Music news paper

The audition tips included in this article were gathered from many professional in the music/theater biz.

When you first begin auditioning, especially for Musical Theater keep in mind that there are many, many venues where you can hone your skills - venues outside of Broadway. Look at cruise ships, theme parks, dinner theater, regional theater and children’s theater. Experience, most any experience makes you a better performer.

If you have experience as a stage manager or stagehand, remember that it’s the same union as the performers - Equity. The Equity points you earn as a stage manager are valid for performer status as well. Not a bad way to go.

Going to an open call? Get there early. The auditors will see hundreds of hopefuls by the end of the day, so you want to be seen when they are fresh and wanting to hear you. If you audition later in the day, rule of thumb says they already have someone in mind for your role and you will be asking them to re-cast the role using you instead. Much tougher than being first choice.

Always arrive with everything you will need and more. Headshot and resume - already stapled together, your book of music - and your musical ability to harmonize and improvise, proper clothing - dance togs and street clothes appropriate for the monologue or character, impeccable manners, a professional attitude, and leave your ego outside.

Don’t let the auditors’ apparent inattentiveness bother you or sour your mood. That text message she is sending may be to the costume designer asking the size of the costume for your role and can it be altered. They are WORKING! You do your job and they’ll do theirs.

When you walk into the room, be open and full of honest energy. The auditors want to know who you are and if you are a good fit for a role, for their company and for the micro community of a theater troupe and rock band. This does not mean that you should be “acting” the whole time, but quite the opposite. If you are not who they want and you don’t get hired, then you should have no regrets. The only thing not getting hired proves is that you weren’t a good match AT THIS TIME. They may need you next season.

Make sure your contact information is current and will remain current for 3-5 years. Casting directors are like elephants - they have excellent memories for talent. Give them a nice person to remember. No whining or complaining.

Your job is to practice and audition. Your career will always be about practicing and auditioning, so have fun with it. Use each audition as an opportunity to learn. Learn what songs you feel the best about, what monologues are you comfortable taking the biggest chances with, what pre-audition routine keeps you the most focused. This way your audition time will never be ‘wasted.’ You will have learned a new piece of information to take into the next audition.

If you have a valid question - ask! Let’s say your book is just loaded with 16 bar pieces but you don’t know which one to do. Give them 2 choices. Would you rather hear ‘Everybody Says Don’t’ or a pop tune? Do you prefer I make eye contact with you or not? One question specific to the audition and how to proceed is valid.

They might ask you some questions too. Like - what music is on your iPod? Great question because the answer will tell the casting director a lot about your diversity. Auditors are barred by law from asking you personal questions. Answer only if you feel comfortable, and then check their references online.

Remember that the theater community is very small. The music recording industry is a small community and the pros have usually worked with each other at one time or another. Casting directors, directors, musical directors and other music/theater people know each other. If you are being considered for a role along with 3 others, the director may know the directors from your last 2 shows and call them to ask about your work ethic.

Also keep in mind that show biz is a business. You are running a business. Be professional as well as personable; be persistent without being a pest; be confident and competent and you will succeed.

By Sally Morgan

To learn how to sing isn’t something that has to cost a lot of money. You can learn to sing in many ways such as simply paying attention to how your favorite singer sings, there are online classes that you can take and of course the lessons that you can take in person from a singing instructor. Expensive lessons don’t always make you into some famous singer though and not every famous singer started with lessons. You might keep that in mind. Some were just born with a gift. But if you want to learn how to sing, here are a few things you can keep in mind.

Try to think of someone you know that knows how to sing really well. Now ask that person if you can sing along with them. Find someone who is adventurous in the vocal range, someone who can give you things to try. Keep in mind when you sing that it is always best to stand up to sing as it allows more air into the lungs.

Warm ups are good for most anything, singing included. To warm up your vocal chords you can try singing the ever popular “do ray me fa so la ti doh” scale that we all know and love. Might want to have some fun with it and sing that song from the Sound of Music that adds a fun twist to the more boring do ray me. Once your chords are loosened up you can start singing with a song that you already know, one that you are comfortable singing. Like me, I love some songs but I know that they aren’t to be sung by me. No sense hacking them to pieces. But I do sing the ones I know I can do and once I get real comfortable I add some “umph” to it and really try to project my voice.

If you are unsure of how to project your voice, imagine that you are singing to people at the back of a hall and you want them to hear you. To do that you don’t have to scream. That isn’t anything anybody wants to hear. To make your voice louder you need to learn to use your stomach muscles. When you are singing, push down with your stomach muscles and you will see how it makes your voice stronger. It might take some practice but once you get it down you will be surprised at the difference it makes.

Generally that strength is needed from the stomach muscles in the last few words of a sentence so that it isn’t cut off and phased out weakly from lack of breath. Those stomach muscles are life savers at getting those last few breaths out so that you can finish a sentence.

Learning how to sing properly is a wonderful thing to accomplish. To have your voice so that people actually want to hear it is a time when you know that all the practice was worth it.

Piano lessons provide more than just a musical education. They build life skills like goal setting and time management. They also reinforce the idea that hard work is valuable and rewarding. Plus, piano lessons develop coordination, fine motor skills and the ability to reason effectively and solve problems.

Piano lessons incorporate different curricula and methods depending on the school/instructor. Most every music school/piano instructor teaches the same basic principles though. One of the limitations of standard piano curriculum is that the majority explore only one or two types of music (like classical). Eventually some students want to branch out and incorporate popular music in their repertoires.

It can be tough to convince a hardcore classical musician to teach someone to play Jerry Lee Lewis. That’s okay. Just like many mechanics specialize in a particular type of car, piano instructors have their own genres too. Don’t fire your teacher. There is much value in learning the classics.

Instead, supplement your traditional piano lessons with popular music lessons. Piano students can learn to play jazz, rock, blues or pop piano from a number of other sources:

* Specialized lessons. Find a one-on-one piano teacher who specializes in the type of popular music that you’re interested in. A majority of instructors teach traditional styles of piano, but there are many who specialize in popular music. One of the best ways to find a pop piano teacher is through a local music store. Many music stores offer lessons in a variety of genres. Others have lists of local piano teachers who teach pop music.

* Participate in group piano lessons. Again, local music stores and some community centers offer these types of classes. They tend to be less expensive than one-on-one lessons. Those who already have a good foundation in piano usually learn other genres very quickly in a group-style setting.

* Take an online course. The Internet is rife with quality popular piano courses, including many that are free of charge. The best thing about online music curricula is that you are usually self-directed. You can work at your own pace during times that are convenient for you. Some online courses offer support, like virtual instructors. They can answer your questions and clarify things that you have trouble working through on your own. A pianist who already takes traditional piano lessons usually fares very well in self-directed online piano courses. It’s a great way to keep learning the standards while still being able to branch out.

* Jam with other musicians. It’s amazing how much you can learn by simply doing. Check out what’s happening in the local amateur musical community. Find a local pub or coffee house that offers open jam sessions. Partner up with other musicians and host your own jam session.

* Brush up on your chords. Classical musicians frequently get little, if any instruction in reading and playing chords. This is because chords are not generally used in classical music. An understanding of chords is crucial to most other popular music genres, particularly rock and jazz. Purchase a chords workbook to study on your own time. Take a piano course that specifically teaches chords. You can also learn chords online, often for free. The more you understand chord theory, the better you’ll be able to tackle popular music.

Don’t give up on traditional piano lessons. Every serious piano student needs this kind of foundation. Just remember: it’s okay to love popular music too. Learning both Ray Charles and Rachmaninoff makes for a well-rounded pianist.

Heading into the new millennium everyone in the music industry was wishing for a “level” playing field; a field upon which independent music artists with less financial backing could compete with major artists and their major budgets. With the advent of the Internet, consequent evolution of digital music, a faulty music business model, and fleeting commercial opportunities, we can now say, voila! The playing field is officially leveled.

But what does it really mean?

I’m not an astronomer but I do know that as you look up into the galaxy two things determine your ability to see stars: (1) how brightly the star shines and (2) your vantage point. The music industry is the galaxy in which stars are often discovered and seen by their adoring fans. While there are many stars in the galaxy, some shine more brightly than others. It just so happens that in this music industry galaxy some (signed) stars get to shine more brightly because they have the resources (of a label) to do so.

For the longest time an invisible wall existed between “signed” and “unsigned” music artists. The unsigned often felt the stigma of rejection as they secretly sought validation by the record labels that shunned them. Then the 90s approached and talk of the playing field getting leveled became the impetus for a change in attitude about getting signed. Being “unsigned” suddenly became being synonymous with being unchained and unencumbered.

As record labels gained more infamy for being controlling, political, and creatively stagnating (thanks in large part to efforts by Courtney Love and Prince who displayed the word “slave” across his face for months during his bitter dispute with Warner Bros.) the stigma of being unsigned was transformed into a badge of honor and a more favorable business position for artists to be in.

Soon after the floodgates to independence swung open. With each passing decade an even larger constituency of music luminaries including Nine Inch Nails, Madonna, Tori Amos, Bobby Valentino, Keith Sweat, Velvet Revolver, and respected R&B crooner Joe, have joined the ranks of the independents.

And now what?

With the music industry in an overly reported state of flux (though many would say demise) what will become of this new breed of independents (those once affiliated with a major or have been the recipient of financial backing)? What impact will it have on true independents (those never affiliated with a major and have never been the recipient of financial backing)?

Will this independent movement create a rippling gridlock effect in terms of opportunity? How will both this new breed of independents and the true independents fair in a marketplace where there products can be obtained free of charge? Who will determine and create their viability? Without monetary support from a record company, how will they sustain themselves?

The answers to all of these questions can be found in a movie called Back to The Future. Some of you may have seen it. Others may have heard of it. The premise of the movie is this: The lead character played by Michael J. Fox must go backwards in time to change the events of the future, which is where he is from.

Bingo.

Because I teach a course on music industry career planning, I can asseverate that most people don’t know that the music industry was spawned from the music publishing industry. We often hear A&R executives say, “It’s about the song!” but we rarely hear them give an explanation as to why.

The music publishing industry, which began in the 1880s, originated by printers who manufactured a wide array of printed materials from newspapers, flyers, posters, and bibles became suppliers and retailers of sheet music. There was no television. There was no radio. Just families with pianos trying to entertain themselves by singing songs in the comfort of their own homes.

People wanted to share their (sheet) music with others and would buy additional copies from the printers. The printers offered to sell sheet music at their stores upon request in exchange for a percentage of the sale less their printing fees. Sheet music became a valuable product.

Printers hired singers to demonstrate (perform) sheet music in their stores to customers who came in to by other products and discovered that they could generate more sales. They quickly discovered that the more talented a salesman was, the more sheet music they sold. Eventually, these “singing salesmen” were sent to other locations to sell the sheet music that was sold by a particular printer. The advent of the transcontinental railway in the mid 1800s created a means for traveling salesmen to “go on the road” and perform songs for audiences who were eager for them.

This is known as the Vaudeville era; a time when a variety of performers (not just musical) would travel to new regions to entertain audiences. Printers took on more administrative duties in this era, often promoting songs and booking their traveling salesmen. They redefined themselves as publishers. The traveling salesmen became crucial to the sale of sheet music and the livelihood of the publisher. They redefined themselves as entertainers and discovered that they could financially sustain themselves on the road with their performance talent.

Fast forward.

According to the Associate Press, the concert business grossed just under $4 billion worldwide in 2008, the most ever for a year and up almost 13 percent over last year, according to Billboard magazine. In North America, the average box office gross was up 18 percent and the average attendance up 6.3 percent. Bon Jovi’s tour was the year’s highest-grossing, based on the trade publication’s data from November 14, 2007, to November 11, 2008. It grossed $210.6 million and drew nearly 2.2 million fans. Bruce Springsteen was second ($204.5 million gross) followed by Madonna ($162 million). The most lucrative country tours were Kenny Chesney, sixth on the list with $86 million gross; and Rascal Flatts, 10th with $55.8 million.

Compare those numbers with the repetitive theme that’s been reported for the last 5 years since the industry’s peak in 2000:According to data from Nielsen SoundScan, album sales have declined 45 percent, although digital music purchases continue to grow at a rapid rate.

The year’s biggest seller was Lil Wayne’s album “Tha Carter III” (Cash Money/Universal Motown), which sold 2.87 million copies, followed by Coldplay’s “Viva la Vida or Death and All His Friends” (Capitol), with 2.14 million. “Fearless” (Big Machine), the second album by the 19-year-old country star Taylor Swift, was third, with 2.11 million. (Ms. Swift also scored the sixth-highest seller this year, for her self-titled debut, released in 2006, which sold 1.6 million copies in 2008.)

The Associated Press goes on to state…”The music industry has grown accustomed to dismal sales numbers, and this year even the good news comes with disappointment. “Tha Carter III” is the first release in SoundScan’s 17-year history to top the year-end list with sales of less than 3 million.”

Back to the future we go. Performing is where the viability is. It always has been. The sale of (CDs) recordings will soon be secondary to the sale of talent that can perform any recording - just like the old days. And what happens to the recordings? They will serve their original intent: promotion of the song and marketing of the talent performing it. Other than that, they will merely be mementos.

Publishers will continue to make their money by exploiting recordings in any way that they can, and performing valuable administrative duties. Much hasn’t changed for them except for new mediums and revenue streams from which they now collect income. Oddly enough, music publishers don’t have to look back to the future; they never really moved forward. Their business model remains strong and in tact.

Record labels…they will have to redefine themselves and their functions - quickly. The market is presently wide open for any financially backed entity to supply operating capital to music businesses that have solid infrastructure; such infrastructure can be accomplished with the help of a competent manager and/or attorney.

Artists formerly signed to major labels and who have been fortunate enough to have hit songs will receive top consideration to perform in venues. New artists will have to step their game up tremendously to attract talent buyers and booking agents, but it can be done - especially with the help of a loyal audience. With MySpace and YouTube as marketing resources, their challenges aren’t nearly as daunting as the Vaudeville entertainers who had to blindly win over audiences.

Today’s new independents and true independents may want to follow their lead by attempting to win the allegiance of music lovers by performing quality songs that inspire them to make their music a part of their everyday lives…music that can be used as a form of escape or discovery, expression or therapy. When that occurs they will be rewarded with fan loyalty and a truly sustainable career will emerge.

It is said that those who don’t know their history are doomed to repeat it. Hopefully that holds true for today’s music artists. Those who will thrive in this new business model will be fully prepared to make the transition from being a successful recording artist (i.e., one who sells a lot of records), to being a successful performing artist (i.e., one who makes a living from his/her/their live performances) by traveling back to the future with great shows and polished talent.

Tomas Haake is the drummer for the Swedish technical metal band Meshuggah. He is noted for his experimental use of polyrhythm and for stacking his cymbals in ways to create new sounds in the music he writes for the band. This distinctive sound is what makes the band sound so unique from other bands. He also writes lyrics for the band and sings. In July of 2008, he was named the number one drummer in the category of metal music for his unique style and successful experimentation as decided by the Readers Poll.

The band members of Meshuggah take their work very seriously, working on their performances and their songs very carefully and in a well formed structure. Haake has said in interviews that the band rarely even jams together, unless they have been drinking, because of their seriousness in their work. This could be a contributing factor to the reason why the band has endured for so long and Haake at least has never left it since he joined in 1990, replacing Niklas Lundgren and helping to round out the bands sound and create brand new ones in the process. Once he joined, the band also produced their first record. He still performs and writes for the band to this day, their latest album being obZen (2008). The band has cordial relations with their record label-they have been around and are stable enough that the label rarely questions what they do and why, which gives Haake plenty of creative license to write his music.

Tomas Haake was born in 1971. He has a natural charisma, enjoying interviews with various magazines and pushing the creativity of his band. Unlike many other bands, he is not very political, ignoring the rise of National Socialism in many European metal bands, and concentrating more on his music and his band. He has had problems with his shoulder, utilizing daily exercises to correct the shoulder strain rather than surgery that would disrupt his playing and the bands work, as well as being just as painful as the problem itself. He has had to fend off rumors of surgery, ones that he has been accused of starting himself and ones that could be unfounded. Either way, he has not gone in for a surgery for his shoulder impingement, relying instead on shoulder exercises to correct the problem. Haake is also interested in wood working and built his own snare drum with a stave configuration for a unique sound. Outside of his band, Haake lives quietly, throwing himself wholeheartedly into his bands and chats with interviewers about the music and the direction of the band in their tours.