Sweet Adelines International What Do They Really Mean? Showmanship Category Ruth Ann Parker 2009 Directors' Seminar/Judge Training Handout What Do They Really Mean? How Vocal Skills Affects Showmanship • Energy • Posture • Synchronization • Choreography • Harmony Accuracy • Physical Expression • Poise and Command • Confidence
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Sweet Adelines InternationalWhat Do They Really Mean? Showmanship CategoryRuth Ann Parker
2009 Directors' Seminar/Judge TrainingHandout
What Do They Really Mean?How Vocal Skills Affects Showmanship
• Energy
• Posture
• Synchronization
• Choreography
• Harmony Accuracy
• Physical Expression
• Poise and Command
• Confidence
Judge J1;,.AtJ SHOWMANSHIPContestant's Name -~'7=-r--~~-----.::..I!£-"-'...::./~-,---f_-L._~-_/_- _ Contestant # -" ~~Contest: Region # Chorus Region # Quartet Date-------~-l.
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SWEET ADELINES INTERNATIONAL
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JSS-1 Revised 01/08
Sweet Adelines InternationalWhat Do They Really Mean? Showmanship CategoryRuth Ann Parker
2009 Directors' Seminar/Judge TrainingHandollt 2
WHAT DO THEY REALLY MEAN? - SHOWMANSIDP
30% PORTION OF SHOWMANSHIP CATEGORY
THE MOST COMMON QUESTIONS ASKED
COSTUMING: DESIGNTHE FITMIDRIFF AREAUNDERGARMENTSSUITABILITY TO THE PERFORMERCOLOR
MAKEUP: NO RULES TO WHAT KIND OF MAKEUP USEDFULL COVERAGENATURAL LOOK IS DEFINITELY NOT APPROPRIATELIPSTICK COLOREYE SHADOWSFALSE EYELASHESBLUSH - BLEND, BLEND, BLENDFINGER NAIL POLISH
GROOMING: WRINKLESBE RELENTLESSUNITY ACROSS THE CHORUS BOTH MAKEUP & GROOMINGHAIRSTYLES
An excellent way to prepare for performing on stage, under bright stage lights are, invest in astrip of stage lights (ifpossible). Have each singer get a "pass" just as we do in our music.Stand in front of those lights and make sure all bases are covered. Allow time for each singer tobe checked before performing on the contest stage.
Our Showmanship Judges are paying attention to this side of the category. Don't give awaythose points.
Just remember that you are the seed to your chorus's energy. If you have confidence in them,they will in turn give it back to you. If each and every singer looks professional and confident,they will sing better and the overall results will pay great dividends.
Sweet Adelines InternationalWhat Do They Really Mean? Music CategOlyCarolyn Healey
MUSIC CATEGORY
2009 Directors' Seminar/Judge TrainingOutline
I. Difference between strong song/arrangement and suitability to performer1. Music choice on the 30% section greatly affects the 70% section2. A song can be strong yet not suitable to the performer because it is too difficult.
III. 30% SONG & ARRANGEMENT-most confusion lies in this areaA. Song
1. Based on Circle of Fifths2. Major Mode
Strong chords: Major Triad; Barbershop 7th; Barbershop 9th
Secondary chords: Major 6th; Major i h
; Major 9th; Minor Triad; Minor 6th
;
Minor i h; Diminished; Augmented
3. Should not have very wide or awkward intervals in melody4. YOU ARE MY SUNSHINE -weak because it is stanzaic in form-masterful
arrangement: Exhibit #15. Song requiring many secondary chords: Exhibit #2
How a weak song may score in A- rangeWeak secondary chord should not fall on important pali of song
B. Form1. Intro: should be 4 or 8 measures (if there is one)2. Verse: 8 or 16 measures (if there is one)3. Chorus: MUST have 8 measure increments for full 32 measures. It may have
last 8 or 16 measures repeated.4. Tag: in increments of 4 measures5. Ballad has implied meter6. 4-bar increments-cannot add beats: Exhibit #37. Medleys have same rules as single song
C. Voicing1. Can be too high, too low or too spread - know capability of chorus members2. An-angements for Male Voices vs. Female Voices
Usually music for females is voiced a fourth lower when transposing frommusic for male voices but may be too spread
Often can be adapted by switching tenor and baritone in placesMusic for male voices: baritone mostly above leadMusic for female voices: baritone mostly below lead
D. Harmonization1. Must follow implied harmony of melody2. Cannot substitute strong chords for weak chords
Sweet Adelines InternationalWhat Do They Mean? Expression CategoryPaula Davis
2009 Directors' Seminar/Judge TrainingHandout
Page 1 of 3
What Do They Mean...?Expression
1. Musicality - "a sensitivity to, knowledge of, or talent for music""the quality or state of being musical"
**The presence of musicality in the performanceindicates not only a technically excellentperformance, but also reveals the performer'ssincere relationship with the lyrical and musicalmessage and the courage to be vulnerable with theaudience in delivering it.
Creating and Producing Musicality(not an exhaustive list!)1. Legato, vowel to vowel singing2. Synchronization clarity3. In-Tune Singing4. Effective breath management and forward
motion5. Unity and Sincerity in the plan delivery6. Energy
Distractions from Musicality(not an exhaustive list either. .. )1. Choppiness2. Frequent Synchronization Errors3. Out of Tune Singing4. Lack of Effective Dynamic Delivery (or
other artistic elements)5. Inadequate vocal skills for the creative plan6. Lack of unified energy
Sweet Adelines InternationalWhat Do They Mean? Expression CategoryPaula Davis
2009 Directors' Seminar/Judge TrainingHandout
Page 2 of 3
2. Forward Motion - "to help onward, promote, send forward"
**When forward motion is present, lyrical messagesare propelled with energy and intent providing adramatic and exciting experience for the listener. Ifforward, motion is not present, attention is drawn tothe things present in the delivery other than theoverall story. Even if the technique is good, theobjective is to tell a stOry.
Employing Forward Motion1. Energy!2. Consistent air flow and breath
management and breathing techniques3. Legato, vowel to vowel delivery4. Lifted phrase endings5. Meaningful, creative lyrical plans
developed from the lyrical intent (not just toshow off the technical abilities)
Obstacles to Forward Motion1. Loss of effective breath support or breath
management2. Inadequate vocal skills for the lyrical
demands3. Lack of energy4. Over enunciation5. Unclear understanding the dramatic intent
of the lyrical message
3. Emotional Communication - "projecting a sentimentappropriate to the message and producing an emotionalresponse within the listener"
**Emotional communication occurs only when theperformer demonstrates skill in the "basicrequirements" and performs with freedom, passion
Sweet Adelines InternationalWhat Do They Mean? Expression CategoryPaula Davis
2009 Directors' Seminar/Judge TrainingHandout
Page 3 of 3
and a complete commitment to the lyrical andmusical message.
Emotional Communication Exhibits:1. A sincere, intense emotion projected to the
audience through an artistic, lyricalinterpretation producing a response in thelistener
2. Emotion and delivery appropriate to thesong and the barbershop style
3. Mastery of the basic requirements of theexpression category
4. Mastery of the artistic elements of thecategory - word delivery, inflection,finesse, phrasing, dynamics, tempo/rhythm
Inhibitors to Emotional Communication1. Emotional message unclear and/or not
unified2. Lack of intensity and energy to send the
emotion to the audience3. Unexplored or under-developed use of
artistic elements4. Insufficient vocal skills to deliver the
creative plan effectively5. Focusing on anything other than reaching
the audience with the lyrical and musicalmessage
When a performance has complete command of all the technicalelements of singing and then adds true emotional communication,making the audience unaware it is hearing anything other than abeautiful song, straight from the heart, the performers have achievedthe ultimate in this category - true musical expression.
Excerpts from the Judging Category Description Book, available to every Sweet Adelineperformer
Judge .~XPRESSIO
Contestant's Name Contestant #~er
Contest: Region # Chorus Region # Quartet Date J._r---o Int'I Quartet Semifinals 0 Int'I Chorus Semifinals 0 Int'I Quartet Finals 0 Int'l Chorus Finals 0 Harmony Class
The focus of the sound category is the evaluation of UNIT SOUND in theBARBERSHOP STYLE. Unit sound occurs when tones are properlyproduced, accurately tuned, blended, and balanced. In barbershopterminology, this is referred to as "LOCK AND RING." Although thesound judge does not evaluate vocal technique in and of itself, the soundcategory does include evaluation of the basics of CORRECT SINGING.Reasonable proficiency in the basics of correct singing must be achievedbefore the performer's effOlis in any of the four categories will be totallysuccessful.
The judge rewards a performance wherein:
All singers consistently apply techniques of good vocal production.
Total accuracy exists both horizontally within individual part lines andvertically within individual chords.
Vocal qualities are blended both within chorus sections and within theoverall qumiet or chorus unit, culminating in a composite, well-producedmusical sound.
Cone-shaped balance of voices or sections is maintained.
Overall application of vocal and stylistic technique enhances the identifiablechm"acteristics of the barbershop style, resulting in a musical performance inthe sound category.
Finally, the sound judge seeks a musical sound that draws the audience outof their daily experiences into a world ofjoy and exhilaration. Beautifulsounds, correctly produced and expressed from the heart, create an enduringmusical experience and surely prove the greatest showcase for thebarbershop style of music.