The Cascade & Willamette Chapters

Transcription

1 The Cascade & Willamette Chapters Music Theater Festival Handbook November 5, 2016 Lewis and Clark College 0615 SW Palatine Hill Rd, Portland, OR Registration opens online at on September 1. Registration Deadline is October 14.

2 Welcome Every year, the Cascade and Willamette Chapters celebrates Music Theater repertoire through Student Auditions held in the fall. This document is intended to be a specific reference for the Cascade Chapter Student Auditions. To review the full National guidelines for Student Auditions, please review the documents posted here: Mission Statement: 3 Contact Information: 3 Schedule: 3 Location: 4 Student Auditions Structure At-a-Glance: 4 NATS Member Sponsoring Students: 5 Adjudicators: 5 Schedule Changes & Cancellations: 6 Collaborative Pianists: 6 NATS Policy on Copyright Laws: 7 NATS Auditions Rating/Scoring System: 7 Registration Instructions: 9 What Students Should Expect: 11 Table of Contents Swingle Scholarship: 12 Regional Auditions: 13 Master Class Application: 14 Stephanie Samaras Bio: 14 Categories and Repertoire Chart: 15 Audition Rubric: 18 Adjudication Form: 19 Teacher s Form for Paying by Check: 20 Teacher s Worksheet for Online Registration: 21

3 Mission Statement As an expression of the goals of the National Association of Teachers of Singing, the NATS Student Auditions: 1. Inspire and encourage students and teachers to continue their dedication to, and growth in, the art of singing 2. Create a collegial and supportive atmosphere that encourages excellent artistic singing. 3. Provide constructive, written feedback from a panel of experienced and impartial adjudicators 4. Recognize and honor outstanding performances Contact Information Sarah Maines, Cascade Chair themainestudio@gmail.com Beverly Park, Willamette Chair beverly.park@comcast.net Sue McBerry, host sumacberry@gmail.com Lewis and Clark College Student Auditions Registration Website: Registration Deadline: October 14 Chapter Website: Schedule Saturday November 5, am Registration Opens Evans Music Center Lobby 8:15 am Adjudicator Training Evans 123/Seitz Lounge 9 am-5 pm Student Auditions TBA Noon Member Meeting Evans 123/Seitz Lounge 5:15-6:15 pm Member Happy Hour Evans 123/Seitz Lounge 6:30 pm Honors Recital Evans 120/Auditorium Sunday November 6, pm Master Class with Stephanie Samara Evans Music Center 3

4 Location Lewis and Clark College 0615 SW Palatine Hill Rd, Portland, OR Campus map: Student Auditions Structure At-a-Glance REGISTER: NATS members register their students and order member meals online at FEES: Students pay their teachers $20: NATS members make one payment that includes all student fees, member meal fees, etc. at the time of registration. SCHEDULE: The audition schedule will be ed to NATS members and collaborative pianists and posted on approximately 7-10 days after online registration closes. AUDITION: Students sing one audition, adjudicated by three NATS members, who give them scores and written comments. Adjudication sheets will be returned to NATS members, who can pick them up in the Adjudicators Room by 5:30 pm, or from Sarah Maines or Beverly Park at the Honor s Recital. If members wish to have their forms mailed, they must leave a self-addressed envelope in their file in the Adjudicators Room. RESULTS: First, second, and third place winners in each category will be posted by the registration table as results become available throughout the day of auditions. For every 15 students in a category, one singer is invited to perform at the Honor s recital (15 singer=1 st place singer performs, singers=there are two sets of winners and both first place singers perform, etc.). Only students who receive a score of 90 or above are eligible to perform at the Honor s Recital. Only those students who perform in the Honors Recital will receive the full monetary gift ($100) from the Cascade Chapter in recognition of their outstanding achievement. Honors singers who can not perform will be awarded $60. One outstanding student who sings in the Honor s Recital will receive The Brian Vester Swingle Music Theatre Scholarship Award (See page 12 for full details). 4

5 NATS Member Sponsoring Students Those registering students for auditions must be members in good standing at the national level of NATS at the time of registration as well as all rounds of the event. In addition, Chapter level events require chapter membership in good standing at the time of registration as well as all rounds of the event. Contact Membership Chair Kay Joham at to pay your dues if necessary. Members shall serve as adjudicators and/or act in other capacities as requested. Members who are unable to attend the Student Auditions to serve as adjudicators may not register their students for the auditions unless they find a substitute adjudicator. The substitute adjudicator must be a NATS member in good standing who is not already sending students to the auditions. The substitution must be communicated to the Student Auditions Chair (Sarah Maines or Beverly Park) PRIOR to the registration deadline. If a student has been studying with a sponsoring teacher fewer than eight (8) months, acknowledgment must be made of the former teacher both on the application and in any public announcements. Members will disclose at NATS events the name of a student's previous voice teacher if the student has studied with the current teacher fewer than eight months. Members shall complete and submit required application forms in a timely manner. Members shall ensure that all requirements are met. Members shall ensure that students and collaborative pianists adhere to the NATS Copyright Policy on page 7 of this document and located at Members may not accompany their own students at any stage of the event including awards concerts, etc. Adjudicators NATS members who register students to audition are expected to serve as adjudicators as necessary to run successful auditions. Please see instructions in the preceding section if you are unable to attend the Student Auditions. Adjudicators will be expected to review NATS Adjudicator training materials and be familiar with adjudication rubrics. (see p. 17) Adjudicators will hear the performance, write comments, and score each singer. During the auditions there must be no consultation, spoken or written, between adjudicators concerning the evaluation or 5

6 performance of students. Adjudicators are not required to assign a high rating if, in their opinion, no student has earned it. No adjudicator will be asked to change a student s score or ranking. While it is expected that all panels are made of NATS members, occasions may exist where non-nats member industry professionals serve as adjudicators. Schedule Changes & Cancellations Schedule changes CANNOT be considered after times have been assigned. Please realize that any changes would adversely affect other students and collaborative pianists. Please inform the Student Auditions Co-Chairs of any cancellations as soon as possible. Please inform the registration table on the day of the auditions about last minute illnesses or emergencies. Collaborative Pianists All students must engage their own collaborative pianists. There will be no NATS collaborative pianist provided for the auditions. A staff collaborative pianist will be available for the Honors Recital, in the event that yours is not available. A sign-up sheet for rehearsal times with the Honors Recital collaborative pianist will be posted at the registration table. Teachers are not allowed to accompany their own students for the auditions. Collaborative pianists are limited to 15 singers per day of auditions. In the registration system, once 15 students have been submitted with a specific accompanist, all other students will be unable to register with that pianist. Please let your pianists know that keeping track of numbers is essential. So they are able to concentrate fully on providing the best support and partnership for singing artists in the auditions, collaborative pianists SHOULD NOT be required to serve as the arbiter of correct adherence to the NATS Copyright Policy. Rather, it is the singer s and teacher s responsibility to provide all necessary documentation for legally obtained sheet music. Singers will present their music to the registration desk staff for copyright approval and must receive an approved copyright stamp on their adjudication sheets before they may proceed to their audition. 6

7 NATS Policy on Copyright Laws The National Association of Teachers of Singing endorses a strict policy regarding copyright laws. The use of photocopied music is prohibited at all NATS sponsored events, from the national to the chapter level. Exceptions are: 1. Music that is out of print, still under copyright law, with permission from a publisher. 2. Sheet music or books for which the copyright has expired, but available in CD format. (e.g., CD Sheet Music). Performers must be prepared to present proof of ownership upon request. 3. Sheet music purchased legally from an online vendor. Such music should have either a separate page proving the performer has purchased such or a copyright notice at the bottom of the music that includes the performer's name. Performers must be prepared to present proof of ownership upon request. 4. Music available from approved public domain websites. Performers should take particular care when accessing these sites as some do not guarantee that all works are indeed in the public domain. Current approved online public domain sites are: NATS Auditions Rating/Scoring System All Student Auditions and National Student Auditions must use the same scoring system, enabling scoring data comparisons across all NATS Regions. Scoring is based on a national standard. Singers in all classifications will sing one song of their choice and then songs selected by the adjudicators within the time limits. Adjudicators will write constructive comments and a score between 70 and 100 on their scoring sheets. The singer with the highest average score wins their category. Scoring System The scoring system is developed to allow for objective as well as subjective measures of a singer s performance. Further, it is structured to provide more detailed guidance to adjudicators as they seek to provide appropriate and constructive 7

8 feedback to singers. All auditions should use the official NATS Student Auditions Adjudication Form on page 18 and available under Forms on Adjudicators shall: 1. Provide scoring for each singer in comparison to a standard developed specifically for these auditions. Judging relative to a common standard (see adjudication rubric) will provide a better overall result than comparing singers in a given category to one another when scoring. 2. Place an X in the following areas on the adjudication sheet to indicate a general level of accomplishment. Note that while a specific numerical score is not listed in each area, the Low to High range is divided into three sections corresponding with the overall scoring range. Note that the Ensemble marking should not factor into the final scoring due to the fact that some singers may be using a staff accompanist with whom they have had little rehearsal. 3. Provide constructive comments on the performance that correspond with the ratings provided in #2. The adjudication rubrics for classical and music theater provide guidance to the adjudicator in constructing comments in agreement with their ratings. 8

9 4. Assign a final overall score between that generally corresponds to a compilation of markings given in #2. For example, if all the markings are in the highest 1/3 of the line a score in the range is appropriate. Adjudicating Standard The national standard is stated in the first column of the adjudication rubric. (See p. 16) The language describes the qualities an ideal singer will have. As adjudicators hear singers they should compare the singer s performance against the general standard for the category they are adjudicating. One way this could be addressed would be to add the clause...for a xxx category singer to each standard. Registration Instructions Registration opens on on Sept. 1 and closes on Oct. 16. Registration is only available online. 1) LOGIN. Open your Internet browser and go to: Login as usual if you have used this before. Skip on to 4 if so. If not, please see ) Click on the "Forgot Password?" link on the login page, enter your " " address in the box provided, and click on the "Send" button. A new password will be sent to you. (If you do not receive a password within a few minutes, please check your "Spam" folder.) If you still haven't received a new password, please send an to: auditionware@yahoo.com and request a new password be sent to you. (Please indicate which Chapter or Region you re registering students for.) 3) Please note that your login name is your complete address. Your new password will be a 4-digit number. After you log into the website, please click on the "Change Password" link in the upper-right corner of the Home page and enter a new password. 4) SELECT SUBSTITUTE JUDGE IF UNABLE TO ATTEND: Members shall serve as adjudicators and/or act in other capacities as requested. Members who are unable to attend the Student Auditions to serve as adjudicators may not register their students for the auditions unless they find a substitute adjudicator. The substitute adjudicator must be a 9

10 NATS member in good standing who is not already sending students to the auditions. The substitution must be entered on the Member Tools > Judge Profile page and communicated to the Student Auditions Chair (Sarah Maines or Beverly Park) PRIOR to the registration deadline. 5) ORDER MEALS: Click on "Member Tools" > "Judge Profile." Order the member s lunch and/or reception meal at the bottom of the page. Please note that it is very important for you to order meals at the time of registration so the Student Auditions chairs can order the correct amount of food. 6) UPDATE CONTACT INFO: Click on "Member Tools" > "My Profile." Verify that your contact information is correct. 7) REGISTER STUDENTS: Click on "Member Tools" > "Register Students." Follow the instructions in red font and repeat for each student who is auditioning. Please note that you must enter your student s repertoire if you wish to print adjudication forms that automatically include each student s repertoire (see PRINT ADJUDICATION FORMS below). 8) FINALIZE REGISTRATION: Click on the "Registration Complete?" button at the bottom of the "Student List" page to finalize registration. 9) PAY FEES: Students pay their teachers $20: NATS members make one payment that includes all student fees, member meal fees, etc. To pay online: Once you have clicked on Registration Complete, proceed to the Checkout page to pay your fees via PayPal. When paying via PayPal, please pay the entire amount, including PayPal fees. You may also pay your fees via mailed check by filling out the form found under "Auditions" > "Forms". All fees and On-line registration must be submitted by Friday October 14, ) PRINT ADJUDICATION FORMS: If you entered your student s repertoire online, the website will automatically generate adjudication forms complete with student numbers and repertoire. Click on Member Tools, Register Students, then View My Judging Forms to download and print these forms. Print three copies for each student. If you did not enter your students repertoire online and/or you want your students to manually fill out their own forms, you can download blank Adjudication Forms at under Auditions and Forms. Please make three (3) copies for each student applicant (forms may be standard or legal size) and have your student complete the top portion of each 10

11 adjudication sheet before they arrive at the Registration table the day of the auditions. You will receive your students assigned ID numbers and audition times by approximately 10 days after registration closes. List only the student s ID number, not his/her name, at the top of the form. Indicate with an asterisk (*) which piece you would like to perform if selected to sing at the Honors Recital. The adjudication sheets will be given to the monitor of the audition space, who in turn will give them to the adjudicators to use for written comments. These sheets will be returned to each student s teacher at the Member s Reception or by mail. COMMENTS ONLY All students have the option of being adjudicated for comments only" and should indicate this on their adjudication sheets. In addition, in the event of Repertoire Requirement discrepancies, students may still sing and will receive "comments only. 11) SCHEDULE: The audition schedule will be ed to NATS members and collaborative pianists and posted on approximately 7-10 days after online registration closes. WHAT STUDENTS SHOULD EXPECT ARRIVAL & CHECK IN: Each student brings three copies of his/her completed adjudication forms, as well as their copyrighted music, to the registration table in the lobby. Singers will present their music to the registration desk staff and must receive an approved copyright stamp on their adjudication forms before they may proceed to their audition. Please register at least one hour in advance of your time (with the exception of singers before 9 am). Registration opens at 8:00 am. Students need to fill out top portion of the three adjudication sheets completely (song, larger work, and composer) before they arrive. The registration desk will provide information for practice rooms and the specific room locations of your audition category. Please be ready to perform, at the designated room, at least 10 minutes prior to your assigned time. Students who miss their time should not expect any accommodation. MONITORS: Room monitors are provided by the host school and will be at each room door to assist the adjudicators with keeping time, and guide entrances and exits. 11

12 AUDITIONING: Students will check-in and give their forms to the room monitor, who gives them to the judges. When it is time for the student to sing, the singer will announce his/her assigned number (not name) and opening selection (song title, work, composer or creative team). For example: I am singer B13, and I will begin with I Could Have Danced All Night by from My Fair Lady by Lerner and Loewe. This allows the singer to experience common practice for auditions. Adjudicators will choose the following selections. The monitor will start the stopwatch when the singer begins singing. If the singer s selections are longer than the allotted time limit, the monitor will call time. The singer should stop singing, state thank you and exit the room. The cut-off does not count against the singer and should not affect the judges comments or scoring in any way. GUESTS: The auditions are open. Students are welcome to bring guests and are encouraged to spend the day listening to other singers as a means of showing support and learning from watching other performers. Please check in with room monitors for the best time to enter a room. HONORS RECITAL: The singer with the highest score in each category is invited to perform at the Honor s Recital at 6:30 pm. If a category has more than 15 singers, there will be two sets of winners, and both first-place singers will be invited to sing on the Honor s Recital. Regardless of the number of singers in the category, a singer must receive an average score of 90 or above to perform in the Honor s Recital. Singers are encouraged to use their own collaborative pianist, but may use the collaborative pianist provided by NATS for the Honor s Recital. A sign-up sheet will be available at the registration desk for rehearsal times with the NATS staff Honors Recital collaborative pianist. Only those students who perform in the Honors Recital will receive the full monetary gift ($100) from the Cascade Chapter in recognition of their outstanding achievement. Honors singers who cannot perform will be awarded $60. All students, guests, and all Cascade Chapter teachers are encouraged to attend the honors recital. BRIAN VESTER SWINGLE MUSIC THEATRE SCHOLARSHIP AWARD: The singer who displays the most outstanding example of musical theatre style and performance practice during the Honor s Recital will be awarded the $250 Brian 12

13 Vester Swingle Music Theatre Scholarship Award. This singer will be selected by a guest judge, selected by the Student Auditions Chairs. REGIONAL STUDENT AUDITIONS: The first, second, and third place singers from each category are eligible to enter the Northwestern Regional Student Auditions as long as their average score is above 90. More information about Regional Student Auditions can be found at Students who win at the regional level are eligible to enter the National Student Auditions. For more information about National Student Auditions, access MASTERCLASS WITH STEPHANIE SAMARAS: To apply to be a singer for the Stephanie Samaras Musical Theater Masterclass on Sunday, November 6, 2016 at 2pm at Lewis and Clark College, please have interested students prepare and submit the following application materials: 1. CD or mp3 recordings of two contrasting musical theater songs: 32 bar cut of a ballad, and a 32 bar cut of an uptempo piece that show student best vocally and artistically. 2. Fill out/send this information along with mail/ Name, Age, Year in school (high school or college if applicable) Name of NATS teacher Contact information: Student address & phone number Teacher address & phone number 3. Brief resume of performance experience. Student application will be reviewed and will be notified of acceptance in the workshop by Saturday, October 29, There is a $25 participation fee if chosen for the workshop, which will be payable to NATS the day of the workshop. An accompanist will be provided for the workshop. Stephanie Samaras Master Class Application. 13

14 If sending by postal mail, Postmark by Friday, October 21, 2016 and send to: Jill Soltero, 4475 NE Alameda St. Portland, OR If sending via , all materials due Saturday, October 22, 2016 to Jill Soltero: STEPHANIE SAMARAS BIO STEPHANIE SAMARAS has traveled widely lecturing and presenting masterclasses on teaching pop singers. For three decades she has been a pioneer in promoting flexible and healthy vocal technique covering a spectrum of vocal styles.. In 2006 Stephanie was honored to be one of four teachers in the country to earn the title of MASTER TEACHER by the National Association of Teacher of Singing (NATS). Her lecture and video, Classical Training Applied to the Pop Voice has been presented at the First International Congress of Voice Teachers in Strasbourg, France and also at the National NATS Convention in Los Angeles. The video has now be re-released in DVD format, Classical Training Applied to the Pop Voice, the Quest Continues giving the opportunity to teachers and aspiring students to study her teaching in action. She has been a presenter at the first NATS Music Theater Workshop in Dallas, the Voice Foundation in Philadelphia, as well as many other NATS events both National and local, and college campuses throughout the country. Most recently, the 2015 NATS Winter Workshop in NYC. Stephanie taught privately in New York City and also as a college Associate Professor instructing students at NYU for the the Music Conservatory CAP21, the graduate division at the City University of New York (CUNY), Montclair State University, and Kean University. Her studio is constantly represented on and off Broadway, on National Tours, regional theater, and on recordings.her students have included Tony Award winners Scott Wise (who acknowledged Stephanie in his acceptance speech) Andy Blankenbuehler (Choreographer of Hamilton and In the Heights ), Nikki James (Book of Mormon), and Leigh Zimmerman (receiving an Olivier Award). Well known Broadway performers include Evan Pappas (Star of My Favorite Year and Parade )Krysta Rodriguez ( Addams Family, First Date ), the late Patrick Swayzee and his wife actress Lisa Niemi, and Jennifer Garner. Stephanie co-wrote all of the Music Theater repertoire requirements for the Carnegie Hall Royal Conservatory Achievement Program, was a contributor to the book THE VOCAL ATHLETE by Drs.Le Borgne, and Rosenberg, and also has been cited in With a Song in my Psyche by Pearl Wormhoudt. Stephanie is a new resident of Charleston, South Carolina, and is looking forward to building up her studio again now that she is settled in. 14

15 All#repertoire#must#be#from#staged#Broadway#and#Off7Broadway#productions.# The#production#may#be#a#musical,#revue,#or#song#cycle#but#MUST#have#been# staged#and#broadway#or#off7broadway.#various#online#resources#are# available#to#confirm#such#status#and#teachers#are#encouraged#to#confirm# them#when#selecting#repertoire.#singers#should#ensure#that#contrasting# selections#represent#the#spectrum#of#their#vocal#and#dramatic#abilities.#for# example,#this#may#be#exhibited#by#selecting#pieces#of#varying#style#periods# (pop/rock,#contemporary,#golden#age)#and#employing#a#variety#of#vocalism# (belt,#mix,#legit).# Comment'Only' Any#student#may#register#to#sing#for#comments#only#and#participate#in#the# preliminary#audition#round.# AUDITION'TERMINOLOGY' This#new#Student#Audition#policy#is#part#of#a#mandatory# revision#adopted#by#the#nats#national#board#in#july#2015.# Every#chapter#across#the#nation#will#now#follow#this#policy,# beginning#in#the#fall#of#2015.# Frequently#Asked#Questions# can#be#found#at# The#2015#NATS#Student#Auditions#Cascade#Chapter#Music# Theater#Handbook#with#full#details#of#all#of#the#National# revisions#will#be#released#by#september#1,#2015.# Aria' An#aria#is#a#solo#taken#from#an#opera,#oratorio,#mass,#cantata,#operetta,#or# works#titled# concert#aria.#oxford#online#definitions#will#be#used#for#the# purposes#of#this#audition.#for#example,#purcell s#selections#from#the#semi7# operas#and#masques#are#considered#songs.# 24/26/28' Italian'Art'Songs'and'Arias' The#repertoire#found#in#the#24/26/28#Italian#Art#Songs#and#Arias#collections# may#be#counted#as#an#aria#or#an#art#song#in#the#high#school#and#lower#college# classical#categories.#for#the#singers#in#the#upper#college#categories#and# beyond,#these#pieces#may#count#as#an#art#song#only,#regardless#of#origin.# Any#repertoire#found#outside#of#these#collections#will#be#considered#only#as# the#composer#intended,#as#an#art#song#or#aria.# Memorization 'Original'Languages' All#repertoire,#including#oratorio,#must#be#sung#from#memory.#Selections# should#be#sung#in#original#language#or#in#translation#if#warranted#by#common# performance#practice.# Transposition' All#arias#from#opera,#oratorio,#mass,#cantata,#operetta,#works#titled# concert# aria, #or#music#theater#selections#must#be#sung#in#the#original#key#or#an# alternate#key#based#on#common#performance#practice.# Classical' Repertoire/Categories' The#word# classical #in#this#context#refers#to#art#songs#and#arias#from#the# classical #genre,#not#limited#to#the# Classical #period#of#mozart#and#haydn.# In#other#words,#no#music#theater,#pop,#soul,#jazz,#rhythm#and#blues,#etc.#Folk# song#arrangements#are#widely#accepted#as#a#part#of#the#classical#genre#and# would#be#acceptable#and#appropriate#audition#repertoire#for#students#in# classical#categories.# Judicious'Cuts' Piano#introductions,#piano#interludes,#piano#music#after#the#vocal#solo#is# completed,#and#internal#cuts#of#opera#arias#and#music#theater#selections#are# allowed#as#in#common#performance#practice.#cuts#of#verse#or#verses#of# selections#are#not#allowed.#in#the#case#of#strophic#pieces,#all#verses#should# remain#that#are#traditionally#included.# Music'Theater'Selections' 2015/2016'NATS'Student'Auditions'Cascade'Chapter'Categories'&'Repertoire''

16 IA *Length'of'Study Age'Limit' Time Repertoire:'all'repertoire'is'sung'from'memory Category Lower#High#School# Musical#Theater# Women# No#limit7#all#HS 14716###9th#and#10th#Grade 10#minutes# Upper#High#School# Musical#Theater# Women## 16719###11th#and#12th# Grade IB No#limit7#all#HS 10#minutes# Lower#High#School# IIA Musical#Theater#Men## No#limit7#all#HS 14716###9th#and#10th#Grade 10#minutes# Upper#High#School# 16719###11th#and#12th# IIB Musical#Theater#Men No#limit7#all#HS Grade 10#minutes# Lower#College#Music# V Theater#Women# 072#post#high#school 22 10#minutes# Lower#College#Music# VI Theater#Men# 072#post#high#school 22 10#minutes# Upper#College#Music# 375#years#post#high# IX Theater#Women school# 25 12#minutes Upper#College#Music# 375#years#post#high# X Theater#Men school# 25 12#minutes **Adult#Music#Theater# XVII Women no#limit #minutes **Adult#Music#Theater# XVIII Men no#limit #minutes MUSIC'THEATER Three#Contrasting#Music#Theater#Selections#from#Staged#Broadway#or#Off7Broadway# productions.# Three#Contrasting#Music#Theater#Selections#from#Staged#Broadway#or#Off7Broadway# productions.# Three#Contrasting#Music#Theater#Selections#from#Staged#Broadway#or#Off7Broadway# productions.# Three#Contrasting#Music#Theater#Selections#from#Staged#Broadway#or#Off7Broadway# productions.# Three#Contrasting#Music#Theater#Selections#from#Staged#Broadway#or#Off7Broadway# productions.# Three#Contrasting#Music#Theater#Selections#from#Staged#Broadway#or#Off7Broadway# productions.# Four#Contrasting#Music#Theater#Selections#from#Staged#Broadway#or#Off7Broadway# productions.# Four#Contrasting#Music#Theater#Selections#from#Staged#Broadway#or#Off7Broadway# productions.# Three#Contrasting#Music#Theater#Selections#from#Staged#Broadway#or#Off7Broadway# productions.# Three#Contrasting#Music#Theater#Selections#from#Staged#Broadway#or#Off7Broadway# productions.# Category *Length'of'Study Age'Limit' Time Repertoire:'all'repertoire'is'sung'from'memory Lower#High#School# Three#contrasting#selections#from#classical#repertoire.#One#art#song#in#English.#One#art#song# IIIA Women No#limit7#all#HS 14716###9th#and#10th#Grade 10#minutes# in#a#foreign#language.#one#additional#art#song#or#aria.# Upper#High#School# 16719###11th#and#12th# Three#contrasting#selections#from#classical#repertoire.#One#art#song#in#English.#One#art#song# IIIB Women# No#limit7#all#HS Grade 10#minutes# in#a#foreign#language.#one#additional#art#song#or#aria.# Three#contrasting#selections#from#classical#repertoire.#One#art#song#in#English.#One#art#song# IVA Lower#High#School#Men No#limit7#all#HS 14716###9th#and#10th#Grade 10#minutes# in#a#foreign#language.#one#additional#art#song#or#aria.# 16719###11th#and#12th# Three#contrasting#selections#from#classical#repertoire.#One#art#song#in#English.#One#art#song# IVB Upper#High#School#Men No#limit7#all#HS Grade 10#minutes# in#a#foreign#language.#one#additional#art#song#or#aria.# VII Lower# College/Independent# Studio#Women 072#post#high#school 22 10#minutes# CLASSICAL# Three#contrasting#selections#from#classical#repertoire.#One#aria#or#art#song.#One#art#song#in# English.#One#foreign#language#art#song.#

17 VIII XI XII XIII Lower# College/Independent# Studio#Men 072#post#high#school 22 10#minutes# Upper# College/Independent# Studio#Women Upper# College/Independent# Studio#Men 375#years#post#high# school#7#all#as# undergraduate 25 12#minutes 375#years#post#high# school#7#all#as# undergraduate 25 12#minutes Advanced# College/Independent# Studio#Women 4+#high#school #minutes Three#contrasting#selections#from#classical#repertoire.#One#aria#or#art#song.#One#art#song#in# English.#One#foreign#language#art#song.# Four#contrasting#selections#from#classical#repertoire.#One#aria.#One#art#song#in#English.#One# foreign#language#art#song.#one#additional#selection.#at#least#three#languages#must#be# represented.# Four#contrasting#selections#from#classical#repertoire.#One#aria.#One#art#song#in#English.#One# foreign#language#art#song.#one#additional#selection.#at#least#three#languages#must#be# represented.# Five#contrasting#selections#from#classical#repertoire.#One#operatic#aria.#One#oratorio/cantata# aria.#one#foreigh#language#art#song.#one#art#song#in#english.#one#additional#selection#from# the#classical#repertoire.#at#least#three#language#must#be#represented.# XIV Advanced# College/Independent# Studio#Men 4+#high#school #minutes XV **Adult#Women no#limit #minutes XVI **Adult#Men no#limit #minutes Five#contrasting#selections#from#classical#repertoire.#One#operatic#aria.#One#oratorio/cantata# aria.#one#foreigh#language#art#song.#one#art#song#in#english.#one#additional#selection#from# the#classical#repertoire.#at#least#three#language#must#be#represented.# Three#contrasting#selections#from#classical#repertoire.#One#art#song#in#English.#One#art#song# in#a#foreign#language.#one#additional#art#song#or#aria.# Three#contrasting#selections#from#classical#repertoire.#One#art#song#in#English.#One#art#song# in#a#foreign#language.#one#additional#art#song#or#aria.# *If#a#student#has#been#studying#with#a#sponsoring#teacher#fewer#than#eight#(8)#months,#acknowledgment#must#be#made#of#the#former#teacher#both#on#the#application#and#in#any#public# announcements.#members#will#disclose#at#nats#events#the#name#of#a#student's#previous#voice#teacher#if#the#student#has#studied#with#the#current#teacher#fewer#than#eight#months. **Adult#categories#are#intended#for#serious#avocational#musicians.#

18 %%%%%%%% 2015,%NATS,%Inc.% NATS'Audition'Rubric' 'Music'Theater'Categories As%adjudicators%hear%singers%they%should%compare%the%singer s%performance%against%the%general%standard% for%the%category%they%are%adjudicating. STANDARD' Lowest'70=79' Average'80=89' Best'90=100' '''''Tone:%Singer%shows%mastery%of%the% vocal%technique%required%for%their% chosen%selections%(belt*,%mix*,%and/or% legit*),%and%has%the%ability%to%make% subtle%changes%appropriate%to%the% style%and%character.%changes%in% registration%are%relatively%smooth%and% even.%refer%to%the%faq%for%additional% explanation.%% '''''''Belt:%This%high'energy%sound%is% often%described%as% called, %or% brassy, %an%outgrowth%of%mix.%%while% it%must%be%possible%to%be%vibrant%in%a% belt,%vibrato%is%a%stylistic%choice.%% '''''''Mix:%This%sound%is%often%described% as% speech'like, %and%may%be%light%or% heavy%based%on%the%needs%of%the% character.%this%sound%is%clearly% distinguishable%from%typical%classical% timbre.% '''''''Legit:%This%sound%is%often% described%as% lyrical, % sweet, %and% round, %employing%similarities%to% classical%singing,%but%able%to%move% easily%to% mix %as%needed.%% For'audio'examples'of'each'style,' refer'to:'nats.org/nsaresources.html% The%singer%shows%little%mastery%of%the% vocal%technique%required%for%their% chosen%selections%(belt,%mix,%and/or% legit),%and%makes%few%appropriate% choices%in%keeping%with%the%style%and% character.%changes%in%registration%are% abrupt%or%uneven%much%of%the%time.% The%singer%shows%mastery%of%the% vocal%technique%required%for%some% of%their%chosen%selections%(belt,%mix,% and/or%legit),%and%makes%some% appropriate%choices%in%keeping%with% the%style%and%character.%changes%in% registration%are%smooth%and%even% some%of%the%time.% The%singer%shows%mastery%of%the% vocal%technique%required%for%all%of% their%chosen%selections%(belt,%mix,% and/or%legit),%and%makes% appropriate%choices%in%keeping% with%the%style%and%character.% Changes%in%registration%are%smooth% and%even.% Breathing/Alignment:%% Inhalation%is%easy,%full%and%efficient.% Exhalation%provides%stability,%support,% and%vocal%energy.%the%alignment% assists%a%balanced%engagement%of%the% tone%and%is%appropriate%for%the% character.% Inhalation%is%often%insufficient.% Exhalation%does%not%provide%stability,% and%the%singer%tenses%or%collapses%in% the%body.%the%singer%requires%extra% breaths%to%complete%phrases.% Buoyancy%is%occasional%or%may%not%be% appropriate%for%the%character.% Inhalation%is%mostly%easy%and% sufficient.%exhalation%provides% stability,%support,%and%vocal%energy% some%of%the%time,%with%some% collapsing%in%the%body%at%the%ends%of% phrases.%buoyancy%is%developing%or% somewhat%appropriate%for%the% character.% Inhalation%is%easy%and%sufficient%all% of%the%time.%exhalation%provides% stability,%support,%and%vocal% energy.%alignment%is%buoyant%and% appropriate%for%the%character.% Language/Diction:' The%text%is%sung%with%accurate% pronunciation%and%effective% articulation%in%the%style%or%vernacular% appropriate%to%the%character.%the% singer%displays%thorough% understanding%and%communication%of% the%lyric.%% The%text%is%pronounced%inaccurately% or%with%articulation%inappropriate%to% the%character.%the%singer% communicates%little%of%the%meaning%of% the%lyric.% The%text%is%pronounced%well%and% articulated%easily%as%appropriate%to% the%character%some%of%the%time.%the% singer%communicates%the%meaning% of%the%lyric%some%of%the%time.%%% The%text%is%pronounced%well%and% articulated%easily%as%appropriate%to% the%character%all%of%the%time.%the% singer%fully%communicates%the% meaning%of%the%lyric.% Musicianship:' Pitches%and%rhythms%are%accurate.%The% markings%of%the%composer%are% observed%and%presented%with% idiomatic%style.%performance%is%easily% sung%from%memory.% Many%pitches%and%rhythms%are% inaccurate.%attention%to%the%score%is% unclear%or%lacks%understanding.%the% style%requires%further%study.% Memorization%is%incomplete.% Pitches%and%rhythms%are%accurate% most%of%the%time.%most%of%the% markings%in%the%music%are%observed,% and%much%of%the%style%presented%is% idiomatic.%memorization%is%natural% and%complete%with%some%errors.% All%pitches%and%rhythms%are% accurate.%the%markings%of%the% music%are%observed,%and%the%style% presented%is%idiomatic.% Memorization%is%natural%and% complete.% Artistry/Expression:' The%physical%life,%musicality,%and% vocalism%of%the%singer%fully%express% the%music%and%story,%and%engage%the% listeners%in%a%fulfilling%aesthetic% experience.% The%physical%life,%musical%and%vocal% choices%made%by%the%singer%often%do% not%communicate%the%intentions%of% the%character,%and%do%not%engage%the% listeners%in%the%entire%performance;% gestures%are%missing%or%resemble% mannerisms%and%are%not%integral%to% the%character%and%situation.% The%physical%life,%musical%and%vocal% choices%made%by%the%singer% communicate%the%intentions%of%the% character%some%of%the%time,%and% engage%the%listeners%in%part%of%the% performance;%gestures%are% sometimes%genuine%and%integral%to% the%character%and%situation.% The%physical%life,%musical%and%vocal% choices%made%by%the%singer%clearly% communicate%the%intentions%of%the% character,%and%engage%the%listeners% in%the%entire%performance;% gestures%are%genuine%and%integral% to%the%character%and%situation.%% Ensemble:'COMMENT'ONLY' The%singer%and%pianist%are%well% rehearsed,%and%coordinate%their% efforts%toward%the%same%artistic%goals% in%the%performance.% The%singer%and%pianist%seem% unsynchronized,%and%the%artistic%goals% of%the%performance%are%unclear.% The%singer%and%pianist%are% coordinated%in%their%efforts%toward% the%same%artistic%goals%in%the% performance%some%of%the%time.% The%singer%and%pianist%are%fully% coordinated%in%their%efforts%toward% the%same%artistic%goals%in%the%entire% performance.%

19 National!Association!of!Teachers!of!Singing! Student!Auditions!Adjudication!Form! Singer!Name!or!#!Category! %%% Check!here!if!singing!for!comments!only % REPERTOIRE!! Title& &&&&Larger&Work& &&&Composer! 1. &&&&&&& &&&&&&& 2. &&&&&&& &&&&&&& & 3. &&&&&&& &&&&&&& & 4. &&&&&&& &&&&&&& 5. &&&&&&& &&&&&&& && ADJUDICATION& Offer!constructive!evaluation!and!score!taking!into!consideration!the!criteria!below!as!appropriate!to!category!of!the!singer.!!low!!!!!!!!!!!!!!!!!!!!!!!!!!!high! Tone%% % ''''''''''''''''''''/''''''''''''''''''''/''''''''''''''''''''% Breathing/Alignment% Language%/%Diction% Musicianship%/%Accuracy% Artistry%/%Expression% ''''''''''''''''''''/''''''''''''''''''''/''''''''''''''''''''% ''''''''''''''''''''/''''''''''''''''''''/''''''''''''''''''''% ''''''''''''''''''''/''''''''''''''''''''/''''''''''''''''''''% ''''''''''''''''''''/''''''''''''''''''''/''''''''''''''''''''% %! Ensemble%(comment%only)%% '''''''''''''''''''/''''''''''''''''''''/''''''''''''''''''''% COMMENTS& SCORE% Adjudicator!!!!!Date!!!!!!! If!singing!for!comments!only! place!an!x!in!the!score!box Page%1%'%NATS%Auditions%Regulations%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 2015,%NATS,%Inc.% % %%%%%%%%%%%%%Version%1.0% %August%5,%2015%

20 TEACHER S FORM for Paying by Check due October 14, 2016 ONLY for those paying with a Check by mail. NATS Student Auditions Cascade and Willamette Chapter Music Theater Repertoire Lewis and Clark College November 5, 2016 Teacher: Address: City, State, Zip: Telephone: Address: Fee Description Amount Sub-totals Teacher Fee $20.00 $ Student Fee (Paid to the Teacher) $20.00 X $ Lunch Fee $12.00 X $ Member Reception Fee $12.00 X $ (ONE Check only, payable to NATS Cascade Chapter) TOTAL $ Teacher s Check # DUES: You must be current on your National and Chapter dues. Registration received after October 14, 2016 will not be accepted. There will be no refunds for cancellations. I welcome your questions after you have carefully read all of the posted information. Return this application via mail to: Sarah Maines 9862 SW 25 th Ave. Portland, OR themainestudio@gmail.com

21 TEACHER Worksheet for Online Registration LIST OF STUDENTS ENTERED ONLINE NATS Student Auditions Cascade and Willamette Chapter Classical Repertoire Lewis and Clark College, November 5, 2016 Do not turn this in. It is provided for your personal organization as you prepare to register ONLINE at If you have questions about the new categories, Sarah Maines at Student Name Age at time of Auditions Grade at time of Auditions Years of training in undergrad Male/Female Accompanist name and contact info