Frequently Asked Questions
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General
Any student studying with a current GA NATS member, and for whom a category has been created. Elementary and Middle school students do not have categories. See the Auditions Regulations for more information.
If you are a current member of GaNATS sending students to the Auditions, you are required to adjudicate at the Auditions, or to arrange for an approved substitute. Other members of GaNATS are encouraged to adjudicate at the Auditions, and any active member of NATS may serve as an adjudicator at this event.
You’ll be singing for a panel of adjudicators, who will give you written feedback, and (unless you are singing for comments only) give you a score that may qualify you for run-offs or final awards. Categories with a large number of singers participating are split, and run-offs may occur to determine final awards in these categories. See the Georgia NATS Student Audition Regulations for additional details.
No. Dress nicely, as you would for a singing audition. We recommend wearing something dressier than jeans and flip-flops, but less dressy than gowns and tuxes. Theater singers: there is no need to wear all black, unless you wish to; this is a good chance to show your personal style. There is no need for props or costumes in any category. There is no need to change wardrobe should you be selected for the Winners Recital; day-audition attire is still expected. If in doubt, think conservative. You are encouraged to check your outfit with your teacher before the date of the event, especially if you have any questions about what is appropriate.
At the Auditions, the main focus is on singing for adjudication, to get comments and feedback, and to share your singing with others in attendance. Certificates are awarded, along with small cash awards, to award winners in all categories except the one designated for comments only.
The NATS Artist Award (NATSAA) auditions, run biannually, are more appropriate. Work with your teacher to determine the best option.
It’s the age the singer will be on the date of the first day of the Auditions.
No. “First Year College/Independent Studio Men/Women” refers to first year after graduating high school. Only count the number of years of study beyond high school.
It’s important to NATS members that recent previous teachers be acknowledged. Previous teachers should be listed if the student last studied with them within the last eight months. Students who have not studied with their current teacher for eight months may only participate if they give credit to both teachers by listing them both on the registration forms and, if applicable, in the introductions at the conclusion of the Final Round. If you have studied in the past eight months with a second teacher who is not a member of NATS, or you’re not sure if they are a member, list and count them as if they are a member.
No, count the total time you’ve studied voice in general, as requested for your classification.
Absolutely. Fill out a separate student registration form for each category, and pay the fees for registration (and for staff accompanist if desired) for each category.
Visit the National NATS website’s FAQ section for the most up-to-date information!
Teachers
Both for your students’ experience and for your own, in terms of the Auditions themselves. The preliminary and final rounds offer not only the chance for you and your students to participate in Auditions, but also to hear new repertoire and a wide range of singers, from beginning through advanced singers. The GaNATS audition weekend also includes business and social meetings for teachers, and by attending these you can not only network, but also be represented in the function and running of the Chapter.
You need to find someone to serve as a Substitute Adjudicator. Substitutes must be current NATS members but cannot be members who will have any of their own students participating in the Auditions. Contact the Auditions Chair (registrar) if you cannot attend and need to arrange for a substitute; it is not the Audition Chair’s responsibility to find a substitute but he or she may be aware of someone who is available.
A local member is preferred, but any member of NATS may serve as an adjudicator.
It is expected that you will at least pay the registration fees for your substitute, and if they would not have been attending otherwise, it would be courteous to also pay or at least offset their additional travel and/or lodging expenses. You should work this out with your substitute prior to the Auditions.
Accompanists
It is your responsibility to contact the Staff Accompanist as soon as you receive their contact information from the Auditions Chair, to let them know what you’ll be singing, and to make arrangements to meet with them at the Auditions.
Applications for Staff Accompanists are always welcome; please contact the Auditions Chair (registrar) and indicate what styles (classical, theater) and singer levels you are comfortable with.
PLEASE NOTE: In order to ensure equity for students participating in the GA NATS Student Auditions, the fee rate for pianists serving as a “Staff Pianist” will be as follows:
Categories with 3 Songs: $40
Categories with 4 or more songs: $60
Please let the Auditions Chair (registrar) know that this accompanist is available and willing to play for additional students. Since there are limits as to how many students an accompanist may play for, please include the total number of students the accompanist is already engaged to accompany.
PLEASE NOTE: In order to ensure equity for students participating in the GA NATS Student Auditions, the fee rate for pianists serving as a “Staff Pianist” will be as follows:
Categories with 3 Songs: $40
Categories with 4 or more songs: $60
Genre-specific Questions
All Genres
There is not a rule that precludes this, but it is discouraged as one of the purposes of this event is to encourage the learning of new repertoire.
All works at this event are accompanied by piano. If you have a score that is written for voice and piano, or harpsichord, or organ, or similar, that’s fine. If a piece has an obbligato for flute or clarinet, or any other instrument, that doesn’t ban it from the Auditions; just don’t expect to hear that part (and don’t bring a flutist or any other instrumentalist other than a pianist.) If you have something out of the ordinary that you’d like to present at the Auditions, you must get permission from the Repertoire Consultant to do so.
While there is no rule against borrowing a score or sharing a score with another singer during the Auditions, problems can arise if you arrive and find out your teacher forgot the book, or brought the wrong key, you’re singing at the same time as your friend, or you’re singing in separate locations. Owning and bringing your own original scores will eliminate these problems, and help you build your own singing library. For this event, you only need one original score for each song you perform.
Musical Theatre Repertoire
Music theater selections in college categories and older must be sung in the original key or standard published key. High school singers and younger may use published transposed keys to accommodate voice change issues only. Any published transposition must retain the composer’s intention and style of music, and preserve the character being portrayed in the story and lyrics.
Yes, purchased music from these sources are welcome. Make sure that they either have a publisher’s mark or purchase statement printed on the score, or a Festival Use letter like the one available with sources like CD-Sheet Music.
For consistency, and for the sake of accompanists, we ask that you use regular piano/vocal scores, with the complete accompaniment written out.
Out-of-print does not necessarily mean the work is out of copyright, and copyright is strictly enforced at all NATS events. If the work is in the public domain you may use any version of that score; if it is still in copyright but out-of-print, you must have written permission from the publisher or copyright owner to use a copy of the score.
Some shows, like the G&S rep and works like Candide are performed by both classical and theater singers; songs from these types of works are fine for the theater categories. Keep in mind that adjudicators in these categories may expect to hear these songs performed in a theater (as opposed to an overtly classical) style. Only one selection may be an operetta aria. Additional repertoire questions should be forwarded to the Repertoire Consultant (see web page).
Classical Repertoire
In general, you should only perform these works in original key, or in alternate keys readily available in printed anthologies or sheets. Some composers or publishers offer music printed in your choice of keys; you may use these if you wish. Do not bring a Sibelius or Finale or similar score unless you have written permission from the composer or publisher to alter the original score in this manner. Arias should only be sung in concert key(s). If you have any concerns, please consult with the Repertoire Consultant.
Yes, purchased music from these sources are welcome. Make sure that they either have a publisher’s mark printed on the score, or a notice like “For the exclusive use of….” or bring the Festival Use letter available with sources like CD-Sheet Music.
Yes, purchased music from these sources are welcome. Make sure that they either have a publisher’s mark printed on the score, or a notice like “For the exclusive use of….” or bring the Festival Use letter available with sources like CD-Sheet Music.
In general, you should only perform these works in original key, or in alternate keys readily available in printed anthologies or sheets. Some composers or publishers offer music printed in your choice of keys; you may use these if you wish. Do not bring a Sibelius or Finale or similar score unless you have written permission from the composer or publisher to alter the original score in this manner. Arias should only be sung in concert key(s). If you have any concerns, please consult with the Repertoire Consultant.
