ˈraɪdə/), is an American rapper. He released his debut album, Mail on Sunday, in March 2008. His debut single "Low", featuring T-Pain, was a No. 1 hit for ten weeks in United States in early 2008. Two other singles resulted from Mail on Sunday: "Elevator" and "In the Ayer". In 2009, his second album R.O.O.T.S. was released; its most successful single "Right Round" was at the top of the Hot 100 for six weeks. Since then, he has released his third studio album titled Only One Flo (Part 1), which will see a sequel titled Wild Ones.

Biography[link]

Early life and career beginnings[link]

Tramar Dillard was born in the 187th Street projects of Carol City, Florida.^[1] His mother raised him and his seven sisters, some of whom sang in a local gospel group.^[2] Dillard's brother-in-law was a hypeman for local rap group 2 Live Crew, and while in ninth grade, Dillard formed his own amateur group with some friends called the GroundHoggz.^[3] Born and raised in Miami, the GroundHoggz formed in the 187 apartments in Carol City. Similar to Goodie Mob, they were making music for the love of the art and to feed their souls. With only three members, 1Bred, Key Lime, and Fist, they found their missing link when Flo Rida, who lived in the same apartments, spit a verse for them. They were instantly impressed. Together for eight years, they started recording at underground studios in Carver Ranches.^[4] His work with 2 Live Crew member Fresh Kid Ice attracted the attention of DeVante Swing, a member of the band Jodeci. However, he was rejected by several of the major labels, so he sought many other jobs outside of music.^[5] After graduating from high school in 1998, he studied international business management at the University of Nevada, Las Vegas for two years and attended Barry University for two months.^[5][6] He returned to Florida to continue pursuing his music career after receiving a phone call from a representative of the independent label Poe Boy Entertainment.^[5] Dillard signed with Poe Boy in 2006, and as Flo Rida he began affiliating with other artists, such as Rick Ross, Trina, T-Pain, and Trick Daddy. A promotional street single entitled "Birthday", featuring Rick Ross, was his first significant release. He made his debut guest appearance with the song "Bitch I'm from Dade County" on DJ Khaled's album We the Best, which featured Trick Daddy, Trina, Rick Ross, Brisco, C-Ride, and Dre.^[7]

[edit] 2007–08: Mail on Sunday

Rehearsing for the 2008 MuchMusic Video Awards in Toronto.

Flo Rida's first single was "Low", featuring T-Pain. It was his first official single from his debut album Mail On Sunday and the soundtrack to the movie Step Up 2: The Streets. "Low" reached No. 1 on the Billboard Hot 100 chart.^[7] "Elevator", featuring Timbaland, "In the Ayer" featuring will.i.am, and "Roll" featuring Sean Kingston followed and all charted on the Hot 100 and other charts.^[8]

T-Pain, who laced the first single, is only one of the many featured guests throughout the album. Timbaland, who produced the second single "Elevator", is also featured on the track. Rick Ross, and Trey Songz made appearances as well.^[9] Lil Wayne has also been added to the list^[9] with assistance on the "American Superstar" track while Sean Kingston appears on the J. R. Rotem-produced "Roll" the concept was created, and co-written by Compton rapper Spitfiya, from The Bullets Production Team, Various other guests include Birdman, Brisco, and Yung Joc. The third single is "In the Ayer" featuring Will.i.am. The fourth single was scheduled to be "Money Right" featuring Brisco, and Rick Ross, but was canceled due to the release of his upcoming second studio album R.O.O.T.S. His second collaboration with T-Pain, "I Bet", as well as his collaboration with Trina, named "Bout It", both didn't make the final tracklist, but were recorded. As for production, J. R. Rotem, DJ Montay, and Timbaland all provided tracks for Mail on Sunday, among others.

After the success of Mail on Sunday, Flo Rida made guest performances on other R&B, rap, and pop singles, including "Move Shake Drop" by DJ Laz, "We Break the Dawn" by Michelle Williams, the remix of "4 Minutes" by Madonna, "Running Back" by Australian R&B singer Jessica Mauboy, "Feel It" by DJ Felli Fel, and the remix of "Speedin'" by Rick Ross. During the summer of 2008, he did live performances on the Fox dance competition program So You Think You Can Dance in the US^[10] and 2008 MuchMusic Video Awards in Canada.^[11] He appeared on the albums We Global by DJ Khaled, Gutta by Ace Hood, and The Fame by Lady Gaga, among others.

[edit] 2009–10: R.O.O.T.S.

Flo Rida performing "Right Round" at the Circus Club in Finland on July 9, 2009.

According to Billboard magazine, Flo Rida began recording his sophomore nine months after Mail On Sunday. The album is titled R.O.O.T.S. and was released on March 31, 2009.^[12] The first single "Right Round" featured Ke$ha and was released for airplay in January 2009. "Right Round" jumped from number 58 to the top spot in one week in late February. The song broke a record for the most digital one week sales in the U.S., with 636,000, beating the previous record he had set himself with "Low".^[13] "Right Round" sampled "You Spin Me Round (Like a Record)", a 1985 hit by Dead or Alive.^[14] The second official single was "Sugar", which featured R&B singer Wynter Gordon. The song reached No. 5 on the Billboard Hot 100. "Jump" is the third official single and was released on July 27, 2009 in the UK, and July 28, 2009 worldwide.^[15] The song features Canadian singer Nelly Furtado. As of August 13, 2009 it has peaked at number fifty-four in the US, number twenty-seven in Canada, number twenty-one in the UK, and number eighteen in Australia. "Be on You" has been confirmed as the album's fourth official single for a release on October 6, 2009. The song features American singer Ne-Yo. When the album was released the single debuted at number ninety in the US. The song has received airplay since the albums release, and has since peaked at number nineteen in the US, and number fifty-one in the UK. "Available" was going to be released on iTunes but was cancelled. It charted at number 120 in Ireland. The song features Akon. A music video was also shot in mid-2009.^[16] R.O.O.T.S. debuted at number eight on the Billboard 200 chart, selling 55,000 copies in its first week.^[17] As of August, 2009, the album has sold 223,000 copies in the United States, and 536,000 worldwide. By the end of 2009, the album sold 247,000 copies becoming the eighth best selling rap album of 2009.^[18]

Flo Rida made guest performances on "Feel It" by DJ Felli Fel, "Starstruck" by Lady Gaga, and "Feel It" by Three 6 Mafia. "Bad Boys", the first single by winner of British reality show The X Factor Alexandra Burke that featured Flo Rida, debuted at No. 1 on the UK Singles Chart in October.^[19]

[edit] 2010–11: Only One Flo (Part 1)

Flo Rida's third album Only One Flo (Part 1) was released on November 24, 2010. In March 2010, Flo Rida announced on Twitter that the album would be titled The Only One.^[20] Billboard reported that The Only One was to be a double album.^[21] A promo single, titled "Zoosk Girl", which features T-Pain, was released on the internet, though the song is not featured on the album, the single does have its own music video. On June 28, 2010, Flo Rida released the song "Club Can't Handle Me" featuring David Guetta, which was stated to be the official first single for the album. The song was also featured in the Step Up 3D soundtrack.^[22] On November 2, 2010, "Come with Me" was released as the first promo single for the album, along with "Puzzle", produced, and featuring by Electrixx, which isn't featured on the album. On November 16, 2010, "Turn Around (5, 4, 3, 2, 1)" was released as the second official promo single for the album via the iTunes Store.^[23] It debuted on the Australian Singles Chart at number thirty-four on November 29, 2010.^[24] After the release of the album in the UK, "Who Dat Girl" started to receive a strong amount of downloads, thus causing it to debut at number 136^[25] on the UK Singles Chart and chart at a current peak of number thirty-one on the UK R&B Chart.^[26] "Why You Up In Here" was released as the fourth single, and third promo single, on May 11, 2011. The song features Ludacris, Gucci Mane, and Git Fresh.

Flo Rida also made guest appearances on "iYiYi", a song by Australian teen singer Cody Simpson, and on the song "Out My Video" by Bulgarian singer LiLana. Flo Rida collaborated with UK girl group The Saturdays, recording a new version of the girl's single, "Higher".^[27] In December 2010, the Associated Press reported that Flo Rida had created his own label, International Music Group, inspired by Nicki Minaj's signing with Lil Wayne's. He has signed an 18 year-old rapper, Brianna^[28] and Git Fresh^[29] to International. Lately, Flo Rida has teamed up with the Malaysian singer, Mizz Nina, on a song called Take Over.

Driving issues[link]

On June 9, 2011, Flo Rida was arrested in Miami Beach, Florida for DUI and driving with a suspended license.^[30][31] Flo Rida was released from jail after he posted $2,000 bail and obtained a signed court order allowing him to travel to Asia for a series of previously scheduled concerts in Bangkok over the weekend.^[32]

[edit] 2011–present: Wild Ones

Flo Rida performing live in 2012.

The first single from Rida's upcoming album, Wild Ones, originally Only One Rida (Part 2), is "Good Feeling", released on August 29, 2011.^[33] The songs samples "Levels" by Avicii, which samples Etta James' 1962 song, "Something's Got a Hold on Me". Following the death of Etta James on January 20, 2012, Flo Rida dedicated the song in her memory.^[34] The song has peaked at No. 3 on the Hot 100,^[35] topped the charts in Austria,^[36] Germany,^[37] Scotland,^[38] and the UK. It has also reached the top five in nine different countries worldwide.

On April 1, Flo Rida made an appearance at WrestleMania XXVIII and have a segment with Heath Slater, Curt Hawkins and Tyler Reks where Heath calls Flo Rida "Florida" and Flo Rida shoves him into a wall; making Tyler and Curt come out laughing at Heath. Later that night Flo Rida performed "Wild Ones" and "Good Feeling" before Dwayne "The Rock" Johnson came out to battle John Cena. On April 6, 2012 and exclusive Australian EP entitled Good Feeling was released in Australia which contains six of his biggest hits and two remixes.^[39] It debuted at No. 21 on the Australian ARIA Albums Chart^[40] On May 22, 2012, Flo Rida performed and closed the show at the first Q102 Springle Ball Concert, the following day he performed "Goin' In" with Jennifer Lopez on the America Idol finale.

Discography[link]

• Mail on Sunday (2008)
• R.O.O.T.S. (2009)
• Only One Flo (Part 1) (2010)
• Wild Ones (2012)

Awards and nominations[link]

References[link]

External links[link]

• Official website

Ellie Goulding
Goulding performing at Lincoln Hall, Chicago, U.S., March 30, 2011.
Background information
Birth name	Elena Jane Goulding
Born	(1986-12-30) 30 December 1986 (age 25) Hereford, Herefordshire, England
Origin	London, England
Genres	Indie pop, electropop, synthpop, folktronica
Occupations	Singer-songwriter, guitarist, pianist, drummer
Instruments	Vocals, guitar, drums, piano, clarinet, mandolin, tambourine
Years active	2007–present
Labels	Neon Gold, Polydor, Cherrytree, Interscope
Associated acts	Starsmith, Frankmusik, Diana Vickers, Gabriella Cilmi, Little Boots, Tinie Tempah, Erik Hassle, Lissie, Mumford & Sons, Skrillex,Swedish House Mafia, Lupe Fiasco, DJ Daaar
Website	elliegoulding.com

Elena Jane Goulding (born 30 December 1986),^[1] known professionally as Ellie Goulding, is an English singer-songwriter. In 2010 she became the second artist to both top the BBC's annual Sound of... poll and win the Critics' Choice Award at the BRIT Awards in the same year, following Adele's win of both in 2008. After signing to Polydor Records in 2009, she released her first EP in 2009, An Introduction to Ellie Goulding, followed by her debut studio album Lights in 2010. Her album debuted at number one on the UK Albums Chart and has sold over 650,000 copies in the UK. "Lights" was released in America March 8th 2011, where the title track has been certified platinum by the RIAA (excess of 1 million units sold) ^[2].

Goulding is a soprano,^[3] and her musical style has been compared to that of Kate Nash, Meiko, Lykke Li and Tracey Thorn.^[4]

Background and personal life[link]

Goulding was born and brought up in a small town near Hereford, Herefordshire, the second of four children.^[5][6] She began playing the clarinet at the age of nine, and at 14 began learning guitar. She attended Lady Hawkins' School in Kington, where she won a main part in a school production, the Wizard Of Oz, as the scarecrow. She started songwriting at the age of 15 and while in college she won a singing competition.^[7]

After commencing a drama course, politics course, and an English course at the University of Kent,^[8] where she was exposed to electronic music, she developed her sound on the track "Wish I Stayed" with the help of Starsmith and Frankmusik. Starsmith went on to become her chief collaborator and primary producer of Lights. After two years at Kent, she was advised to take a gap year to pursue singing,^[9][10] and moved to West London.^[11]

She is a keen runner, running six miles every day, and in 2010 announced plans to run a marathon.^[6] In support of her second EP, Run Into the Light, she invited a small number of fans through her Facebook pages, to run with her in seven different cities on her UK tour,^[12] and has announced that she will be doing the same across Europe and the United States. Goulding is considered to have an impressively athletic physique.^[13][14][15]

Music career[link]

Early career[link]

Signed to Polydor Records in September 2009,^[9] Goulding's debut single, "Under the Sheets", was released digitally in the United Kingdom on 15 November 2009,^[16] peaking at number fifty-three on the UK Singles Chart.^[17] In October 2009 she toured the UK supporting Little Boots,^[18] and appeared on Later... with Jools Holland, performing "Under the Sheets" and "Guns and Horses".^[19] "Wish I Stayed" was available as a free download as the Single of the Week on iTunes Store UK from 22–28 December 2009.^[20]

[edit] 2009–11: Lights and Bright Lights

Before the release of her debut studio album, Goulding won the BBC Sound of 2010 poll, which showcases the critics, broadcasters and music industry insiders' top choices for rising stars and artists for the coming year.^[21] She also won the Critics' Choice Award at the 2010 BRIT Awards, which prize made her the second artist to win both in the same year.^[22]

Goulding performing in Amsterdam on 17 September 2010.

Goulding's debut album Lights was released in March 2010, reaching number one on the UK Albums Chart and number six on the Irish Albums Chart.^[23][24][25] Its singles, "Starry Eyed", "Guns and Horses" and "The Writer" peaked at numbers 4, 26, and 19 respectively.^[17] The album has sold over 650,000 copies in the UK as of April 2012.^[26] In August 2010, Goulding released a second EP, Run Into the Light, containing remixes of songs from Lights. The album was supported by Nike and was released through Polydor as a running soundtrack in an effort to get Goulding's music taken up by the national running subculture.^[12]

In November 2010, Lights was re-released as Bright Lights, with six new tracks added. It was originally announced that the lead single from Bright Lights would be the new edit of the title track with a release scheduled for 1 November 2010.^[27] Yet this was scrapped to allow her cover of Elton John's "Your Song" to be released in conjunction with the John Lewis Christmas 2010 advertising campaign in the UK.^[28] The single became Goulding's highest-charting single to date, reaching number two on the UK Singles Chart.^[17] The song also charted in some European countries in early 2011.^[29]

Goulding toured in support of Lights and supported Passion Pit in March 2010 and John Mayall during his British tour in May 2010.^[30] During the summer she performed at a number of festivals. On 29 May she performed at the Dot to Dot Festival in Bristol.^[12] She performed a set on 25 June at the Glastonbury Festival 2010 on the John Peel Stage.^[31] Her third EP was a live recording of part of her set at the iTunes Festival 2010.^[32] The whole set was ultimately included as bonus content on the iTunes version of Bright Lights.^[33] She made her T in the Park debut on 11 July.^[34] She played on the Nissan Juke Arena at the 2010 V Festival in late August.^[35] In September she was part of the line-up at Bestival 2010 on the Isle of Wight.^[36] In support of the album in Europe she performed on the first day of Pukkelpop in Belgium, at the Open'er Festival in Poland and at Benicàssim in Spain.^[37] A track from Lights, "Every Time You Go", was featured in the Vampire Diaries episode "Founder's Day", "Your Biggest Mistake" appeared in an episode of The Inbetweeners.^[38] and "Believe Me" appeared in an episode of 90210. She began a tour of the United States and Canada in February 2011 to coincide with the release of the American edition of Lights.^[39] In August/September 2010 the singer was an opening act on Irish alternative rock band U2's U2 360 Tour in Munich, Germany, Vienna, Austria, and Zurich, Switzerland.^{[citation needed]}

In January 2011 it was announced that the title track from Lights would serve as the second single from Bright Lights.^[40] In early 2011 she recorded an original song for the film Life in a Day. Goulding was placed at number five on Rolling Stone's annual hot list in February 2011.^[41] In February 2011 she returned to the BRIT Awards where she was nominated for Best British Female and Best British Breakthrough Act, but lost out to Laura Marling and Tinie Tempah, respectively.^[42] Previously she had performed at the BRITs launch party where the nominations were announced.

She also played live at Coachella Valley Music and Arts Festival in April 2011.^[6] Goulding made her American television debut on Jimmy Kimmel Live on 7 April 2011 performing "Starry Eyed". She appeared as the musical guest on the 700th episode of the Saturday Night Live, broadcast 7 May 2011 and hosted by Tina Fey.^[43][44] She served as one of many live performers at the wedding reception of Prince William and Kate Middleton on 29 April 2011 singing her rendition of "Your Song" for the couple's first dance as well as her hits "The Writer" and "Starry Eyed" and several of William and Kate's personal favourites.^[45] She was introduced to Prince William by Tinie Tempah at a music festival during the summer of 2010. Goulding performed, for the second consecutive year, at Radio 1's Big Weekend on Saturday 14 May.^[46]

Goulding headlined the 2011 Wakestock Festival in Wales, performing on 8 July.^[47] In August she, again, performed at V Festival for her second year in a row.^[48] Following the re-release of Lights and the American release of the album, Goulding said she would soon begin work on a second studio album with an expected release in September 2011.^[49]

On 6 August 2011, Goulding performed at Lollapalooza in Chicago.^[50] Goulding performed at the annual Nobel Peace Prize Concert on 11 December 2011 in Oslo, Norway, where she also served on a panel discussion with Amy Lee of Evanescence and Janelle Monáe.^[51] On 1 December 2011, Goulding performed at the White House during the National Christmas Tree lighting ceremony, alongside the likes of Big Time Rush and will.i.am.^[52] On 18 January 2012, Goulding performed "Lights" on Late Show with David Letterman.^[53]

2011–present: Second studio album[link]

In February 2011, Goulding told the Daily Star that she had plans to release a follow-up to Lights sometime in 2012, commenting, "I'm not going to go away for ages. It'll be out this year or the start of next."^[54] The following month, when asked about the album's musical direction in an interview with gossip website Dean Piper's World, Goulding stated, "It's started to sound very dark and very weird. This album is going to be even more emotional [...] I wanted to make it so there is hope. I want to make an effect whether it's happy or sad."^[55] In April 2012, Goulding stated that she hoped the album would be released in October 2012.^[26] That same month, her single Lights was certified platinum in the United States by the RIAA ^[56].

Work with other artists[link]

Goulding co-wrote "Love Me 'Cause You Want To" for Gabriella Cilmi's second album, Ten, and three songs, "Remake Me + You", "Notice" and "Jumping Into Rivers", for Diana Vickers's debut album, Songs from the Tainted Cherry Tree.^[57] Her song "Not Following" was used by German singer Lena on her debut album My Cassette Player.^[58] Goulding was featured on rapper Tinie Tempah's single "Wonderman" from his debut studio album Disc-Overy. Goulding's "Under the Sheets" was also remixed by American rap duo Chiddy Bang, featured on their 2010 mixtape Air Swell, and by DJ Frenzy (F^K Y3AH! Breaks Mix). Frankmusik, who produced Goulding's song "Wish I Stayed", told Digital Spy he hoped to collaborate with her on his second album, Do It in the AM.^[59] "Lights" was remixed by Bassnectar, which appears on his 2011 album Divergent Spectrum.

On 19 September 2011, it was announced that Goulding would open for Katy Perry on her "California Dreams Tour", replacing Jessie J due to a foot injury.^[60][61]

On 14 December 2011, Mika announced that Goulding had involvement in his upcoming album The Origin of Love.^[62]

Goulding collaborated with American electro artist and producer Skrillex on a song titled "Summit", included on his 2011 EP Bangarang.

Discography[link]