ChoirFilter: Please help vet my song choice -- first time auditioner!
August 16, 2013 6:05 PM Subscribe
I have an audition with a classical community choir in a few weeks and need some help choosing music, and tips on surviving the experience.
I have no formal voice training but have sung with community choirs in the past, but these were all non-auditioned. I suspect this choir may be a bit out of my league, but I really want to sing in an ensemble which focuses on classical works (I'm not really into show / jazz choirs, which seem to predominate where I am). I'd like to give this my best shot but don't know how to go about this.
I'm told that the audition will require one piece sung with piano accompaniment and some scales to test range (no sight singing). For the song, I was thinking about either The Lord is My Shepherd (by Goodall) or Ave Verum Corpus (by Mozart). Would these be appropriate? Which would be preferable?
With regards to the audition process itself, what typically happens in an audition of this nature? What would cause me to fail the audition? Conversely, what could I do within the short time I have to put my best foot forward? I've looked into hiring a singing teacher, but so far no luck... any suggestions would be useful here as well.
The choir is the Toronto Classical Singers if that's helpful.
I have no formal voice training but have sung with community choirs in the past, but these were all non-auditioned. I suspect this choir may be a bit out of my league, but I really want to sing in an ensemble which focuses on classical works (I'm not really into show / jazz choirs, which seem to predominate where I am). I'd like to give this my best shot but don't know how to go about this.
I'm told that the audition will require one piece sung with piano accompaniment and some scales to test range (no sight singing). For the song, I was thinking about either The Lord is My Shepherd (by Goodall) or Ave Verum Corpus (by Mozart). Would these be appropriate? Which would be preferable?
With regards to the audition process itself, what typically happens in an audition of this nature? What would cause me to fail the audition? Conversely, what could I do within the short time I have to put my best foot forward? I've looked into hiring a singing teacher, but so far no luck... any suggestions would be useful here as well.
The choir is the Toronto Classical Singers if that's helpful.
I agree with everything KathrynT says. For a song choice I would choose a solo piece (i.e. not that Mozart) that's comfortably within your range, and that's not too acrobatic. Generally they're going to be less interested in showy skills and more interested in tone, musicality, and blend. Choose a song you're really solid on even if it's a less impressive song.
Another important thing is to be positive and friendly and respond to the director's advice and directions. An awesome musician who can't cooperate or follow instructions or who gets defensive about criticism is still a pretty crappy chorus member.
I've auditioned for a lot of choirs, some that I got into easily, some that I probably had no chance of getting into, and lots in the middle. Biggest mistake I've made (and, sadly, I've made it more than once) is picking a too-difficult song and then getting snippy when the auditor gave me advice about it. So don't do that!
posted by mskyle at 7:35 PM on August 16, 2013
Another important thing is to be positive and friendly and respond to the director's advice and directions. An awesome musician who can't cooperate or follow instructions or who gets defensive about criticism is still a pretty crappy chorus member.
I've auditioned for a lot of choirs, some that I got into easily, some that I probably had no chance of getting into, and lots in the middle. Biggest mistake I've made (and, sadly, I've made it more than once) is picking a too-difficult song and then getting snippy when the auditor gave me advice about it. So don't do that!
posted by mskyle at 7:35 PM on August 16, 2013
Just adding to all the wise-and-true-stuff-above. Auditioning for something ambitious is a great experience. You’ll be called in, friendly introductions all around, hand your music to the pianist, and then either singing or questions, depending on how they decide to run things. Most likely singing first. They’ll probably ask, but if they don’t, give the title and composer of your song and then make eye contact with the pianist and nod to signal you’re ready.
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Your piece should be something you’re super-comfortable with; something you could get through even if there were fireworks going off outside. If you're comfortably familiar with the Goodall, I say rock it.
The main thing that makes me choke on an audition besides just not being right for it – or not as right for it as the next person – is plain and simple nerves. I’m a nervous clammer-upper, which nobody wants in a singer. Whatever techniques you use to overcome nerves in other situations are worth trying: breathing or stretching exercises, imagining people naked in black socks, meditation, whatever.
At some point they'll probably ask you some questions about your musical background and previous choirs. This usually feels more like a friendly chat than a grilling to me, but maybe I've just lucked out.
I offer a handshake on entering and leaving, too. Even when I’m nervous I tend to be dry-palmed, so I figure it can’t hurt.
posted by The Underpants Monster at 8:07 PM on August 16, 2013
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Your piece should be something you’re super-comfortable with; something you could get through even if there were fireworks going off outside. If you're comfortably familiar with the Goodall, I say rock it.
The main thing that makes me choke on an audition besides just not being right for it – or not as right for it as the next person – is plain and simple nerves. I’m a nervous clammer-upper, which nobody wants in a singer. Whatever techniques you use to overcome nerves in other situations are worth trying: breathing or stretching exercises, imagining people naked in black socks, meditation, whatever.
At some point they'll probably ask you some questions about your musical background and previous choirs. This usually feels more like a friendly chat than a grilling to me, but maybe I've just lucked out.
I offer a handshake on entering and leaving, too. Even when I’m nervous I tend to be dry-palmed, so I figure it can’t hurt.
posted by The Underpants Monster at 8:07 PM on August 16, 2013
From 17 years of experience:
You can sing almost anything. They're interested in how you sound and move from note to note, and whether you sing in tune. The particular music is less important.
Expect the conductor to play a note on the piano or pitch-pipe and ask you to match it.
Then expect to be asked to sing the note a fifth above, a major third above, a minor third below, etc.
Take a good breath but not too deep, let yourself settle down for a second or two and then let the voice flow out, not too soft but not too loud -- just where you sound your best.
Finally, well over 50% of professional musicians use beta blockers, especially for scary situations like auditions. Of course, get a prescription from your doctor.
posted by KRS at 8:14 PM on August 16, 2013 [1 favorite]
You can sing almost anything. They're interested in how you sound and move from note to note, and whether you sing in tune. The particular music is less important.
Expect the conductor to play a note on the piano or pitch-pipe and ask you to match it.
Then expect to be asked to sing the note a fifth above, a major third above, a minor third below, etc.
Take a good breath but not too deep, let yourself settle down for a second or two and then let the voice flow out, not too soft but not too loud -- just where you sound your best.
Finally, well over 50% of professional musicians use beta blockers, especially for scary situations like auditions. Of course, get a prescription from your doctor.
posted by KRS at 8:14 PM on August 16, 2013 [1 favorite]
Best answer: 30+ years music experience here.
Singing well solo doesn't always indicate whether someone will be a good fit for a choral group. I would look for a song that displayed your best range, showed several variations in dynamics (your "loudest loud," your "softest soft"), indicated the general quality of your vibrato (some choirs prefer a more "straight tone" style), and very important, lets you demonstrate awareness of pitch and intervals.
If they perform traditional choral repertoire, chances are the voices in the group cover a spectrum of colors. You have to be able to fit. So if it's any consolation, be aware that whether you "solo well" in the traditional sense is kind of irrelevant. Great soloists and many people with excellent voices often stick out in choirs, no matter how they try. It's not for everyone.
I've auditioned for choirs where in addition to their audition piece, each person was asked to sing the Star Spangled Banner (words provided for those who needed it), which I loved as a concept because it covers all of the above and everyone was familiar enough that they lost a lot of their performance anxiety. So think about those types of songs. It doesn't necessarily need to be classical rep (unless they've mandated that).
posted by I_Love_Bananas at 5:52 AM on August 17, 2013
Singing well solo doesn't always indicate whether someone will be a good fit for a choral group. I would look for a song that displayed your best range, showed several variations in dynamics (your "loudest loud," your "softest soft"), indicated the general quality of your vibrato (some choirs prefer a more "straight tone" style), and very important, lets you demonstrate awareness of pitch and intervals.
If they perform traditional choral repertoire, chances are the voices in the group cover a spectrum of colors. You have to be able to fit. So if it's any consolation, be aware that whether you "solo well" in the traditional sense is kind of irrelevant. Great soloists and many people with excellent voices often stick out in choirs, no matter how they try. It's not for everyone.
I've auditioned for choirs where in addition to their audition piece, each person was asked to sing the Star Spangled Banner (words provided for those who needed it), which I loved as a concept because it covers all of the above and everyone was familiar enough that they lost a lot of their performance anxiety. So think about those types of songs. It doesn't necessarily need to be classical rep (unless they've mandated that).
posted by I_Love_Bananas at 5:52 AM on August 17, 2013
Best answer: OK just reviewed the choir's website. The group has over 100 singers, so it's not like you have to blend with only a few others singing your same voice part. That is a good thing. They list performances of Handel, Haydn, Dvorak? Wide range of repertoire. Looks like the director comes from the oratorio tradition. Not uber-specialized (like "we only perform early baroque literature accompanied with authentic krummhorns and sackbuts").
Groups like this also often perform lighter fare like selections from Broadway shows. If I were auditioning, all these things would be encouraging as they point to the need for lots of different voice types to enable effective performances of such diverse composers. The likelihood your voice will fit in is much greater with 100 singers than with 10, or even 20.
A quick search brings up this page which lists a few more composers, supporting my thoughts. This listing shows they range from Bach to Saint-Saens. All good information.
posted by I_Love_Bananas at 6:05 AM on August 17, 2013
Groups like this also often perform lighter fare like selections from Broadway shows. If I were auditioning, all these things would be encouraging as they point to the need for lots of different voice types to enable effective performances of such diverse composers. The likelihood your voice will fit in is much greater with 100 singers than with 10, or even 20.
A quick search brings up this page which lists a few more composers, supporting my thoughts. This listing shows they range from Bach to Saint-Saens. All good information.
posted by I_Love_Bananas at 6:05 AM on August 17, 2013
Best answer: Sorry to keep commenting but I have a lot of experience in this area, and want you to succeed. :-)
What would cause you to fail? Singing out of tune would be my #1 reason. Not being in the right key. Not staying with the accompaniment (can't count) would be next. All these, to me, are what I observe before I even consider actual vocal tone.
If these are not issues (meaning you're basically on pitch and in rhythm), I would next listen to your actual sound. Are you singing out of your range? Too high or too low? Do you have a good grasp of your own voice's strengths?
Do you demonstrate understanding of the difference between classical singing vs. pop singing? Do you have a vibrato? Do you have too much vibrato? Does your vibrato change as you go up or down the scale, or from loud to soft singing?
Can you carry a phrase with the right amount of breath control? Do I think you will be able to sustain long choral phrases?
I would almost bet you will be asked to sight-read something. Can you read music? it's practically essential for groups like this. There just isn't time, in most rehearsal processes, to accommodate those who can't read music.
posted by I_Love_Bananas at 6:17 AM on August 17, 2013
What would cause you to fail? Singing out of tune would be my #1 reason. Not being in the right key. Not staying with the accompaniment (can't count) would be next. All these, to me, are what I observe before I even consider actual vocal tone.
If these are not issues (meaning you're basically on pitch and in rhythm), I would next listen to your actual sound. Are you singing out of your range? Too high or too low? Do you have a good grasp of your own voice's strengths?
Do you demonstrate understanding of the difference between classical singing vs. pop singing? Do you have a vibrato? Do you have too much vibrato? Does your vibrato change as you go up or down the scale, or from loud to soft singing?
Can you carry a phrase with the right amount of breath control? Do I think you will be able to sustain long choral phrases?
I would almost bet you will be asked to sight-read something. Can you read music? it's practically essential for groups like this. There just isn't time, in most rehearsal processes, to accommodate those who can't read music.
posted by I_Love_Bananas at 6:17 AM on August 17, 2013
Best answer: A few more things.
You must know the music and words so well that you can sing them from memory. If you come in unprepared, the people listening to you will think (know) that you won't be prepared for them, either.
If the song isn't in English, get a translation and know it cold. Then express the words in your singing.
You can't learn a song without knowing what's in the accompaniment. Get with a pianist if possible. If not, at least sing along with a recording, so you know what's happening in addition to what you're singing. Always study and sing from the solo + piano score, and not from just the solo part.
Concentrate twice as hard during rests as when you're singing. Jumping in too soon or too late means a big deduction.
If the conductor asks you to follow his/her beat, hold the music almost horizontal and just below eye level. Watch the conductor's hands with the top half of your vision and the music with the lower half.
A lot depends on how well you present yourself. Smile at the conductor and the pianist when you come in, and have the pianist's part ready to hand it to him/her.
The pianist is your friend and will do everything possible to help you. When you're finished, collect your part, smile and shake hands with the pianist, and then with the conductor.
The biggest deductions come from inaccurate rhythm, followed by poor intonation. Do those right and you're in pretty much automatically.
posted by KRS at 1:25 PM on August 17, 2013
You must know the music and words so well that you can sing them from memory. If you come in unprepared, the people listening to you will think (know) that you won't be prepared for them, either.
If the song isn't in English, get a translation and know it cold. Then express the words in your singing.
You can't learn a song without knowing what's in the accompaniment. Get with a pianist if possible. If not, at least sing along with a recording, so you know what's happening in addition to what you're singing. Always study and sing from the solo + piano score, and not from just the solo part.
Concentrate twice as hard during rests as when you're singing. Jumping in too soon or too late means a big deduction.
If the conductor asks you to follow his/her beat, hold the music almost horizontal and just below eye level. Watch the conductor's hands with the top half of your vision and the music with the lower half.
A lot depends on how well you present yourself. Smile at the conductor and the pianist when you come in, and have the pianist's part ready to hand it to him/her.
The pianist is your friend and will do everything possible to help you. When you're finished, collect your part, smile and shake hands with the pianist, and then with the conductor.
The biggest deductions come from inaccurate rhythm, followed by poor intonation. Do those right and you're in pretty much automatically.
posted by KRS at 1:25 PM on August 17, 2013
Even when I've auditioned for quite good choirs, the audition process has been friendly and informal. I wouldn't choose the Mozart for the reasons mentioned above (though I think that's a lovely solo performance!) I've had comments at auditions when I've chosen pieces not written for my voice type - "So you're a tenor, are you?" - so I'd avoid that too. I would also avoid any pieces that require your accompanist to look to you for tricky bits of timing as they won't know you or a music well and you can't predict their musicality generally. You don't want to get out of time.
In my experience, auditions tend to start with scales to warm up your voice and allow you to settle into singing before doing a performance piece. In the scales they want to see that you're not too out of tune, that you can listen to the piano and to look at your range. They will also be looking at your technique, breath control and vocal tone. Unless a choir is really super good, they are unlikely to expect perfection.
I have had surprises sprung on me in auditions. The choirs I have sung with usually ask you to come to 1-2 rehearsals before auditioning to see if you're interested, and a couple of times I've been asked to sing the piece we learned in the previous rehearsal (presumably to look at speed of learning) and to sing the soprano solo from the piece the choir is currently learning.
Have you been explicitly told there will be no sight reading? If so that's my least favourite part of auditions out of the way! If they do sneak it in, it will likely be a choral piece with the piano, which means you can also rely on your skills in listening to the piano and general sense of musicality. Somehow that's always got me through.
Smile, relax, take a piece you know by heart and feel comfortable with and you'll probably be fine. If you're not fine, this isn't the choir for you at the moment.
posted by kadia_a at 2:22 AM on August 18, 2013
In my experience, auditions tend to start with scales to warm up your voice and allow you to settle into singing before doing a performance piece. In the scales they want to see that you're not too out of tune, that you can listen to the piano and to look at your range. They will also be looking at your technique, breath control and vocal tone. Unless a choir is really super good, they are unlikely to expect perfection.
I have had surprises sprung on me in auditions. The choirs I have sung with usually ask you to come to 1-2 rehearsals before auditioning to see if you're interested, and a couple of times I've been asked to sing the piece we learned in the previous rehearsal (presumably to look at speed of learning) and to sing the soprano solo from the piece the choir is currently learning.
Have you been explicitly told there will be no sight reading? If so that's my least favourite part of auditions out of the way! If they do sneak it in, it will likely be a choral piece with the piano, which means you can also rely on your skills in listening to the piano and general sense of musicality. Somehow that's always got me through.
Smile, relax, take a piece you know by heart and feel comfortable with and you'll probably be fine. If you're not fine, this isn't the choir for you at the moment.
posted by kadia_a at 2:22 AM on August 18, 2013
Response by poster: Thank you all for your very detailed answers -- I feel much less clueless than before, although still nervous about the whole thing. I'll go for the Goodall, just need to locate a good piano accompaniment track, as I don't have access to a piano or accompanist. There is no sight singing (or so I've been told) -- not sure I relish the idea of doing intervals though (especially intervals below a note, and minor key intervals). Is there a good way to learn / practice this?
posted by apcmwh at 8:16 PM on August 18, 2013
posted by apcmwh at 8:16 PM on August 18, 2013
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As for what would cause you to fail the audition? A lot of that depends on how picky they are. For our group, we need a strong tone, a good and consistent ability to hold a pitch true, and good "blendability" -- not too bright, not too wide a vibrato. We also like to see good musicality off the audition piece, phrasing and dynamic and such. We're also a pretty competitive group, so often we decline to invite people not because of anything WRONG, but just because we have limited spots and someone else may have been a better fit for the group.
Good luck! The Goodall is a beautiful piece, particularly if you can negotiate the leap to the high note gracefully and sensitively.
posted by KathrynT at 6:18 PM on August 16, 2013 [1 favorite]