How to introduce yourself to the competition – simple tips
Every vocalist dreams of winning a vocal competition or getting into a popular group, especially if he is young and talented. However, even the vocal teacher does not accurately imagine how to present himself at the competition, so his advice can not always help the performer to take a worthy place or just to perform well so that they pay attention to him. Some performers, wanting to take part in the contest on their own, often do not show their data because they do not know the criteria for evaluating the performer or choose what they like, rather than a repertoire showing the merits of their vocal training, therefore they often make mistakes.
Here are the most common ones: Choosing an overly complex repertoire. Sometimes the vocalist begins to rejoice at the fact that he can sing a very high or, on the contrary, a low note, and selects a complex work for a contest in which he himself is still unsure. As a result, factors such as long waiting, excitement lead to the fact that at the most crucial moment he cannot show a decent result and gets a worse rating than he could (how to overcome the excitement before the performance). Ill-conceived movements.
They often give out more than a voice, a poor preparation of the performer. Therefore, poor plasticity can lower the mark for artistry, and the jury can also perceive it as poor-quality preparation of the number. Uninteresting content of the number itself. There are songs that are interesting only in the clip version or with dance accompaniment. In solo performance, they sound uninteresting and boring, especially if they have many repetitions. Choosing such a number reduces the score and your chances of getting into the finals. The ill-conceived stage number. If you have chosen a gypsy costume for Carmen’s aria, they will accept it, but the same outfit will look ridiculous for the image of Juliet or Giselle. The costume should introduce the viewer into a different atmosphere and organically fit into the image of the vocal composition.
Inconsistency of the nature of the work to the performer. Each song has its own story and drama. The performer must not only think over, but also feel and convey the content, its drama or the main mood. It necessarily has the plot, climax and completion, as well as intrigue. Only such a number can cause not only an emotional response, but also be remembered by the audience. For example, all vocalists know the work “Albino Adagio”. This is a dramatic work that can show different facets of the voice, including the ability to sing beautifully in different registers. But at competitions, rarely anyone takes the first place with him, since not everyone can convey his drama, emotionality and passion, so it does not impress almost all artists. But at one popular competition he was remembered by Paulina Dmitrenko.
This singer was able not only to show the vocal sides of this work, but to convey the emotional state of a woman almost insane from passion to such an extent that at the end of the performance her voice was even a little hoarse. But the impression was amazing. This is how any performer needs to show herself at the competition. Therefore, your chosen vocal product should reflect not only all the facets of your voice, but also convey the emotional state that you feel, accept and understand.
CRITERIA FOR ASSESSING VOTES AND PERFORMANCE AT THE COMPETITION
Competitions are different, but the criteria for evaluating them are the same. The first thing the jury draws attention to is: Appearance of the performer. It by itself adjusts to the perception of a particular number. For example, from a blonde in a pink dress, they expect a lyrical and light work, from a girl with black hair in a long red dress, a more dramatic number. Clothing, the artist’s initial pose, his makeup and hairstyle – all this sets up the image and perception. Sometimes music sounds before the performance of a number. In this case, the performer’s output can both introduce the viewer into his atmosphere and spoil the whole impression. But, if the number is comic, you can play it in this contrast. The main thing is that the hairstyle, costume and character of the artist should correspond to the content of the vocal number. Plastic. It gives out not only your self-confidence, but also the degree of preparedness of the number. This is especially evident in the fast rooms.
Therefore, all movements and gestures need to be thought out and coordinated with the music, the sound of the number, as well as with its content, but do not overdo it so that you have enough breath to sing. Remember that intense movements with jumps are possible only under a phonogram, but not under a live performance. Vocalists do not move much, but all their movements express emotions and organically fit into the content of the song. The purity of intonation. Fake execution is the first sign of unprofessionalism. In the first rounds, it is the performers who cannot sing cleanly, especially into the microphone, that weed out. Poor voice skills in some parts of the range. Many singers break into a cry on the top notes or start singing falsely on the low notes.