Audition Video Dos and Don'ts
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PLEASE READ THESE DIRECTIONS in FULL: Spreckels Theatre
PLEASE READ THESE DIRECTIONS IN FULL: Spreckels Theatre Company announces it's Youth in Arts Summer Youth Program Disney's Sleeping Beauty, KIDS Music and Lyrics by Pyotr Ilyich Tchaikovsky George Bruns and Tom Adair, Winston Hibler and Ted Sears, Sammy Fain and Jack Lawrence Music Adapted and Arranged and Additional Music by Bryan Louiselle Book Adapted and Additional Lyrics by Marcy Heisler Based on the 1959 Disney film "Sleeping Beauty" and the story "Sleeping Beauty in the Wood" by Charles Perrault Stage Direction by Denise Elia-Yen Music Direction by Lucas Sherman Choreography by Michella Snider Performances on the Main Stage at Spreckels Performing Arts Center ********************************************************************* AUDITIONS: FRIDAY, June 16th, 5:00 p.m. – 8:30 p.m. *See below to arrange your audition slot if you are aged 10-17! CALLBACKS: SATURDAY, June 17th, 10:00 a.m. – 2:00 p.m. at director's discretion Auditions and Callbacks in the Condiotti Theater at Spreckels Performing Arts Center ********************************************************************* REHEARSAL SCHEDULE (please read carefully): July 16th, 17th and 18th: 6:00 p.m. - 9:00 p.m. Monday, July 24th thru Friday, July 28th: 9:00 a.m. - 3:00 p.m. Monday, July 31st thru Friday, August 4th: 9:00 a.m. - 3:00 p.m. Saturday, August 5th: Tech with cast 12:30 p.m. - 3:30 p.m. Sunday, August 6th: Cast and orchestra 12:30 - 6:00 p.m. Monday, August 7th, Tuesday, August 8th, Wednesday, August 9th and Thursday August 10th - 6:00 - 9:00 p.m. Friday, August 11th: actors prep at 4:00 p.m. -
The Absolute Sound
Rock Music Reviews Music Sonics Music Sonics Music Sonics Van Morrison. Born to Sing: No Mark Knopfler: Privateering. Hoff Ensemble: Quiet Winter Plan B. blue note. Mercury. Night. 2l (blu-ray and lp). Van Morrison’s first studio album since Nearly 35 years into a recording career Pick the wrong 30 seconds of this 2L 2008’s Keep It Simple marks his return to that began with the self-titled Dire Straits release and you may wonder if you’ve the Blue Note label (where he picked up album, singer-songwriter-guitarist-produ- wandered into Mannheim Steamroller a Grammy nomination for 2003’s What’s cer Knopfler holds as steady on his Land. Fear not. Though this set of 15 Wrong with This Picture?) and finds the pop course as such older baby-boom peers short compositions by the Norwegian and R&B singer and songwriter strolling as Van Morrison, Eric Clapton, and J.J. team of Geir Bøhren and Bent Åserud, on the jazzier side of street. Jazz is even Cale. He's amassed a boggling résumé rendered by the Hoff Ensemble plus six referenced in “Goin’ Down to Monte of collaboration—Tina Turner, Bob singers, is clearly of the Jazz Lite stripe, Carlo” on which Morrison complains Dylan, Chet Atkins, Steely Dan, Randy the music is harmonically inventive and about hearing “phony pseudo jazz” at Newman, Buddy Guy, the Chieftains, never cloying. The fact that the singing is a restaurant, and it’s the subject of the Prince, and others—and soundtrack in Norwegian and not translated anywhere swinging “Close Enough for Jazz.” The credits. -
Leading Congregational Singing Song/Hymn Leading Is an Important
Leading Congregational Singing LEADING AS A VOCALIST - Joyce Poley DEVELOPING A STYLE Song/hymn leading is an important skill that can make an enormous difference to the way a congregation sings. If the song leader is primarily a vocalist, there are a number of qualities that are important for success: having enthusiasm for singing; being able to establish a good rapport with the congregation; being comfortable with your own voice; having accurate pitch and a pleasing vocal quality; being excited about introducing new ideas and repertoire. These attributes will help ensure a good singing experience for both the leader and the congregation. Song/hymn leaders use a variety of approaches when leading the congregation, and no single approach or style is “right”. What is important is to develop a style that is unique to your own personality and comfort level. The following are some things to consider: • Energy & enthusiasm Probably nothing affects your success as a song leader as much as your own energy and enthusiasm. People respond to those who love what they do; enthusiasm truly is contagious. Those who already enjoy singing will simply become even more enthusiastic; those who are more reluctant, or feel they can’t sing, will want to be a part of all this positive energy. The more encouragement they get from the leader, the better they will sing. The better they sing, the more confident they become, and the more willing to try new things. Enjoy yourself and be at ease, and they will journey almost any distance with you into the music. -
2022 WMEA All-State Audition Materials Jazz Saxophones and Brass
2022 WMEA All-State Audition Materials Jazz Saxophones and Brass All examples are to be played alone (without accompaniment) except where indicated. Basic Audition Specialty Add-Ons The following three tracks are required Optional of all wind applicants ALTO SAXOPHONE (pages 3-4) LEAD TRUMPET TENOR SAXOPHONE (pages 5-6) If you would like to be considered for lead trumpet or BARITONE SAXOPHONE (pages 7-8) demonstrate your lead trumpet ability, record tracks 1-3 TRUMPET (pages 9-10) from the Basic Audition and add these tracks. Track 4 You may either demonstrate your improvisational skills by TROMBONE (pages 11-12) following that option’s instructions, or you may leave this track blank. Track 1 Play “Swing Excerpt - #1” as indicated on separate page. Track 5 Play “Lead Trumpet Excerpt - LT #1” as indicated on separate Track 2 Play “Ballad Excerpt - #2” as indicated on separate page. page. Track 3 Play “Latin/Straight 8th Excerpt- #3” as indicated on separate Track 6 Play a chromatic scale from your lowest comfortable note to page. highest comfortable note BOTH ascending and descending. Use legato tonguing, taking breaths as needed. Additional optional improvisation tracks follow, as well as tracks for lead (Quarter note = 132) trumpet and bass trombone candidates. BASS TROMBONE Improvisation Add-On If you would like to be considered for bass trombone or demonstrate your bass trombone ability, record tracks 1-3 Optional from the Basic Audition and add these tracks. Please note--if you need to take all or portions of tracks 1-3 down an octave, you are welcome to do so. -
Bluesrhythmguitarebook.Pdf
How to play Blues Rhythm Guitar like the Blues Masters Antony Reynaert www.BestBluesGuitarLessonsOnline.com copyright (c) Guitar Mastery Solutions Contents ! Introduction: How to think like a blues guitar master . 4 I. Expanding your Rhythm Guitar Playing A. How to transform your basic blues riffs . 5 B. Combining Riffs & Chords . 7 C. Riffs based on the Blues Scale . 9 II. Creativity Exercises A. Making you Rhythm Guitar Playing sound more ‘Interesting’ . 11 ! Creativity Exercises for Rhythm ! ! Creativity Exercises for Dynamics B. Expanding your Rhythm guitar self expression . 1 5 C. About Inspiration: what to play if you don’t know what to play . 15 ! Performance Tips III. Tablature Examples A. Example 1 . 1 6 B. Example 2 . 19 About the Author copyright (c) Guitar Mastery Solutions Introduction: How to Think like a Blues Guitar Master Do you know the feeling when you are requested to ‘play something’, whether being called out by a family member or at a jamsession? Do you often feel that you don’t know what to play or that you repeat yourself far too much, when confronted with such a request? When you watch the blues masters play, they are having fun on stage. They seem to be performing from a place within themselves that is free and careless. A place where they don’t have to think ‘what to play’ anymore. Perhaps you think that you should be born with some kind of natural talent and that you probably don’t possess this talent. The truth is that the masters of blues guitar aren’t born with this talent. -
Music Content Analysis Through Models of Audition
Music Content Analysis through Models of Audition Keith D. Martin, Eric D. Scheirer, and Barry L. Vercoe MIT Media Laboratory Machine Listening Group Cambridge MA USA { k dm , ed s, bv }@ me di a. mi t. ed u ABSTRACT The direct application of ideas from music theory and music signal processing has not yet led to successful musical multimedia systems. We present a research framework that addresses the limitations of conventional approaches by questioning their (often tacit) underlying princi- ples. We discuss several case studies from our own research on the extraction of musical rhythm, timbre, harmony, and structure from complex audio signals; these projects have demon- strated the power of an approach based on a realistic view of human listening abilities. Con- tinuing research in this direction is necessary for the construction of robust systems for music content analysis. INTRODUCTION Most attempts to build music-analysis systems have tried hard to respect the conventional wisdom about the structure of music. However, this model of music—based on notes grouped into rhythms, chords and harmonic progressions—is really only applicable to a restricted class of listeners; there is strong evidence that non-musicians do not hear music in these terms. As a result, attempts to directly apply ideas from music theory and statistical signal-processing have not yet led to successful musical multimedia systems. Today’s computer systems are not capable of understanding music at the level of an average five-year-old; they cannot recognize a melody in a polyphonic recording or understand a song on a children’s television program. -
Vocal Audition Form
Vocal Audition Form Name: Phone: Other Phone: Email: How long have you been attending the church? Less than 1 year 1-2 years 3-5 years 6+ years Are you a member of the church? Yes No Not yet, but I am planning on it Have you had any vocal training? If yes; For how long? And in what style? Yes - No Describe your level of experience? Can you hear and sing harmonies? Yes No What style of music do you most enjoy singing? Rock Country / Bluegrass Classical R&B Other: Name 3 of your favorite bands / singers (Not necessarily Christian): In which of the following areas are you willing to serve: Children’s Ministry Tech – Audio Student Ministry Tech – Lighting Worship Services Tech – Media (Powerpoint, Video, etc…) Audition Info What to bring: • Completed Audition Form • Cassette / CD performance track or Instrument to accompany yourself, if you choose (a keyboard will be available) What to expect: • Up to four people may be present for your audition: o Vocal Director o Creative Arts Coordinator o Band Director o Worship Leaders o Worship Leader for Children’s Programs • You will sing your prepared song (with either a recorded track or instrumental accompaniment) • You will be asked to harmonize with another singer • There will be a brief interview where you may be asked questions concerning your personal walk with Christ, your vocal experience and your time availability • Several factors weigh into the selection process; time availability, vocal ability, stylistic preferences and previous experience among other things. Our goal is to use this audition process to help make you a better musician and to help you find a place to serve in the church. -
Venturing in the Slipstream
VENTURING IN THE SLIPSTREAM THE PLACES OF VAN MORRISON’S SONGWRITING Geoff Munns BA, MLitt, MEd (hons), PhD (University of New England) A thesis submitted for the degree of Doctor of Philosophy of Western Sydney University, October 2019. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .............................................................. Geoff Munns ii Abstract This thesis explores the use of place in Van Morrison’s songwriting. The central argument is that he employs place in many of his songs at lyrical and musical levels, and that this use of place as a poetic and aural device both defines and distinguishes his work. This argument is widely supported by Van Morrison scholars and critics. The main research question is: What are the ways that Van Morrison employs the concept of place to explore the wider themes of his writing across his career from 1965 onwards? This question was reached from a critical analysis of Van Morrison’s songs and recordings. A position was taken up in the study that the songwriter’s lyrics might be closely read and appreciated as song texts, and this reading could offer important insights into the scope of his life and work as a songwriter. The analysis is best described as an analytical and interpretive approach, involving a simultaneous reading and listening to each song and examining them as speech acts. -
Beginning Strings – Keep It Simple Denese Odegaard Fargo Public Schools, Fargo ND [email protected]
Beginning Strings – Keep it Simple Denese Odegaard Fargo Public Schools, Fargo ND [email protected] I. Layering – the first few weeks A. Recruiting B. Parent involvement – Parent Night and Rental Night C. Instrument safety – unpacking, tuners, bow hair etc. D. First lessons - get them playing and reading music right away • holding instrument • open strings and fingering – by rote at first (rote warm-ups on teacher CD) • pizzicato (Lesson 1) • first fingered notes F#ED (Lesson 1) • solfege • intervals • stay on three notes while bow hold is introduced • establish good tone bowing on open strings and then go back and play previously learned songs in book • all instruments play F#ED on the D string until A is introduced along with the concept of string crossing because of the bass strings D and G • new note G follows A • establishing practice habits II. Introduction of new concepts • rhythms are introduced in this sequence : q e quarter rest h h. • when a new note and interval are introduced, a series of practice measures are learned before using the new note in songs • interval progression is unison, 2 nd , 3 rd , Perfect 5 th (because of string crossing in the bass to A), Perfect 4 th, 6 th , octave and 7 th and respective solfege syllables • time signatures start with 2/4, and then 3/4 and 4/4 (C for common time used as well) • bowing styles: pizzicato, staccato, and lift • students learn how phrases create the form of the music by marking letters of phrases in the boxes provided (ABA1B1) • ensembles: ostinato, round, tonic and dominant accompaniment • dynamics used are forte and piano • keys signatures and scales used are D major, G major and C major • bass players shift to III, II and II ½ positions and always play the melody as written (not dropping an octave for certain notes) • violin and viola learn 4 th finger notes • students learn about Mozart, Vivaldi, Beethoven, and Dvorak and play their music • introduction of 1 st and 2 nd endings and repeat signs III. -
When Auditiong for a Musical, What Type of Song Should I
WHEN AUDITIONG FOR A MUSICAL, WHAT TYPE OF SONG SHOULD I PREPARE TO BEST SHOW WHAT I CAN DO? (WHAT IF I’M A FIRST-TIME AUDITIONER AND/OR SINGING IS NOT MY GREATEST TALENT?) ALLI VILLINES. Actor, Singer, Dancer My number one rule is style-appropriate and age-appropriate. Do your research and at the very least know what the style of the music of the show is; this will inform your song choice. Sing something you love and know like the back of your hand because when nerves kick in, the first thing to go is breath followed by words. BETSY TUCKER. Director Something in your range Something like a song from the show (from same composer?) If you're new at this, practice singing "Happy Birthday" confidently in front of dear friends before auditioning. GERI CARLSON SAULS. Choreographer, Actor, Dancer & Singer RESEARCH THE SHOW. Listen to the CD, or get on YouTube and listen/watch some video (caution: as you don't want to imitate what you see - we want you to be yourself and bring what you can to each character). Most libraries have many CD's available, and online you can almost always find snippets of songs. Also ask the theater where you are auditioning - they may have something available. MATCH STYLE. Then, once you've heard what type of music the show is, try to match that style. For example, if you are auditioning for OKLAHOMA, you would want a more traditional musical theater song if possible - Rogers and Hammerstein, Lerner and Loewe, Cole Porter, etc. -
Vocal Audition Requirements for the Sound of Music
VOCAL AUDITION REQUIREMENTS FOR THE SOUND OF MUSIC What to Prepare Please prepare 30 – 60 seconds (under 1 minute) of singing from the standard Broadway musical repertoire (see the three options for selecting your song below). • Your audition piece should demonstrate your singing ability and allow you to play a character; remember we want to see you act while singing. Don’t worry if you aren’t a singer; just give it a try anyway. (Remember, there are non-singing roles in the show.) • Choose music that is similar to the style of the music in The Sound of Music. (For example, stay away from music from rock musicals.) • Bring your sheet music for the audition pianist.* The music should be in the correct key for your voice. You should have practiced with the piano and be sure that you are singing the music accurately. You will not be able to sing unaccompanied (“a capella”). • Time yourself! Make sure your audition piece is within the time limit listed above so that you can be sure that you present the best part of the song before your time is up. Please do not include a long piano-only introduction at the start of the song! Additional Preparation (IMPORTANT!) You must be familiar with the music from the show! You should come to the audition already knowing The Sound of Music from viewing/listening to it and be able to sing the melodies and key words of the most memorable parts of the major songs in it if you are asked to do so. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.