MCCCD Official Course Competencies:

MUP217  1988 Fall – 2009 Spring

Music Comedy

1.

Demonstrate the vocal techniques utilized in musical comedy singing. (I)

2.

Practice a healthy vocal production differentiating between registers. (II)

3.

Determine when and where vocal characterizations will be most effective in enhancing the musical idea. (III)

4.

Dramatize the meaning of text visually and vocally. (IV)

5.

Audition with confidence having prepared and polished various musical theater pieces. (V)

6.

Evaluate personal talents in reference to musical theater materials. (VI)

7.

Differentiate between musical composers styles both musically and dramatically. (VII)

8.

Appraise and select pieces from the vast musical theater repertoire suitable for performance. (VIII)

9.

Select and utilize theatrical techniques to enhance any given performance. (IX)

10.

Express and relate concepts and emotions both verbally and nonverbally with others. (X)

MCCCD Official Course Outline:

MUP217  1988 Fall – 2009 Spring

Music Comedy

I. Musical Comedy Vocal Styles

A. "Belting" tone quality

B. Recitative

C. Lyricism

D. Rhythmic variations

E. Melodic variations

F. Vibrato/Straight tone

G. Phrasing

II. Vocal Production

A. Head voice

B. Middle voice

C. Chest voice

D. Breathing

E. Tone focus/placement

III. Qualities for Characterization

A. "Belting"

B. Nasality

C. Pure

D. Throaty

E. Harsh

IV. Communication Through Singing

A. Expressing emotions of text

1. Eye focus

a. Internal/implosion

b. External

B. Improvisations with text

C. Staging of musical numbers

D. Diction/enunciation

V. Audition Techniques

A. Choice of materials

1. Ballad

2. Up-tempo

B. Stage presence

1. Appearance

2. Blocking

C. Coping with audition anxieties

1. Exercises for relaxation

D. Reparation of resume/photo

VI. Guidelines for Selection of Suitable Solo Material

A. Vocal range

B. Age range

C. Body type

D. Voice quality

VII. Survey of Musical Comdy Composers and Styles

A. Rodgers & Hammerstein

B. Lerner & Loewe

C. Rodgers & Hart

D. Kander & Ebb

E. Sondheim

F. Styne

VIII. Survey of Broadway Repertoire

A. Original scores

B. Vocal selections

C. Composer collections

D. "Best" of Broadway collections

1. Comparison of vocal ranges

2. Comparison of piano/vocal arrangements

IX. Enhancement of Performance

A. Props

B. Costumes

C. Make-up

D. Set

E. Lighting

X. Communication With Other Performers

A. Mirror exercises

B. Improvisation exercises

1. Non-verbal

2. Verbal

C. Improvisations using text