Know Your Voice and the Best Repertoire
There are some very difficult decisions for each student to make with their voice teacher. Sometimes these decisions even need to be made before you get a voice teacher in order to help you choose a better coach. During a singer's career, finding the perfect song for an audition or performance can be a continuous endeavor. In order to keep challenging themselves as well as the audience, a singer music always be changing the types of repertoire. This will keep the singer entertaining and from becoming the same 'ole thing. Typically certain voices sound more natural with different types of music. Nasal voices sometimes fit the sound of a country singer and more full voices may fit classical, pop, or even gospel styles. When music is written, a composer typically has in mind that type of voice that they are looking for. It may be a high voice, thin voice, smooth voice, airy voice, or many other types. When you are being auditioned, a producer or judge may be looking for a certain voice type. Many singers are often dismayed after being denied of a role or singing gig, not knowing that the job was just meant for a different type of voice.
The age and experience of each singer must be taken into consideration when you choose a song for auditions or performances. Once you have chosen a song, a voice teacher or arranger, can provide you with good feedback on how to interpret the song. It is important to always have your own interpretation of each song. The more meaningful that the song is to you, the better you will perform. After training for a period of time, you will probably build a small repertoire of songs that you have learned from your teacher. Don't be dismayed if your teacher does not allow you to try certain songs. It takes awhile to build certain vocal capabilities. As time goes on, your voice will change. This means that you will be able to attempt songs that you could have never done before.
Always be receptive during lessons about ways to enhance your voice. You always want to be striving for beautiful sounds and resonance, and don't ever need to counteract what your teacher is saying about your voice. A teacher can help a student with a light voice deepen as it matures as well as darker tones becoming more vibrant. Modern music usually allows for new arrangements of a song, changing the tempo or keys. Though this can be good for untrained singers who are used to singing in certain keys, it is not a good habit to form. Many untrained singers will attempt to sing a song, unaware of what key they are singing in (and even constantly changing keys), classical singers are aware that in classical pieces the performer is required to sing in the key and style to which they were written or arranged. It is important to spend enough time working on ear training activities with your teacher. They will help you better adapt during key changes from song to song.
The type of music that you choose will be the determining factor of what type of fans you attract. Of course there are many fields in which the singer is unable to choose their own repertoire. Choirs, theatrical and operatic plays are examples where the material to be performed has been pre-scored or chosen by the producer/director, who may cut, add or arrange songs to suit their preferred way of presenting the show. No matter what piece of music, don't sing it if you don't feel it.
Choosing Songs for Auditions
1 - DO choose songs that show different styles. Be sure to show diversity. Ladies, if you can belt and sing legit, do both, but if you can't, don't try. DO NOT sing two songs from the same show. DO NOT offer two serious songs, or two funny songs, or two pop songs, or two songs by the same composer.
2 - DO keep your songs fairly short. Avoid long verses or numerous choruses.
3 - DO choose songs that show off your voice to its best advantage. Show as much range as you can, without taking too many risks.
4 - DO choose songs that are age-appropriate (I'll let you figure that one out)
5 - DON'T do material that uses funny character voices, accents, or imitates a famous singer's performance. Judging panels do not want to see your best impressions of a performance. They are only interested in hearing your voice.
6 - DO choose songs that you love and are passionate about. It will show in your performance.
7 - DO avoid the songs that "everybody" is doing right now.
8 - DO NOT sing a cappella. Use an accompanist. Sometimes one will be provided during your auditions. If an accompanist is not provided for you, try very hard not to use a tape recording. This doesn't give a personal performance. It starts to feel more as if you are trying to put on an unbelievable show.
9 - DO bring your music in clean copy, well marked. Bring a copy for the judges if required, and definitely for the pianist. Do NOT expect your pianist to transpose anything at the time of an audition.
10 - DO NOT choose material that has especially difficult accompaniments or that include parts that are difficult for piano and voice to perform well without rehearsal
11 - DO practice what you will say to the accompanist before the audition. Also practice what you will say to the judges. Let them know from what part of the song you will start and end.
12- DO personalize the song. Be sure that it means something to you. Know why you are singing it and who you are singing to.
Keeping the Audience Interested
Most singers begin their singing career because singing is their passion. It would be great if every audience could possibly appreciate your choice of songs. Most have a hard time even appreciating many styles of singing. The reality is that you cannot make everyone happy! Sometimes vocalists will have to make hard choices in what type of repertoire they perform. This is only to reach out to a larger audience. The good side to this is that you must challenge yourself to become comfortable singing in styles outside of your first choice. Though it is important to cater to different audiences, you must remember to keep the "you" in the music. That means that no matter how many different styles you try, it must sound like you. It's sometimes known as putting your stank on it!
It is important to organize your repertoire in a way that highlights your vocal abilities. It is usually a good idea to start a set with a faster song. It will get people in a great mood, and they are then more likely to be interested in you after an exciting performance. It can sometimes be dangerous to start with a slow song, unless you are able to deliver something extremely powerful. It works the same way as you end your set. Choose something that is very memorable.
When choosing performance repertoire, it is important to pace your songs out. You want to order your music in a way that will not only entertain, but keep you from injuring your voice. Be sure to work with your voice teacher on an order of performance. It is not only important that you do this for your audience, but for the welfare of your voice.
The most popular singers and entertainers are those who have successfully integrated their natural abilities with a variety of techniques to develop their own unique approach and style. Much can be learned by observing professional singers who can capture the hearts of the audience with their charisma and make the art of performing appear effortless. This doesn't happen overnight; even the most talented singers have had to work hard to produce consistent good live performances. So the next time you totally bomb at a gig, don't get too despondent, learn what you can from the experience and move on. Try not to dwell on disappointing performances for too long or attempt to anticipate how the next audience will react.
Each gig has to be approached with enthusiasm, an open mind, and a desire to perform with feeling to the best of your ability. If you don't have that, it will reflect in your performance. It is not uncommon to encounter a bad response at one venue and then receive thunderous applause and appreciation from the next - even when the venues are located on the same street!
Finding an Agent
First, decide what you want in an agent. Consider how strong your resume is, what kind of experience you have, whether you are a union member, whether you have had an agent before, and what kind of work you want to do. You must look realistically at yourself, your ambitions, your talents, and decide what kind of agent you need at this stage in your career. Few actors spend their entire professional life with one agent.
Agencies can be categorized in many ways: do they represent clients for extra work, or for actor and principal roles; do they promote clients for union or non-union work; are there many agents, or only one or two; does the agency maintain a large or a small roster; does the agent pay close attention to each client's career, or act as a booking agent; do they represent established, experienced actors, or develop new talent. Some of this can be found in the listings in this book. The rest you must learn from the agent and others in the industry.
Don't give in to desperation. While many kinds of work can only be accessed through an agent, there are projects that are available to the unrepresented actor who works at self-promotion. Signing with an agent is a major step in the development of your career. Make sure that the agent is right for you. Committing yourself to the wrong agent out of panic may place you in a worse situation than when you had no agent at all.
In order to get what you want in an agent, you must also be able to offer an agent what they want in a client. Compromises may be necessary, particularly in the early stages of your career. However, once the negotiations are over and you have a mutually satisfactory agreement with your agent, keep in mind that you are the client; you have hired the agent to perform services on your behalf.
Getting a good agent is not easy. There are many things you can do to improve your chances. Take classes to improve your skills and make contacts; do whatever you can to gain experience: community theatre, fringe theatre, student films & videos, non-union work, co-op productions; create your own projects; develop your craft at every opportunity. Keep in contact with receptive agents; invite them to see you in theatre projects you've developed.
Once you have an agent, don't expect your agent to make it happen for you while you sit back and collect checks. Keep in touch with your agent, and continue to develop your skills. Your agent may be able to suggest ways to do this that you have not yet considered. Work with your agent to improve your chances and build your future.
Hopefully this has given you some of the answers that you were looking for! Keep your head high on your road to success, and remember that with hard work comes a great reward!
Copyright 2007 Talonda D. Thomas New York Musicians Center, LLC
About the Author
Talonda Thomas is the owner of the New York Musician Center, a renowned music school for gifted music students. Talonda is a vocalist, author, and voice teacher that has performed with and taught many famous performers. You can contact Talonda at talondathomas@nymcmusic.com for more information or with any questions.
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