Friday, August 23, 2013
Monday, August 6, 2012
8 Measures to Great
I have come to really appreciate the vocalize books, Vaccai, Concone, Lutgen, Sieber and the like. The simple little exercises, sometimes no more than eight bars long, can tell me so much about a student. I can quickly assess anything from who is still having trouble sight reading to who pulls off the breath when they make large interval leaps and everything in between. But, mostly what these little techniques books show me very quickly is who is willing to do the work even when it is deceptively simple and doesn't seem to make any sense. And that, my friends, is the difference between an OK singer and a great singer.
Sunday, January 22, 2012
Sunday, October 23, 2011
Trust Your Technique
'Tis the season for college auditions. Keep it simple - don't deviate from your normal routine too much. Hopefully, you've been practicing and building your technique - the foundation of your singing. Trust in the work you've done and don't put your faith in any hocus pocus - special potions, drinks or foods. And don't be like my dear friend, Patty. For years she would rise early on audition days and make herself a healthy, protein-rich breakfast of eggs and bacon. After limited success and a great deal of time and money trying to find out why she kept sabotaging herself at auditions, she learned she was allergic to eggs...! Monday, January 10, 2011
It Might Be Your Jaw
We all know we are meant to sing with a relaxed jaw but is yours relaxed? Really? Have you checked it lately?
If you're having trouble with a note or passage, check your jaw. Most of us hold tension there - especially when we're "working hard." Don't assume just because you know your jaw "should" be relaxed, that it is. Check it. And then - gently relax it. There now, isn't that better?
If you're having trouble with a note or passage, check your jaw. Most of us hold tension there - especially when we're "working hard." Don't assume just because you know your jaw "should" be relaxed, that it is. Check it. And then - gently relax it. There now, isn't that better?
Thursday, October 14, 2010
More About Auditions
Here is what my friend Patrick Hansen has to say about auditioning. Patrick is the Director of Opera Studies at McGill McGill University. He is a man who knows his subject inside and out and you would be well served to really take in what he has to say. Click HERE to visit his blog to gain even more insight into creating opera both in the academic arena (Opera McGill) and in the professional world as seen through the eyes of stage director and vocal coach, Patrick Hansen.
AUDITIONS
What do I look and listen for at an audition?
I'll first tell you what I DON'T look/listen for:
1) Being correct: couldn't care less if you miss a note or drop pieces of text.
2) Coordination with your pianist: I'm much more interested in the music YOU are making!
3) Singing in tune (I know that's a surprising statement, but frankly most singers sing out of tune in some way, shape or form -- why does everyone get so freaking obsessive about this?!)
4) Ornaments: what ever I hear I'm going to want to change anyway, so why worry about it?
5) What you're wearing (many of my students will tell you this is not so, but I only comment on it to them later because I know SO many in the business pay attention to this really unimportant factor).
What I DO look/listen for:
1) A human being making music with their voice
2) Singing sentences that have meaning both textually, dramatically, and vocally
3) Did I mention the making music thing?
4) Character choices - both physical and vocal
5) Good shoes (I know, I shouldn't but I notice) This means no super high heels and no sandals.
6) A singer's physicality
7) Size of Voice
8) Repertoire -- is the singer singing rep that is appropriate for their technique/age/fach etc.
9) Range -- as in high and low and at what extremes the singer is comfortable
10) Range -- stylistically speaking how comfortable/adept with Baroque/Classical/19th/20th/Musical Theatre rep and how many arias are being presented.
That's it, not much! I do tend to judge the aural before the first page gets turned and then take in the visual as the audition progresses.
With all of that said, one of the things singers forget is that the panel wants you to be incredible so that we can cast you! It's not a jury or an examination. There are no grades and there are few hard and stead-fast rules, frankly. Move around, don't move around; gesture, don't gesture; wear a suit, don't wear a suit. All of that doesn't matter with me. I want to hear someone trying to make CHOICES and loving their moment commiserating with the great composers.
AUDITIONS
What do I look and listen for at an audition?
I'll first tell you what I DON'T look/listen for:
1) Being correct: couldn't care less if you miss a note or drop pieces of text.
2) Coordination with your pianist: I'm much more interested in the music YOU are making!
3) Singing in tune (I know that's a surprising statement, but frankly most singers sing out of tune in some way, shape or form -- why does everyone get so freaking obsessive about this?!)
4) Ornaments: what ever I hear I'm going to want to change anyway, so why worry about it?
5) What you're wearing (many of my students will tell you this is not so, but I only comment on it to them later because I know SO many in the business pay attention to this really unimportant factor).
What I DO look/listen for:
1) A human being making music with their voice
2) Singing sentences that have meaning both textually, dramatically, and vocally
3) Did I mention the making music thing?
4) Character choices - both physical and vocal
5) Good shoes (I know, I shouldn't but I notice) This means no super high heels and no sandals.
6) A singer's physicality
7) Size of Voice
8) Repertoire -- is the singer singing rep that is appropriate for their technique/age/fach etc.
9) Range -- as in high and low and at what extremes the singer is comfortable
10) Range -- stylistically speaking how comfortable/adept with Baroque/Classical/19th/20th/Musical Theatre rep and how many arias are being presented.
That's it, not much! I do tend to judge the aural before the first page gets turned and then take in the visual as the audition progresses.
With all of that said, one of the things singers forget is that the panel wants you to be incredible so that we can cast you! It's not a jury or an examination. There are no grades and there are few hard and stead-fast rules, frankly. Move around, don't move around; gesture, don't gesture; wear a suit, don't wear a suit. All of that doesn't matter with me. I want to hear someone trying to make CHOICES and loving their moment commiserating with the great composers.
Wednesday, October 13, 2010
Auditioning
If they haven't done so already, soon, high school seniors will begin gathering materials and getting themselves ready for college auditions. Here is some advice pulled directly from the CCM Musical Theatre Program.
In his excellent book Acting Professionally, Robert Cohen suggests that an actor needs a strong personality. For him, the most undesirable quality for an actor is to be bland — a "good little boy or girl"— nice, dull and unmarketable.
Musical theatre is a frankly presentational form of theatre — generally, we do not burst into song or dance at moments of crisis. This raises the stakes for the musical theatre performer and emphasizes the need for a magnetic stage presence, a confident air and a unique personality.
These qualities should be evident in a musical theatre audition. They can transform a routine audition into a memorable one and make us eager to enroll you as a student.
The personality you project is the basis for your audition. It includes the clothes you wear, the way you introduce your material and your ability to answer questions. Even the materials you choose to perform can be revealing. But remember, please, personality is not an alien persona affected for the occasion — it is just the simple use of the characteristics that make you distinctive as a performer and a human being.
To assist you in selecting suitable songs or monologues, you may want to consider some simple DOs and DON'Ts of Musical Theatre auditions.
DO avoid overly familiar material, songs that are performed continuously. There is a wealth of material from which to choose without resorting to "Much More," "I Can't Say No," "All That Jazz," "If I Were a Bell" or "Can't Help Loving That Man of Mine."
DO avoid songs associated primarily with particular artists. "New York, New York" is Liza's song, "Don't Rain on My Parade" is Barbra's and "Over the Rainbow" is Judy's. Comparisons are inevitable.
DO avoid the current hit from the current Broadway smash or revival. These songs are simply performed too often at auditions to work to your advantage.
DO NOT present a choreographed routine. Dance skills are evaluated at the dance audition. DO, however, approach the material with a free body and move whenever appropriate. Body movement should be relaxed (not casual) and should not "illustrate" the lyrics (pointing at your head then at your watch on the words "I know now.")
DO select material suitable for youthful performers. Many students hide behind phony elderly voices and mannerisms, the characterizations that won them acclaim in the high-school play. Remember, we want to see who you are.
DO NOT attempt songs obviously created for mature characters -- song such as "I'm Still Here," "Send in the Clowns," "Fifty Percent," "Rose's Turn" and any Sondheim song written for a mature character.
DO beware of choices that are difficult to perform under stressful conditions. Many of the patter songs ("If," "Another Hundred People," "Funny," "Giants in the Sky") are notoriously difficult and require careful coordination between pianist and singer. These songs are hard to perform without adequate rehearsal and under the naturally competitive circumstances of an audition.
DO avoid excessively emotional pieces. It is difficult to build a sentiment quickly and convincingly. In her concert appearances, the legendary Lena Horne sings the song "Stormy Weather" twice because, as she says, she has to "build up to it." And consider that selections like the transformation scene from Jekyll and Hyde without the benefit of costume, make-up and lighting are often unintentionally hilarious in the unforgiving light of an audition room.
DO NOT imitate your favorite performers. Don't moonwalk like Michael, pout like Bernadette or clutch the air like Mandy. And please don't wear a white half-mask or a lion's head.
DO NOT outstay your welcome, argue if you are cut off in mid-note, or be evasive about your head voice, chest voice, legit experience, range or dance expertise. Answer questions in a straightforward manner that expresses your individuality. "Well, I can move!" ranks as the most often heard evasion in answer to a question about previous dance training.
DO bring sheet music in the correct key and with all cuts or repetitions clearly marked. DO place your music in a binder or tape the sheets together for the benefit of the accompanist. DO speak clearly to the pianist and articulate the tempi by singing a few phrases. This is preferable to snapping your fingers or yelling "Faster," "Too fast," or "Slow Down" in the middle of "Ol' Man River" or "Corner of the Sky
In his excellent book Acting Professionally, Robert Cohen suggests that an actor needs a strong personality. For him, the most undesirable quality for an actor is to be bland — a "good little boy or girl"— nice, dull and unmarketable.
Musical theatre is a frankly presentational form of theatre — generally, we do not burst into song or dance at moments of crisis. This raises the stakes for the musical theatre performer and emphasizes the need for a magnetic stage presence, a confident air and a unique personality.
These qualities should be evident in a musical theatre audition. They can transform a routine audition into a memorable one and make us eager to enroll you as a student.
The personality you project is the basis for your audition. It includes the clothes you wear, the way you introduce your material and your ability to answer questions. Even the materials you choose to perform can be revealing. But remember, please, personality is not an alien persona affected for the occasion — it is just the simple use of the characteristics that make you distinctive as a performer and a human being.
To assist you in selecting suitable songs or monologues, you may want to consider some simple DOs and DON'Ts of Musical Theatre auditions.
DO avoid overly familiar material, songs that are performed continuously. There is a wealth of material from which to choose without resorting to "Much More," "I Can't Say No," "All That Jazz," "If I Were a Bell" or "Can't Help Loving That Man of Mine."
DO avoid songs associated primarily with particular artists. "New York, New York" is Liza's song, "Don't Rain on My Parade" is Barbra's and "Over the Rainbow" is Judy's. Comparisons are inevitable.
DO avoid the current hit from the current Broadway smash or revival. These songs are simply performed too often at auditions to work to your advantage.
DO NOT present a choreographed routine. Dance skills are evaluated at the dance audition. DO, however, approach the material with a free body and move whenever appropriate. Body movement should be relaxed (not casual) and should not "illustrate" the lyrics (pointing at your head then at your watch on the words "I know now.")
DO select material suitable for youthful performers. Many students hide behind phony elderly voices and mannerisms, the characterizations that won them acclaim in the high-school play. Remember, we want to see who you are.
DO NOT attempt songs obviously created for mature characters -- song such as "I'm Still Here," "Send in the Clowns," "Fifty Percent," "Rose's Turn" and any Sondheim song written for a mature character.
DO beware of choices that are difficult to perform under stressful conditions. Many of the patter songs ("If," "Another Hundred People," "Funny," "Giants in the Sky") are notoriously difficult and require careful coordination between pianist and singer. These songs are hard to perform without adequate rehearsal and under the naturally competitive circumstances of an audition.
DO avoid excessively emotional pieces. It is difficult to build a sentiment quickly and convincingly. In her concert appearances, the legendary Lena Horne sings the song "Stormy Weather" twice because, as she says, she has to "build up to it." And consider that selections like the transformation scene from Jekyll and Hyde without the benefit of costume, make-up and lighting are often unintentionally hilarious in the unforgiving light of an audition room.
DO NOT imitate your favorite performers. Don't moonwalk like Michael, pout like Bernadette or clutch the air like Mandy. And please don't wear a white half-mask or a lion's head.
DO NOT outstay your welcome, argue if you are cut off in mid-note, or be evasive about your head voice, chest voice, legit experience, range or dance expertise. Answer questions in a straightforward manner that expresses your individuality. "Well, I can move!" ranks as the most often heard evasion in answer to a question about previous dance training.
DO bring sheet music in the correct key and with all cuts or repetitions clearly marked. DO place your music in a binder or tape the sheets together for the benefit of the accompanist. DO speak clearly to the pianist and articulate the tempi by singing a few phrases. This is preferable to snapping your fingers or yelling "Faster," "Too fast," or "Slow Down" in the middle of "Ol' Man River" or "Corner of the Sky
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