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It is best to photocopy only the portion of
music that is to be sung. Tape the
photocopied music onto a file folder
(substantial paper quality) that will easily stay
open and on the music stand. If
the excerpt is more than two pages, make the third
page as an attached fold-out to
avoid page turns. (Never offer to the pianist loose sheets that can
fall off the music stand and are often in the wrong order.)
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Mark the
top of the first page with:
Title
of selection
Show
Composer/lyricist
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Mark the
following musical indications:
Tempo
(metronome marking is useful, ie., quarter note = 120; half note = 60,
etc.
Mood indication from the score (moderate, easy swing,
allegro, largo, soft-shoe,
etc.)
"Belltone = G" (or whatever the first note is) unless using a piano
introduction
Any
liberties that are to be taken with the tempo (ritards, breaths in the
middle of
sentences, rubato, moving forward, etc.
The time signature and the key signature must be clearly included at
the beginning of the selection.
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Before taping the music onto the folder, cut out anything that is not to be
played,
such as unnecessary introductions, first
endings, long postludes, instrumental cues,
second verse words that are not going to
be sung, etc. Then adjust what follows so
that the pianist follows the score in a
logical manner – no sudden jumping from score to score. Do not cross
bars out and expect the pianist to jump over unused sections of music.
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Always present the music in the key in which it
is to be sung. Never ask a pianist to
transpose at sight.
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Never ask a pianist to play from a lead sheet which has only the melody,
lyrics and
chord symbols.
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Make
certain that the music is clearly copied and includes ALL of the top melodic
notes and ALL of the piano bass notes. White-out
anything that is distracting or unnecessary.
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Ask an experienced pianist
to read through the excerpt to see if anything is distracting, confusing or
missing.
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Prepare and
practice what needs to be said to the pianist (including "hello" and "thank
you"), so that valuable audition time isn't wasted at the piano. Point out
anything that may be tricky to the
pianist. Lightly tap the tempo and lightly sing the first phrase of
music until the pianist nods that s/he understands. Then, go center and
prepare to sing.
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Always nod to the pianist for the belltone or
the introduction when ready to sing.
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Always thank the pianist when finished.
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Avoid manuscript copies if
possible. It is much better to have someone input the music into a software
program (Finale, Sibelius). The printing is much easier to read.
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Avoid the very
difficult piano reductions of certain composers such as Jason Robert Brown,
Michael John LaChiusa, John Bucchino, Stephen Sondheim, etc. A pianist who
can't read this challenging music can destroy an audition. Many of these
difficult accompaniments can be
simplified by a composer/arranger and printed out in more easily-read
version.
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Do not waste
valuable audition time asking the pianist to play a lengthy piano
introduction. It is usually best to plan
for a one-bar introduction or just a belltone.
A belltone allows the singer to
establish the tempo with pick-up notes. Furthermore, starting with a
belltone avoids having the pianist accidentally set a wrong tempo and allow
the singer to begin when s/he is ready.
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Avoid selections that have
meter, tempo, and key changes. An audition selection that maintains a
steady, established tempo and key is most often successfully completed
without error.
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It is best for students to practice with a
live accompanist.
