Killer Singing Audition Cheat Sheet - Home - The Voice · PDF fileKiller Singing Audition Cheat Sheet Sheet ... a classical vocal instructor and ... so but the producers would beg

©2011 The Voice Club. All RIghts Reserved.

Voice Instructor & Artist Development Coachwww.TheVoiceClub.com

BY KIM SNYDER

How to

Rule

Every

Audition

And Avoid the

Mistakes

Your

Competition

Doesn’t Know

They’re

Making

Killer Singing Audition

Cheat Sheet

http://www.TheVoiceClub.com


www.TheVoiceClub.com

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Killer Singing Audition Cheat Sheet Sheet

How to Rule Every Audition And Avoid the Mistakes Your Competition

Doesn’t Know They’re Making

by Kim Snyderof The Voice Club




Touring in a family trio from the age of four, Kim Snyder didnʼt know there was anything else but to be a singer. Her mother, a classical vocal instructor and performance pianist taught her to harmonize and do all of the things that singers do.

When she turned 15 she began working as a session vocalist and was introduced to rock belting. No longer was the ʻlittle girlʼ sound marketable. But belting mean the loss of most of her notes. Kim continued working as paid live vocalist, studio singer and voice talent into adulthood while struggling with the same vocal issues most singers have; Why canʼt I sing more notes? Why canʼt I have more power? Why do I feel like there are holes in my range? Am I just not that good?

After years of searching and dozens of vocal instructors who claimed there was no problem that she met an instructor who called her “a beautiful fake”. She knew she had finally found someone could hear what she had heard all along. And that meant someone who could fix it.

What began as a search for knowledge to further her own voice led into training as an instructor to help those closest to her who had the same questions.

Today Kim teaches students all over the world via Skype and is a requested conference and workshop instructor.

Having worked her entire life as a singer in every major genre and having struggled through a medical journey that threatened to take her voice forever, Kim is more passionate than ever to help every singer find their voice and make it heard like never before.

......about the author

Jingle Credits Include:Kansas City Royals, Anderson Erickson

Voiceover Credits Include:Voice of the Sprint phone, Hallmark, Disney, the NFL, Christian Dior, yada yada yada

Albums/Label:Day by Day, Rock Foundation RecordsSnow, Independent

Live Performances:Main stage, Atlanta FestMain stage, Rock the Light, Kansas CityMain stage, national telecast, Kansas City Plaza Lighting CeremonyOpening Act, Superchic[k]Opening Act, SonicFlood

More Importantly:Wife of an incredible man for over 15 years and

www.thevoiceclub.com

Killer Singing Audition Cheat Sheet by Kim Snyder




Killer Singing Audition Cheat Sheet Sheet

“ In 2011 I attended some of the ʻbig showʼ auditions with my teenage daughter. As someone whoʼs been singing for money for most of my life and who has judged talent competitions I knew how these things could chew up and spit out singers. I was hoping they would be gentle to my baby. But not surprisingly, the experience was pretty brutal; on both ends.

For one, I was really surprised at how little the potential contestants seemed to know about the audition process which left them open for more potential pain at rejection time. I also found it especially sad that, even for an audition (which is a cruel process by any standards), the mobs of hopefuls were treated with a new special level of disregard.

Letʼs be honest; auditions are tough. Yet the prize is usually tempting enough for sometimes thousands to do whatever it takes to take a stab at it. And thereʼs really no reason you shouldnʼt. After all, you have just as much chance of winning as anyone, right?

So if youʼre going to take the risk wouldnʼt you rather be among the few who knew how to prepare, to really hedge your bets and make every audition the greatest opportunity possible, regardless of the results?

You can! So letʼs get started.”

“I really want to help you grow as an artist. Thatʼs why I took the time to put this resource together for you. If you have any questions or just want to say hi you can connect with me on Facebook (TheVoiceClub), tweet me @thevoiceclub or email me at [email protected]. Iʼd love to hear from you.

Also, would you please do me a favor and respect my copyright by not passing this to others? After all, these secrets are just for YOU. Thanks!“

How to rule every audition and avoidthe mistakes your competition doesn’t know they’re making

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http://www.facebook.com/pages/The-Voice-Club/398151505102

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(clickable) Table of Contents

Types of Auditions........................................................................pg 1

Biggest Audition Mistakes............................................................pg 7

Getting the Right Kind of Attention..............................................pg 13

How to Be You...But Better..........................................................pg 17

Whatʼs in a Song?.......................................................................pg 19

Making it Yours............................................................................pg 22

Do the Judges Really Know........................................................pg 24

Preparing for TV Singing Show Auditions...................................pg 28

What If........................................................................................pg 30

The Prize Everyone is Offered....................................................pg 31







Types of AuditionsAnd What They Each Expect

An auditionsʼ an audition, right? We might think so but the producers would beg to disagree. So before we unlock the keys to designing your perfect audition, itʼs important to take a look at the types of auditions and the expectations of each.

Volunteer Musical Theater

Auditions at this level are usually for a school or community play. Judges are usually drama instructors and/or show producers. Volunteer theater is where it all begins. Because the auditions are open call (open to anyone) you have a better chance of landing a role. But in the case of Community Theater, some communities have a large residence of casual actors and in those places the competition for leading roles can almost be as tough as for paid

theater.

The expectations at this level are that you can memorize and deliver a basic monologue (a one man/woman mini play lasting a minute or so)

and a song. You might be asked to bring a headshot. Donʼt be intimidated by other talent who bring professional head shots. If youʼve got them use them but itʼs not necessary. A good picture of your face will do.

If youʼve done any other talent work; plays, public singing, etc. put it all on a resume along with your name, age, and contact information and staple your picture to that. If you print your own picture it should be printed on heavy glossy photo stock. Put your name and contact information on the back of it incase it gets separated from your resume.

Depending on the show, the song audition may be a capella (without music), with piano accompaniment (bring sheet music) or with a track (rarely). Sometimes youʼll be asked to dance a few steps they teach you at the initial audition. The initial audition posting should tell you if youʼll be required to dance. More often youʼll dance and sing another song at the callback. A call back is just a second audition to move you closer to consideration for a role.

1



“Donʼt expect all volunteer theater auditions to be a breeze. Some can be as competitive as those for paid theatrical roles.”





What song should you pick for a volunteer musical audition? The first rule is never to pick a song from the show youʼre auditioning for. Instead, choose one that has the same feel as the part you really want.

For instance, if youʼre auditioning for Beauty and the Beast and you really want to be Belle you donʼt need a big power ballad to audition with. She doesnʼt really sing any. All you need is a medium tempo song that sounds ʻlovelyʼ like Belle. Think something like “Somewhere Over the Rainbow” where can show great emotion and dynamics and still sound ʻlovelyʼ. This will help the producer hear you in the part you want more easily.

Avoid songs from any current Broadway musical as well as the ones producers are very tired of hearing. As of the printing of this book you can find a list of over auditioned songs and composers to avoid here. Check this before you get your heart set on a song. Avoiding overdone songs can matter less at a Community Theater level but itʼs still a good habit to be in.

Once you audition for Community or School Theater a callback list will be posted. The initial audition posting should tell you when and where

you can find this. Most productions will email the callback list with details of that audition if you ask. After the cast has been selected from callbacks the final show rehearsal schedule and script/song details will go out.

If you do Community Theater remember that no role is insignificant. Keep a list of all productions youʼve participated in, including school plays. Youʼll want to add them to your resume under the headings Production, Show, Producer, and Role. Keep pictures from each production just incase you need them for your resume in the future.

Paid Musical Theater Paid musical theater is sometimes open to experienced community theater actors but most commonly requires you to be a union actor. Despite popular belief, pretty much anyone can become a union actor. The reason people donʼt is that itʼs pricey. Most actors/talent wait until theyʼve been asked to do a job thatʼs for union talent only. That happens when theyʼve been doing non-union work for awhile and have the opportunity to audition for a show, commercial, etc. usually through a talent agent or casting agency.

2



Types of Auditions

“Never choose a song from the production youʼre auditioning for. Also avoid over done audition songs.”




http://www.amysundberg.com/overdoneaudition.php





The time to become a union member is when youʼre offered a union job. Most of the time what the job pays will cover most if not all of your first time union dues which can be in the thousands depending on the union. Itʼs only worth joining a union if you are in a position to seek and accept enough work to make it financially feasible. The annual fees to renew your union status are substantially lower but you donʼt want to be constantly be spending more than you make unless you have tons of extra cash in which case I want to be your very good friend.

Once youʼve been an AFTRA (radio and television), SAG (screen/film), AEA (actors) union member, or member of another qualifying union for one year you can choose to become an Equity Actor which allows you access to great paid auditions. At this level the expectation for auditions is much greater.

You will be expected to maintain a repertoire of both music and monologues showing range of musical skill and emotion. Youʼll want to have your sheet music marked with the sixteen bars, or measures, you want to sing. Youʼll want to have at least a power ballad (longing), a soft ballad (sad/demur), a really upbeat/fun song and something intense (rock, fast, or just angsty). Monologues for theater auditions will need to show the same range of emotion.

For paid theater auditions youʼll need a professional headshot. This may contain one 8x10 size print of your face and shoulders or a comp card which shows several moods. Youʼll

want to find a good agent to refer you to a photographer who does actor headshots – they are very different from standard portraits.

Your resume is typically included to show your experience, which may include Community Theater, commercials, voiceovers, singing in bands, or any performing experience you have.

Ideally you want the bulk of your resume to be theater work but fill as necessary with any other talent work youʼve done; free or paid. At this level you will need an agent. They will walk you through what producers in your area want to see. The best way to find a good agent is by looking on any of the union websites and seeing who they like to work with. Personal recommendations from other actors should help you narrow the list down to the ones that are best suited to you.

3

Killer


Types of Auditions

Comp card courtesy of http://www.acjphotography.com




http://www.aftra.org/

http://www.aftra.org/

http://www.sag.org/

http://www.sag.org/

http://www.actorsequity.org/

http://www.actorsequity.org/

http://www.actorsequity.org/membership/howtojoin.asp

http://www.actorsequity.org/membership/howtojoin.asp

http://www.acjphotography.com



Youʼll be auditioning for more people at this level. Like Community Theater there are typically only two levels of auditions; the initial audition and the callback. Casting is generally decided at that point. At a professional level auditions are pretty efficient. Youʼll sign in, supply your headshot and resume and wait to be called to audition.

Theyʼll tell you when they want to hear your song, hear your monologue and let you know when callbacks will be posted and where. Then you say thank you, smile and leave. Never chat with the producers after your audition or ask follow up questions. One question at the beginning is fine but itʼs considered very unprofessional to slow down the audition process in any way and they will remember it.

Callbacks are announced with information for returning auditions, which may include a specific song or dance to perform. After callbacks theyʼll post the list and your agent will be notified.

Local/Regional Singing Competitions

For a budding singer or singer/songwriter, local and regional singing competitions offer the chance to perform, get in front of judges and hone your singing chops in front of an audience. These range from radio singing contests to battle of the bands and school/college competitions.

Local contests are almost always designed to pitch a station, a sponsor or get community support behind an event. They are not about talent. But theyʼre still great opportunities for experience and networking with other musicians.

Itʼs important to remember that many of these contests are not organized or run by anyone with a profession background in singing. The judges may be little more than local store owners, sponsors or notable names from the local newscast. They may have little to no musical experience or qualifications for giving an intelligent assessment of your talent. So why do them? Theyʼre great opportunities for you to gain new fans, learn to control your nerves on stage and test out songs for more important auditions and performances.

4



Types of Auditions





You may or may not get comments from the judges that you find helpful. Either way, chart them the forms provided at the end of this book. If you start to see a pattern of comments after several contests (anything deeper than ʻnice voiceʼ, etc.) you should pay special attention. Use these contests as great experience and a chance to learn to encourage other, less gracious talent. Youʼre gonna need that skill!

Contests at this level rarely require the paperwork that Musical Theater auditions do. Usually you show up, fill out some kind of application and/or release and sing when called. Each contest can vary quite a bit in the way they do things so make sure you check the website and materials provided. Find a contact number or email handy for questions you donʼt see answers to.

Typically youʼll be given a slot number or time to compete. Youʼll be told where to wait and when to take the stage. These contests are a great place to try out your ʻbig showʼ auditions. Plan them as you would an audition for American Idol. It will really set you apart, especially at this stage and the experience make your big show auditions much easier.

Nationally Televised TV Shows for Singers

The big time....the lights....the cameras....the dryness in your throat that doesnʼt stop and the

knocking of the knees that threatens to topple you to the floor. Ah yes, the big audition.

TV talent shows are just local contests all grown up. At the upper level you will have judges who should know enough to tell you something about your voice. I say ʻshouldʼ because Paula Abdul broke the record for wardrobe over talent

comments on American Idol.

Itʼs crucial to understand that TV talent shows are first and almost exclusively TV shows NOT talent shows. Thereʼs nothing wrong with that. But understanding that will help you make the most of your audition and the information you receive.

5



Types of Auditions

“The most important thing to know about televised talent shows is that they are ratings, not necessarily talent driven ventures.”





TV shows exist for ratings. Their goal is to evoke an emotional response like hatred, shock, love, or joy from the widest audience possible. Talent is just the avenue they happen to be using. Thatʼs why they will send a talentless clown out on stage before a sweet little songbird from Texas. Despite what their marketing material may say, they are not looking for the best singers in America, or Holland or anywhere. They are doing what all TV shows do: typecasting.

Again, nothing wrong with typecasting. Thatʼs how shows get ratings. Who to cast on a show is a literal science that they spend millions of dollars on developing. What is important is that you realize that the assessment of your talent on a TV talent show has to be viewed through the lens of typecasting.

They are only looking at how you fit into their plan for their show. That is their job. While itʼs impossible not to take their critique of you personally, please remember they are not there to determine whether or not youʼll every

succeed in music, just if youʼll make it on this season of their show.

Have you ever wondered why itʼs so hard to get behind the scenes details for these shows beyond the first big audition? They beg you to tweet about it then shut you up! It all goes back to who they are; a show. The reason for all the silence is just business. They donʼt want other similar shows to know anything about their process that can be replicated elsewhere and steal their ratings.

Thatʼs why youʼll be asked to sign a disclosure that prevents you from ever talking about the process of the show. Most shows will have you sign a more detailed agreement every time you make it to a new round.

Sometimes itʼs hard just to know if you did make it through. Attempts in creativity from lower level producers make things even more confusing. Hereʼs the simplest way to tell: If you audition for a TV talent show and hear anything other than “Weʼd like to see you back at…..” they are saying no. If you make it through to the next round you will always be given detailed instructions about your callback.

So what are they looking for in a TV talent show? They want you to be whatʼs on their list so they can make a great show, get good ratings and make money. And the best way to make the cut is to prepare a knockout, professional audition catered to what they need. Weʼll walk you through just how to do that ahead.

6



Types of Auditions

Courtesy of http://xfactor.itv.com/






Biggest Audition MistakesKey Reasons Auditions Fall Flat

I have some great news for you. Of the hundreds of thousands of talented hopefuls that will audition for musicals, productions, singing contests and TV talent shows this year, only a small percentage really know what theyʼre doing. That means that you get to choose which category you want to be in; the small number who really have a chance at nailing an audition or the larger group who really donʼt.

Maybe youʼre thinking, “I got this. Iʼve taken musical theater auditioning classes. Every audition is the same, right?” Well, no. Each type of show youʼre auditioning for can be the same or totally different. Take those auditioning techniques you learned into a different kind of audition and you move right over to the group you though you had escaped!

Besides not considering the type of audition, here are some of the most common audition mistakes people make:

1. Winging It

Among the worst audition offenses is the singer who is so confident that they can do anything that they do nothing of value at all. We call them

the winger. They have performed so many

songs well that itʼs really not necessary to do much more than pull one from the pile and saunter in to the audition. Does it work sometimes? Have people survived going over Niagara Falls in a barrel? Sure. But the odds are itʼs not a smart idea. Why?

Winging an audition tells a judge 2 things about you:1.You donʼt care enough to prepare. ## Translation: You have more ego than work

ethic. They can find ego anywhere, but work ethic, not so much.

2.Youʼre not serious about the role/show . Translation: They shouldnʼt be serious about you either.

3.You donʼt respect what theyʼre doing.## Do you know how many ʻincredible, off the

cuffʼ auditions they have to listen through? You just added one more. You are now not their favorite person and youʼre not getting through.


©2011 The Voice Club. All RIghts Reserved. 7


Many singers think that winging it shows what a pro they are when it really shows how little they know about auditioning. Besides, any singer, even a truly great one, can sound ten times better in a carefully prepared audition than in one thrown together while waiting in line. Show them the pro you are and make it worth your time, and theirs, by knowing exactly what youʼre going to do and why.

2. Choosing the Wrong Song

How many times have we heard a rejected singer claim, “It was just the wrong song.” Most of the time there are a lot of reasons why an audition doesnʼt result in a ticket to the next round or the role you want. While ʻthe wrong songʼ is rarely the only reason, itʼs usually on the list.

Many times singers approach picking an audition song like a shopping trip gone bad. Letʼs say you had an important, high brow job interview

coming up. You need something to wear for your petite little frame. So of course you run down to your neighborhood Eno-Barn, take a quick look around and grab the first thing that catches your eye; a size XXXL hunting vest.

Choosing a song for an audition is no different. There are songs that are right for the occasion and songs that are not. There are songs that fit you and songs that donʼt. Then there are the songs that donʼt just fit you but really look good on you.

You donʼt want a song. You want the song that sells you.

Maybe youʼre rethinking some past, or current, audition song choices. Is your song wrong for you? Here are some classic warning signs that it might be:

•You havenʼt taken time to familiarize yourself with the show/play enough to know what makes them different from their competition

•You picked the song mainly because itʼs popular

•You picked the song because youʼve heard others audition with it and it turned out well for them

•You picked the song because you know it well

•You picked the song because people seem to like it when you sing it

## # Did you pick the wrong song? Weʼre going to fix that coming up.

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Biggest Audition Mistakes





3. Singing to Yourself

Please tell me Iʼm not the only one who likes the ʻbad auditionʼ episodes more than the actual ʻgood singerʼ episodes on shows like American Idol. Itʼs like rubbernecking when thereʼs an accident on the road. You just canʼt look away.

One thing that signals a bad audition is the singer that stares into a black hole in the room, never breaking focus through their entire song. Then there are the ones who close their eyes so tightly that you have to wonder if theyʼre expecting it all to go away when they open their eyes again.

Some singers hold perfectly still during their song like they are willing every note into place with all that they have. Still others have practiced ʻmovesʼ like touching their heart when they sing ʻheartʼ or ʻmeʼ and pointing when they sing ʻyouʼ, all while looking into that black hole. While the intent is to look like a better performer the result is anything but.

Sure we want to move and get into the music. Closing your eyes is totally fine and appropriate sometimes. Just remember this: you are not alone.

Itʼs nerve wracking to put it all on the line in front of a few strangers that have the power to crush your dreams. You can think about that before and after your audition. But during your song your job is to sing to them.

Songs are just stories with notes added. We donʼt tell someone a story by looking at a focus point above their head. If you approach your song like a story and your judges as the

audience you will naturally look at them, connect with the emotion of your song, move more naturally and even vocally style more naturally and spontaneously. In the end youʼll always come across as a much better performer.

Once you have the words down spend time really connecting with the story. Let your styling come out of that emotion, urgency, angst, sadness, etc., and your performance will be art.

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Where should you look?.......................AT A FACE (one at least)

What should I think about?..................THE STORY YOUʼRE TELLING

How will I know if Iʼm doing it right?....IT WILL SHOW ON YOUR FACE

What will happen?...............................YOU WILL SEE THE STORY

" " " " RECEIVED ON THEIR FACES





4. Going for Shock Value

I get that TV shows need someone to laugh at. I understand that some singers feel that the ʻfreak factorʼ might be their only chance at getting on TV. But even in musical theater and other auditions there seems to be this misconception that setting yourself apart from the competition means putting yourself in another space-time continuum altogether.

Sometimes itʼs outrageous costumes or just really weird song choices. Lord help us, sometimes itʼs both. At the X-Factor audition I attended in Seattle there were two that are seared into my memory; a very large woman who dressed like a clown and sang like one too and a middle aged man in a flamboyant hat with the worlds largest white feather who sang opera. This is not him pictured below but clearly this has been tried before!

As a disclaimer I have to tell you that Iʼve never really had the desire to be on TV so maybe this all seems weirder to me than it should, but it was so hard to watch.

For one, the large woman was putting herself out there to be laughed at and judged as a non talent. Donʼt we all get enough of that without a costume? Why would you put yourself through that?

The middle aged man was clearly a good opera singer. He made it through to the second round. But the reality is that the X-Factor is not an opera star making machine. If he made it through he would have gotten some face time to brag about but either wanted to be viewed as talent, it was a total fail.

I donʼt know about you but if Iʼm going to stand in line for two days I want to be taken seriously.

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Is it just me or dies this look like the same guy? Could he be a serial costumer?





If youʼre going for little more than your 5 (or less) minutes of fame, this book is not for you. But if youʼve read this far Iʼm going to assume that you do want to be taken seriously as a singer. So avoid the temptation to go so far over crazy hill that your talent is no longer the object of your audition.

Color your hair all funky, wear something edgy but functional; which automatically omits the homemade Transformer Car getup. Just make sure the star of your audition is your voice. Auditioning is hard work. Donʼt waste it all on being the butt of someoneʼs joke.

5. Not Saving the Drama for Your MamaI spent the last year attending some of the larger auditions with my teenage daughter, a budding independent artist. I really love her. No one else could get me to stand in line in the cold Seattle air that long without sleep, adequate Starbucks refueling or bathroom breaks!

Not having lived under a rock, I knew we were going to see high drama. After all, many people

who audition for these shows really do believe that being accepted or rejected here determines their value as a singer and either begins or abruptly ends their chances at every succeeding. Heck, Iʼd be crying like a baby if I believed that too!

What breaks my heart is that no one has helped them to understand that an audition is just a casting call for a specific role. Good singers will

be passed up. Bad, or at least sub par singers will go through. You will feel horrible if youʼre rejected. It doesnʼt matter if it happens at round one or round twenty one. But it doesnʼt have to determine who you are or dictate whether or not you should do something you love.

Auditioning is a chance to see if what you do fits what someone is casting for. Many times there are good reasons you donʼt go through that should be looked at; musical ability, performance skills, unique styling, experience, etc. But many times youʼre just not right for the role.

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6. Defying Gravity The most painful part of attending the X-Factor auditions for me was the stadium filled with over styling power singers all singing at once in their respective fabric lined audition booths. Too….many……loud…..wandering……notes….at….once!

Everybody wants to show off what they can do at an audition; talent show or otherwise. Most shows/plays want you to have a solid power voice so you have to show that in some way. Of course we all want to sound like a star so we grab every trill and run weʼve ever heard or rehearsed and cram it into every possible open place in our song.

Whatʼs wrong with that? A good song (one that fits you) is like a woman putting on the perfect little black dress. All it needs is a tiny bit of bling (styling) to bring it all together. But most singers grab everything theyʼve ever heard and cram it into their audition song. Itʼs like wearing fifty necklaces over that little black dress. Pretty soon youʼre so distracted by the sparkle that you canʼt even notice how great that dress is. (Sorry guys, Iʼm a girl. I just go there.)

Styling well makes a song sparkle at just the right moment. Styling includes runs and trills (notes that go off melody and run around), dynamics (getting softer/louder, money notes; holding and pressing into a note for a long time) and any other tool you use to vary the basic melody, tempo, feel and texture of a line.

Simple space is a rare commodity in an audition song. Use that to your advantage. Hold out a note. Just hold it. When you start to run out of air snap it off. This is most easily done by overemphasizing the last consonant. If you were to do this with the word ʻTakeʼ it would sound more like ʻTaaaaaaaaaaaaaaaaaaaaaaaKeʼ. Snapping off a note is like saying “yeah, I meant to do that”. No one even notices you were running out of breath. Itʼs a great way take command of a song especially when you only have a short time to establish what you can do.

Look at the rest of your styling in your audition songs. Throw in those incredible trills somewhere just make sure you vary your styling tools and place them carefully so you can set yourself apart. Control is a very attractive quality in a singer.

If youʼre looking for a good resource to develop your own unique styling and understand what you should put where to perfectly style every song check out my video course with bonus E-book “7 Steps to Successful Styling”.

.

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http://www.thevoiceclub.com/7steps







Getting the Right Kind of AttentionStanding Out as a Talent, Not a Joke

Yes itʼs true that pretty much every televised talent based show purposefully casts, well, ʻnonʼ-talent. But if youʼre taking the time to read this Iʼm going to assume you want to be taken seriously. Even so, many well-meaning singers who perfectly expect to be taken seriously find that the feeling is not so mutual. So what is it that a judge takes seriously?

PreparationThe fact that youʼre reading this tells me youʼre willing to prepare. It also means youʼll have the tools to know how to prepare for your next big audition. Preparation tells the judges that you respect their time and that you are worth taking seriously in return.

Prepare your songs You donʼt have to learn all the verses, just the parts youʼll use to audition with. Weʼll get to how to choose which parts those are in a little bit. Know the melody well and know exactly where youʼre going to show off what you do.

Prepare your answers All auditions have basic

questions. And theyʼre generally very few. If you prepare well you can maximize the information you give the judges/producers to every answer. And the result is like getting to submit an additional page to your resume that no one else is allowed to submit.

In theater auditions the simple question “What similar roles have you played before?” can be answered to let them know not only what role youʼve played but what you brought to the table.

Instead of “I played Captain George Von Trapp in Sound of Music,” instead say, “I enjoyed bringing the tender side of Captain George Von Trapp to life.” Why?

Now they know that:1) have experience in a similar role and 2) really do your homework to bring the nuances

of a character alive.

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To answer the question “Why do you want to be the next American Idol?”, skip the over done “I want to inspire others with my music” and give them a real reason to want to put you there. Make it personal and plan it ahead. “l lost my mom when I was twelve and felt so alone. One day there was a song on the radio that really made me feel like I could go on. I want to be that voice for someone.”

At the end of this book youʼll find a great resource to walk you step by step through preparing your audition right the first time.

PoiseNot to be confused with the adult diaper, poise is a quiet confidence that tells people you know what you can do but draws them in to find out more instead of throwing it up all over them.

Great, so how do you act all quiet and confident when youʼre hands are shaking and your heart is beating out of your chest? Well that comes with experience and control. Thatʼs why itʼs always in your benefit to audition for whatever suits you and perform whenever possible.

Hereʼs the cheat sheet on instant poise:

1. Slow deep breath in.

2. Slow breath out.

3. Chin up.

4. Casual walk.

5. Look them in the eyes.

6. Friendly smile.

7. Resist the urge to rush anything; your

rate of speech, your song, your walk.

8. Choose to relax and take the time you

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“It takes no more time to carefully prepare an audition to give yourself an advantage against the competition than it takes to weed through dozens of

songs when youʼre not sure how to prepare. “





Rushing anything is a dead giveaway that youʼre nervous and while they honestly expect that, poise is the answer to a basic human communication barrier.

When you meet someone for the first time you react to the feel they give off; if theyʼre shifty eyed you donʼt trust them. If theyʼre too touchy you want to back away. When theyʼre really nervous it puts you a little on edge too. So the more you can look approachable and relaxed in your audition the more approachable and relaxed you make the judges feel. And that can translate into more conversation, opportunities to show them what else you can do and ultimately, getting the part or getting through to the next level.

Own Your Time

Auditioning can be so unsettling that the urge to rush and just get it over with can be overwhelming. The problem with rushing is that it both makes us look unprepared and usually results in the ʻjewelryʼ of our song just getting lost in the pace.

Weʼve already touched on slowing down and regaining poise. Now letʼs take that to the next level and talk about how to own your audition time.

The beautiful thing about an audition that most people overlook is that those few minutes belong completely to you.

You donʼt have a band forcing you to sing to their tempo. Itʼs just you and the judges. And theyʼre waiting on you.

If youʼve ever read a magazine or know anything about graphic arts you know that ʻwhite spaceʼ is important. Without it the coolest graphics in the world would be lost in a sea of color and the eye couldnʼt set them apart to see how amazing they are. Without white space you couldnʼt read this line. It may not be the star, but white space is essential for good layout and design.

In the same way your audition should have white space. Slight pauses before you answer a question. A deep breath whenever you need it. And the most powerful of all audition white space maneuvers; milking the space in a song.

15



Getting the Right Kind of Attention





To experience what itʼs like sing this line:

“When you wish upon a star makes no difference who you are. When you wish upon a star your dreams come true.”

Now sing it with a distinct pause at the commas:

“When you wish upon a star, makes no difference who you are, when you wish upon a star, your dreams, come, true.”

Hear the difference? Letʼs take it one step further. This time press into every bold word and slow it down, pausing even longer at the dots.

Give it a try.

“When you wish upon a star…. makes no difference…… who you are. When you wish upon a star…. your dreams come true.”

What do you think?

Which is more interesting?

Which makes you want to lean in and anticipate?

Taking control of the timing of your song gives you a chance to show how in your element you really are. After all, if youʼre not fun or interesting to watch at your first audition theyʼre not going to give you the chance to try again

with potentially millions in the viewing audience and millions of their dollars on the line,

Try adding white space in your audition. See what a difference it makes.

W H I T ES P A C E

I SG O O D

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Getting the Right Kind of Attention





How to Be You... But BetterSelling Yourself in 90 Seconds or Less

On average, an audition song should be under two minutes. Add to that the little bit of conversation you might have and youʼre looking at three minutes maximum to make a good impression. Thatʼs a problem when the typical judge makes their decision in the first sixty to ninety seconds. So how do you show someone all youʼve got in ninety seconds or less?

The Pitch

Who are you? If I asked you to tell me in fifteen seconds right now could you? You could if you have a ʻYou Pitchʼ prepared.

Start by making a ʻyouʼ list. What makes you you? Write down your personality and qualities people mention when they talk about you.

Are you friendly, serious, fun, loud, edgy, sarcastic, shy, nerdy? Write ʻem down.

Now for your story. Everyone has one. What are the 3 hardest things that youʼve gone through? How have they changed you? How was your music there for you? Did it encourage you? Make you not feel alone? Bring healing?

What are the three greatest things about your life? How does your music relate to them? Take your time with this and write down anything that comes to mind.

Now look at those lists and circle the ones that stand out most to you. Narrow it down to three qualities, one hard thing and one great thing and how music was a part of that for you.

In business there is whatʼs called an ʻelevator pitchʼ. Itʼs basically a few lines describing your business that should last no longer than a short elevator ride.

Youʼre ʻYou Pitchʼ is your personal elevator pitch. Label artists are constantly developing new short pitches like this to sell themselves and their latest project in their interviews with media and potential business partners so why shouldnʼt you?

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Having a ʻYou Pitchʼ rehearsed enables you to get out the most important information in the shortest amount of time.

So the next time youʼre asked something like, “Why should you be the next American Idol” your ʻYou Pitchʼ will not only answer the question but give them a condensed sales speech to convince them that youʼre a keeper.

The Hit

When you have such a short amount of time to let someone know who you are, every little detail counts. This includes what you wear.

A general rule for TV show auditions is to dress like youʼve made the top ten and are dressing for a live show. But now that youʼve developed your ʻYou Pitchʼ you can customize your wardrobe choices to really drive home who you are to the judges.

A general rule for TV show auditions is to dress like youʼve made the top twenty and are dressing for a live show. But now that youʼve developed your ʻYou Pitchʼ you can customize your wardrobe choices to really drive home who you are to the judges.

In choosing your ʻtop tenʼ outfit, what should your clothes say about you? If one of your qualities is funny, wear lime green shoes or some little fun and unexpected thing. If youʼre edgy, show off the tats (tattoos) and nose rings. If youʼre sweet, find a sweet skirt that still looks

top ten appropriate. Donʼt go for shock value, go for “This is so me….dressed up and ready for the top ten. Now put me in!”

Then go in with a ʻtop tenʼ attitude. Expect that they already like you and are anticipating hearing more from you. Combine that with a well prepared audition piece and in ninety seconds or less they really will like you.

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How to be You...but Better

Courtesy of http://www.telegraph.co.uk

Think Susan Boyle AFTER, not BEFORE




http://www.telegraph.co.uk

http://www.telegraph.co.uk


What’s in a Song?How to Narrow it Down to the Best Audition Pieces for You

Most people start picking an audition piece by going through piles of songs theyʼve done before or raking through the internet for some stranger on Yahoo answers to unlock the key to it all. But picking the perfect audition piece is actually a lot less work than that if you just know where to start; at the very beginning.

Narrowing Down Your Choices

First, what is the show or play youʼre auditioning for? If itʼs a musical, whatʼs the main theme? What is the personality of the character youʼd like to be cast as?

If itʼs a talent competition, what is the purpose: sponsor attention, money for a cause, to discover power voices, pop voices, unique voices? Who is the target audience: local residents, 14yr. old girls, grandmothers? How do you fit into the showʼs concept? Do you have a great story? Do you have a unique texture or quality to voice?

Once youʼve taken the show and itʼs purpose into consideration and have taken an honest look at how you fit into it, you can start to scratch

off the songs that donʼt fit that purpose from your possible audition list. If youʼre auditioning for X-Factor, which tends to cater to big voices you can skip your smoky soft version of Blackbird in favor of something you can really take somewhere to show off the feature in your voice that theyʼre really looking for.

Classics or Hits?

I often get asked the question, “Should I pick an old song or a new song?” And while neither is nearly as important as picking the right song for you and the production/show youʼre auditioning for, you might still have both new and old songs on your newly narrowed list that you have to choose between. So whatʼs the best way to decide?

1) Your age: If youʼre young (under 20) singing an older song or a classic can give you that appeal of being an ʻold soulʼ. If youʼre in this age group and you find that sounding really young has been a comment

youʼve heard a lot, an older song might be the better choice for you.

On the other hand, if youʼre over 30 singing a ʻclassicʼ tends to draw attention to your age rather than your talent. If youʼre between 20 and 30 lean toward the one that makes you appear younger or older, whichever you want.

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2) The Audience: if the target audience is 14 year old girls youʼre not going to find much wild applause for a Credence Clearwater Revival song. That said, the popularity of ʻretroʼ songs has now made remixes of older songs new to younger audiences.

To check if an ʻoldieʼ is really a ʻnewbieʼ again, just search for it in iTunes and see which two versions are most popular. If one of them is a new remix of the song, you can use it for any age audience. If not, pick songs that are closer to the main age of the target audience to be safe. Most network TV shows aim for the widest appeal possible. If they can rearrange classics or older rock songs into tween versions they can capitalize on the interests of both age groups. Thatʼs why weʼve seen tons of retro mixes in the last few years. If you donʼt need to pick a song to counteract your age and youʼre auditioning of a network TV talent show, any age song will work. Just avoid #3:

3) Songs That Have Been There and Done That: Unless you sing regularly and have a large repertoire, the first ten audition songs that come to mind are probably on the blacklist of songs to audition with. That includes songs in the last five years that were chart toppers and songs of any age that have been SO overdone that many producers and judges just canʼt get beyond being sick of them to hear the great voice thatʼs behind it. There are lists of overdone songs everywhere

on the internet but a good general rule is that if itʼs super famous, itʼs overdone. At this point almost all Michael Jackson, Celine Dion, etc. hits should be avoided unless you honestly can bring something completely unique to them. What does that mean? If you have created a totally unexpected arrangement to a popular song, go for it. It is a risk. But if you do it well it can really pay off. But if your version is not 75% different than the original song, move instead to lesser-known songs from your favorite artists.

Which One Fits YOU Best

Now that you have a good idea for which songs are going to fit the show and not annoy the judge itʼs time to plug in the ʻYou Factorʼ. Lay your list of potential songs aside for a minute and answer the following questions:

1) What do you love about your voice? (control, range, power, texture?)2) When are you the most connected to what youʼre singing? (when youʼre rocking, when youʼre singing a sad story)3) What are the comments people make most about your singing? (Do they love the softness in your voice, the power, the way you communicate, the edginess?)

Now revisit your potential audition song list and ask yourself which songs meet that criteria. Those are the songs that are perfect for this audition and your voice.

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Whats in a Song





Three Must Have Songs for Every Audition

You are a fortunate soul if you get asked to sing three songs for any audition. But the following songs are not just to have on hand, just incase. Theyʼre essential so you can change your audition plan last minute if you find out something about the show that letʼs you know you need to take your audition in another direction. What are they?

Something That Moves: You want to have an upbeat song. It can be an all out rocker or just a very happy kind of tune that makes you want to snap your fingers. The key to this song is energy. If you find that the last three auditions before yours led with power ballads and didnʼt get asked back it might be a good idea to pull out something to change the mood of the room. A song that makes you wanna move tends to make people want to move along with you. And moving makes people happy. Maybe even happy enough to send you through just for the favor.

Something That Moves YOU: A song that you are emotionally connected to is a must have. This might be

a very soft jazzy tune or a power ballad.

The key to this song is moody. It should affect you personally; make you almost cry, take you back to a time in your life. It should tell a story that makes the judges a passenger on your emotional ride. If the auditions before yours are all screamers or crazy it might just be time to lead with a mood change.

Something Different: This song might be comic relief, a surprising style (conga, reggae, etc.) or just a song that you do something really different to. (No nose flute, please.) The key to this song is unique. Some auditions allow acoustic instruments. Your ʻsomething differentʼ song might be something with banjo or ukulele. Just donʼt let the instrument alone be your something different. Style it differently and make it very unique.

This song will seal the deal when youʼve been asked to sing a song or two and they ask the golden question, “Do you have anything different?” Youʼll be like “Oh yes I do!” Even if you never get to use your ʻsomething differentʼ in your audition, this will be a great song to pull out the next time you get one shot to take the stage where other singers are singing the usual stuff. Itʼll make you a star. Ok, no promises, but done well, it will make you popular pretty fast.

So weʼve narrowed our potential audition song list way down. Itʼs like the final round of competition for your songs. Think youʼre done? Not yet! Itʼs time to make the best songs even better.

21



Whats in a Song





Making it YoursHow to Arrange a Song Just for YouYou are sooooo way ahead of the competition already if youʼve done everything in this book so far. Your songs are perfect for the audition. Your songs are perfect for who you are as a singer. All thatʼs left is to arrange them to maximize the ʻYou Factorʼ.

Parts is PartsEach song you sing has a ʻmapʼ. If youʼre in any kind of band this probably sounds familiar. Why do you need to map your songs? Because itʼs going to make arranging them much simpler.

If you listen to your songs you should be able to discover the ʻmapʼ pretty easily. Write the parts of the map on your lyrics sheet at the beginning of each section; V1, CH, V2, BR, etc.

Some songs totally buck the system. If you have one of those just mark the sections in a way that makes the most sense to you.

Now put a star next to the sections where youʼre doing something great. If youʼve sung the song previously you know where the magic is happening for you. If not, sing it through a few times and experiment with a few things. Make notes of where in the song itʼs easiest to highlight your power, texture, trill, etc.

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Intro ! The first few measures of a song before the singing starts

Verse 1 Usually, but not always the first sung part of the song

Chorus The main part of the song, usually where the title comes from

Verse 2 Most songs have at least 2 verses. Youʼll know itʼs a verse if the melody is the same as

before but the words have changed

Chorus x 2 At some point in the song the main part will repeat so people remember it

Bridge This is a different part of the song that introduces something new. Usually itʼs sung, but

sometimes itʼs an instrument solo. Some songs donʼt have bridges

Chorus x 2 There may be a key change somewhere in or before the last couple of these

Tag This refers to a repeat of the last line or few words. Many, but not all songs use a tag

SAMPLE SONG MAP





Because of the time limit of an audition song youʼll want your final audition piece to contain only two of the elements of the song map: a verse and chorus, a bridge into a chorus, a chorus into a bridge with a tag at the end, etc.

Donʼt let this throw you. All you need to do it pick the two best sections of the song for your voice and put them together in a way that makes sense to your ear. This will be your new song map. Now itʼs time to dress it up.

Add Dynamics

Dynamics are shifts in the volume or sound of a note. Donʼt fall into the trap of just copying the dynamics of the original version of a song. Look at the lyrics and what youʼre doing with the melody and decide where it would be cool to get really soft. Where would it fit to get really big?

In some songs there really arenʼt much better choices than the original song used. But you can still customize the dynamics. Just start softer than they did and make the dynamic shift bigger when you build it up. Or back off of a line they didnʼt . Backing off is just as impressive when done correctly as belting a note.

Add Charm/PersonalityWe already wrote out the parts of your personality that need to be highlighted. So add them into the song. If youʼre fun, where does a cute smile and maybe a little wink work in the song? Where can you build the energy to show your intensity? How can your face show who you

are? If youʼre edgy, let it show the angst on a cool thing you do on a note. If youʼre really plugged into the emotion of song donʼt be afraid to look sad. Donʼt act. Feel the song. Take the biggest parts of who you are and look through the song to see where you can add those things in.

Add SurpriseMost people donʼt know how to do anything other than try to sound like a singer that did a song. Copycats only get so far. If you want to show that you are really an artist and not just a singer, do something to prove it: Sit back on the beat just a little (this works better on a song you can snap to so they realize youʼre sitting back on the beat). Rush a line then slow down. Heck, come to a dead stop and pause before finishing a line. When things donʼt go as ʻplannedʼ in a song, the judge is forced to pay closer attention. And thatʼs always a good thing.

Take for example the song Somewhere Over the Rainbow. Sing this line:

“Somewhere over the rainbow, way up highThereʼs a land that I dreamed of once in a lullabySomewhere over the rainbow blue birds flyBirds fly over the rainbow, why then oh why canʼt I.”

I couldnʼt hear that but Iʼm sure it was lovely. Now letʼs take it somewhere new.

23



Making It Yours





Letʼs assume that anything in black bold is pressed into (sung more strongly). Anything BOLD AND CAPS is power singing/belting. Anything in pink is sung very lightly and gently and […….] is white space, or a long dramatic pause. Now try it again:

“Somewhere over the rainbow, way up highThereʼs a land that I dreamed of once… in a lullabySomeWHERE over the rainbow…..blue….birds…. flyBirds fly OVER THE RAINBOW, why…..then………………oh why………….canʼt I”

What do you think? Does it add more dimension? Does it make the listener wonder what youʼre going to do next? Add surprise is like a smart roller coaster. It takes the listener on an exciting ride where no one knows where theyʼre going next but theyʼre just happy to be along for the ride.

Do The Judges Really Know What They’re Talking About?Who Do They Think They Are

I love watching the big TV talent show audition episodes where a singer will talk how much they respect the judges before their audition and

come out of the room calling them every name in the book. I get that. We want to believe they know what theyʼre talking about. We believe theyʼll love us. But when we donʼt get the response we hoped for itʼs easy to see how absolutely crazy they must be.

By now you know that judges are just doing a job. You have a set of expectations to fill for your boss or company and so do they.

Even volunteer judges in community productions and local talent shows are given a list of what to look for. For the most part they do a great job of using the experience they have to impartially judge you based on that list. But itʼs also true that not all judges are qualified to judge your talent alone.

24



Making it Yours





What Does a Local/Regional Judge Know?All shows, contests, etc. use judges from a variety backgrounds. They may have no musical background or experience at all or they may be very accomplished. The more local an audition is the higher the chance that you will have judges who have very narrow musical backgrounds.

They were in a band or did some local theater. There is absolutely no problem with that. Just be aware that they are doing the best they can to view what you do against their ʻaudition checklistʼ. They are not qualified to tell you whether or not youʼll ever succeed in music. Their opinion is very important to the show theyʼre judging, but should never be taken as ajudgment on you as a musician as a whole.

What About TV Show Judges?

When it comes to auditioning for a network TV talent show the judging criteria is even more muddy.

The first ʻproducersʼ you will audition for will more than likely be a pair of college age kids with little to no producing or talent experience. They are given a list of what the show is looking for at a basic level and how many people they need to make the cut for that level.

When they listen to you they are comparing you to the checklist. Thatʼs why itʼs essential to not

just sing well but to engage the producers. Be friendly and disarming whether they respond to it or not. You might just get their attention off the list long enough to like you a little more.

At each additional level there is another set of show producers. As you climb the chain the list of what they need for the show and the number to be let through narrows and the judges (usually) become more experienced. Keep in mind that most of their experience might be producing shows, not singing or working with talent. Itʼs is a TV show after all.

When you get to the level where they start taping for the show you will be moved on to the ʻrealʼ judges. Finally! An honest assessment of your talent, right? Maybe. Again, these judges are here for one purpose; to see if you fit their checklist for what the show wants to put in front of their target audience. That is their job.

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Do the Judges Really Know





At this level the opinions are generally much more experienced and because of that, more of what they say really does apply to you as an overall musician. By far the greatest example of this is Simon Cowell. Simon is not a musician, but he is someone who makes a living singling out talent that can make him money. Thatʼs a person who has an incredibly high value opinion for an artist. Simon is definitely a ʻqualified opinionʼ. More on that in a minute.

Even though judges comments at this level are generally very qualified, you have to remember that everything said has to be viewed through the filter of ʻshow talkʼ. Keep that perspective and youʼll be able to find the really good nuggets of information in the middle of comments that really only apply to that round of that show.

A Note About ʻStarʼ Judges

Star judges are chosen because youʼll watch them. But many times their experience is not in developing talent but in trying to be a talent. Those are two different things.

More artists are starting to develop talent. Ceilo Green is one who was mentoring other musicians long before The Voice ever made him another level of star. Still the majority of singing ʻstarsʼ have no more skill for developing your own talent than your brothers seventeen year old band manager. Never value the opinion of someone just because youʼve heard their name. Remember when you didnʼt know who Simon Cowell was?

The key in getting usable information is in finding a qualified opinion. And you may not have to go on TV to get one.

What is Qualified Opinion and Where Can I Get One?

Opinions are a dime a dozen. You have enough to make you a millionaire all on your own. So why take one personʼs opinion of your talent over another? Good question. Weʼve been conditioned to believe that if someone is named as a judge or producer, they hold the keys to whether or not your talent is worth anything.

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Do the Judges Know





# Nothing could be further from the truth. The most important thing you should weigh when getting an opinion from anyone at any level is if they are qualified to give you a helpful opinion.

This doesnʼt mean asking if you respect them or if other people like them. You want usable information that applies to you personally. To get that you have to ask a few questions about the person whose opinion youʼre seeking:

1.Their background: Have they done, or trained people to do what you do? Are they a singer or an artist coach?

2.Their experience: Have they done the kinds of things you want to do? They donʼt have to be a huge star. If someone has already been down any road you want to follow, they know something that might help you.

3.Their mentorships: Have they developed other talent? If they do or have they will be much better suited to passing on their own story but and helping you to understand what the landscape is like.

Every artistʼs story is different. Therefore the

advice you get from a qualified artist or mentor has a better chance of being valuable to you.

# But watch out for people who will take advantage of your quest for knowledge. A&R record label people are experts at finding talent that can fit a niche and make them money. But just because someone has some association with a record label doesnʼt make their opinion valuable.

In the ten years my husband worked for a large record label people were always pitching their demos to him and his associates. While my husband would explain why they needed to contact A&R the others gladly gave opinions which were no more qualified then your local car salesman and just about as connected to a chance of success for the artists. An opinion is just that, unless you can qualify it as more.

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Do the Judges Know

Shania Twain Mentors American Idol Contestants Courtesy of http://mp3top.org/





1.Their connections: Are they connected to people, activities or opportunities for singers? The reason you want to consider this is that having access to these things gives them a more current, well rounded understanding of the expectations of what it takes for an artist to succeed at each.

Fight the temptation to ʻworkʼ people for their connections. The information a qualified person can give out over time can be much more valuable than a one time referral.

Foster a respectful relationship with them. Not only is it the right thing to do but it will also stop you from sacrificing a season of incredible inside information that couldʼve been yours.

When you look back at this list you might realize you already know some people who could give you a very qualified opinion of your singing and maybe your potential or path to a career in music. Just keep in mind what your objective is (ie. Finding out if you really should pursue music) and theirs (Do you fit what their specific label is looking for right now).

Put qualified opinions in perspective and youʼll find that there are many people willing and qualified to help you succeed. Narrow your attention down to them and youʼll maximize your efforts.

Preparing for TV Singing Show AuditionsSpecial Notes

Every year there seem to be more opportunities for singers to be discovered on TV Talent Shows. Itʼs a great thing. After all, sweet little Carrie Underwood (who you KNOW had to have been brutally teased her entire childhood for that name alone) may never have left her country home in Checotah Oklahoma if it werenʼt for American Idol.

But for every starry eyed youth who finds stardom on a show after never having sung outside of their bathroom there are literally thousands more left in the pile of collateral damage vowing never to sing again.

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Even though it seems that so many major singing stars came up through the ranks of TV talent shows, the numbers are still incredibly small when you look at the road most singers take to finding a music career. The truth is that a ʻno voteʼ at a TV talent show audition could be the end of your musical dreams. But that is not in the hands of any judge. Itʼs only in yours.

If youʼre working through this resource in preparation for a TV talent show I want you to remember the story of Amber Riley.

Audition for everything you can. It will develop you and make you stronger. Every chance is just that: a chance. And when one chance fades, another appears.

If you love to sing, find a way. The only one who determines who you become is YOU.

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At the age of seventeen Amber was so excited to wait through the line to audition for American Idol.

She had worked hard to design the perfect audition and believed she had the potential to make it to the top ten. So it came as a cruel shock when she was promptly dismissed at her first level audition.

But Amber knew the show didnʼt determine what she did or didnʼt accomplish as a singer.

Youʼve probably heard Amber sing. She plays the role of Mercedes on the TV show Glee.





w h a t i f ?

If you enjoy singing, if there has been anyone (outside of your mama) that has been touched by your music, donʼt let anyone steal that from you. Whether you go on to become a pop superstar or just sing in the community choir

once a year doesnʼt matter. We all want people to think weʼre good, but in the end, doing what you love matters much more. Sound too simplistic?

Some of you know that I worked as a paid singer & talent for most of my life before a medical mishap almost ended my life. They said Iʼd never sing at a professional level again and maybe not at all. And for the better part of a year I couldnʼt even put two notes together.

Iʼve always loved to sing. Iʼve also always known I wasnʼt the best singer in the world. It took me more work than ʻbetter singersʼ to develop my voice to a place where I really liked it most of the time and could get paid to do it. I had been making my living with my voice my entire teen and adult life so the idea of not being able to have a reliable voice was crushing.

Even worse, I discovered, was the reality that I

may not experience the joy of singing again; something I really took for granted. Spending those long months listening to other people sing when I couldnʼt literally changed my perspective forever.

In that time, never once did I think about how good, or bad, a singer they were. Not once did I critique their styling or think about what I wouldʼve done differently. All I saw is the joy they had from singing that I couldnʼt have anymore.

Fortunately my training as an instructor enabled me to get my full voice back despite some newfound physical limitations. But I see singing differently now and I hope you will too.

If singing brings you joy, find the avenue that best suites your voice and the time you have and let nothing or anyone stop you. In the end itʼs not about how people judge what you do. Itʼs about the fact that you can do it at all. So enjoy the journey and donʼt let anyone take that from you.

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“Donʼt get so wrapped up in the

audition process that you forget

WHY you sing in the first place.”





The Prize Everyone is Offered But Few Accept

WILL YOU OPEN YOURS?

Youʼve won! If youʼve ever auditioned, I can promise you this is true. The only question is, “Will you accept your prize?”

The process of auditioning is big prize winning box filled with the keys to unlocking who you are as a singer, a talent, an artist or a competitor.

It can help you discover what kind of music or productions you really like better or have more success with. Inside the box are encounters with other musicians, friendships, opportunities and contacts that will take you new places.

A few get a bonus gift; another chance to audition: a callback or another level and maybe even getting the part or making the show. But everyone is offered a prize.

Most people dump this box at the curb while cussing out the judges underneath their breath or to the camera. Many feel cheated or defeated. They should. They threw away the gift.

Michael Jordan is quoted as saying, “I've missed more than 9000 shots in my career. I've lost almost 300 games. 26 times, I've been trusted to take the game winning shot and missed. I've failed over and over and over again in my life. And that is why I succeed.”

Failure teaches us much more than success. So take the gift and use it to prepare for your next chance and the one after that.

To help you gage your success and lessons along the way use the forms on the following pages. The follow-up form is especially helpful to identify where youʼve been and where you choose to go next.

Being a singer is an incredibly wonderful thing. And if you find any joy in singing then you are a singer! The saddest singers are those who have the stage but no joy left for anyone, not even themselves.

Music can rock, it can heal, it can make you want to cry or make you want to dance. And you are a part of that. You need no oneʼs permission. So sing!

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Song Secrets by Kim Snyder


You now know everything you need to know to customize a perfect audition. Now you just have to put it into practice! To make that super easy Iʼve included a Custom Audition Plan and Template on the next few pages. The first two pages will walk you through how to fill out the forms to make best use of them.

Print out the last two pages for every audition you plan and start an audition file. When you look back at previous auditions youʼll be able to take your experience and funnel it more easily to an even better NEXT audition!

Auditioning teaches you so much about yourself. It forces you to learn new songs, prepare, work hard and it rewards you by helping you to discover types of music, styling, and opportunities you really want to pursue.

Along the road youʼll meet other singers; some who are really difficult to be stuck next to in line for that long, but others you will share this common journey with; those that will teach you something new and those you will encourage on the road to becoming the singer you were meant to be. Enjoy the journey.

Have a GREAT audition!

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THANK YOU!I have the privilege of answering so many audition questions on my blog and routing on singers the world over. Iʼve worked hard to narrow down the most important information you need so you can have your very best audition ever. Thank you so much for taking the time to read it.But you KNOW I want to hear about your audition! Post it on our Facebook Fan Page so everyone can benefit. For more vocal tips, follow me on Twitter @thevoiceclub and I do the best I can to respond to all my emails at [email protected].

BEST OF LUCK FOR A KILLER AUDITION!

- Kim SnyderThe Voice Club Coach






http://livepage.apple.com/

http://livepage.apple.com/



SHOW/PLAY: This is the name of the TV show or Musical Play youʼre auditioning for

AUDITION DATE: Date of your scheduled audition - leave blank until you have one

AUDITION TIME: Time of your scheduled audition - leave blank until you have one

DIRECTOR/PRODUCER: If youʼre auditioning for a musical, these are generally the people youʼre auditioning for. If itʼs a TV

show you can leave this blank.

AUDITION CONTACT: This is the person setting up your audition. It may be a casting agency, show producer or assistant.

Either way write down name, phone, email, everything you have here incase you need to get back with them.

WHAT MAKES THIS OPPORTUNITY PERFECT FOR ME?

You know theyʼre gonna ask you this. So plan ahead. DONʼT be generic. Think about why this is for YOU; Have you overcome

obstacles? What are they? How would you inspire others? Who specifically would be inspired by your story?

SONG 1: Somewhere Over the Rainbow# # # TYPE:# power ballad version # # TIME: 1:12

Arrangement: vs1, br, ch

SONG 2: # # # # TYPE:# upbeat # # # # TIME: 1:12

Arrangement: br, ch- key change, tag

SONG 3:# # # # TYPE:# ballad # # # # TIME: 1:12

Arrangement: vs1, ch, tag

AUDITION WARDROBE: list everything youʼll need to have prepared here so you donʼt forget anything

CALLBACK WARDROBE: sometimes youʼre requested to come back in the same wardrobe as your initial audition, but making a

plan never hurts so you donʼt have to scramble last minute.


YOUR CUSTOM AUDITION PLAN TEMPLATE

www.thevoiceclub.com©2011 The Voice Club. All RIghts Reserved.

Use this template as a guide to fill out a custom audition plan each time you audition. Keep them all, tweek your plan and see your progress.

1




SHOW/PLAY: This is the name of the TV show or Musical Play youʼre auditioning for.

POST AUDITION RECAP: AFTER your audition, use this section to write you YOU felt it went (regardless of the input you

received) If youʼre upset, wait a few days so you can recap more objectively. Itʼll help your next audition.

HOW DID MY SONGS GO? 5 is the best youʼve ever sung the song. 1 is the worst. You may not sing more than one song. If

you donʼt, just leave the rest blank.

SONG 1: 1 2 3 4 5 NOTES: Rocked the high note - not as nervous as I thought Iʼd be.

SONG 2: 1 2 3 4 5 NOTES: Missed a note on the 2nd line but I donʼt think they noticed.

SONG 2: 1 2 3 4 5 NOTES: Less nervous on this one. Forgot the trill but it felt good.

WHAT DID I DO WELL? Be honest. What have you improved on? What went better than expected? What did you enjoy about

the process?

WHAT CAN I DO BETTER NEXT TIME? Come back to this section a few weeks later. Re-read everything and make some

notes for next time. Do you need to take more time to get familiar with the show so you know what theyʼre looking for? Do you need to

perform more so youʼre nerves arenʼt a big issue? Did you think of a better song choice after hearing someone else?

JUDGES COMMENTS: Write down everything they said as soon as possible so you donʼt forget anything.

Did they ask for a specific song? Why? Make your best guess if youʼre not sure. What follow-up questions did they have?

If you one of the comment was wrong write why. Make it specific.

Once you fill out several audition plans and recaps if you see a common thread in the comments (ʻpitchy dawgʼ) you might want to

reconsider that they might be right. You might also find nice repeat comments. These will give you a clue as to what youʼre doing

thatʼs catching their attention immediately. This is what youʼre doing right. Those are the things you want to do more of (and do them

as soon as possible) in an audition.

WHAT DID I LEARN?This is THE most important part of your audition. DO NOT SKIP IT! This not a patronizing attempt at making your experience

worthwhile, this is your personal assessment of how you can grow as a singer and as a performer. This is NOT how you can fit into

someone elseʼs box. When you look back on this section after several auditions you might see you have a desire to follow a certain

career path you didnʼt think of, that youʼve narrowed down who you are as an artist, or maybe that auditioning is so hard on you that

you might want to take a break and focus on something else. Either way, it WILL help you discover the things you really WANT so you

can decide what road to take to get them.


YOUR CUSTOM AUDITION PLAN TEMPLATE


Use this template as a guide to fill out a custom audition plan each time you audition. Keep them all, tweek your plan and see your progress.

2




SHOW/PLAY: # # # # # # # # PRE AUDITION PLAN

AUDITION DATE:

AUDITION TIME:

DIRECTOR/PRODUCER:

AUDITION CONTACT:

WHAT MAKES THIS OPPORTUNITY PERFECT FOR ME?

SONG SELECTION

SONG 1:# # # # TYPE:## # # # TIME: Arrangement:



AUDITION WARDROBE:

CALLBACK WARDROBE:


YOUR CUSTOM AUDITION PLAN


Print This Page to Use for Each Audition You Sign Up For

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SHOW/PLAY: " " " " " " " POST AUDITION RECAPAudition Date:

HOW DID MY SONGS GO?

SONG 1: 1 2 3 4 5

Notes:

SONG 2: 1 2 3 4 5

Notes:

SONG 3: 1 2 3 4 5

Notes:

WHAT DID I DO WELL?

WHAT CAN I DO BETTER NEXT TIME?

JUDGES COMMENTS:

WHAT DID I LEARN?


YOUR CUSTOM AUDITION PLAN


Print This Page to Use for Each Audition You Plan to Attend

2




Documents

Killer Singing Audition Cheat Sheet - Home - The Voice · PDF fileKiller Singing Audition Cheat Sheet Sheet ... a classical vocal instructor and ... so but the producers would beg