Vocal Range Record Holders

We have all heard of the soprano Opera singer who can shatter glass and the baritone singers who can blow out sound systems, all because of their vocal range. The Guinness Book of World Records released a listing of several categories of vocal extremes in 2006, and we will highlight some of those records here.

For the females, the greatest range on record belongs to Georgia Brown of Brazil and consists of an astounding eight octaves from G2 to G10. Ms. Brown also holds the female record for highest note: G10, the top of her range. This is amazing when you consider that Guinness has listed the highest demanded note for a repertoire as G6 in "Popoli di Tessaglia," a Mozart concert aria. However, this is not even a common repertory piece. F6 is the highest record holding note for a standard repertory piece, "Der Hölle Rache kocht in meinem Herzen" by Mozart, the aria in which this note originates.

For the male record holders you would think it would be the lowest notes that would make records, however this is not the case. Tim Storms of the United States holds the octave range record with a total of six. Adam Lopez of Australia holds the record for highest male note, C#8. The lowest vocal note record goes to Tim Storms as well, with a B -2, which is actually two notes below the lowest B. Listed as the lowest demanded note for a classical repertoire is "low D", which is actually 2 D's beneath a middle C.

It is also extremely interesting to mention that a man named Charles Kellogg claimed to have a 12.5 octave range. Kellogg would often imitate bird calls and those calls could reach an ultrasonic range. However, his claims are very hard to substantiate, although some recordings of his voice can still be found.

Theatre With a Social Conscience

The International Theatre of the Oppressed Organization was founded by author, actor, and politician Augusto Baol. In 1971 Baol began the Newspaper Theatre to deal with local problems in his native country of Brazil. It was a form of communication between those who were oppressed and the people making the laws. Out of this beginning came the Forum Theatre which used Baol's methods and principles in Peru as part of a literacy program in 1973. The Forum Theatre methods are being used in about seventy countries worldwide. Baol's methods of using theatre to communicate among people spread to Argentina with additional political activity, and then other South American countries. Image Theatre was established to develop dialogue between the indigenous nations and Spanish descendants in Columbia, Venezuela, and Mexico.

In Europe, Theatre of the Oppressed ideas were used to create understanding of psychological problems and became known as "Rainbow of Desires." They also developed workshops to address an actor's need to create characters. Baol created Legislative Theatre in Brazil after he was elected to the office of Vereador (city councilman) in Rio de Janeiro in 1992. He served one term and was not reelected.

Baol teaches that all humans are actors and spectators. He wants people to become the protagonists in their own stories. He says that all people use voice, body movement, and expression in their everyday lives just as actors do. We should use the Language of Theatre to engage everyone in the Game of Dialogue in order to create peace within ourselves and within the world. There are Centres for Theatre of the Oppressed throughout the world that teach Baol's techniques and hope to form a network for disseminating his ideas globally.

Developing Your Orchestral Resume

Your ability to succeed as an orchestral musician is not merely tied to your skill with your chosen instrument or your educational record. Naturally, professional orchestras will expect you to play to a very high standard and to be familiar with a wide array of music, to be able to learn new pieces in days and perform to a consistently high quality day after day. Creating a successful career in the art world is more similar to how it works in the "real" world than you might think. Make friends, influence people, and get them to want to help you out.

Musicians in an orchestra typically have problems with their conductor. This is nearly universal. To listen to most musicians, there is always something horribly wrong with the conductor. While this might be true, a confrontational attitude with the conductor never benefits the overall quality of the music or the interpersonal environment of the orchestra. Furthermore, if someone in your section develops a solid chip on their shoulder against taking direction, you need to compensate your playing to make up for your partner's malfeasance.

If you detect conflict between your peers and the conductor - or if you, yourself, have problems - consider acting as a mediator. Try to understand the problems from everyone's perspective. Aim at maintaining positive relationships between yourself, the other people in your section and the conductor. These are the most valuable references that you can get when looking for other regular jobs or gigs. If they regard you as an all-around excellent player, friendly person and professional, it will open up many doors for you in your career.

How to Increase Your Vocal Range

Many singers are interested in increasing their vocal range so that they can hit those high notes. All singers have a range that's comfortable for them, but it's usually a medium to lower pitch. Whenever they try to hit extremely high notes, they feel themselves straining and reaching. It's hard to do without screeching. So how do you effectively increase your vocal range without getting hurt in the process?

Increasing your vocal range can be as simple as practicing every day. However, it needs to be focused practice, and you want to do this gradually. It helps if you have a tuned piano to sing along with. Start by singing the lowest note you're most comfortable with, then gradually sing higher notes.

Your breathing technique is important. How you breathe can make a huge difference in the notes your voice can reach. In general, you will need to breathe in more air to reach the higher notes. Pay close attention to how your diaphragm feels when you sing, and how you feel when you are singing the notes you're most comfortable with. Understanding how your muscles work will only help you achieve a greater vocal range.

If your goal is to sing professionally, you need a teacher's instruction regardless of whether or not you plan on increasing your vocal range. A singing instructor can help teach you the steps for increasing your vocal range and recognize when you're doing something wrong.

By practicing regularly, using proper breathing techniques, paying attention to how your muscles work, and studying under a skilled teacher, you can eventually learn to increase your vocal range.

Becoming the Next American Idol

This year marks the seventh season of the American Idol phenomenon and it’s been said that the contestants are better and more competitive than ever. But, just what does it take to become the next American Idol? You wouldn’t think it would be difficult to get up and do what you love most in front of millions of people every week, but the contestants say they’ve never worked so hard in their lives. Performances must be perfect every week. Just one off-night has been known to cause a contestant to be voted off.

Tens of thousands of people audition for the show each year, but only the best 24 are put through by the judges. After that, it’s up to the American viewers to vote for their favorite performers. The contestants with the most votes each week get to remain, while the person with the least amount of votes is sent home. The judges, Randy Jackson, Paula Abdul and Simon Cowell, each give the contestants feedback on their performances and some of the criticism is hard to take. Simon especially has made comments like, “That was horrible! Literally atrocious! It was a mess! Stupid!” Yet, they have to take it all in and try to do better the next time, if they don’t go home.

The top 12 Idol contestants for 2008 are Amanda Overmyer, 23, Brooke White, 24, Carly Smithson, 24, Chikezie, 22, David Archuleta, 17, David Cook, 25 David Hernandez, 24 Jason Castro, 20, Kristy Lee Cook, 24, Michael Johns, 29, Ramiele Malubay, 20, and Syesha Mercado, 21. The last two finalists who remain will compete for the American Idol title and a major recording contract.

Projection

Vocal projection is a valuable and basic technique often overlooked by actors more accustomed to performing for the screen than the stage. Failure to project isn't a problem limited to novice actors. Even players with substantial experience can have trouble being heard in strange theaters as they adjust to the acoustics of particular stages and the requirements of different performances. The advent of inexpensive clipped-on microphones and large amphitheaters that expect actors to use them have perhaps made many voice techniques unnecessary, but the development of greater vocal skill is necessary in any case. Auditions are typically performed un-amplified, and judges will certainly notice a weak voice. Projection wins Oscars, as evidenced by Daniel Day-Lewis' recent Best Actor nod for "There Will be Blood." He probably wouldn't have won a stick of gum without his ear drum rattling intonation of the line "I drink your milkshake! I drink it up!"

The chief challenge in effective projection is to maintain tone while increasing volume. Amplification can come from the throat - in which case it sounds bad and causes hoarseness among other afflictions - or it can come from the diaphragm. Projection training isn't exactly the same as voice training - it relies more on breathing exercises than mastering vocal chord control.

One useful exercise is to try to repeat a single word many times at different volumes while maintaining the same tonality. This is simply increasing the resonance of your voice. It's good practice. If you find yourself running out of breath too easily when you're maximizing your sound, that should tell you that you need to work on both your aerobic health and your breathing.

Vocal Remedies

In order to ensure the best performance possible, singers must take exceptional care of their voice. Rest is essential. Try to maintain a regular sleeping schedule and grab naps whenever possible to keep your voice strong and ready to sing.

If you're engaged in a heavy performance schedule, try to eliminate any unnecessary talking. Use hand signals or written notes, but protect your voice at all costs. Continuing to talk with fatigued vocal chords will only lead to certain strain.

Oddly enough, while talking in a normal tone of voice is bad, whispering is even worse. It rubs the vocal chords together like sandpaper, causing undo damage. Coughing and clearing one's throat is also very harmful. Whenever possible, sip water instead.

And drinking plenty of water shouldn't be overlooked. It's important to keep your throat properly hydrated. Moist vocal chords are best for singing. But try to avoid drinking citrus or caffeinated beverages, since they can actually destroy your throat's natural lubrication.

Never eat a heavy meal right before singing. Your body won't have time to properly digest the meal, creating problems with breathing and hindering your vocal performance.

Another great trick for preserving your voice is steaming with Vics Vapo Rub. Place a teaspoon of Vics in some water and heat it on the stove. Breathing in the steam is a wonderful way to open up your lungs. It will also completely moisten your throat, ensuring your voice will be in top form.

Developing Stage Presence

Whether you're a singer, a dancer, or a performer of any kind, you need to have stage presence. To many, "stage presence" may sound like an elusive quality that only a few of us can achieve. Others mistakenly think stage presence is all about how you dress. Both assumptions are quite untrue: Stage presence is the ability to appear vibrant and confident in front of an audience.

Even a technically good singer needs stage presence. You might have a superb singing voice, but if you hunch your shoulders, pace nervously, wring your hands or let them hang limply by your side, you are not radiating confidence. This will hurt your performance. In fact, a less skilled singer with stage presence has a better chance of electrifying the audience than a good singer with poor stage presence.

There are different ways to develop good stage presence, and one of them is having a good posture. Confidence also leads to a better stage presence, and you can gain confidence by practicing a song over and over until it's comfortable and familiar to you. Singing in front of many different audiences will also give you more confidence.

When you sing, don't just stand in place: Move your body, and make each motion convey the emotion of the song. This will come more naturally if you are emotionally connected to the song.

Never underestimate the power of stage presence. At the same time, remember that good stage presence is no substitute for good technique and skill: A skilled singer with good stage presence will light up the stage.

Speeches

You can learn helpful techniques from people who make speeches regularly. Politicians are best-known for the speeches they make, but there are a number of people that parlay successful careers as authors and business people as speaking careers in the future. The art of rhetoric is useful whether you're making a simple presentation to a small group of co-workers, simply interviewing for a job or telling a story to friends and family.

Actually writing a speech and delivering it are completely different things. Writing a good one is a challenge, but speaking in a natural way is in many ways more challenging. The best speakers will feed off of an audience's response and alter their tone, inflection and content of what they are saying to fit the crowd and their emotional state. Less experienced speakers tend to stick strictly to their written material, whether they have memorized it or not, and only take questions during specially designated periods.

Sometimes that's a necessary part of speaking, but few people need to get up to talk to thousands of people at the same time. Most gatherings are under 50 people, and taking questions in the middle of a speech is a good way to build a rapport with the audience and to keep things moving. You want to make them feel like a part of the process. If you're getting paid to speak, they are paying for the sense of personal connection that they get with you, not your words. If they simply wanted to hear a canned speech, they could read your material instead. Stay relaxed, and if you don't know something, don't attempt to make up an answer on the spot - simply admit your ignorance on the subject and move on.

Performance Anxiety

One of the problems that can bedevil any performing artist is stagefright, or performance anxiety. The fear of getting up in front of an audience can be overwhelming, and very hard to overcome. Even if you can get started, the nervousness can carry over into your performance, which can feed on itself in a sort of negative loop. Therefore, it's very important to come to terms with stagefright and overcome it if you want to make a career in the performing arts.

There are generally two types of performance anxiety; one is a sort of natural butterflies-in-the-stomach feeling that artists get before a performance, and it tends to be mild and go away in short order. More serious is a fear of lack of preparation or practice, which can often intensify as you approach the event and can cause serious problems. Careful breathing techniques and mentally reassuring yourself that you have, in fact, prepared properly can help with this second type of stagefright.

Preparation is the key. When you practice, try to practice in front of friends or associates, so you get used to being "on stage" more often. It's also important to remember that a bad performance is just a bad performance - the worst that can happen is having a bad night, and a bad night's not the end of the world. Finally, if stagefright is just too difficult to overcome, your doctor might be able to suggest therapies or medications to help you relax before your performances - but such a course should definitely be saved for a last resort.

Current Musicals on Broadway

It has been said that familiarity breeds contempt. Apparently on Broadway familiarity breeds ticket sales because most of the current musicals (and non-musicals) on Broadway are stories we've already heard and songs we've sung. I suppose that with the price of tickets people would rather know what to expect. But what would Cole Porter think about the state of the Broadway musical?

Mama Mia, Jersey Boys, Grease, Xanadu, and Hairspray are all about music from the fairly recent past. Three of these productions have already been movies at one time or another. Disney is filling Broadway with movies turned stage productions with The Lion King, Mary Poppins, and The Little Mermaid. Gypsy and South Pacific both started on Broadway and were made into movies when most of the Baby Boomers had yet to be born.

Original musicals are expensive risks for everyone involved from producers to theater attendees. In the Heights opens on March 9, 2008. It is about two days in the lives of residents in the Latino community of Washington Heights. David Hyde Pierce stars in Curtains, about a Boston murder investigation where all the likely suspects are in a musical comedy. Passing Strange is about a rock n roll artist's search for self, it is the only original musical currently receiving a New York Times critics pick.

Original doesn't always mean talent or greatness in musical theater or anywhere else. There also needs to be a place for the occasional revival to remind everyone what greatness was. But how many movies need to be made into musicals before we forget what a musical theater can be?

Audition Tips for Musical Theatre

Do you hands shake and your knees become weak at the mere thought of standing on stage in front of people? Believe it or not, many performers often experience a great deal of anxiety before auditioning, and adding a tune or two to the mix just complicated things even further. If you want some great auditioning tips, follow these easy suggestions and start auditioning like a pro.

In order to really express your vocal capabilities, you will have to make sure that your voice is thoroughly warmed up prior to your audition. Warming up your voice cannot be done in a matter of minutes, so start singing every day at least two weeks before the big try-out. If you show up to an audition with a cold (it happens!) don’t be afraid to tell the director. It is far better to explain your lack of voice than to start singing off-key. One of the most crucial mistakes that many performers make is not being prepared, so make sure that you know the show inside and out before you audition – you don’t want to forget the words half way through a song.

When it comes to the music that you will be expected to sing, make sure that your sheets are all in order. In fact, a great trick is to tape the sheet together before you head to your audition – you want to help the pianist follow your song. Also, remember to smile and wink (it can’t hurt) at the pianist, since this person can really make or break your tune. When you get up on that stage, put your whole heart into your audition. If you have properly prepared yourself, you will shine like a star within moments.

Don't Let Stage Fright Hold You Back

You might be one of those artists that loves what they do, but every time you find yourself under those stage lights you get a little weak in the knees. How is it that you can perform the piece of music so confidently in the rehearsal space and when you step out onto the stage you find yourself with butterflies in your stomach? Relax. You certainly aren’t alone. Many performers find that stage freight is a problem that rears its ugly head whenever they have an audience.

This doesn’t mean that you should give up the thing that you are passionate about. Chances are that the more that you perform the less you will be bothered by issues of stage freight, although you may always feel a few jitters at the beginning of the performance. These feelings are completely natural. There are also some handy tips that you can implement that may help to ease some of your fears so that you are able to look forward to a performance rather than feel a certain sense of dread.

Sometimes becoming familiar with a space will make you feel more at ease with performing. If you can get there early, get familiar with the building and the stage you might feel less out of place and improve your confidence level. Many performers develop pre-show routines that help them to focus and calm nerves. Perhaps reciting your lines, running over the problem spot in the music, or practicing your introductory speech will help you feel more confident. Some people find that taking a walk around the backstage area helps to eliminate jittery energy too. Often once you begin your performance you will be able to relax and remember why you undertook this opportunity in the first place.

Hydration and Your Voice

If you are seriously considering any sort of career that requires extensive usage of your voice, you should know that you cannot be at your best unless you hydrate properly. Hydration is the number one thing that any actor or singer needs to consider when it comes to creating a nutrition plan, yet most people tend to overlook this crucial diet aspect.

The average person needs to consume approximately two liters of fluid per day (water is the best option). However, those people that will be using their voice frequently should consume nearly double this amount. Why does hydration matter? In order to retain a rich voice, hydration is key. The more your body is hydrated, the less your nose, mouth, and throat will become dry resulting in a weakened voice. In addition to drink a large amount of water, you may also want to try using a saline solution at least three times per week ... just to make sure that your voice stays nice and moist.

Experts also recommend that anyone using their voice often consider the benefits of an air humidifier. Since indoor air is often dry air, a humidifier can work wonders when it comes to repairing your voice. If you plan to rely upon your voice in order to live, you need to make sure that you take care of it at all times. Remember to hydrate; use saline solution; and install an indoor air humidifier. If you are a singer or an actor, your voice is your life .. don’t let it dry up.

What NOT To Do During An Audition

If you haven’t been auditioning for awhile, it may be difficult to know exactly what your audition style is. It is even harder to gauge the reactions of those who make the final decisions; they are very hard to read. It will take some time to become comfortable in your "audition skin", learn your own audition style and navigate your way through it professionally. Here we will go over three things that you should never do during an audition.

Do not initiate a hand shake with the casting director! If they have your resume, your head shot and/or your demo, they know who you are. All that is expected of you and all they really want from you is for you to walk in with confidence, smile and introduce yourself, then get right into your audition. If you actually need to hand your information to the CD, then simply walk over and hand it to them. However, if they initiate a hand shake, then shake their hand.

Never make eye contact with the CD during your actual audition or anyone else in the room for that matter. Simply choose a spot to focus on that makes it seem as if you are performing for a packed house. It may be slightly awkward for the CD and you, to make them the focus of a serenade. Keep in mind that they will be taking notes on your performance and distracting them in that way could do more harm than good.

Finally, never ever give a clue that your audition is over. If you have gotten the whole way through it without being cut off, consider yourself lucky and simply wait silently to be dismissed.

Remember that no matter the outcome of the audition, there is something to be learned. This is a process and never be too hard on yourself but allow yourself to be open to constructive criticism.

Taxes for Performers

If you are a performer, taxes may be the last thing on your mind. You, like most performers, are a free spirit and you may not care for all the rules and tedium of tax forms. However, you may be opening yourself up for a world of trouble if you neglect your taxes. All you need to know to do your taxes is a little bit applicable tax code and a few hints and tips to help you keep more of your money.

If you are a performer then you are most likely considered self employed. This means you are not an employee of any company and when you are paid, you are responsible for deducting all your own taxes. You will have to file a Schedule C with your tax return at the end of the year which indicated all money you received in the previous year. You will also have to pay self employment tax by using Schedule SE in addition to federal, state and local taxes. You are also expected to pay quarterly taxes by using 1040-ES

However, you can find ways to reduce the amount of taxes you have to pay. You can claim expenses on your tax returns that can reduce the amount of tax you owe. These expenses must have been incurred in the operation of your business and they must be necessary to the operation of your business. Examples of such expenses include travel expenses, home office expenses, legal expenses, and professional and agent fees. This is not a conclusive list and you should definitely consult a tax professional for further information.

Theater Audition Tips

You may be nervous about going on auditions. This is especially true if you watch others audition and they do it flawlessly. Giving a good audition is actually much easier than you think if you take advantage of these tips.

The firs tip is to dress appropriately. You have to look the part if you want to get the part. Don’t come in full make up and costume and don’t wear anything too sexy or revealing. Try to remain professional while still being in character. If you are having a hard time deciding what to wear, some nice fitted pants or a skirt and a blouse are always in style as long as that style reflects you. You want the judges to really see who you are and why you should get the part.

In addition to the above, it is imperative that you make eye contact. If you say your lines while staring at the ground or out into space, the judges will be able to see that. You have to e able to engage an audience and for that eye contact is necessary. Plus, eye contact shows that you are confident in your self and your abilities and confidence can go along way to helping you land a part. You’ll also want to work on your hand shake. A nice firm hand shake with good eye contact can mean the difference between the judges picking you over someone else. Don’t try to crush anyone’s hand though. Just a nice firm grip with good eye contact and a clear voice is all it takes. Good posture goes along with all of this so don’t forget to stand tall at all times.

Finally, you will want to have your photos and performance resume ready for the judges so be organized. Make sure that whatever monologue or song you choose is within your range of abilities. If you pick something that is over your head it will be noticed by the judges. Do what you know you can excel at.

Fiddler on the Roof

Fiddler on the Roof is a critically acclaimed Broadway show and feature film. The original musical was written by Joseph Stein, with music and lyrics by Jerry Bock and Sheldon Harnick. The story takes place in 1905, revolving around a poor Jewish milkman named Tevye. He lives in the tiny village of Anatevka with his wife and three daughters. Everything starts out peacefully, as Tevye introduces us to the village, espousing the importance of tradition.

The story slowly takes a turn for the worst as Tevye has to cope with losing his daughters to the men they love. Each union stretches his firmly held beliefs. By tradition, the father has to approve his daughter's wedding. While the daughters seek approval from him for men that don't fit his standards, the Tsarist oppression of Russia worsens and begins to affect the village. Admist the turmoil, Tevye turns to God for answers, maintaining a constant one-man dialogue with Him throughout the story.

Fiddler on the Roof is filled with great music, from songs celebrating Jewish heritage to mournful numbers and beautiful hymns. It's lively and exuberant, thoughtful and introspective, and overall a masterpiece for stage and film. The Broadway show was popularized by Zero Mostel's portrayal of Tevye, and won three Tony Awards, including another for Best Revival. The 1971 film starred Chiam Topol as Tevye (who also portrayed him on stage), with music by John Williams. It received three Oscars, including Best Score. The film is definitely worth a viewing - Fiddler on the Roof is a rumpus as much as it is a heartfelt story of love and family.

Compact Disc Distribution

While we're rapidly moving into a new era of music and music distribution, one of the best and most reliable ways to get your art in the hands of your fans is the venerable compact disc. CDs are cheap, relatively durable, and almost every computer sold today contains the software and hardware needed to record music onto disc. And while not everyone has internet access, you can be almost assured that any given person has at least one CD player.

The Compact Disc was developed in the 1980s as a replacement for the cassette format, which was considerably more expensive to produce and more fragile. The digital nature of the CD allows for repeated playback, whereas a cassette tape would slowly degrade over its lifespan. With careful handling, a CD can last for years and years.

Artists who do their own recording have a choice of a few different formats; by far the most common CDs have a 74 or 80 minute capacity (generally enough for a full album) but smaller discs are available which can handle about twenty minutes of music. Even smaller business-card sized CDs are available, each of which can hold approximately one song.

A final note: when considering burning your own CDs for distribution, it would be wise to invest in a color printer for the production of disc labels. Full color labels look considerably more professional, and stand out much better, than the old faithful Sharpie. By putting a little extra effort into your distribution, you can get fans to give your music another listen.

Vocal Nodes

Singers who have been belting for years tend to start to pick up some gravelly texture to their voice. This can either add to their sound or end up crippling their vocal chords. Calluses termed "vocal fold nodules" cause this modulation in the vocal chords. It afflicts many professional singers both young and old. It can subside with time and relaxation, or removed through surgery. They are generally exacerbated by stress and frequent singing. If you notice significant degradation in your voice, you should see a doctor and ask him to examine it.

The symptoms can include reduced vocal range, pain when speaking or singing and hoarseness. Women are more likely to develop them than men. A diagnoses of vocal nodes can be the source of a great deal of terror for performers that make their living on their singing, so doctors are often avoided to the singer's detriment. The surgery to correct the nodes is relatively minor and very safe, although it is generally conducted under general anesthesia. With surgery, speech therapy and rest, a full recovery is very possible.

Singers like Justin Timberlake, Whitney Houston, Natalie Imbruglia, Luciano Pavarotti and Freddie Mercury have suffered from vocal nodes. The stigma around nodes centers around the belief that it is exacerbated by poor singing technique, although this had not been empirically proven. The nodules are easier to treat if they are diagnosed and treated while they are in the "pre-node" form. It can develop even in children, so if you think you might be suffering from them, press your doctor to conduct an examination.

CDs and Digital Distribution

While music has been distributed on those ubiquitous silver plastic discs for as long as many of us can remember, we stand at a turning point in the music industry. With more and more people gaining access to the World Wide Web, the concept of direct digital distribution has been gaining more and more widespread acceptance. And although many companies are still invested heavily in the production of compact discs, and there are still some problems to be ironed out with the new format, we can all expect to be downloading our music in one form or another in the years to come.

The first online music stores were created in an attempt to stem the flow of bootleg, unauthorized music trading online. While these stores have had considerable success in recent years, the pricing structures and the Digital Rights Management technology used to control what the purchaser can do with the tracks have remained topics of concern among users. Nowadays, more than a few artists and labels have thrown in the virtual towel on the piracy front, and simply sell plain-vanilla mp3s with which the end user can do whatever he or she likes.

One of the advantages to this method is a vastly increased exposure. The more people that have access to a work, the more popular the artist can become. Coupled with reasonable pricing (the most recent Nine Inch Nails double album is being sold online for $5), many of those who would go out of their way to download the files illegally might instead choose to support the artist. More and more musicians are taking this approach, especially in that it allows them to bypass the normal hassles of labels, management, and physical distribution. The future of music, it seems, is on the web.

Voice Coaching

Beautiful voices do not spring from the throats of singers fully-formed from childhood. They are honed through careful training and practice. Young singers typically start taking voice lessons early on in their careers, but it can also provide great benefits to actors or even ordinary people who need to speak frequently in business.

Voice coaching helps people to improve self-control over the pitch and modulation of their own voices along with teaching valuable breathing exercises. Actors can learn to project better, control their accents and improve that annunciation. Of course, learning how to sing also makes an actor more employable.

There are a number of different types of specialized voice coaching that cater to people with different aims and levels of ability. Before finding a voice coach, keep in mind what you want to use your voice for before choosing a coach. Group lessons are sometimes also available, but due to the idiosyncrasies of the voice, private lessons are vastly preferable.

The National Association of Teachers of Singing (NATS) counts thousands of teachers as members. Some teachers even conduct lessons over the telephone. A number of books have been written about the science associated with the art of singing that can be quite helpful to artists in training. Through the organization, which has chapters in many major universities around the world, artists can get in touch with coaches of proven expertise. If you have a hard time justifying the expense, purchasing books and journals about the art can be helpful, but improving quickly is easier with constant feedback from a devoted mentor.

Butterflies

New and seasoned performers alike know the familiar feeling of a fluttering stomach before a performance. The eyes begin to blink uncontrollably. Everything starts to sweat. The other performers aren't ready! You're not ready! The audience is going to laugh!

There are only a few choices in this situation. The anxious performer can either run away to a waiting taxi and ignominy, or they can swallow their fear and go out on stage.

Stage performers have many ways to deal with their paranoia of the audience. Some theatrical people like to turn it into a monologue of their own, either making themselves more anxious by berating themselves endlessly or trying to reassure themselves. This often brings in another fellow performer to reassure them, so that they can play a role themselves to manage their stage fright.

Some choose to make use of various clichéd mental tricks like imagining that the audience is naked or visualizing a good performance. It can work, but everyone has their own way to prepare.

Other performers conduct rituals before every performance, like eating the same meal every time or repeating a prayer or poem to themselves. Meditation has become very popular.

Professionalism balms anxiety more than any other technique. Only endless practice can build confidence and self-esteem to the level that performing to an audience of thousands is as easy as getting out of bed in the morning. Actors and musicians are notorious for self-loathing, so it can challenge a hard-working performer to really build up confidence in an environment in which everyone in their company is attacking themselves and sniping at one another.

The Alexander Technique

The Alexander Technique has been used for over 100 years by performers to improve their speaking, singing, and acting abilities. Although it's mostly popular with actors and singers, the Alexander Technique can benefit anyone. Mastering the Alexander Technique doesn't just improve your voice and posture; it actually increases your awareness of your whole body. It helps you overcome bad physical habits that create stress and discomfort.

This technique was pioneered by a man named Frederick Matthias Alexander, a Shakespearean actor who lived from 1869 to 1955. He had problems with his voice: He would often go hoarse or lose his voice altogether while performing. He consulted doctors, but they could do little except tell him to get some rest. Alexander decided that his problem were caused by something he was doing.

Alexander began studying himself in the mirror. When he began reciting lines, he noticed that he pulled his head back and down. This combined with shallow breathing put stress on his larynx. He tried to stop these habits, and ended up overcompensating and developing more counterproductive habits. It took years of self-study to perfect a method that allowed him to do what felt right for his body.

The Alexander Technique focuses less on the goal and more on the process toward achieving the goal. It's hard to overcome bad physical, unconscious habits without spawning new ones that are equally bad. For example, to overcome slouching, we might stand up straight instead. However, standing too erectly is bad too. There is a harmonious balance that is hard to find without assistance from a teacher.

Although Alexander Technique can benefit anyone, it's especially good for people who want to learn how to sing without damaging their voices or stressing their bodies.

Books For Singers

It’s true what they say – there is a book for everything. In fact, there are many books that deal with the topic of song, and some of these books focus upon singing in particular. If you are looking to become a singer of any sort, the following books are worth a quick peek.

The Structure of Singing: this book is highly scientific in that it deals with medicine, science, physics, and phonetics – all combined to help singers truly learn about their craft. You will find various vocal techniques throughout this book that have helped countless singers.

Solutions for Singers: Tools for Performers and Teachers: this book contains a singing methodology that many stage performers find extremely useful. Author Richard Miller is a true expert on the topic of song, and he really knows how to combine useful tips with well thought out tricks.

The Diagnosis and Correction of Vocal Faults: this book is actually a handbook (complete with CD) for teachers and choir directors. However, many stage performers have also found this book to be extremely useful when it comes to discovering the different methods involved in understanding song.

Though there are many other books out there for stage performers and singers, these three books come highly recommended by all that deal with singing on a daily basis. If you are looking for some basic tools, try any one of the aforementioned books, they are sure not to disappoint. All of the books mentioned above can be found at any bookstore, and all are moderately priced.

I Go Perform- Outstanding!

Welcome to my web page. Having been a performer since age 10, I look forward to sharing with you a site that you will return to again and again. I hope to share information about performance, it's rewards, perils, problems and opportunities. There will be products for all of us who find ourselves in front of an audience at one time or other during our lives. My area of expertise is voice and Musical Theater, Opera, singing and song. I have experience in choral groups as well extensive solo work. I have sung karaoke, cabaret and dinner theater. I have dealt with stage fright, loss of voice, forgotten lyrics, wrong verse at the wrong time with an orchestra, lost my "drawers" in the middle of a dramatic aria, my hair do has come undone, and I caught my skirt as the Velcro gave way while leaving the stage. I have jammed my hand into a metal grate, but as they say, bleeding and in pain, the show must go on. I have served as stage director for several main stage productions of Broadway Musicals for a community theater group, and have also staged productions at high school and elementary schools. I am passionate about opera singing and have sung in over 20 years worth of scenes from operas. I have sung over 18 leading roles in musicals, and several in opera. Musical theater choruses have offered the most fun, and the least amount of stress. Opera chorus has offered an opportunity to sing some of the world's greatest melodies. My favorite is the "Nessun Dorma" from Puccini's Turandot.
I want you to know that one of the best kept secrets in the performing world is a music festival in Fairbanks Alaska...known as the Fairbanks Summer Arts Festival...at this festival you can sing in a gospel Choir, Classical Choral group and/or small a cappella ensemble,. You can play and study with instrumentalists from all over the world. You can ice skate and train with nationally renown teachers; dance and perform in ballet, jazz, modern, ballroom and world dance. At this festival you can learn to tell stories, become an expert on Shakespeare, or participate in an opera workshop that puts on an amazing costumed concert the final week. If jazz is your thing, there are wonderful jazz clinicians, and ensembles to perform with. If you sing cabaret, you'll love the classes and performance events. So check it out at www.fsaf.org . If you want to learn more about performance , or gain performance skills this is a great place to do so. Every weekday for the two weeks of the festival you can hear amazing performances by the guest artists for free while you eat your lunch. Did I mention the harp, guitar and harmonica clinicians as well. This is truly a unique place to experience two weeks of performance immersion. One does not think of painting, drawing, mask making or fabric art as being something to be performed, but at this festival art has become a performance art.
So I hope you like my sight, and enjoy visiting. Please drop me a line. Let me know if I can help you in any way. Break a Leg! Keep treading those boards! Toi Toi Toi! Later, Jane

Breaking In

Getting a job in the performing arts world can seem like an insurmountable obstacle. With so many people vying for so few positions, many of whom have a great deal of education and amateur experience, it can be years before you hear your first call-back. Getting into the industry can be tremendously discouraging as you watch people with less talent but better connections leap ahead of you.

Don't worry - you have options, especially if you've moved to a performing arts mecca like Los Angeles or New York. Although you might not be able to break in to Broadway in your first year, smaller productions, sometimes cooperatively produced by artists, are being formed all the time. Student filmmakers and playwrights have material to turn into performances. As the technology for producing film and theater productions has become less expensive, the barriers to entry have gone down. Participating in these small productions helps to demonstrate that you are a responsible and effective performer, and combined with good auditions, will help you break into the professional world.

As a musician or an actor, working as a substitute or an stand-in will help you break in to a regular job at the company. Even if it's a union job that's hard to break in to - as most regular jobs in the entertainment world are - as long as you show consistently high skill and a professional attitude, you will be hired eventually. Persistence and tolerance for a low standard of living while you are trying to break in to the art world will eventually pay off for you.

Dealing With Performance Anxiety

The lights dim; the stage is dark; millions of eyes are watching you; and you suddenly can’t breathe. If you have experienced this feeling before, you know exactly what performance anxiety feels like. This type of anxiety effects even the best performers, but there are some ways to help you conquer your fears.

While the old “picture the audience in their underwear” trick may not work all that well for you, experts have come up with some other ways to get over stage fright. One of the best pieces of advice that you should consider is to simply allow yourself to recognize your fear. Instead of trying to tell yourself that you are not afraid, allow yourself to become consumed by your fear .. and then conquer it. Once you have realized that you truly are afraid, you can then start to deal with the audience. Focus upon the performance that you are about to give, try and contact the audience, and allow yourself to really become the scare and timid performer ... this could work to your advantage. Finally, talk to yourself (well, not on stage, but before a performance). Tell yourself that you are afraid, and try to identify what, exactly, you are afraid of. When you start to personify your fear, you will then be able to shape and mold it.

If you are determined to become a performer, you will have to conquer your anxieties. However, this does not mean that your performance anxiety will completely disappear. Some of the best performers throughout history had extreme anxiety before they took the stage ... but they still performed. Remember not to fight your fright, and accept your fear as a part of you instead. After you learn how to become a performer that has been shaped through anxiety, you will find a whole new stage presence that will work in your favor.

The Art of Mime

Mime is a silent art, characterized by acting or expressing feelings with gestures and facial expressions. Mime as entertainment dates back to the ancient Greeks and Romans. After that, mime was popular in Italy before it reached France. The rising popularity of mime in France gave way to schools of mime and consequently, traditions of great French mimes followed. American mime today is very different from the French version.

The ancient Greeks wore masks and performed mimes of everyday activities, as well as dramatic character-centered mimes called “hypotheses.” The Greeks performed in front of thousands of people at the Theater of Dionysus in Athens. When the Romans conquered Greece, they brought the art of mime to Italy. In 1811, the son of a Bohemian touring acrobatic family named Jean Gaspard Batiste Deburau brought mime to Paris. Deburau remained in France and developed the ancient art of mime into the more polished and expressive version that exists today. The 1945 French film titled “Les Enfants du Paradis” told the fictional tale of Deburau’s mime work from his beginnings in Paris.

The two main types of mime are abstract and literal. Abstract mime often has no plot or main character, but is rather an expression of feeling used to provoke interpretive thoughts about a serious subject. Literal mime, on the other hand, is often comedic or is used to tell a story. Gestures and visual expression show a clear and typically funny tale of the conflict faced by the main character. Combinations of both types of mime are possible, and pantomime movements are common, as well. Pantomime is the use of movement and gesture in the telling of a story, such as the ancient Greeks and Romans used in their mime.

American mime combines acting, play-writing, and pantomime dance, and is quite unlike the French version. Paul J. Curtis founded the American mime art form in 1952. Curtis was impressed by the silent aspect of French mime, but wanted acting and dance to be more pronounced. He is the founder and director of the American Mime Theater in New York City.

A Hidden American Treasure: The Regional Theatres

So you want to be an actor, and you picture yourself in the footlights of some great stage, reciting the immortal words of Mamet, Ibsen, Miller, and the Bard. Chances are if this is your vision, you have it located in New York City, on the Great White Way. For many Americans, theatre exists only on Broadway or in little tiny churches that have been converted into community theatres where locals produce "Oklahoma!" every couple of years. There seems to be only the amateur and the big leagues.

What many have forgotten about are the Regional theatres that exist across the country. Indeed, this is probably because their numbers have declined over the past several decades, but they offer a professionalism and a unique approach to theatre that doesn't require a trip to the Big Apple to experience. Regional, nonprofit theatres employ professional actors, directors, and tech crews, produce new plays, showcase revivals, and offer a place for the avant-garde to exist. Generally speaking, a regional theatre will be comprised of 2 different stages: a main stage where larger productions are put on, and a studio or black box, where more experimental forms of theatre are explored.

Regional theatres are typically members of the League of Resident Theatres, or LOTR, which is a collection of nonprofit organizations that have a special contract with the Actors' Equity Association, which is the actors' and stage managers' labor union. Many Regional theatres also promote education in their communities, and cooperate with university theatre programs in their local areas. Regional theatres are an important part of the complex theatre puzzle.

Musical Theatre

Musical theater has been enjoyed by people since ancient times. It combines song, dance and dialogue and the music carries the feelings of the performance. Musical theater is also known as a musical. They are performed worldwide in such venues as the stages of Broadway and the West End.

Musicals are different from operas in that there is actual spoken dialog. The singing and dancing are used more to illustrate important moments in the story or to convey a character’s feelings. However, there are productions called “sung through” musicals that have the dialogue sung as well. Such examples are Evita and Les Miserables. Also, operas do not feature choreographed dance numbers and are usually performed in the language they were originally made in. Musicals are most often performed in the language of the audience and are translated for performances in different languages.

Musical theater has various run times and can be short, one act plays or long drawn out affairs with multiple acts and scene changes. These longer shows are broken up into acts and there is usually an intermission of 10 to 20 minutes for the actors to rest and for the patron to stretch their legs and get refreshments if they are available. Most musicals have 4 to 6 main songs that give insight to the story as well as move the plot along. Most of the singing is traditionally done in the first act which is usually longer than the second.

There are many well known films that were adapted from musicals such as West Side Story, the Sound of Music and Chicago. Conversely, there have also been movies that have been converted into musicals like The Lion King and The Color Purple.

Warming Up To Auditions

For everyone that has dreams of performing on the stage, the first step towards getting your spotlight is to nail an audition. And this is no easy first step! Auditions can be intimidating, frustrating, and stressful experiences. But there are some ways that you can make the most of your chance, and even come to a place where you can enjoy the opportunity to show off what you can do!

One of the best ways to land a role is to come to the audition prepared. Know a little bit about the production, the director, and above all know about the requirements of the audition. Some will require that you read cold from a script, others will want you to sight read music, or sing a prepared piece or recite a monologue. You will get off on the wrong foot if you look unprepared.

It is also equally important to give off a professional attitude. Arrive early with plenty of time to settle in before your audition starts. Bring a bottle of water with you, as sometimes nerves can cause you to have a dry mouth. Go out of your way to be friendly with everyone, as theatre tends to have large social networks and you never know who you may be interacting with. Being curt with someone may come back to haunt you later. Most of all, remember to give off a sense of confidence, whether you feel particularly confident or not. Auditions are really about selling yourself, so don't sell yourself short and you may just find your name on the cast list!