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Make It Authentic… …or Don’t Bother

Make It Authentic… …or Don’t Bother. Gary Plaag. Rule #1: D o your homework. Rule #2: L earn your music effectively. Rule #3: A pply valid performance “rules”. Rule #4: Always be “present”. Our goal: Real living in imaginary circumstances. U nser Ziel:

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Make It Authentic… …or Don’t Bother

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  1. Make It Authentic……or Don’t Bother Gary Plaag

  2. Rule #1: Do your homework Rule #2:Learn your music effectively Rule #3:Apply valid performance “rules” Rule #4:Always be “present”

  3. Our goal: Real living in imaginary circumstances. Unser Ziel: Echtes Leben in imaginärenUmständen.

  4. What kind of song is it? • Ballad, up-tune, swing, parody, comedy, blues, rock and roll, musical theater, etc. • Well-known, unknown, old, new • Thought/conversation, alone/with others • Can you relate to it?

  5. What is the song about? • Person, place, thing, event What is the basic human experience this song depicts? • Love, loss, celebration, reassurance, death, etc.

  6. Because of You All my days were lonely ones,Till you came along.Now my days are happy ones;you filled my life with song. Because of you there’s a song in my heart.Because of you my romance had its start.Because of you the sun will shine,The moon and stars will say you’re mine foreverAnd never to part. I only live for your love and your kiss.It’s paradise to be near you like this.Because of you my life is now worthwhile;And I can smile, because of you.

  7. What is it about? • Write one sentence of dialogue that sums up the entire song. • “Since you can’t love me like I love you, I will have to say goodbye and move on…but I will remember you forever.” • “I have so much fun being with you that I want to spend the rest of my life with you.”

  8. What is the obstacle or conflict? Every interesting drama has a conflict… something that stands in the way of success. Identify the obstacle or conflict within the song…from YOUR perspective and life’s experiences. Now use your life experience to overcome the obstacle.

  9. Overcoming the obstacleis your WHY… Always remember the WHY!

  10. Write a scenario (imaginary circumstances) • Situation • Place, time, era • Why you are in this situation • Why you are saying these things • What happens during the song • What happens at the end

  11. Because of You All my days were lonely ones,Till you came along.Now my days are happy ones;you filled my life with song. Because of you there’s a song in my heart.Because of you my romance had its start.Because of you the sun will shine,The moon and stars will say you’re mine foreverAnd never to part. I only live for your love and your kiss.It’s paradise to be near you like this.Because of you my life is now worthwhile;And I can smile, because of you.

  12. Preparation: • To whom are you talking? Be specific! • What are the characteristics of this person? • How do you feel – about person, situation? • How does the other person feel? • What do you want from the other person?

  13. Preparation • What causes you to begin speaking? • How does the other person react? • How do you react to their response? • Is success guaranteed? • What will you do to achieve your goal? • How will you change your approach?

  14. Not While I’m Around Nothing’s gonna harm you, not while I’m aroundNothing’s gonna harm you, no sir, not while I’m aroundDemons are prowling everywhere nowadaysI’ll send them howling, I don’t care, I got ways. No one’s gonna hurt you,No one’s gonna dare.Others can desert you, Not to worry, whistle, I’ll be there. Demons’ll charm you with a smile, for a while, but in time…Nothing can harm you, not while I’m around.

  15. Not While I’m Around Being close and being clever, Ain’t like being true.I don’t need to, I would never hide a thing from you,Like some… No one’s gonna hurt you, no one’s gonna dare.Others can desert youNot to worry, whistle, I’ll be there! Demons’ll charm you with a smile, for awhileBut in time...Nothing can harm youNot while I’m around...

  16. You Don’t Know Me You give your hand to meAnd then you say helloI can hardly speakMy heart is beating so And anyone can tellYou think you know me wellBut you don’t know me. No, you don’t know the oneWho dreams of you at nightAnd longs to kiss your lipsAnd longs to hold you tight Oh I’m just a friendThat’s all I’ve ever been‘Cause you don’t know me

  17. You Don’t Know Me I never knewThe art of making loveThough my heart achesWith love for you Afraid and shyI’ve let my chance to go byThe chance that you might Love me, too You give your hand to meAnd then you say good-byeI watch you walk awayBeside the lucky guy You’ll never never knowThe one who loves you soWell, you don’t know me

  18. Rule #2: Learn your music effectively • Study the words in context of Rule #1 • Conversationally speak the words • Let your body move/gesture as if in a conversation • Notice how your body decides to move in order to enhance your communication

  19. Rule #2: Learn your music effectively • Consider the other person’s possible reaction(s) • Consider how you will respond to any reactions • Role-play to test for naturalness and believability • Speak the words in the context of the arrangement’s word duration, etc.

  20. Remember: Communication occurs between phrases… …AND often BEFORE we say anything

  21. Rule #3: Apply valid performance guidelines

  22. Common barbershop performance myths: We must: • stand in a certain configuration (T, L, Bs, Br) • not move while singing • constantly move (to show energy) • “sell” the song • “try” to look natural • exaggerate facial expressions

  23. Rule #3: Apply valid performance guidelines Common barbershop performance myths: • We must stare at the director or microphone • We must sing to the entire audience • We must use our hands to convey all emotion • The audience must understand all details of our “scenario” • We must “make” the audience believe us

  24. Rule #3: Apply valid performance guidelines Common barbershop performance myths: • We must “reset” at every breath or phrase change • We must show the audience every music component with our hands/arms/head/face/body We need to NOT do any of these things!!

  25. Rule #3: Apply valid performance guidelines We need to: • Begin with the end in mind • “Let” and not “make” • Communicate as a human being • Be present in the story…live in imaginary circumstances • Find the “beats” in the text and use them

  26. Beats/Emotional Beats: • Places in the text where emotion changes • Usually BEFORE text is spoken • Not just at the beginning of a sentence • Punctuation can help identify the beats Let’s see an example….

  27. From the 1st Hello… Our song was a song of tomorrow Our hearts were as high as the sky But songs are forgotten and skies often gray Nevertheless, there is this I can say. From the first hello, to the last good-bye It’s been awfully nice to meet you So excuse the parting sigh.

  28. Rule #4: Always be “present” • No auto-pilot! • Be aware of yourself and everything around you • Remember your “why”…not just the “what” • Be emotionally available at every rehearsal and performance

  29. Our goal: Real living in imaginary circumstances.

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