Overcoming audition nerves can be one of the most difficult things to do, here are some tips to help you succeed at your next audition. Drink a lot of water and get a good night’s sleep the day before; you will both sound and feel better when you are hydrated and well rested. Next, practice your audition song and monologue in front of a mirror and even for family and friends, if you feel comfortable enough. This helps you become more aware of how you are coming across to the audience and gives you practice performing the pieces for a live audience. Also, when selecting your audition pieces, be sure that they are the proper age and vocal range for both you and the character you are auditioning for. Additionally, every audition is a little bit different, so be sure to read the audition criteria thoroughly and follow it precisely.  Lastly, take several deep breaths before you go on and remember to have fun.  

Here is an example of me doing a chest belt, with a slight mix as the notes begin to get higher. Lots of twang here in the piece. Shout out to Dad, Ryan and Gordon from the McKinley Boys for letting me sing.

https://www.youtube.com/watch?v=pcypJtq4MQc

Here is a beautifully written article about belting and it's history.

http://somaticvoicework.com/the-confusion-about-belting

         Singing with a Broadway belt is a lot of fun, but it is important to understand it and implement it properly, otherwise it can yield extremely negative results. There are two different types of belts, chest voice and a mixed belt. Chest voice is demonstrated in the song “Tomorrow” from the musical “Annie”. Chest voice feels lower, louder and can be hard to control at times if you aren't doing it right. Picture seeing a friend across a busy street and shouting “HEY!” with your whole body engaged to get their attention; that is the basic feeling of the chest voice. On the other hand, mixed belt can be demonstrated with Carrie Underwood’s singing, it requires a lot of a twang or “catfight” type sound and is easier to sing in a higher register than chest voice. Before attempting to belt for a show or audition, meet with a vocal coach who can assess your technique and ensure that you are going about it safely and properly. 

To conclude the topic of vocal runs and demonstrate their operatic side, here is a video of me singing Juliet's Waltz.

https://www.youtube.com/watch?v=3zORzeHth2g

Here is a great example of breaking down runs and riffs by Natalie Weiss. She makes an intense 40 note run seem like no problem at all simply by taking it one step at a time.

        Any piece of music with complex riffs and runs can look and sound intimidating. It doesn’t matter whether the riff and runs are Jazz, Pop or Opera; the principle for learning is the same, break it down piece by piece. First, work out the rhythm through clapping and counting, be sure to catch and review any trouble spots you might have. Secondly, play the notes from the page of music on the piano and make sure you are solid on your intervals. Lastly, combine the rhythms and pitches on the piano and sing along slowly until you feel comfortable taking it at a faster speed. It also helps to start working on the end of the riff and learn it backwards so you become more confident as you go along. 

Have you ever wondered about the mechanics behind how cartoon actors can change their voices or how an opera singer can fill up an entire concert hall? Here is a PowerPoint presentation I created for my speech class on the anatomy of the voice. Hope you enjoy it!

Wonderful article and video on growing your skills by online vocal coach Phil Moufarrege.

http://www.grow-the-voice.com/personal-development-plan-template.html