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Written by Lucia Graves - www.usnews.com
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Thursday, 05 June 2008 |
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In the past 25 years, college a cappella has become a huge hit, with more than 1,200 college groups nationwide and 200,000 alums. Once merely considered a destination for choir geeks, collegiate a cappella has achieved an aura of glamour, moving from college campuses to bigger (and more varied) stages, like The Late Show With David Letterman and the Republican National Convention.
In his new book, Pitch Perfect: The Quest for Collegiate a Cappella Glory, GQ editor (and a cappella group alum) Mickey Rapkin explores the starry-eyed and often hilarious subculture of campus a cappella. Rapkin followed three a cappella groups—the Tufts University Beelzebubs, Divisi from the University of Oregon, and the University of Virginia Hullabahoos—around the country to document their musical escapades.
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Written by CASA NewsLink
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Thursday, 05 June 2008 |
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Being a singer isn't easy. But having a music accompaniment can certainly help. When I sing with my acoustic duo www.openwindowmusic.com that just happens to have a gig Friday, June 6 at The Loft in Dover — show starts at 8 p.m. and there is no cover charge, I have my guitar to help me find the notes that I need to sing. The music is always there as a guide to help me.
Singing a cappella, is much harder than it seems. There is no music to help the singer find the notes. It takes a lot of talent to be able to pull those notes out of nowhere. Now imagine a whole chorus of a cappella singers. There is potential for disaster.
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Written by CASA NewsLink
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Tuesday, 03 June 2008 |
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In the best of times, collaboration between two first-rate vocal ensembles doubles the fun. On Friday, Minnesota-based Cantus (nine men) teamed up with Norway's Trio Mediaeval (all women) for a sold-out concert at the Kennedy Center Terrace Theater, part of the "A Cappella: Singing Solo" festival. The program was a motley mix of 13th-century English sacred motets, Norwegian and African folk arrangements and contemporary fare.
Cantus took the stage first, opening with Eric Whitacre's "Lux Aurumque" in ultra-smooth legato style. Rather than singing directly to the audience, the singers faced each other, moving in small, constantly changing groups, acting out texts visually and blending at times in close harmony rivaling the finest barbershop technique. Bob Chilcott's cynical, dissonant "5 Ways to Kill a Man" was sounded out with dramatic crescendos; a drummer (from the ensemble) hammered out a repeated ostinato figure that energized the vocal texture. Thomas Tallis's "Lamentations of Jeremiah," Part 1, was delivered with exalting finesse, and Bobby McFerrin's updated "Psalm 23" was cleverly voiced.
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Written by CASA NewsLink
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Monday, 02 June 2008 |
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Sing the phrase from end to beginning. This will build your confidence to finish the phrase without losing breath.
Sing the piece from end to beginning to build confidence in the conclusion of the piece.
At the first rehearsal of a piece, start with that section of the piece that you find most beautiful, most expressive, or most exciting.
At concert time the focus must be on expression, not technique. Rehearsal builds vocal (and choral) technique. The singer in concert who focuses on technique risks boring the audience.
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