Cabaret performances are often known for bringing alive the Great American Songbook from the 1920s through the 1950s for contemporary audiences. But modern-day cabaret does much more than preserve the past-it also promotes and fosters the new generation of American composers and creates a uniquely vibrant musical and theatrical experience for its audiences. So You Want to Sing Cabaret is the first book of its kind to examine in detail the unique vocal and nonvocal requirements for professional performance within the exciting genre of cabaret. With a foreword by cabaret legend Lorna Luft, So You Want to Sing Cabaret includes interviews from the top professionals in the cabaret industry, including Michael Feinstein, Ann Hampton Callaway, Roy Sander, Sidney Myer, Jeff Harner and many others. There are also chapters devoted to crafting your show, lyric connection, "do-it-yourself" production and promotion, and working with your musical team. David Sabella and Sue Matsuki have crafted the perfect one-volume resource for both the aspiring cabaret singer and the singing teacher who seeks to learn more about this unique art form. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing World Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.
Chapter 1 - Cabaret: Historical Background An overview and history of the cabaret rooms of Europe in the 19th and early 20th centuries. Chapter 2 - Modern Day Cabaret: 20th -21st Century Crossing the Pond - The early proponents in the U.S. (such as Mabel Mercer) of modern day cabaret and their impact on American popular singers of the 20th century (Frank Sinatra, Judy Garland). * What has cabaret come to be known as in the last 40 years? * Who are the major performers today and what makes them "cabaret singers"? * How does cabaret performance differ from other live vocal performance shows? Chapter 3 - Cabaret Training: What it is and why it is needed Training programs - what they offer to singers and why training in the art of cabaret performance is important. What a singer should look for in a cabaret training program. Chapter 4 - Cabaret and the Musical Theater Singer The chapter addresses the training and perspective of a musical theater performer and what parts are or are not applicable to cabaret. Examples of Issues addressed are: * The elimination of the "4th wall" * Being yourself vs. Being a character * The relationship a musical theater performer has to the audience vs. the relationship the cabaret singer has to the audience. So You Want to Sing Cabaret - Tim Schall, Proposal Chapter Descriptions * What habits (good or bad) do musical theater singers develop that helps/hinders them transition into working in cabaret. Chapter 5- Cabaret and the Classical Singer The chapter addresses the training and perspective of a classically trained "legit" singer and how that training/perspective is adapted to cabaret. Examples of Issues include: * Taking the focus off of your voice * Putting the focus on the lyric * Trusting your body * Being "natural" Chapter 6 - Cabaret and the Pop Singer The chapter addresses the training and perspective of a pop singer and how that training/perspective is adapted to cabaret. Examples include: * Where are you creative objectives as a pop singer and where are they as a cabaret performer? * Riffing: To riff or not to riff? What is its purpose in pop singing and what is it, if any, in cabaret performance? * Making a recording vs. performing a song live * Transitioning from a "sound machine" to a live human being with something to share/say. * The jazz singer: how cabaret work can help them relate more directly to their audience and add an extra dimension to their performances. Chapter 7 - It's About The Lyrics (newly added) Cabaret is a lyric driven art form. This chapter explores why a singer should consider the lyrics first when choosing a song. The challenges of different genres of lyrics and how they are best adapted and used in a cabaret setting are explored: * Great American songbook lyricists * Musical Theater lyricists (many times, the same as the above) So You Want to Sing Cabaret - Tim Schall, Proposal Chapter Descriptions * Pop lyrics - the challenge to make these dramatically playable Chapter 8 (newly added) - Working With Your Music Director Note: This chapter could potentially be divided into two chapters: 1) Working with a Musical Director/Pianist and 2) Creating Arrangements. One of the most important relationships in the singer's development as a cabaret performer is with their musical director/pianist. This chapter discusses: * The criteria you should look for in a musical director - skill sets, willingness to collaborate, area of musically expertise. * Communicating with the musical director/pianist in light of how much musicianship skills and language a singer has or does not have. * Creating arrangements - why this is vital and how to participate in the process even though you are may not be the musician in the room. Chapter 9 - Putting it Together/Creating an Act Note: This chapter could also become two chapters, because it is loaded with important information. Creating an Act or Show is often a very daunting project for singers. Live performers from pop/rock singers and nightclub singers to classical singers in recitals have struggled with putting together cohesive programming that flows with a beginning, middle and end. Topics discussed include song choices, song types and song order. We explore the purpose of an opening number, the purpose of a closing number, the 11 O'clock number, the encore and different types of ballads. Patter, or stage dialogue, is also explored. Patter is a craft in and of itself and can often either be too stiff or too sloppy. It has tremendous impact on the show, yet should seem as if it is spontaneous and natural - but So You Want to Sing Cabaret - Tim Schall, Proposal Chapter Descriptions should be planned out. Working with a director is explored. What is a director's role in the creation and performance of a cabaret show? What service does the director provide for the singer? Chapter 10 - Cabaret As A Means In Itself Cabaret performance is a specific art from in itself. Many singers choose to focus their performance work solely in this area. This chapter discusses the path of the singer focusing on cabaret: * U.S. cities that have cabaret communities. * What expectations can be met career-wise and artistically. * When is this the right choice for a singer. * How to market yourself * Working in clubs - agreements, light/sound, promotions * Recording content, demos, websites and self marketing. Chapter 11- Cabaret Training As A Tool Cabaret is also occasionally taught in university musical theater training program. This chapter explores how the personalization of material can help musical theater performers, non-singing actors and classical singers in their performing and auditioning - whether they choose to pursue cabaret work or not. Chapter 12 - Closing Thoughts * An overview of the national cabaret landscape. Specific cities and what is their cabaret scene like? * Advocating for the art form. Why does it need preserving and how to preserve it. * Educating and informing future generations.
