Musical Theatre Audition Technique: "Backpocket" Songs

Surefire way to completely blow a vocal audition is to learn that "perfect audition song" two days before the audition....  C'mon, people, seriously....

If the audition is about getting all the right words in the right order or hitting the high note or not falling over, then have at it.  Good luck.  Working performers - most of 'em, anyway - know better.  There's no reason for them to compete with people who "just learned a song."  Working performers are there to audition against other working performers who show up just as well prepared.  So "Let the battle begin!"

At minimum, you should have five songs in your backpocket that you know inside out, upside down and can use for virtually anything (unless it's Gilbert & Sullivan - that's kind of specific).

The five songs should represent the length and breadth of roles you can play in musical theatre; whether character or leading man, character or leading lady.  If you're a kid, have five songs that were sung by kids in shows.  Be honest about your age and type, then start hunting down uptempo songs that are positive, exciting, and full of energy.  Don't pick uptempo songs that are angry or negative or explain what a loser you are.  We're trying to put together a hit show.  We really don't want to hire angry, negative losers.

In other words, sing material that says "I can!" not "I can't!"

Quick Fix: Clap The Beats To Get "In The Pocket"

Clapping to the beat might seem pretty "back to basics," we learn how to do it in kindergarten, but whether you're a pro or a beginner, it can be a huge help when trying to focus a vocal performance.  Had a minor tempo issue today with one of my favorite clients. He was "out of the pocket" (lagging or speeding up just slightly ahead of the track) singing Elton's uptempo "Fortune Favors The Brave" from Aida.  The strong downbeats appeared to be missing in his vocal.  So I asked him not to sing, just to clap to the track. Thankfully, he didn't take it personally and we clapped straight fours while the track played.  We continued clapping fours as I called out the accents (louder claps).  We accented the "1."  Then we accented the "1 & 3" (Country).  Then we accented the "2 & 4" (Pop/R&B). "Fortune Favors The Brave" can contain all three of these feels - it really depends on how you sing it.  When we added the vocal back to the song (sans clapping), the vocal performance ended up much stronger, more present and much more "in the pocket."    

Haller Music Studio - Ramped Up And Rarin' To Go!

Broadway, Pop and Rock singers of all ages; whether you seek a professional career or a great hobby, we're here for you.  We are so excited at the number of talented, hard-working people coming through our doors! Everybody gets the same attention and care at Haller Music and while many of Bill's vocal students are professionals in the arts and many of Nathalie's voice students are younger, everybody still receives the same professional training to rely on for the future.  We're in Lake Balboa, the San Fernando Valley, just off the 405 at Victory.  We have new rates in the column next to this item to help you budget for your professional development, including recording needs like demos or voiceovers.  Join us!

Navigating The Waters

Each one of us is the captain of our own ship.  We set sail at birth.  And if we have good parents, teachers, mentors and friends in our crew, we are more than likely to navigate a course through life utilizing the wisdom of their experience combined with our own best instincts, education and desire.  If we only experience rough waters in our youth, then dangerous seas can become difficult to determine in our adulthood; after all, the eye of the storm is placid, but an inexperienced sailor might still try getting out through hurricane gusts and 30-foot waves.  Fooled again.  Now that I'm 55, "navigating the waters" has become my mantra.  If, for fear of sinking, I leave my ship moored in the bay; I go nowhere.  My sails are never filled with the wind energy of life and the potential of my very being remains untested.  If, in lieu of all outward signs of danger, I set sail during a storm, my chances for success become extremely limited.  Not that I won't be able to successfully get through the storm, that's always a possibility, but upon that one success, the odds are that I'll continue to launch in storms only to learn too late that patience can be a virtue.

Launching a show or a career is like sailing from port to port.  The ideal situation is to leave your berth with clear maps, clear weather and the right course.  Then, as is usually the case, after a few days, the sea begins to have its own ideas -- which don't include you.  This is why we shouldn't take storms personally.  They're storms, get over it.  If you can navigate those waters, stay upright, keep the crew from mutiny, maintain the integrity of the vessel, keep your eye on the horizon and still get to your destination port; whatever treasure you claim at the end will still not be nearly as rewarding as the minute-to-minute experience of living life as a creative being "navigating the waters."

Vocal Performance: The Eyes Have It, Pt. 2 -- Maintain An Even Plane

Now that you have practiced your points of focus: start Center, look Left, look Center, look Right, look Center, etc. (always coming back to center between Left & Right), you want to make sure that you "maintain an even plane."
In other words, don't let your eyes go over the audience's head and don't let your eyes look down at their shoes, either.   In an audition, you might have three people sitting at a table.  Not a problem.  When you perform, don't look your auditioners right in the eyes, that can be fairly uncomfortable for everybody.  Better yet, create/imagine a friendly face right next to the face of the person in the middle.  Imagine your new friend sitting at that table.  Look them in the eyes.  This will be your center focus.
Now imagine a friendly face just next to the face of the person on the left at the table.  Left Focus.
Now imagine a friendly face just next to the face of the person on the right at the table.  Right Focus.
There you have it.  Three simple points of focus that don't invade the casting people's space, but that share the same eye plane for all to see and feel your vocal performance.
This works for all singers from the stage whether it be Pop, Rock, Cabaret or Broadway.
Another issue for those of us watching you; if you close your eyes to show us how moved you are by your own performance, you've lost us.
Next: WHEN to change your point of focus.