audition songs/ monologues

<p>You should not use a tape that has background voices on it. Further, a piano teacher's accompaniment is preferable because the pianist can "follow" the singer, just the way the singer wants to sing his rendition. With Karaoke, the singer has to follow the accompaniment. It is not important that the accompaniment sound "professional". Your son is being judged, not the musical background. It is more important that the accompaniment is just the way he wants it....his tempo, his key, the cut he wants, etc. etc. My D's piano teacher recorded her accompaniment tape for the one school that did not have a live pianist. I haven't heard of anyone using karaoke and if anything, I believe that will look less professional. Auditions for MT are usually accompanied by a pianist. Ideally, it is a live pianist. Second best is a pianist on tape who plays the songs/cuts the way they would have if accompanying you live. </p>

<p>Hope that helps and break a leg to your son!
Susan</p>

<p>VikkiE, </p>

<p>There is a place out of Cary, NC that has professional accompaniment tapes. They can even do edits and key changes very inexpensively. Their website is <a href="http://www.musicalcreations.com%5B/url%5D"&gt;www.musicalcreations.com&lt;/a&gt;&lt;/p>

<p>Hope this helps,
Lexasmom</p>

<p>can anyone remember the website to order sheet music online which is written in whatever key the singer requests? thanks!</p>

<p>there is one called sunhawk...</p>

<p><a href="http://www.sunhawk.com%5B/url%5D"&gt;http://www.sunhawk.com&lt;/a&gt;&lt;/p>

<p>idk if thats the one you are looking for, but hope that helps</p>

<p>chris</p>

<p>thanks chrisnoo!</p>

<p>there's a piece of download software, called Siberious torch, that does the transposing. I think if you go to their website, it will direct you to the music download sites. This is a neat thing. I used it this weekend. I actually used Musicnotes.com. I was able to digitally download a song, and transpose it to the proper key and print it out for $5.00. Pretty neat deal.</p>

<p>My S's voice teacher has had my S working on a song as a solo that was originally a group number (several consecutive solo parts, not harmony) in the broadway show. Is this something that would be acceptable for use as an audition piece?</p>

<p>Also, I know that there is a lot of emphasis on having age-appropriate material for the monologue, but what about the songs? It seems much tougher to find age-appropriate solo material for a song, especially for a baritone, as the younger male parts tend to have fewer solos and are ususally tenors, and most of the leads are older.</p>

<p>Any thoughts on either or both of these questions would be appreciated.</p>

<p>vocaldad</p>

<p>Vocaldad,
I"ve always been told or heard that although it is less important that a song be sung by a character strictly in the age range (less important than the monologue, that is), the songs should still be sung by characters at least close to the student's age, and be a part that they could reasonably be expected to be cast in. For example, my D sings well a song from a musical set in Asia, but since she is not asian and since her persona is nothing like the character, she doesn't use that song in auditions. </p>

<p>There are others far more knowledgeable about this out there than I - and I'm hoping they chime in.</p>

<p>ok, my bad. that software is called Sibelius Torch.</p>

<p>Thank you for the information. I'm gathering then that some students use recorded piano and some use professional tracking. From the FAQ page it looks like we need three versions of each song - 16-bar/32-bar/ and whole song. Is that what you experienced folks did...take three versions...and were they recorded on separate CDs?</p>

<p>VikkiE</p>

<p>VikkiE - I would keep them all on the same cd and just know which track is which. Perhaps put your most likely to be used ones first; i.e., 32 bar up tempo, 16 bar melody, followed by whole songs. Also add another song or two on the end, just in case....</p>

<p>Vocaldad - </p>

<p>You ask two great questions. The best answer to both is "it depends on the song" - but I know that isn't much specific help. So here's a general elaboration:</p>

<ol>
<li><p>The "group number" you are describing could very well work IF it it has solid acting value (meaning) as a solo piece. A song like "Drink With Me" from LES MIZ, for example, was written for consecutive solo voices but definitely works as a single solo (but of course it shouldn't be done cause it's from LES MIZ - it was just the first thing that popped into my head). You also want to check to make sure there isn't a "common performance practice" perception of the song as being "odd" with only one voice - like there would be for "Gee Officer Krupke," for example - again, not a great example, but I am so visual that I have to have my resources (or at least my iPod) in front of me in order to come up with better examples.:) It's best to have your song checked with an MT EXPERT to verify that - his voice teacher MAY qualify, but a caveat: many opera-trained voice teachers present erroneous info when it comes to MT rep b/c they simply don't have enough experience with that audition and performance world.</p></li>
<li><p>"Age-appropriate" simply means the song doesn't deal with material that is foreign to the actor's life experience. So "Bring Him Home" (again with the bad examples from CoachC simply for the purpose of illustration! :) ) would be age-INappropriate because of it's unavoidably paternal lyrics ("he's like the song I might have now, if God had granted me a son"); on the other hand, a young singer can POSSIBLY pull off a song like "The Impossible Dream" (yet ANOTHER bad example because it's so overdone) if he has VERY CLEAR acting intention that is NOT in the context of the show, because of course Don Quixote's subtext in singing is colored by the weariness of old age and defeat. One of the aspects of audition song coaching I love the most is helping young actors create scenarios that bring the songs to ACTIVE life, which can make many more songs "work" as audition pieces than you might think is possible! </p></li>
</ol>

<p>Since it is not necessary to do a song in the context of a show, especially for a college or summer stock/rep company audition, it doesn't always hold true that the character who sings the song IN the show must be close to the actor type-wise. There are some songs that are associated, again by common performance practice, with specific ethnicities or other distinctive types, but not many. What I have discovered in my years of coaching, however, is that certain directors and schools have their own individual slants; I have read here on CC, for example, that "Waiting For Life" from ONCE ON THIS ISLAND should only be sung by African-American girls. I have never found that to be true in my own experience as a performer and director who has cast many musicals or in my coaching experience - but there will be the occasional director or college program who has a specific unique perspective on a song or monologue or even particular type of clothing. This is another reason to check with a coach, teacher, or actor who is familiar with both professional auditioning perspectives on songs (which are constantly changing) and specific college programs' sensibilities.</p>

<p>Hope this helps (even with my "bad" examples!) ;)</p>

<p>I know that everyone has a little different idea on what works best. My daughter auditioned for 8 schools, and they had many different requirements: 16 bar, 32 bar, 2 minute, full song. We had each version on a seperate CD, and the school it was required for was labeled on both the CD, and CD cover. That way, when she went to audition for the school, she brought in the two CD's that each school wanted, and she didn't forget if she was doing the 32 bar, or 2 minute song. She also had "extra CD's" with her, just in case she was asked for more. I know this seems like alot of copies, but it was easier for her to work this way, and I actually found the system easy also. By the way, we had "back-up" copies of each CD, just in case of an accident. Nothing happened, thank goodness, and we now have "lots" of copies of various cuts.</p>

<p>I've gotta do all that CD stuff before chicago-thanks for all the info, helps a lot!</p>

<p>When you make photocopies of your music, should you mark specific metronome markings on the top of the page? Does that help or annoy accompanists? Thanks for any feedback...</p>

<p>My D is going to audition in March for the summer program MPulse at UMich. They are asked to perform a monologue from a full length play. Does that mean it can't be from a one act play?</p>

<p>Ok, I know you all may be thinking, "Why is THIS thread being used NOW???" - when so many of you are still waiting for audition results. (My students are, too - I know, I know! :) ) The reason is - I saw the CMU New York Showcase dress rehearsal today, and it really underscored to me just how important seeking material that really FITS YOU is!!! As you juniors begin to select audition pieces (I know some of you are already doing this, and it really is NOT too early to begin that search), try to get a really clear idea of what is unique and distinctive about you as a personality and a performer. The material I saw today did just that - highlighted roles these students were "perfect" for in the professional world, from gangsta wanna-be to naive young girl, and everything in between. Of course, college showcases are designed to show very polished performers who are ready to step into the professional world and often highlight dialect work (to emphasize the various ethnicites a performer can play) and other performance modes that are taboo for college audition material - but if you can find material that gives colleges a glimpse of you in your most "watchable" and "marketable" mode, you will undoubtedly stand out in the auditors' minds. I am NOT suggesting that you seek material that is gimmicky or SNL-ish character-y - anything comedic that seems like this on the surface must have a core of truth within it, as did the material I saw today. But figure out what REALLY works for you from an objective audience perspective - not from people who know you and love you, but from people who know MT and can compare you to others of your type (directors, teachers, and coaches who work with a broad range of students are your best bet for this input). I think STARTING with the idea of "I connect with and embody THESE kinds of characters in a way that audiences LOVE" - and then listing your "greatest hits" ;) - can really help initially focus your material search.</p>

<p>That having been said, there are always exceptions - I don't know if I've ever shared this story here, but Megan Hilty, now Glinda in the Broadway cast of WICKED, sang "Corner of the Sky" for her CMU audition! According to her, the singing auditors "laughed at her" (not cruelly, just at her guts in doing this) and she said, "I sang it cause I like it!" That kind of chutzpah IS Megan, and so her choice defined her in a way that was not expressed conventionally through her song - but it DID give a great insight into her risk-taking, gutsy personality.</p>

<p>Hope these reflections help the juniors who are beginning to think audition pieces!</p>

<p>What a great post! I have been thinking similar thoughts during the past week or two as HS juniors are beginning to come through for tours.</p>

<p>There is such a difference when the auditioner knows the character and truly feels a connection.</p>

<p>About typing- I know one should stick with the type they feel most natural with, but I am just curious- What are the most common "types" in the college MT audition pool? And do y'all think they get more belters, legits, or mixes? (In women)</p>

<p>In my experience, there isn't one type that is prevalent - each is unique and brings their own special contribution to the audition process.</p>

<p>I can tell you we hear more belt/mix than legit.</p>

<p>eve</p>