Do not use list for auditions

College Majors Musical Theater Major
201

<p>I have a question about cutting a song into 16/32 bars. Like how do you really go about it? When I've done it in the past I'd basically start from the end of the song and count back the 16 or 32 bars, though no matter what I almost always have to go over because:</p>

<ol>
<li><p>It doesn't make sense lyrically, since it might "stop" in the middle of a phrase.</p></li>
<li><p>It doesn't make sense musically to come in at that point.</p></li>
</ol>

<p>So is there a formulatic(sp?) way to go about it for every song? Cause I usually go over about a measure just because musically and acting wise it doesn't work. Especially with ballads which have the dramatic bridge and then the big ending.</p>

202

<p>I took a look at my D's audition book last night (she's a jr. in HS, so we have some time), and it's chock full of everything people here are saying don't use! Most of it is JRB, some Sondheim, a couple from Jekyll & Hyde (which is on CCM's "don't do" list, I think).</p>

<p>D is working for the first time in her life with an excellent and accomplished vocal coach who has really improved her voice and range within a very short time. He also suggested these songs. So having her untutored dad say, "You know, I'm not really sure these are the right audition songs" is not going to get a very positive response from D.</p>

<p>Any suggestions on whether to butt in, or just trust that her coach knows what he's doing? He is both a professional performer and a professional educator, and does have an excellent track record--no complaints there.</p>

203

<p>TwinDad,
In my opinion, as a junior, she is working on her repertoire and her technique, as well as acting songs, etc. My daughter has many songs like that in her repertoire and I'd have no qualms about working on such material at all. She did not start picking out college audition songs until early fall of senior year (well, her senior year was her junior year of HS but that is another story)...basically the early fall of the year she was applying to college.</p>

<p>So, JRB, Jekyll/Hyde, Sondheim, etc. are fine to have in one's repertoire. When senior year rolls around, you can share with her and also consult with the vocal coach about overdone material or what you have learned are on "not to do" lists for BFA auditions, specifically (which isn't always the same as for regular MT auditions). I would not totally rule out JRB. There are some songs of his that people successfully audition with for college. For any MT auditions, not just BFA ones, many advise to shy away from Sondheim, and so you can share that. For one thing, his music is difficult to sight read IN GENERAL, though there may be exceptions. Jekyll and Hyde has some excellent songs and it is not as if your D can't do them except if a school like CCM says no, definitely don't do it there but other schools do not have such a "no no" list and that material is acceptable. However, many of the songs from J&H are overdone and so that is worth pointing out, particularly Someone Like You. Avoiding overdone material is wise. I don't think she has to totally rule out all the songs. Then again, if CCM is on her list, why prepare some songs from one school that you can't do at another? So, when the time comes, if she has any schools with published do not do lists, adhere to those. Also discuss avoiding overdone material, the latest "hot material", and Sondheim for college auditions. </p>

<p>However, such material is good to work on and have in one's repertoire. I know my D has sung such material before in certain situations. In fact, in three cabaret musical revues she wrote, she purposely included some songs she loves singing that she knows she can't use in auditions. So, your D should keep working on that material but also be looking for potential audition material of all types to add to her growing repertoire list. Next fall, she should focus particularly on which songs would be best for BFA auditions. There is nothing wrong with her learning Sondheim, JRB, and J&H songs at the moment, in my opinion. She should extend her knowledge of the MT repertoire....legit songs from traditional musical theater, contemporary songs, even some pop type MT songs. </p>

<p>Later, she can discuss which materials would be best for college auditions and you should surely share any "information" you have heard as you can be a resource, even though the final decisions are hers to make.</p>

204

<p>I have a similar question on 16 bar cuts. Some songs do not lend themselves to a good 16 bar cut, but may have a great 20 bar cut, etc. If a song really fits you and is great for use as a whole song and 32 bar cut song (and thus good for many, if not most, auditions), can you do a 20 bar cut (for example) if your other song(s) all fit within the 16 bar cut requirement? In other words, unlike the "one minute monologue" requirement, 16 bar cuts can vary in time, so how strict is the 16 bar cut requirement? Thanks.</p>

<p>vocaldad</p>

205

<p>When cutting a song to 16 or 32 bars, it is best to go to the end of the song and count backwards. If the final note of the song is held for multiple measures, you should start counting from the first measure you sang the final note.</p>

<p>Older songs tend to cut most easily into 16 and 32 bar sections because they are usually written in an 8 bar format. 16 ars will generally give you the last lines of the chorus, and 32 bars will usually pick up at the bridge and take you through the last lines of the chorus. </p>

<p>More contemporary music doesn't always cut as easily into 16/ 32 bar segments, but counting backwards from the end you can usually find a cut that makes sense somewhere between 16 - 20 bars or 32 - 36 bars.</p>

<p>When cutting you should start at the beginning of a sentence phrase or thought... do not cut to 16 bars if it leaves you starting on the third word in a sentence. As long as you are close to 16 bars, you should be well within the audition time limit.</p>

<p>Good luck!</p>

206

<p>I have to agree with Kat that the main thing is to not cut in the middle of a phrase in the music just to be exactly 16 bars. If, as she says, the cut is the chorus but the chorus is 18-20 bars, that should be fine because it is the complete short cut basically. If the chorus and bridge are close to 32 bars but are actually 34-36 bars, that is also OK. </p>

<p>The 16 bars and 32 bars are approximations for the length or section of music. Keep as close to it as possible while still having a section of music that makes sense as a whole and is not interrupted. That doesn't mean add another section and turn the 16 bars into 26 bars, but if it means 3-4 more bars to get the entire phrasing, then it should be OK.</p>

207

<p>Thanks! I'm glad to know that how I tried to do it before was actually correct. And I have noticed that contemporary pieces are a bit harder to cut and considering my contemporary pieces are primarily my ballads, I know I really have to be careful with how I cut them so I don't go over time.</p>

208

<p>Thank you for your response to my question, Susan. That was helpful in putting it all into context.</p>

209

<p>I'm a theatre performance major at OCU right now, and I'm reauditioning for the musical theatre major in February. I've been going through possible songs for my audition with my voice teacher, and we have two picked out. However, one of them is from Spelling Bee... Is that okay? I know it's still on Broadway, but it doesn't seem like one that would be that overused. And the other (my classical) has an extremely difficult piano part, so I'm worried about it. Any suggestions?</p>

210

<p>Regarding 16/32 bars for cutting, I know there is a book out there for auditions with the cuts already done, even if you don't use those songs, it might help you get an idea of how to cut other songs.</p>

211

<p>I'm pretty sure the piano part will not be a problem. All the accompanists there can probably play anything. Jake is amazing, if he is accompanying that day. I can't believe how they sight-read, and still play it so fast! I guess I should have listened to my mom when she said I would be sorry some day for quitting piano lessons!</p>

212

<p>The important thing when picking an audition piece is to pick something that you connect with. I am telling you that this is the most important thing. The truth of the matter is that you need a song that you can sing well and you will either sing it well or not. It is not something that we like to talk about much, but either your voice is good enough to get into a program or it isn't. A couple of months of practise will not really change your voice, so that leaves the variable that you can control with the selection. You should pick something that you have a connection to and will be able to interpret well. Don't just show up at an audition and sing for a couple minutes an then act for a couple of minutes. You have to be acting the whole time. Tell the auditiors a story. And yes, you can interpret a song and tell a story in 16/32 bars. It doesn't have to be in the context of the show. Personalize it. Make the person who you are talking to in the song a real person from your life and then really see them and talk to them when you sing. And really see all the things that you talk about in your song. e.g. if you sing about the house where you grew up, really see that house and smell whats cooking in the kitchen and hear the laughter or conversations arguements that are going on. Trust me, if an auditor sees that you can tell a story while you sing then that will give you a leg up on many of the other auditioners. And last, but certainly not least, pick a song that you like. Don't pick something because your teacher or coach said it would be good for an audition. Pick something that you really like.</p>

213

<p>IJE gives some very good advice, but know that you never have to connect to a personal situation in order to act a song effectively. Doing so can be a very effective tool, but it can also be really problematic because it lends itself easily to emotional self-indulgence, which is uncomfortable to watch. That’s a fairly advanced concept, so don’t stress about it too much – my point is that you don’t have to have lived something similar to a song in order to really connect. You can also create a situation that fits the lyrics and music, or you can tell someone else’s story (a friend, etc.). There are many ways to bring a song to connected life for your audience - IJE gives good ideas, and there are many other approaches there, too - so combine them! :) (Imagery, objectives, etc.)</p>

214

<p>CoachC is 100% correct. I didn't mean to imply that you must have lived a life experience that is occuring in your song/monologue. It actually works better if you use images from your own life that are fit into the imaginary circumstances of the piece. They in no way need to be real. That is why they call it acting. Once again, have fun and love what you do.</p>

215

<p>CoachC I love you like its my job</p>

216

<p>Okay, this is probably a no-brainer, but I just thought I'd check: "See What I Wanna See" is a bad idea, right?</p>

217

<p>Does anyone have an opinion on auditioning with a piece from Light in the Piazza? ie: "The Beauty is" or "The light in the Piazza" It's recent, but it's got great songs for a more "classical" style.</p>

218

<p>The accompanist will probably hate you if you bring in Light in the Piazza, which I think is the biggest reason why it's not recommended.</p>

219

<p>Seriously- I know it's been said 903475389453094 times, but really DO NOT do something if the accompaniment is too hard. I sang two songs last year that did not exactly have whole note chords for the whole piano part, but they were no JRB either and the accompanimists always screwed them up. I mean, the notes were essentially accurate, but they never took my tempo on at least one of them and it really messed me up because I have a lot of choral training and hadn't quite embraced the "let the piano follow YOU" mentality yet. Therefore I was worrying a lot about my accompaniment and subsequently neglecting some of the acting. Not good. PS- if that happens to you PRESS ON and ignore it or ask to start over, but never blame the accompanimist. Just what I learned last year.</p>

220

<p>Good advice BroadwayBound... I would also suggest that you only ask to start over if it is absolutely necessary. If you can keep going do. Some schools will not stop the clock if you start over, so if you start over it really cuts into your time. Also, things rarely go better when you start again. Now you are flustered, nervous, rushed, and inevitably the same thing that went wrong the first time will happen again. You can really show your poise and composure by pressing on and giving a good performance even when things are not going as well as planned.</p>