Page 11 - 2020 Classical Singer Magazine January Summer Program Issue

in a binder because a small iPad is hard to read, different programs handle how the pages are turned (e.g., where to touch on the screen and if it’s a tap or
a swipe, which can be an added coordination while sight-reading), the iPad may freeze, and I don’t want to be held responsible if something I do . . . causes the iPad to fall to the ground.
BB: iPads are fine if they are 12.9-inch size [and] running forScore, which is the industry standard software.
RS: For auditions, don’t bring your iPad—always a binder.
How do you feel about playing from a lead sheet?
SBE: I’m generally fine with it, if the actor can give a sense of the groove they want. If not or they just say, “medium swing tempo,” they’re going to end up with however I interpret the page, which may not be what they want. However, I always suggest bringing in the arrangement you want played, as you’re otherwise leaving things to chance.
BB: Fine, but that’s a terrible chance for a singer to take in an audition.
RS: I don’t mind, but some people might. It’s always a risk bringing one into an audition. It’s especially hard if the pianist doesn’t know the song, as lead sheets really don’t give enough information to go on.
What do you want singers to know about how to indicate tempo to you?
RS: If your song begins with long-held notes,
don’t use that section to demonstrate tempo. It’s
not helpful, especially with pop/rock songs. Find
the chorus or the hook and use that. It’s always the clearest part to demonstrate, and the likelihood that
I will recognize the tune is exponentially higher. I might not remember the verse or the bridge from your particular selection, but I should know the hook!
BB: Sing your lyric, not the piano part. Sing the chorus or some part where you have more notes than I do. If I don’t ask you for a tempo, it’s because
I know your song—and if my tempo is slightly different than yours, I will adjust to you. Please listen to my questions rather than jumping into a prepared speech.
SBE: You don’t necessarily have to give me the tempo from the beginning of your cut. Consider either giving it from the chorus (where it’s easier to lock into) or from the fastest rhythm you have to sing. You don’t need to sing when you’re giving the
tempo. However, please speak the lyrics. It’s hard to hear rhythms (especially of repeated notes) with humming.
When giving the tempo, consider tapping on your body, chest, or arm. The physicalization will help lock you in as well as give me something visual to see. Clapping and snapping can often be interpreted negatively, even if that’s not the intent. And, yes, a tempo can be given in as little as four beats if you’re clear with what you’re doing!
The accompanist at an audition is there to help you feel successful. You can help them help you
by having an organized audition book, listening to their questions, and communicating to them clearly what they need to know about your interpretation
of your pieces. Remember to treat them kindly and with respect, because they may also be giving input to those sitting behind the table. It would make casting a difficult job indeed if the pianist playing the audition could say that you were generous, articulate, and a great musician.
Christy Turnbow is currently teaching at the Boston Conservatory at Berklee and has taught at Montclair State University, Penn State University, and Brigham Young University. She earned an MFA in musical theater voice teaching from Penn State University and a BM from Brigham Young University in vocal performance and pedagogy. She has been seen in leading roles in regional music theatre productions and national tours.
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“If your song begins with long-held notes, don’t use that section to demonstrate tempo. . . . Find the chorus or the hook and use that. It’s always the clearest part to demonstrate, and the likelihood that I will recognize the tune is exponentially higher.”