How do you read music/ tips on singing/ audition tips?

How do you read music/ tips on singing/ audition tips? Topic: How to write a major scale music
June 16, 2019 / By Benny
Question: I'm in the general chorus and about to audition for a harder and better chorus. I really want to get in, but I'm scared to death about auditioning in front of the whole chorus and my friends (et all) so tips on auditioning in the first place would be helpful. I also would like singing tips-sometimes my voice strains when I sing even normal notes for my (?) alto section. Plus, I'm very rusty on reading music, so tips on symbols and especially counting rhythms and beats and time signatures, help would all that would be GREATLY!! appreciated. I would really like to get in easily, even though only about 1/3 of the people who audition get in. Please help! Thank you for your time and (hopefully) your great answers!
Best Answer

Best Answers: How do you read music/ tips on singing/ audition tips?

Abidah Abidah | 2 days ago
One of the most important things to remember when sight-reading is rhythm. If there's a scarry time signature, such as 7.5/64 (not that I've ever seen anything like that; Sorabji didn't write choral music anyhow), you can pretty much ignore it and count the same way. That one would mean that there are seven and a half beats in a measure, and that a sixty-fourth note gets ont count, so there are seven and a half sixty-fourth notes per measure. You probably won't see anything other than 4/4, 3/4, 2/4 or 2/2. C stands for common time; 4/4. The C with a line through it is read exactly the same way as common, even though it means cut time. So, when you count, there's a little word you can assign every beat; If there are quarter notes, count it as one, two, three four... Eighth notes; One and two and three and four and... Sixteenth notes; One-ie and-a two-ie and-a... If you get a three on two (which is three notes in one beat instead of, say, two eighth notes), think of the beat pattern One, two-and three. The 'and' there would be where the eighth note would fall if there were two notes instead of three. As for actuall notes. Practice singing major and minor scales and arpeggios, which are going up and down the chords one note and a time. Make sure you can distinctly sing a half step and a whole step. It wouldn't hurt to practice other intervals too, you're likley to see a fifth, which is the strongest and most basic cadence. You could really have some fun and sing in tritones, which is the most dissonant interval. A C to an F# is a tritone, and so is any progression with the same distance between notes. So, if you're singing classical like mozart of vivaldi, make sure to get down the fifth, the half-step and the whole step. If it's jazz, learn the jazz scales and sing in minor thirds, whole steps and tritones. Good luck!
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We found more questions related to the topic: How to write a major scale music

Abidah Originally Answered: Any tips on how to read sheet music fast?
Don't write in notes. Don't memorize hands seperately. Doing those things will hinder you in the long run. Practice each hand slowly and separately, and then add them together. Practice hands together SLOWLY for a few days to week depending on your learning curve. Then increase the speed.

Sidney Sidney
Definitely work on breathing exercises. Do not strain your voice, if you are having a hard time hitting a note then loosen up a bit and maybe warm up more. Do are really good vocal warm up before your audition (scales, sirens, breathing). Try not to let yourself get too nervous, because you will tense up and not reach your full potential. As for reading music, you should be able to find a lot online. If you are in school you might be able to ask your teacher for help, depending on size I suppose. Time signatures are the fractions at the beginning of music, the top number tells you what note gets the beat, the bottom number tells you how many beats in a measure. So in 4/4 time there are 4 quarter notes in each measure. That's a pretty general outline, but hopefully it will help you out a bit.
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Philippa Philippa
Work mostly on your breath support. If you;re straining to get even the lower notes, you need more air - Here's one tip. Lay on the floor and put 3 or 4 heavy books on your abs. below your belly button. As you take a slow deep breath make the books move up. After you get the hang of this, try hissing out after you get the books up. As you hiss, don't let the books sink down. This is the diaphramatic breathing your director is (should be) always talking about. Once you have the hang of that, practice your warm ups with your new breathing style. Then sing along with the radio and let your voice free up. Don't be afraid of hitting wrong notes at this point. Just let your voice go. You'll get the right notes sfter a few tries, just by imagining what the note should sound like. You'll end up there automatically. There are some websites to help you learn to read music, but the basic jist is when the notes move in steps, sing it like a scale. If they skip, just move the pitch further apart. www.notationmachine.com/how_to_read_sh... I just breezed over it, but it looks pretty good. Good luck with everything!
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Marshan Marshan
This may sound crazy, but I swear it works. Before your audition take a piece of music that you are familiar with and sing it, but with your ears plugged. When you comprimise your ears you dont compromise your throat as much and everything will flow. Record yourself without your ears plugged and then do it with your ears plugged and you will be able to hear the difference. Remember to breath! I have been working with Mark Baker, a veteran of the M.E.T. for the last 20 years and he taught me this trick. I hope it works for you!
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Laidey Laidey
I donot know how to read music but push your voice louder by pushing in your stomache and opening your mouth. also to hit high notes easier raise your eyebrows. go ahead! try it! good luck getting in!
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Laidey Originally Answered: Audition Tips?
Tips to Become a Fearless Performer - from an Indiana professor Have you ever played a brilliant piece of music, taken a perfect golf swing, or given an inspiring speech -- when no one else was around? If your performance seems to suffer when you're in front of an audience, you're not alone. Nerves can get the better of just about anyone, said Jeff Nelsen, associate professor in the Indiana University Jacobs School of Music and hornist with international performance group Canadian Brass. Helping people transcend their fears is Nelsen's specialty. He teaches seminars on "Fearlessness," which he describes as "a mental state of complete faith in the moment at hand and any task ahead." Feeling fearful detracts from your performance, he said, by causing you to focus on yourself rather than your mission. "The only time fear is a constructive thing is when it gets me into the practice room," Nelsen said. "I'm a pig farmer from Alberta, Canada. If I stop to think about whether I'm good enough to be onstage, I'll be paralyzed." Instead, he said you need to literally lose yourself in the moment -- forget about who you are and focus on what you want to achieve. But in order to make that happen, you first need to build the habits that will serve you when it comes time to share your talents. In celebration of a new year and new possibilities, we offer 10 tips from Nelsen on becoming fearless. Whether you perform on stage, on a playing field, or in a boardroom, you can use these methods to replace your nerves with a confident and optimistic outlook. For more information about his techniques, visit http://www.jeffnelsen.com. Raise your standards. Most people have one set of standards for how they perform when they are practicing, and a much higher set for the "big day." Nelsen said these double standards are harmful because it takes so much mental energy to switch from your everyday mindset to your higher performance standards. A more effective approach is to have the same high standards every time you practice your craft, he said. "You want to maximize your habits so you don't have to use your intellect to remember what to do," he said. Meticulously executing every action requires dedication, but it pays off when you can relax during your performance and trust the habits you have established, he said. "It's exhausting, but worthwhile." Simulate the entire performance experience -- 50 times. Once you know how to complete each element of your performance, put it all together and go through it again and again. For a golfer, for example, this would mean not just swinging at the ball, but walking up, assessing the situation, assuming your stance, swinging and following through. For a musician preparing for an audition, it would mean walking onstage, taking a moment to prepare in silence, raising the instrument, and then performing. "Repeat the entire process a minimum of 50 times before any performance," Nelsen said. "Your level of nerves will be inversely proportional to your amount of preparation." "Flawlessness" is not the primary goal. It's important to minimize mistakes, but an error-free performance is not the ultimate test of your abilities, Nelsen said. "In my opinion, only a computer is flawless. What makes a performer good is that he or she is human, and brings to the art something more than what is written on the page. Otherwise computers would be doing all the recordings," he said. The best performances are memorable not because they are perfect but because they are extraordinary. He tells the story of a performer trying out for the Montreal Symphony who, despite missing more notes than anyone else, won the audition. "The director told me that he made so much music that they couldn't not hire him," he said. Focus on what you want to convey, over and above the technical qualities of your performance, and trust your preparation to keep your errors to a minimum. Don't compete. "When you compete, you lower your standards," Nelsen said. "Was Mozart competing? Was Einstein competing?" You also run the risk of misjudging the playing field, he said. "If you show up knowing Billy's the best, and you showed up ready to do better than him, then what if Sally shows up and Sally blows Billy out of the water?" Aiming for the best possible performance you can imagine is a far superior goal, he said. Believe the audience is rooting for you. When it comes time to perform, "Don't choose the mental trap of thinking they're waiting for you to mess up," Nelsen said. "Instead, choose to believe the audience wants you to do well. Whether they really do or not, thinking they are a supportive group of listeners can constructively affect your performance." Think of what to do, not what to avoid. Telling yourself not to do something only focuses your attention on the very thing you want to avoid. "It's like saying don't think of an elephant -- you immediately think of an elephant," Nelsen said. Replace any negative injunctions with positive mental instructions. Instead of telling yourself not to look down, think about looking up. Rather than concentrating on not dragging your feet when you run, think of picking up your knees. "Nature abhors a vacuum. You have to replace your 'don't's with powerful 'do's," he said. Sell the story, not yourself. Rather than aiming to showcase your talents, allow your enthusiasm to infect the audience. You may want the audience to love you, but instead, Nelsen said, "make them an audience that loves what you love." This requires a constant effort to stay focused on what you are doing, not how you are being perceived. "It's about now. Now. Now. Stay in the present moment every second," Nelsen said. Think of something you did right. After a performance, take a moment to note the things you did well, he said. "Don't start out by thinking about all the things you did wrong. You have to have a low tolerance for destructive thinking," he said. Once you have listed several things you liked about your performance, a process Nelsen called "strength-collecting," then you can move on to critique and identify a few areas for improvement. Broaden your base of self-esteem. "The best thing I ever did for my horn playing was quit for several years, because when I picked it up again I didn't have all of my self worth and dreams invested in the one pursuit," he said. With other interests (such as magic, an element he occasionally adds to horn performances), Nelsen said he is able to approach his craft not only with more composure but also with the life experience that can enrich his music. "I tell all my students to be sure to have a life -- have friends, fun, date!" he said. "Otherwise, how will you understand the things that music is about?" Aim too high. It's essential to reach for goals beyond what you think you can achieve, Nelsen said. One of his favorite quotes comes from late motivational speaker Bob Moawad: "Most people don't aim too high and miss, they aim too low and hit."

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