Competition Tips

By Sean Altman

The a cappella community is a microcosm of our world - big, beautiful and brutally competitive. A cappella contests are a great way to get experience and exposure. As one of the venerable old farts of the community, I've judged a whole mess of 'em. Here's what I look for, and advice on how your group can cut Sean's muster.

Sound

Contrary to popular opinion, a cappella groups are hard to mix. Multiple solists, varying microphone technique, vocal percussion, intricate arrangements, frequently sub-par P.A. systems, and acoustically harsh rooms make it essential to have a mixing engineer with a cappella experience.

If you can't afford to hire your own soundperson, at least have someone familiar with your group's sound and repertoire stand by the mixing board and respectfully advise the house engineer.

Wardrobe

A group should look like a group! That doesn't mean that everyone should wear the same glitter gowns (although this might be a clever sensationalist ploy for a male group). Rather, it means that your outfits must complement one another, both in color and style. I'm always unhappily surprised when I see a musically gifted group whose stage garb is absurdly disparate.

Staging

Live performance is as much a visual medium as a sonic one. Put thought into the look of each song. Choreography that supports the song musically can make a good tune into a show-stopper. But beware: too much dancing will distract your audience from the music. It's a balancing act that will vary with each group, depending on the members' respective movement skills.

I'm a fan of subtle, synchronized movements; even something small, like a hand gesture, impresses me if it's performed by a group in perfect synch. If, however, you just want to stand there and groove, at least change up the "shape" of the group with varying formations and stage positions.

Covers vs. Originals

I like a good mix of each. Cliche covers should be reserved for private parties and corporate events. If you must do "Lion Sleeps Tonight" or similar roadkill, you'd better put a new spin on it, or sing the crap out of it.

Originals will separate you from the pack. Be self-critical and selective though; originals only help you if they're good.

Arrangements

My Rockapella three-ring-circus arrangement of "Zombie Jamboree" notwithstanding, I prefer simple, unflashy arrangements. These allow the soloist and the song to do their thing. Intricate arrangements that work well in the studio can sound cacophonous on stage. "Ooh," "ahh" and "la la la" worked for the Beatles, The Four Seasons and The Persuasions. They'll work for you, too.

Soloists

Use your best soloists, more than once if necessary. The heat of competition is no time to give "Ringo" a solo just to spread the wealth and spare his feelings. You've likely got only a few songs to prove yourself, so make each one count. "Ringo" gets to sing solo at longer concerts, where the variety will help your presentation.

Patter

The audience wants to know you and like you. Talk to them, and please say more than the obligatory "This next Spice Girls' song was arranged by so-and-so and it's called blah-blah." The audience deserves more than your name, rank and serial number. Work on your anecdotes just like you work on your music and staging. Practice in front of a mirror, if necessary. The buying public wants to be cradled in your capable, confident hands. Don't let them down!

Be wary of comedic skits. When perfectly executed, they can be charming and palate-cleansing. When they miss the comic jugular, however, skits can be skin-crawlingly pathetic. Know your group's strengths; the skit that kills your hometown concert fans might engender a chirping cricket silence in competition.

Focus

Respect your bandmates' song intros. Focus on him/her and then laugh at the joke, even if you've heard it 100 times prior. Nothing is more distracting to an audience than side conversations, bored shuffling and extended drinks of water.

Bows

Whatever happened to the lost art of bowing? The Beatles' synchronized bow on the Ed Sullivan Show charmed a nation and sold millions of albums. Moreover, bowing respects your audience's applause, as if to say "I hear your cheers and I'm grateful. Now here's the top of my head." Don't ignore the comic possibilities, either. At a recent GrooveBarbers concert at the Bottom Line, we employed thirteen different bows, to great response.

More Good News

The above almost-free advice is applicable to all your performances. Sadly, the judging doesn't stop when the contest is over. Your concert audiences will forever critique you, although silently and without my imposing clip-board and grumpy sneer. In the end, there's only two opinions that really matter: yours and your audience's. If you please yourself and please them, you've won.

Sean Altman is a former founding member of Rockapella. He currently sings a cappella with The GrooveBarbers and fronts his NYC-based power-pop band. Check out www.bigsean.com.