1. Create a profile on Opus Event and link your ACDA membership. — **Not available YET**
2. Add your school(s) to your profile.
3. Locate your Quad Event and create student applications by the posted registration deadlines.
4. Print your invoice from Opus Event and mail your payment to Ramona Cummings
*When you mail your payment, include the paper copy of your Invoice from Opus Event
Attn: Ramona Cummings
PO Box 2964
Edmond, OK 73083
Your entry will not be accepted until all four steps are complete.
Deadline and Fees
NEW FIRST DEADLINE!!
**First Deadline – Saturday, October 10, 2020**
– $15.00 per student
**THERE IS NO LONGER A 2ND DEADLINE**
Emergency Deadline – Contact Chair
– $100.00 per student
Auditions – November 15th – 21st
November 15th: Cuts will be released via email
November 16th-18th: Auditions Open
November 19th: Auditions Close
November 20th: Auditions processed for judging
November 21st: Judging
November 22nd: Final Results Released
The audition will consist of two elements:
1) A performance of Four Brothers arr. by Rutherford and 2) a 30-second vocal improvisation over a standard jazz form and chord progression. The first element will take place at each singer’s scheduled audition time, with the second following immediately afterward in a different room with different judges.
Updates to Vocal Improvisation Process:
Beginning last year, the improvisation format was revised; the exact form and set of chord progressions will change each year. Improv practice tracks will be available in a Google Drive folder with the Four Brothers audition cut track. The improv audition track used in the improv room will be released publicly via email to all directors of students registered for the jazz audition two school days prior to the audition date. This will give students and directors time to prepare without the need for a ‘cut room.’
Suggested methods of preparation:
— Vocal Improvisation by Michele Weir
— Search “Jazz Backing Tracks” on YouTube
Four Brothers audition cuts:
Track starts at beginning; start singing in m. 10
Sopranos – sing the Soprano I part
Exception: the two notes in ms. 135 (C to Eb) of the soprano II part can be sung; notify the room monitor which part you will sing
Tenors – sing the Tenor I part
All Voices – m. 26 – 33 sing SATB parts
Cut from the end of m. 41 to the beginning of m. 74.
Cut from the end of m. 88 to the beginning of m. 105.
Page 14 – take repeats
Sing to the end
– Does the voice align with jazz style (i.e have minimal vibrato, use appropriate air/tone ration, navigate all parts of the range well, etc.)?
– Does the singer sing the correct notes?
– Does the singer sing accurate rhythms?
– Does the singer sing musically at both the macro and mirco level (i.e sing with correct emphasis around the swing notes, accommodate large dynamic shifts, sing each line with direction and purpose)?
– Does the singer sing the words and syllables written on the page? Does the singer use appropriate vowel shape?
– Can the singer sing in tune? This includes fast lines, held notes, and improvisation.
– Does the singer always sing with a sense of direction? Is the direction musically appropriate and stylistically interesting?
Jazz Style (5)
– Does the singer display vocal jazz ability? Does the singer perform with a sense of ease and confidence?
Improvisation (10 per judge)
– Can the singer create musical thoughts and phrases that are appropriate with the set of chord changes provided?
Jazz Chorus Clinician – Peter Eldridge
For years Peter Eldridge has remained at the forefront of both the singer-songwriter and jazz realms as a vocalist, pianist, composer, and arranger. He has five critically acclaimed albums under his belt. Eldridge is a founding member of internationally acclaimed vocal group, New York Voices. The group continues to tour internationally and has performed in some of the world’s most preeminent venues and festivals, including Carnegie Hall, Avery Fisher Hall, and the Kennedy Center. Peter is also a member of the vocal group MOSS, a vocal supergroup that intertwines jazz, classical, pop, folk, electronica, world music and poetry into unique sonic art.
Some of Peter’s notable collaborations include Bobby McFerrin, Fred Hersch, Becca Stevens, Chanticleer, George Benson, Michael Brecker, David Byrne, Jonatha Brooke, Kurt Elling, the New West Guitar Trio, Jane Monheit, the Swingles, Anat Cohen, Betty Buckley, Karrin Allison, Janis Siegel, Paula Cole, Jon Hendricks, and Mark Murphy. In addition, Peter was head of the Manhattan School of Music’s jazz voice department for eighteen years and is now Professor of Voice at Berklee College of Music in Boston. He is regularly in demand for workshops and masterclasses both domestically and internationally, in topics ranging from song interpretation to vocal technique to songwriting and arranging and improvisation.
Visit his website for more information.