I am writing this post from the backstage singers booth. The last few weeks have been a hectic frenzy from one place to another, hence why no posts for a while. I’m currently singing backstage lyrics for “Legally Blonde” at Toowoomba Empire a theatre. As I speak, there are people laughing and looking doe-eyed at the acrobatics, dancing, singing, acting. Looking and listening at the really talented people that make up our troupe.
Some of the Backstage Singers. Loving the pink of “Legally Blonde”.
I can see and hear this through what’s going onstage, and through 2 screens, one of our musical director whose busy conducting the orchestra, and the other on the stage. Go the cheerleader tosses.
It has been a rush. 1 week of tech week (with one night to catch our breath), then 3 performances last weekend. Have another 3 this weekend, all while doing my real world job.
My view from the backstage view. I get my own mic.
It’s always a crazy high no mater if I’m onstage or backstage. Backstagers have a theme each performance, tonight is crazy hat night. I’m wearing a ‘Jack Sparrow’ hat compete with dreads and beads. I threw in a pirate medallion for good measure. Last week I dressed as a Star Trek, in full uniform. Lol. Anything to get attention. Backstagers have to get their kicks too….oh, we named our booth “Yale Law” on competition to the onstage “Harvard Law”.
“Music expresses that which cannot be said and on which it is impossible to be silent” – Victor Hugo
I’ve always got a song in my head and my heart. People would talk to me and I can imagine a music clip to fit the conversation or scene. I know…weirdo!
A few years back, when I had a MySpace page (anyone remember MySpace?), there was this activity called ‘My Movie Soundtrack”. Basically, it lists key events that one may come across in live, and then using the shuffle on your iTunes (or whatever music played you have), you list the songs in order. No cheating.
“My Movie Soundtrack” posted in 2011
So for kicks, I’m going to do it again, as it has been years since I did this, and my playlist has changed quite drastically since…there’s could be hilarious too. I’m using my playlist on Spotify that contains 272 songs of various genres.
Funeral Song – The Last Goodbye – Billy Boyd (From the Soundtrack of ‘The Hobbit: The Battle of the Five Armies’)
End Credits – The East Wind – David Arnold & Michael Price (From the Soundtrack of ‘Sherlock’ – Series 3).
Ok, so from this list your can probably determine what I have a lot of. Very dramatic end credit music too. I can’t figure out what genre of movie it would be…maybe a romantic comedy? Lol.
If anyone wants to have a go at this, feel free to copy and paste into your own blogs, pages, FaceBook, etc. it’s just a little bit of short term fun.
It has been a very busy weekend, with the Queensland Eisteddfod. This article carries on from my previous article about my competition solos, small group and choral performances. Having now completed the competition, I can now say what pieces were sung.
I have hyperlinked songs that have recordings available on YouTube. These are not of myself or of the choir. Due to copyright laws in Australia, we can not record performances at Eisteddfods. These links are to show the songs that were performed.
I was debuting as a soloist this year. Looking back I think I did rather well. I placed in two of the six soloist categories I entered in.
Sacred Solo – “The Lord is My Shepherd (Psalm 23)” Theme from BBC series ‘The ‘Vicar of Dibley’ (by Howard Goodall). I placed first in this section. Performed this in the Church Theatre. In this theatre there is a large stain glass window that faces the stage, so only performers can see it. Halfway through the song, the sun shine through the glass, making it seem ethereal, and shone onto the stage. It’s quite a weird feeling when you’re singing a sacred piece and that happens.
Soprano Solo – “The Lords Prayer” (by Albert Hay Malotte). I placed third in this section. By the time I got to this section I was dead tired. I’d just come off stage from singing in choirs, and it was late at night, so I think I did well all things considered. Plus side was that I was already warmed up to hit the high B flat at the climax of the song.
Australian Composer – “Come Sleep” (by P. Glanville Hicks). I had to sing this one using ‘the book’ (with the words in front of me). This was also first up in the morning, so was still a little groggy. Was very warmed up though, due to having a quick rehearsal of choral items at 7.45am. I am definitely not a morning person.
Art Song – “Sure on this Shining Night“ (by Samuel Barber). I may have rushed and mucked up a few of the rhythms. My accompanist did a phenomenal job keeping up with me, because I really did mess this one up. Sounded great though according to the adjudicator.
Musical Theatre – “How Could I Ever Know” from ‘The Secret Garden’ (by Marsha Norman and Lucy Simon). This was the largest section that I competed in, but then it is the most popular solo sections. Competitions can use costume and throw abit of drama in to. Sometimes songs get repeated. My song was done three times in total, but the feedback that I got back was that my rendition was the best. So personal kudos to me.
Folk Song – “Spanish Lady‘ (arranged by David Downes) – The last section. I didn’t place but I was only half a mark from getting High Commended, so pretty happy. This section was also another large section, with varying types of voices from strong opera, and light ballad, men and women. My song was one of the faster, more quirkier songs done. It may have been a little too fast, don’t know if it was me or the accompanist. It does go like a rocket though. Oh, well. Something to giggle about later.
Also had a few small group sections
Trio – “Boogie Woogie Bugle Boy” (by Don Raye and Hughie Prince). Our little trio got 2nd. We thought we completely mucked it up. But the adjudicator commented that we were well blended and loved the actions that we put in. We added a few salutes, and old school shines to go with the 1949s theme of the piece. Goes to show, you never can tell.
Small group – “Angels Breathing Out” (By Alisa Bair). Our choral group got Highly Commended for this piece. It was very hard to hear in the stage, as we were in the large auditorium. But we survived.
Open Hymn Singing – “Be thou My Vision” (arranged by Heather Sorenson). Performed this with 7 other people and got 1st place. We also sound this in the large auditorium but we decided to stand pretty close to each other. Was still difficult to blend but the. The usual default is to just repeat what was done in rehearsal and hope that it’s enough. In this case, it was.
And finally, a lot of choral (choir) pieces
Open Musical Theatre – “Into the Woods (Choral Highlights) (by Stephen Sondheim, arranged by Mark Brymer). We of romped this with stage movement and basic costuming (because a lot of us were competing in other sections) we placed 2nd, after a group the did “Time Warp” and had a pianist that was dressed in black with fishnets. He looked like Frankenfurter. It was a well deserved win by that group.
Madrigals – “Fire fire, my heart” (by Thomas Morley) and “Shoot, False Love (by Thomas Morley). This section had a set piece, which every choir has to present. Helps level the playing field a bit. Everyone in the choir has a strong dislike for madrigals. Might have something to do with all the ‘Fa la las’ and coordinating them so it doesn’t sound like a shambles. We came away with a Highly Commended
Open Sacred – “O Nata Lux” (by Morten Lauridsen) and“When the Saints Go Marching In” (by Rutter). We did two very different pieces, one of which was entirely in Latin. What is sacred if you can’t do it Latin?
Ladies – “The Blue Bird” (by Mary Coleridge) and “Come, Ye Makers of Song” (by Henry Purcell and Ruth Henderson). Women only section, showing their skill with two contrasting pieces. I got to sing the high part with two other ladies in ‘Blue Bird’ which mainly constituted of repeated saying ‘Blue’ and a few short pretty verses that floats over the rest of the choir. We came away with third place.
Modern Chorus – “Hushabye Mountain” (by Sherman). Beautiful melody. I love this piece. The choir got Highly Commended.
Chief – “Afternoon on a Hill” ( by Eric William Barnum) and “Witness” (arranged by Jack Halloran). The final section for choirs. This section felt amazing when we were all up onstage in the large auditorium. ‘Afternoon’ was the set piece that had to be performed by all choir. According to the conductor, there were choir members who were tearing up onstage. We nailed ‘Witness’. Loved it. The final note was loud and proud, and we made the whole auditorium reverb, which we all heard when the sound bounced back onto the stage. We won this section.
The feedback from this weekend has been largely positives, it has anybody moment so bout how the Toowoomba Choral Society has come back from a performance quality slump. This is largely due to the effort and talents of the conductors, accompanists and vocalists onstage. A lot of hard work and team work. To those who read this post (you know who you are), the greatest thanks to you all.
Feedback about my solo performances as been a awesome, with many commenting that I’m seem to be going from ‘strength to strength’. I pray that it keeps going.
So looking back at everything that was achieved. There is no wonder that today I am feeling quite sore in the body, and vocally tired.
The countdown has began for the next performance, and preparation for future performances, gigs, etc are now well underway. As the saying goes, there is no rest for the wicked.
It’s getting to that time when projects start getting busy. I have two events fast approaching; Queensland (State) Eistedfodd and “Legally Blonde”. State Eistedfodd is next weekend (Easter). 6 solos, trio, small group and choral sections. Still trying learn them, but time is running out. To see the to torture that I am about to inflict upon myself, read my previous post, “A thousand songs in one ear, and out the other…”. Positive side is that it will all be over in a week.
“Legally Blonde” is onstage in less then a month. Final rehearsals are running the onstage cast through their paces. So I’m having a bit of a break, being backstage singer, I’m not required as often as the onstage. The focus is more on the onstage movement, choreography and set placement. Be back at it soon though. The infamous tech week is fast approaching. A week of basically no sleep, microwave food, and loads of coffee. It will be all hands on deck; onstage, backstage, production and promotions.
I have a little tradition that whenever I do a show, I frame one of the posters and hang it on my ‘brag’ wall. Added the latest to the wall this afternoon.
It is definitely getting to the pointy end of the stick…
There should be a meeting for this, but then what can one do when she always has a song in her head or her heart, and wants to share it with the world?
For those who are maybe in complete ignorance on what I am about to talk about, Smule is a online app organisation that produces musical apps. They have one for playing a piano and guitar. They even have an app where you speak into your phone, and it turns you speech into a Rap. The app I’m talking about is called ‘Sing!’. It does precisely what the title suggests, you sing into your iPhone or iPad microphone, to a backing track (or acapella, if you prefer), and posts it online for others to hear. Essentially it is an international karaoke bar.
Sing! is free to download and you can participate in duets and groups (or ‘collabs’ as the are called in Smuleland). You can even sing some of the songs as solos (there are not a lot though). To access the good songs, and to be able to sing all songs as solos, you need to pay a fee, then you become a ‘VIP’. As a VIP, you can also create duet opportunities for other singers in SmuleLand.
Celebrity artists are starting to get on the bandwagon as well, singing duets with the plebs. Lotsa fun, especially when they reply and comment on your recording. You may have heard of Jessie James and Tommy Bleasby (Smulean) sing “Flashlight”. It caused a viral sensation online. Since then, there have been artists such as Francesco Yates with “Sugar” and Andy Grammar with “Honey, I’m Good”.
So back to my addiction…
I downloaded this app in complete ignorance in what it does. I actually downloaded the Piano app and was messing around with that, before I got bored and went looking for something else (honesty is the best policy here, right?). So for two years, I did groups and duets, gained a small following, but did not have a lot of contact with other online Smuleans (apparently that is the collective name for Smule users).
Just after New Years (2016), I decided that I wanted to do something more with my singing, but wasn’t too sure where to start. I have no contacts outside the local Performing Arts community (Queensland, Australia), and all the real world and online sources (including Universal Music and Warner Music) say that I need to get ‘out there’. I needed to get seen and heard, and I need to establish an online presence. Light bulb moment!!! “Sing!” App.
This is all you need to get started.
I decided it was time to fork out the dollars, and start doing some solos. Get a little more active on my otherwise very idle account. As crazy as it seems, I feel like a semi-celebrity (not quite a ‘lister’… yet). I’m online for at least an hour each night (usually before bedtime) going through responses and activities of my followers, and those whom I’m following. I record new solos and duets, and respond to any collaborations that have been sent throughout the day. Yes, I respond to people who participate in duets and groups that I create, both in words and emojis (it’s like a international language).
I think the best bit, is that when you record, the app makes it sound professional. Works even better when you record in a quiet room. If you’re feeling a bit quirky, you can make your voice sound weird using ‘Pop’ and ‘Grunge’ settings. I tend to stick to the ‘Studio’ setting that gives you a little reverb (echo). I’m a purist when it comes to vocal quality, not one for synthesisers.
So I can access my Profile three ways; iPhone, iPad and computer. The computer/internet site looks a little different than the other two, but functions are essentially the same. I have my channel where I can see all the recordings that I have done, my playlist (basically my favourite ones that I can refer people to if they want to listen), an ‘invite’ area for my active duets (which last for a week before being removed by Smule), and an area where I can upload karaoke tracks for other people to use. Each song has a play number so I know how many times it has been played, I can even tell what my top three songs are based on the numbers that they have been played.
Skye Boat Song (Outlander Theme) (I couldn’t find a backing track so I did it acapella)
People can also ‘love’ your solos and collabs, and going through my list, I have quite a few. I am very greatful for the comments, likes, and general feedback I have received from virtually complete strangers from around the world. Music really does unite the masses. I have even met a few people through video collabs, which is kinda like recording your collabs on YouTube.
My following is growing internationally. I’m still a ‘small fry’ compared to some accounts that have scores of followers in five digit range, but I figure as long as the number keeps going up, who am I to complain? In some ways, it’s good to be a minnow in a sea of whales.
Recently Smule has create a ‘chat’ area, so you can converse with people and send requests for duets. I’ve had a messages where people have requested me to do solos for them or duets with them. I have even received a kind message explaining that one of my solos was played at a funeral in the US because that person was too broken up to sing themselves (I sent emoji flowers and a kind word back). I’ve been asked questions about my singing, and have been sent many compliments about how I ‘move’ people (Still debating as to whether moving people to tears is a good thing). I’ve even had a few messages from followers saying that they are big fans, and love it when I post new stuff (I’ve got some Smule Stalkers, lol).
Being an online app, it’s connected to my Facebook and Twitter accounts, so whenever I record duets, solos, etc, it is posted on these site simultaneously (just like this post will be posted on Facebook, Twitter and Tumblr, when I press ‘Post’). So basically everyone sees what I get up to. There have been a few occasions when my recordings have been retweeted (passed on) by various parties into cyberspace. Have even gained a few followers on Twitter because of it.
A tweet of my cover of “Nature Boy”. Not an official site but still has followers that would have seen this post.
Now the duets. I don’t tend to stick to a certain style or genre. Why not give everything a shot? The worst that could happen is that no one will join you, in which case I just shake it off, and move onto something else.
Some duets I record, and later think, what the hell?! I’ve have been surprised when I make a duet and post it, and then an hour later, it already has had 50+ hits (plays) on it. Two weeks ago, I recorded Adele’s “Hello” and posted it up. 62 hits in an hour, it wasn’t even a promoted song on the website, so this means that people have been surfing randomly through SmuleLand and have come upon my cover. I’m not even an alto (contralto) like Adele (I’m a soprano, for those who didn’t know).
In the table below I have listed all the duets to date, with the number for plays (hits) and collaborations sent back to me. A few of these have been rerecorded over and over, usually because Smuleans have requested for me to do so, or I just love the song.
Some people won’t like your voice (fair enough)Now you might think that the number of plays outweighs the number of collaborations that I get back. Going by feedback, and a little logic, I have come to following conclusions that..
Some people like your voice, but not the song (also fair enough)
Some people get intimidated by the skill in some voices, and tend to choose voices that are of a similar skill.
But the most important things to consider is that;
If they play you, they will usually hear you, and
You never know who could be listening.
I don’t just use Sing! to ‘puff my feathers’ though (however this is the main reason that I do). I also use it as a tool in the real world. Being a performer, it is sometimes hard to get feedback on a song when you can’t hear what you’re doing. Let’s face it, when you sing or preparing something, it’s always good to have a second opinion. So I use Sing! to record and then listen to myself. I analyse pitch, words (more so the diction), and whether or not adding a little ‘decoration’ to performances will work without massacring the song.
Now saying all these wonderful things about myself, can seem very attention seeking and ‘diva’ to some people, but then like most performers, I need my audience. If nothing else, I get feedback (good and bad) on my performances, and it gives me confidence in my skill as a singer. Until very recently, I have not had a lot of opportunity to do solos in public (outside of local competitions).
I figure that I am no triple threat (act, sing and dance well) so aiming for centre stage in a musical (which are the ‘big’ events in Toowoomba) may seem a little over ambitious, if not out of my reach, considering the talent that I am up against. So I figured the online approach would be just as a good place to start, and build my real world reputation as a singer at the same time.
I can definitely say, that if anyone is looking for a musical outlet or tool, give this app a go. I’ve seen a few of my FB friends sign up already (you know who you are). It is so much fun… And a little addictive…ok, it’s very addictive.
And maybe instead of just living in the world, I will make an impact in the world.
So I’m trying a different path, and see it where it leads me.
Like any other journey, I should start at the beginning…
About two years ago, I signed up for Smule Sing! as a casual singer, joining in on the duets, because at the time I didn’t want to fork out the $$$ to get the access to do the solos. I gained a few followers and some positive comments about the collaborations that I joined in. After a while, I forgot about the website/app and rejoined the ‘real’ world; doing my usual thing of choirs and musicals.
Three months ago, for lack of anything else to do (which is usual for someone who is on vacation), I looked up my old website. I still had a small following, and my collaborations were still be played. I decided to suck it up and pay the monthly fee to be able to do solos and further collaborations with people around the world. Since then, I have recorded numerous solos and duets with people around the world, my following is growing (nearly 5 people each day, and at the time of this post I have 251 followers), I’m getting many likes on my collaborations and solos, and many positive comments about my singing. Keep in mind that this is singing that is recorded to a karaoke backing track using nothing but an iPhone/iPad and the earphone/microphone headset. Amazing!!
Being an online application, I’m connected to both my Facebook and Twitter accounts, so when I record, Smule posts notifications on both accounts (so sorry to my Facebook and Twitter followers, who endure a constant onslaught of Smule notifications of my vocal shenanigans). A few Twitter accounts have picked up on my ‘activity’ and have retweeted them across cyberspace.
Facebook postings prompted notice from friends and family, so after a little research I was able to produce (with family help) a CD of some of the my solos, which was then distributed to said family and friends. Solos comprise of musicals, movie tracks and a few contemporary songs for good measure. My understanding is that the CD is now being shown/listened to by people outside of this circle (which is awesome). My ‘demo’ recordings have made it as far as England, which for any international readers of this post, is practically on the other side of the planet. By request of many, a second CD is now in the works. I should make mention that I have been asked for a CD of my singing from family for years prior. (And no, I am not selling them. Due to copyright laws).
So the next step?…unknown at this point. I’m out in cyberspace, and the CDs are lapping around the east coast of Australia. It’s now a bit of a waiting game, to see if anything comes back. If nothing else, I’m getting a lot of positive feedback, for which I am very greatful, and feel very blessed to receive. And even if this path should come to nothing, at least I can say I have tried it.
Should I get too excited? Probably not, knowing how cutthroat competition in the music industry is. I’m not planning on getting my hopes up at the moment. But then, if an opportunity does arise, I’m not going to shirk away.
Stay tuned to this space…
Oh, if curious, my Smule site is here. (The good recordings are in the ‘Playlist’ tab).
“The only thing better than singing, is more singing” – Ella Fitzgerald
I’m a busy little beaver at the moment…
Rehearsing for “Legally Blonde” and preparing for competition for the Queensland Eistedfod. I have a thousand songs swimming around in my head.
I’ve recently received the schedule for the Eistedfod and found all the sections I’m involved in, be it choral, small group or solo. I’ve come to the conclusion that for the 3 days that this competition occurs, I will not be sleeping too much, if at all. But then who sleeps anymore?
So what am I doing?;
For choral and small group;
Open Small Group – Contemporary
4-8 voices Hymn Singing
Madrigals
Open Sacred
Trio
Quartet
Open Musical Theatre
Open Ladies Section
Open Modern Chorus
Open Chief
This year, I’m going to be making my debut as a Queensland Eistedfod soloist competitor, so true to my overachieving nature, I entered in a load of additional soloist sections.
Sacred
Light Soprano solo.
Australian Composer
Musical Theatre
Art Song
Folk Song
After reading through the schedule and writing out the ‘when’, ‘where’ and ‘what’ I’m doing, I may have had a mild panic attack. All up, I will be competing in 16 sections. How crazy am I?
As I said before, each section is in different states of memorization. All of them, I know the part, it’s the learning of lyrics that tends to get me. In one ear, out the other. In saying that, I have a lot of work, particular the musical theatre sections, as they need to be off book, so actions and cheoreogrpahy can be incorporated (ARGH!!!).
So in preparation for this onslaught. I have one session a week to work on my solos, additional session for the trio. Then there are three rehearsals per week for the large and small group sections. In addition to this, I have been ‘note-bashing’ at home, in order to at least get the parts in my head. Overkill? Maybe. It’s probably me being very picky with the quality of performance. I’d like to have most of these ‘off the book’, so I can work on the performance elements, like engaging the audience. God knows I get enough practice at that during my day job, engaging and occupying teenagers (school music, drama and science teacher, for those who don’t know).
I’m also my own worst critic (why let others criticize me, when I can do it to myself quite well). It usually works in my favour as it pushes me to get it right. This little meme tends to get posted around too…just to emphasize the point that in the lead up to performance, one cannot keep ‘note bashing’ parts.
With all this practice and rehearsal, I’m on constant vocal management. Drinking lots of warmed honey, ginger and lemon juice drinks (known as “Gollum Juice”), resting when I can, and not pushing too hard on the high notes (considering that I’m still recovering from a nasty virus from a few weeks back). But in saying that, I need to exercise my voice too. Warming up properly before I sing tends to help the process along too…thought I’d better say that in case this is read by fellow singers.
With a few weeks left till we showcase our reportoire to the public, it’s is going to be pretty much ‘practice practice practice’ at home, and be “all hands on deck” at rehearsal whether it be rain or shine (only a death certificate will suffice in exclusion from rehearsal).
The theatre season in Toowoomba is beginning to accelerate, with concerts, plays and musicals fast coming to the many local stages.
A production of “Legally Blonde” is well into rehearsals. Vocal rehearsals are resonating throughout the theatres and studios, with soloists and onstage cast racing to get lyrics and script ‘off the book’ (memorised) and in tune. Backstage singers are learning the music and lyrics, whilst studying scores and associating what is happening onstage so they can understand areas of vocal weakness that need to be covered, and adjust accordingly. Dancers are busy learning choreography, and trying to co-ordinate vocals with movement. Blocking is well underway for both Acts 1 and 2.
Rehearsing, rehearsing, rehearsing!!!
The Production team are almost run off their feet in directing, rehearsing, building sets, acquiring props, sewing costumes, scheduling, conducting media relations, and setting lights and sound to script.
The theatre literally begins to come to life… And this is only for a local production. The theatre is frequently visited by traveling troupes and acts. Singers, dramatists, dancers, visitors and locals that address audiences or conduct themselves at social, business and political events.
And seems to get busier with each passing year.
I consider the Empire Theatre my second home, as it is an usual occurrence to find me there, if not at home or at my daytime occupation. Whenever I see the hustle and bustle, a particular song always comes to mind; “As if we never said goodbye” from “Sunset Boulevard”. The lyrics describe the busyness of the theatre, but also the feelings that I feel when walking through the hallways and backstage.
I don’t know why I’m frightened
I know my way around here
The cardboard trees, the painted seas, the sound here
Yes, a world to rediscover
But I ‘m not in any hurry
And I need a moment
The whispered conversations in overcrowded hallways
The atmosphere as thrilling here as always
Feel the early morning madness
Feel the magic in the making
Why, everything’s as if we never said goodbye
I’ve spent so many mornings just trying to resist you
I’m trembling now, you can’t know how I’ve missed you
Missed the fairy tale adventure
In this ever spinning playground
We were young together
I’m coming out of make-up
The lights already burning
Not long until the cameras will start turning
And the early morning madness
And the magic in the making
Yes, everything’s as if we never said goodbye
I don’t want to be alone
That’s all in the past
This world’s waited long enough
I’ve come home at last!
And this time will be bigger
And brighter than we knew it
So watch me fly, we all know I can do it
Could I stop my hand from shaking?
Has there ever been a moment
With so much to live for?
The whispered conversations in overcrowded hallways
So much to say not just today but always
We’ll have early morning madness
We’ll have magic in the making
Yes, everything’s as if we never said goodbye
Yes, everything’s as if we never said goodbye
We taught the world new ways to dream!
~ “As if we never said goodbye” from “Sunset Boulevard” (Andrew Lloyd Webber)
I would sing this out loud throughout the hallways, if I didn’t know people would think I’d completely lost my mind.
Theatre, to me; is its own world, that is hard to leave, which is why many of us keep going back to it… Our second home.
Surfing around the blogs about music and scoring, I came across this discussion focused on this particular quote;
“Film music is no more than wallpaper, filler material” – Igor Stravinsky
So I’ve decide to throw my ‘2 cents’ in. This topic is a little bit different then my usual topic matter, but I love most forms of music, and this blog is by the “CrazyMusicChick” after all.
“You can find the whole world of a film in one instrument, or you can find a world of sound in the orchestra”. – Howard Shore.
I would have to say that some of my favourite music is not music that has lyrics, or would fill large arenas. I’ve always had a special place for soundtrack music, or film scores (if you will). I’ve grown up with listening to soundtracks on my parents LP records, such as Jeff Wayne’s “War of the Worlds”, and “The Pirate Movie”. Even though both have songs with lyrics, there is music that is only….music. It’s atmosphere, feeling, emotion. It’s more than just wallpaper.
I can also say that I haven’t met a lot of people who would openly say that they would turn on a OST album, or film score instead of the Top 40 (or the like). I have heard a few people say that film score is the ‘background’ , and is not as important as to what is happening on the screen. To me, film score is just as important. It provides that dramatic atmosphere, the sadness, the love, and even identifies characters. Some scenes don’t need words for the audience to understand the emotion or the action. Montáges often adopt this approach (eg. “Deep Impact” (1998) has a montáge depicting how society falls apart due to the impeding impact of a meteor that could wipe out civilisation).
“The Empty Hearse” from BBC “Sherlock” Series 3 (2014). ‘By bungee jumping from a rooftop, through a window, and kissing the girl on the way out’. One of many scenarios submitted by fans in addressing the devastating death of Sherlock Holmes at the end of Series 2, and how it could have been faked. There was no spoken words during this scene. All driven by music.
I know that people are not ignorant of film score, as many would identify many scores based on themes, such as the opening to “Star Wars” or the “Superman Theme”. They would be aware of composers/arrangers such as John Williams (Star Wars, Superman, and Jurassic Park), Howard Shore (Lord of the Rings and Hobbit films) and James Horner (Titanic, Bicentennial Man and A Beautiful Mind). They would be able identify opening themes of television (but not necessarily the composers) such as “The Simpsons” and “X-files” (Danny Elfman), “Sherlock” (David Arnold and Michael Price), and the various Star Trek series themes. Even video games these days have full orchestrations.
Having played in orchestras (playing the cello) on an amateur level, I have always loved watching and appreciated the “Behind the Scenes” of movies and television music making. I watch the interviews of the music makers of how themes are created and are associated with characters, how instrumentation can determine the ‘mood’ of the scene, and the intricacies of getting orchestrations recorded and than ‘synced’ to the visuals. All the finicky stuff.
On a personal level, film score is great for clearing my mind after a hard, busy day. Kind of a meditation zen of sorts. With no words, I can focus just on the orchestration. I can picture the scenes or create originals in my mind. I’ve sometimes broken down in tears, just by sitting down, turning off the lights and playing the “Lord of the Rings” or “Hobbit” soundtracks.
“It should sound like good music,…but basically it should be musical and listenable. And it should be able to, away from the picture, conjure up the same sort of feelings and images that it was meant to on the screen” – Patrick Doyle.
If anyone happens to travel with me, they are often subjugated to my playlist mix of eclectic music, which includes soundtrack orchestrations. I have “Sherlock” (Series 1, 2 and 3), “Outlander”, “Arrow”, certain songs from “Lord of the Rings” and “Hobbit”, “Superman” (Williams version), and multiple songs from the “Batman Arkham” game series. My apologies to my passengers.
The past few years, I’ve noticed that orchestrations are no longer limited to the tv, screen or in amateur performance, but are now being performed in full gala concerts, playing in large music halls. Professional orchestras practice and perform full movie length scores or full television episodes, and play them live whilst the visuals are being screened (sometimes with the vocals and sound effects taken out). Some orchestras have even toured. Such performances have included “The Lord of the Rings”, “Star Trek” (2009, and 2013), and “Doctor Who”. I don’t know if such performances have always existed, but definitely with the right promotions and PR, such concerts are becoming a regular event.
“Lord of the Rings” Live Performance.“Star Trek: Into Darkness” Live PerformanceWith the ‘Oscars’ coming up, I usually look forward to finding out who wins the ‘Best Music, Original Score’ categories, just as much as the best actor/actress, or overall film. Call me weird, but film music is more than just wallpaper.
If you read this, please comment on you’re favourite soundtracks, orchestrations or even your favourite composers/arrangers.
“Music is essentially an emotional language, so you want to feel something from the relationships and build music based on those feelings” – Howard Shore.
“Movies will make you famous; Television will make you rich; But theatre will make you good.” ― Terrence Mann
Before I get involved with theatrical or musical endeavours, I always seem to go through this process in my mind with main question being “Why the hell do I keep doing this?”. The question is often repeated in my mind throughout the ‘page to stage’ process, and it is often spoken out loud and/or implied by myself and fellow ‘theatre dwellers.’
The anxiety of auditions, the depression of doing a crap job of the audition, the anxiety of waiting for results of the audition. Disappointment that you didn’t get the part, but the elation that you get to be involved in some way. The long rehearsals, the late nights, the sore throat/voice, and sometimes sore body. ‘Tech Week’, affectionately known as ‘hell week’. The ‘high’ that you get whilst performing, keenly followed by the post-show depression. It is an emotional and physical roller coaster, in which a lot of theatrical and performing persons, like myself, repeat over and over again. In short, theatre and music people are completely insane.
I suppose the best way to answer this question is to break the above, down…
The anxiety of auditions – I always get nervous in preparation for auditions. It’s not like performing a solo to an audience, where they don’t judge you so openly (just behind your back). An audition is a decision-making process, and thus judgements have to be made on your voice, acting, and capacity for choreography. I try to remember that it is a process that has to be done. Still doesn’t curb the nerves though.
The depression of doing a crap job of the audition – everyone tends to revert to the default answer of a crap audition when asked “How’d it go?” Some people have been pleasantly surprised when they get a part. If anything, it’s a learning experience of different methods used in the audition process. Let’s face it, each production team knows what they are looking for, and if you’re not what they want, then that’s that.
The anxiety of waiting for results of the audition – social media comes alive at this point. The ‘OMG waiting is so hard’ comments start popping up in everyone’s feeds on FaceBook, Twitter, etc. It’s the time when you wish that the whole ordeal was over. Then after the announcements have been made by the production team that the audition process is complete, social media becomes the hunt for who got what part. In a way, we anxiously social stalk each other, to find out info, goss, etc.
Disappointment that you didn’t get the part – with every triumph, there is disappointment. There are always those who will be disappointed. Then it comes to making hard decisions as to whether one continues to be involved with the project. You find a few will drop out at this time, which is fair enough if they have other projects and commitments. Amateur theatre does not pay for cast, so priorities need to be determined by each individual before continuing on this journey.
The elation that you get to be involved in some way – in most productions, I have only been in the chorus and/or backstage singers (until this past year, when I had a small part in one production and was in a showcase ensemble for another). For me, it is an opportunity to practice my ‘craft’, learn new skills, and build a professional reputation with my fellow actors, singers, dancers, performers, etc. Even in amateur theatre, one should work in maintaining a good reputation. You never know what opportunities may come along.
The long rehearsals – the arduous process of rehearsing. Starts out quite long, as you try to cram as much music, singing, and choreography into a finite amount of time. At this time, everyone knows when the show is due to be onstage for audiences.
The late nights – as time runs out, the nights get longer. At this point, I have found the best places to have ‘micro naps’. The alternative is that I develop a profound and noticeable addiction to caffeine (Thank goodness for Zarrafas Coffee).
The sore throat/voice – exhaustion sets in. Some cast members start to ‘crash’ and you start to get selection of colds, flus and injuries. You learn how to ward these off with herbals, and looking after yourself if you do happen to ‘crash’.
The sore body – for someone who is not a dancer, anything that involves a large amount movement is like going to a gym session. Plus side is that I get fit, without having to pay for gym membership. Still a challenge when you wake up the following morning and your body aches from head to toe. Knowing that you have to go to your day job, and then go to rehearsal afterwards to repeat what you did the night before. After doing 3 shows last year, I had abs and biceps (laugh).
Tech Week – in my theatre and musical circle, this is called “hell week”. I’m sure it is called the same or similar in other groups. This is a period where all departments come together to put the show into its final form. It’s the co-ordination of costume, sound, lighting, orchestra, production team, onstage and backstage cast, set construction, and effect/staging team. Cast also have a fast learning period of trying to work out makeup, and when they need to do costume changes, and dress rehearsals. It is also a period of a lot of cuss words, frustrations, frayed tempers and stress. ‘Memes’ start to appear on the company Facebook page to try keep morale up, or to rub salt into the wounds…It is also a period of exceptionally late nights and tired work days. As stressful as this period sounds, it is also the most productive time of getting ‘the page to the stage’, where everyone can see the dream becoming a reality.
The ‘high’ that you get whilst performing – the energy is incomparable when performing live to audiences, whether that be onstage or backstage. Performing to an audience is like being surrounded by energy of your peers and the audience. It is electric. If the audience is engaged, you can feel it. This is further enhanced if you have a standing ovation at the end. When you’re done, you have trouble sleeping cause of the exhilaration and thrill of it all. I have often heard that the ‘high’ you get whilst performing is like a drug addiction, which probably explains the next dot point…
The post-show depression – the curtain falls for the final time, and you’ve had the after party were you enjoyed the company of this particular group of people for the last time. A few days later, you find that you are missing the company of people, the late night rehearsals, and for some; the lack of caffeine. There is this ’emptiness’ that something is missing; mainly due to the lack of a ‘high’, the lack of anything to do, and the profound loneliness. This is often expressed on social media with a lot of teary emoticons, and a smattering of “after-the-after-party” parties. You also discover that you have formed close friendships (and sometimes relationships) with people, and realise what they mean to you, as you mean to them.
So in answering the question “Why the hell do I keep doing this?”. The simple answer is that I LOVE DOING IT!!
– I have very close group of friends, of whom I trust
– I maybe sleep deprived and body weary, but I am soul enriched, and artistically challenged in every very project I undertake.
– It is an opportunity to work at my craft in theatre, and embrace new aspects of performance.
– I may not get paid to perform, but I learn so much in performing both what happens onstage and what happens backstage.
– And perhaps I enjoy the ‘high’ a little. Ok, I like it a lot.
In conclusion, we are all ‘suckers for punishment’…(laugh).
It is also a period of exceptionally late nights and tired work days. As stressful as this period sounds, it is also the most productive time of getting ‘the page to the stage’, where everyone can see the dream becoming a reality.
Sarah Talbot 