This warmup packet contains seven fundamental exercises for the marching. This exercise works on the accuracy of playing the four 16th/8th rhythm permutations. Tom drum (each muffle is notated with an (x) on the appropriate drum). Rhythm X Audition Packet Pdf Creator. 5/31/2017 0 Comments App Store is a service mark of Apple Inc. With the free Music Maker. The complete full version of Music.
MUSC 141, Aural Skills Booklet, p. 2 Our study of rhythm will be aided through the use of a rhythmic syllable system called “Takadimi,” Takadimi,” developed by Richard Hoffman, William Pelto, and John 1 White. It is recommended that you practice with a metronome to help you maintain a steady beat.: meters in which which the beat subdivides subdivides into two parts. The syllable Ta falls on the beat. When the beat is divided in half, as is the case with all simple meters, the syllable di falls on the second half of the beat: 3. Ties, dots, and rests do not affect takadimi syllables, because the syllables are associated with a specific location within the beat and not with any particular note value With the further subdivision of eighth notes into sixteenth notes, takadimi uses two additional syllables: ka and and mi. Here’s a selection of rhythms rhythms using sixteenth notes.
1 Richard Hoffman, William Pelto, John W. White, “Takadimi: A Beat-Oriented Beat -Oriented System of Rhythm Pedagogy,” Journal Pedagogy,” Journal of Music Theory Pedagogy, Pedagogy, vol. 10 (1996), 7 – 30. See also www.takadimi.net. MUSC 141, Aural Skills Booklet, p.
3 Note that the syllables ta and and di always always represent the downbeat and half-way point respectively. MUSC 141, Aural Skills Booklet, p. 4 1.2 1.3 MUSC 141, Aural Skills Booklet, p. 5 A dot extends a note by half the value of the note; thus, a dotted quarter note represents a quarter extended by an eighth-note. In performing dotted notes, counting the divisions of the beat (ta-di, ta- di, etc.) silently helps us to make sure the dotted note is held for the correct length of time. Remember that the particular takadimi syllable you use is determined by whether the note occurs on the beat (ta (ta ) or off the beat (di (di ), ), not by what type of note value it is.
MUSC 141, Aural Skills Booklet, p. 6 Chapter 3: Dotted eighths in Simple Meter; double dotted quarters Since a dot adds to a note half of its value, a dot adds to the eighth-note the value of a sixteenth-note. A second dot adds an additional half the value of the first dot. 3.1 MUSC 141, Aural Skills Booklet, p. 7 3.2 3.3 3.4 MUSC 141, Aural Skills Booklet, p. 8 Compound meters are those meters in which the beat subdivides equally into groups of three. The beat note is always a a dotted note.
Just as in simple meter, the syllable ta falls falls on the beat. Recall that in simple meter, the syllable di is used for the note that occurs exactly halfway through the beat. In compound meter the subdivisions that occur ⅓ and ⅔ of the way through the beat receive the syllables ki and da respectively. Because they don’t occur at the same moment as di, they receive different different syllables. There are three common patterns you’ll encounter in compound meter: ta-ki-da, ta-da, and ta- ki. With the use of rests, a few more patterns emerge. When the primary subdivisions of the beat are themselves subdivided, ta, ki, and da remain remain in the same rhythmic place and the syllables va, di, and ma, respectively, ma, respectively, are used for the second-level subdivisions.
(Note that the syllable di is exactly halfway into the beat and, in fact, corresponds to the di in in simple meter.) MUSC 141, Aural Skills Booklet, p. 9 Here are a few common rhythmic patterns in compound meter that use secondlevel subdivisions and how they would be performed using the takadimi syllables. MUSC 141, Aural Skills Booklet, p. 10 MUSC 141, Aural Skills Booklet, p. 11 MUSC 141, Aural Skills Booklet, p. 12 MUSC 141, Aural Skills Booklet, p.
13 There are no new rhythms in this section. The perceived difficulty comes in learning to feel the half note as the beat note rather than the quarter note. MUSC 141, Aural Skills Booklet, p. 14 MUSC 141, Aural Skills Booklet, p. 15 The best way to approach this pattern is through compound meter.
It makes it easy to see where the second and third notes of the triplet occur with respect to the beats. MUSC 141, Aural Skills Booklet, p. 16 Syncopation is a shifting of the normal accent, usually by stressing the normally unaccented beats or unaccented parts of a beat. MUSC 141, Aural Skills Booklet, p. 17 MUSC 141, Aural Skills Booklet, p.
18 Essentially, swing is a type of performance in which music notated in simple meter is performed as if in compound meter. You can use the takadimi syllables syllables for compound meter to perform the rhythms. Swing is indicated by at the beginning of the song. MUSC 141, Aural Skills Booklet, p.
2017-18 GENERAL AUDITIONS Thank you for participating in the 2017-18 general audition process. NOTE: Performers who have appeared in a mainstage production or staged reading in the last 12 months are not required to audition in order to be considered. If this applies to you and you would like to be considered without auditioning simply click the link below and completely fill out the AUDITION INFORMATION FORM before June 3, 2017. This packet contains all show schedules, descriptions, and character breakdowns. The online form will allow you to provide us with your personal contact information, show preferences, character preferences, and conflict prior to the day of auditions. You should bring a current headshot and complete theatrical resume to the theatre on the day of auditions.
If you have any questions at all, don't hesitate to email Kevin Harris at [email protected] at any time. Please time out your audition material carefully. We will be keeping a strict schedule and will cut you off if you go over the requested time. These general auditions will be used to cast the following mainstage shows: RABBIT HOLE, A CHRISTMAS STORY, THE PRODUCERS, THE 39 STEPS, LOST IN YONKERS, ANNIE These general auditions will be used to cast the following Ubu’s Other Shoe staged readings: TAKING SIDES, NEW JERUSALEM, CIRCLE MIRROR TRANSFORMATION, THE OTHER PLACE, LIFE x3, THE HOW AND THE WHY HOW THE AUDITIONS WORK When you complete the online AUDITION INFORMATION FORM prior to auditions, you will have the opportunity to list your show/character preferences. All actors will be considered for all available roles for all productions/readings unless you note that you are not interested in specific plays on your audition sheet. Please look at the performance dates carefully to make sure that you are available. Actors with extensive rehearsal conflicts will not be considered.
Auditions may be videotaped. These tapes will only be used internally for the purpose of casting performances/readings at the San Luis Obispo Repertory Theatre. Please bring a current photograph of yourself (8 x 10 preferred) and an updated theatrical resume which includes all relevant training. Please show up at least 10 minutes before your scheduled audition and be ready to go at your scheduled time. Check in the audition stage manager as soon as you arrive. If you do not have a current resume (including all training) you will be asked to fill out a resume form when you arrive.
Please show up early to give yourself enough time to do this before your scheduled slot. WHAT TO PREPARE All actors must prepare: 1 short comedic monologue (1-2 minutes) 1 short (contrasting) dramatic monologue (1-2 minutes) All actors who would like to be considered for a musical (THE PRODUCERS, ANNIE) must prepare: 32 bars (90-120 seconds) of a song from a musical. An accompanist WILL NOT be provided. Please bring your pre-recorded music with you.
We will have a CD player and a normal headphone jack (for an mp3 player or phone) connected to an amp for your use in the room. While we discourage actors from auditioning A Capella (without music), all auditions will be permitted.
You may be asked to sing some scales or other exercises by our musical director. PLEASE TIME YOUR AUDITION. To ensure that we stay on schedule, we will be very strict about the 7 minute time limit. Cut your materials to give yourself adequate time to transition between pieces without rushing.
ABOUT THE ROOM: all auditions will take place onstage at the San Luis Obispo Little Theatre. The room will have the following people in it: Kevin Harris, Managing Artistic Director Michael Siebrass, Artistic Director, UBU’S OTHER SHOE Lacey McNamara, Musical Director A timekeeper AFTER THE AUDITIONS San Luis Obispo Repertory Theatre will be offering roles to the selected actors no later than July 20, 2017. Please keep in mind that actors may be offered roles for more than one production/reading. We ask for your patience during this complicated process (we cannot contact some actors until we find out if other actors accept/reject their offers.) All actors (offered role or not) will be contacted no later than July 20, 2017. If dance/acting callbacks are required after the general audition, those actors will be notified.
Please email Kevin Harris at [email protected] if you have any questions. Rabbit Hole Directed by Ron Clark Winner of the 2007 Pulitzer Prize. Becca and Howie Corbett have everything a family could want, until a lifeshattering accident turns their world upside down and leaves the couple drifting perilously apart. Rabbit Hole charts their bittersweet search for comfort in the darkest of places and for a path that will lead them back into the light of day. Rehearsals: 8/28/17-10/5/17 Performances: 10/6/17-10/22/17 (18 performances) CHARACTER BREAKDOWN: Becca—Howie's wife in her late thirties. She is usually a very responsible and sensible person, but makes some rash decisions throughout the play because of grief.
Howie accuses her of subconsciously trying to 'erase' Danny by selling the house, packing up his artwork, and getting rid of their dog, even erasing the most recent home video of Danny. Izzy—Becca's irresponsible but well-wishing sister. She is unwed, but in a relationship with Auggie. She is pregnant throughout the duration of the play. Tension is created as Becca's mourning for her lost child lingers, and she is suspicious of Izzy's ability to raise her own.
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Howie—Becca's husband in his late thirties. He is very caring, but has a hard time dealing with Danny's death, which causes him to be angry and depressed, though he hides it as much as possible. He obsessively watches home movies of Danny and thinks that the best way to move on is to try for another child. He attends group grief counseling meetings.
It is implied that he has an affair with a woman from this group. He does not want to meet with Jason, whom he blames for Danny's death. Nat—Izzy and Becca's mother. She is the voice of reason for her daughters.
She helps Howie and Becca in the moving process, and provides motherly experience to Becca. Her son (Becca's brother, Arthur), a heroin addict, hanged himself at the age of 30. Becca, however, does not want to hear this, as she feels that the deaths are not comparable. She eventually realizes that her mother has gone through this as well, and accepts the comfort. Jason Willette—17-year-old boy who accidentally hit Danny with his car, leading to Danny's death. He lives with his mom; his father's whereabouts are never revealed, but the script suggests he's dead. He enjoys science fiction and writes a story about wormholes to other dimensions in Danny's memory, which he publishes in the school's literary magazine.
He sends this story to Becca and Howie. He later shows up at the open house, wanting to talk to Howie and Becca.
Howie chases him away, but he later meets with Becca. He blames himself for Danny's death. A CHRISTMAS STORY Directed by Kevin Harris Back by popular demand, A Christmas Story will once again take the stage for a fun, festive holiday treat!
Join Ralphie Parker on his quest for a genuine Red Ryder BB gun and make it part of your family’s annual holiday celebration. Back into the light of day.
Rehearsals: 10/16/17-12/1/17 Performances: 12/2/17-12/23/17 (23 performances) CHARACTER BREAKDOWN: Ralphie Parker (9-12) is our young protagonist. Equal parts dreamer and schemer, Ralphie doesn’t just covet an air rifle, he also knows (or thinks he knows) exactly how to persuade the adults around him that his cause is a righteous one. Ralph Parker (30-60), Ralphie’s older, wiser alter ego, functions as the story’s narrator and assumes the roles of the various townspeople who populate the landscape of the play. Ralphie’s Mother (25-40) is a patient parent with firm convictions – in particular, the conviction that her son should not own an air rifle. It takes a lot to ruffle her feathers, but the provocative leg lamp that Ralphie’s father (25-50) wins in a send-away contest does seem to do the trick. The Old Man, the Parker family’s beleaguered patriarch, is a grumpy, good-hearted father with a penchant for highly original (and to the audience’s ears profanity-free) invective and a deeply held desire to be a winner. Randy (younger than Ralphie), Ralphie’s little brother, sure is cute, but getting him to eat his breakfast or don his snowsuit can be a serious headache.
Schwartz and Flick (9-12) are Ralphie’s two best friends. Flick is the unfortunate guinea pig in the infamous frozen-flagpolelicking experiment, while Schwartz becomes the scapegoat when Ralphie accidentally utters an unspeakable word. Scut Farkas (12-16) is the schoolyard bully who routinely torments Ralphie and his friends. He has yellow eyes! Miss Shields (20-50) is Ralphie’s teacher. She’s also an integral component of his campaign for the perfect Christmas gift.
Esther Jane and Helen (9-12) are two of Ralphie’s classmates. Helen is something of a child prodigy, while Esther Jane seems to have a particular interest in our young protagonist.
The Producers Directed by Kevin Harris Musical Direction by Lacey McNamara 12 Tony Awards! Bialystock and Bloom!
Those names should strike terror and hysteria in anyone familiar with Mel Brooks' classic cult comedy film. Now as a big Broadway musical, The Producers once again sets the standard for modern, outrageous, in-your-face humor. It is a truly 'boffo' hit, winning a record 12 Tony Awards and wowing capacity crowds night after night. Rehearsals: 1/2/2018-2/16/2018 Performances: 2/17/2018-3/11/2018 CHARACTER BREAKDOWN: Max Bialystock The consummate con man. Naturally animated and bombastic, he is never at a loss for charm and manners.
Typically conspires with Leo. Gender: Male Age: 40 to 55 Vocal range top: F#4 Vocal range bottom: A2 Leo Bloom An accountant. Boring and mousy, he is a hesitant optimist who longs for something more. Dragged into a scheme by Max.
Gender: Male Age: 35 to 45 Vocal range top: F4 Vocal range bottom: A2 Franz Liebkind German loyalist playwright. From his lederhosen to his pigeon, Adolph, his love for the motherland is unmistakable. He is imposing yet tender.
Gender: Male Age: 35 to 55 Vocal range top: G4 Vocal range bottom: F2 Rogers Debris New York's most famous and flamboyant stage director. Surrounds himself with deliciously beautiful clothing, people, and possessions. In a crowd, it would be impossible to miss him. Gender: Male Age: 50 to 60 Vocal range top: G4 Vocal range bottom: G#2 Carmen Ghia Roger Debris' faithful assistant. Carmen is severe in looks and passion for Roger. He may appear younger than he actually is thanks to skilled surgeons.
Gender: Male Age: 25 to 35 Vocal range top: A4 Vocal range bottom: C3 Ulla Inga Hansen Benson Yonsen Tallen-hallen Svaden-svanson A young and hopeful actress. Though her beauty might eclipse her talent, Ulla is passionate about life and art. Quite a clueless seductress in some ways. Gender: Female Age: 20 to 30 Vocal range top: G5 Vocal range bottom: A3 Ensemble Accountants; Bavarian Peasants; Convicts; First Nighters; Little Old Ladies; Storm Troopers; Chorus Girls; Girl Prisoners; Usherettes The 39 Steps Directed by Jody Hovland Mix a Hitchcock masterpiece with a juicy spy novel, add a dash of Monty Python and you have The 39 Steps, a fastpaced whodunit for anyone who loves the magic of theatre! This 2-time Tony® and Drama Desk Awardwinning treat is packed with nonstop laughs, over 150 zany characters (played by a ridiculously talented cast of 4), an on-stage plane crash, handcuffs, missing fingers and some good old-fashioned romance!
Rehearsals: 2/26/18-3/29/18 Performances: 3/30/18-4/15/18 (18 performances) CHARACTER BREAKDOWN: This spy-caper spoof utilizes just four actors who transform using costumes, accents, and physicality into over 30 distinct characters. Actor #1 Plays: Richard Hannay: The hero of our story. Hannay, 37, is recently back in London and finds himself bored with his life. His adventure begins when he meets Annabella Schmidt at a theatre performance, and must go on the run when he is accused of her murder. Actor #2 Plays: Annabella Schmidt: A “beautiful, mysterious” secret agent. Hannay helps her escape from a gunfight at the theatre. When she is murdered at his London flat, Hannay becomes the primary suspect.
Annabella involves Hannay in the mystery of The 39 Steps, and in her dying breath, she begs Hannay to help keep confidential information about British air defense out of the hands of a dangerous man missing his little finger. Pamela: A stranger on the Highland Express. When Hannay kisses her aboard the train to avoid detection by the police, she recognizes him from wanted posters in the paper and attempts to turn him in. When Hannay runs into her again at a political rally, she is once again pulled into the spy plot.
Margaret: A Scottish woman Hannay meets while he’s on the run. Hannay takes shelter at her house, disguised as an itinerant laborer.
After Hannay tells Margaret his identity, she helps him escape when her husband, the Crofter, calls the police. Actors #3 and #4 play The Clowns: These two versatile performers play dozens of characters. Here are a few of their major roles in The 39 Steps. Memory: A performer who wows the audience at the London Palladium with his powers of recall. Crofter: Margaret’s husband.
A crofter is a tenant farmer who rents land from a landlord. He is suspicious of Hannay’s intentions with his wife, Margaret, and turns Hannay into the police when he discovers that Hannay is wanted for murder. Jordan: Wife of Professor Jordan. She is the proprietor of Alt-na-Shellach.
Professor Jordan: The mysterious resident of Alt-na-Shellach. Annabella Schmidt tells Hannay he must visit Professor Jordan to prevent British secrets from leaving the country. The Heavies: Two thugs who arrest Hannay and Pamela while disguised as police officers. Sheriff: A Scottish police officer and friend of Professor Jordan. Dunwoody: The master of ceremonies at a political rally. Lost in Yonkers WINNER of the 1991 Pulitzer Prize for Drama and Tony Award, Best Play.
Written by America's great comic playwright, this memory play is set in Yonkers in 1942. The hit Broadway production featured Irene Worth, Mercedes Ruehl, and Kevin Spacey in award-winning performances. Bella is thirty-five years old, mentally challenged, and living at home with her mother, stern Grandma Kurnitz. As the play opens, ne'er-do-well son Eddie deposits his two young sons on the old lady's doorstep.
He is financially strapped and taking to the road as a salesman. The boys are left to contend with Grandma, with Bella and her secret romance, and with Louie, her brother, a small-time hoodlum in a strange new world called Yonkers. Rehearsals: 4/28/18-5/3/18 Performances: 5/4/18-5/20/18 (18 performances) CHARACTER BREAKDOWN: The roles of JAY and Arty have already been cast. Bella: Jay's thirty-five-year-old aunt. She is sometimes a bit off-center and is mentally challenged, but despite this she is also loving and protective of her nephews. Much of the second half of the play focuses on her attempts at independence from her stern mother. Originally played on Broadway by Mercedes Ruehl.
Louie: Jay's flamboyant, jovial uncle, in his late 30s, who comes to live with the family when he is hiding from the local mob. He is considered by Grandma Kurnitz to be the 'survivor' of the family. He has a strong, mercurial nature, and a certain underlying dark side, which the kids uncover in the second act of the play. He works as a 'bag-man' for the mob. Originally played on Broadway by Kevin Spacey.
Grandma Kurnitz: Jay's grandmother. A very old and stern woman, an immigrant from Germany. Owing to her harsh childhood, she has always been very intolerant of what in others she calls 'weaknesses'.
She is blunt, sometimes even in a funny way, and always knows what is going on with the people around her. Originally played on Broadway by Irene Worth. Eddie: Jay's middle-aged father. After the death of his wife, he is forced to send his two sons to live with their grandmother, while he repays his large financial debts.
He is shown to be, much like his sisters, a nervous wreck around Grandma. Originally played on Broadway by Mark Blum. Gert: Jay's aunt, and Grandma's daughter.
She is a very interesting addition to the family. Her most noticeable issue is that when she breathes she has a tendency to suck in while still speaking, as a result of trauma instilled in her by Grandma from a young age. Originally played on Broadway by Lauren Klein.
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