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Please see file for how you must format your technical script for James.

Print single sided.

Use a blank piece of A4 paper for your first page.

3 Columns.

1st/Left Hand Column: Notes (notes of set / or descriptions of visual cues)

Middle Column: SX (Sound Cues) and AV (Audio Visual - Projection/Video)

3rd / Right Hand Column: LX (Lighting Cues)

These MUST be completed with a RULER.

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14th March 2024 - Independent Rehearsal.

Technician talk from James.

Tuesday 19th March ( 1:15 Tutorial)

Elise delivering Tech Script Tutorial. Actors welcome

21st March 2024 - Connections performance.

28th March 2024 and 6th April - Easter holiday

Staff in College Tuesday 26th and Wednesday 27th March, 2nd, 3rd and 4th April.

11th April 2024 - Short tech slots with James.

Everyone else will have this lesson time to rehearse as normal, when not attending your tech slot.

18th April 2024 (All Day) -

PERFORMANCE

17th May 2024 - Logbook submission date.

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Refer to this assignment brief to help you through all stages of your module and how to achieve your best potential grades.

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Refer to this assignment brief to help you through all stages of your module and how to achieve your best potential grades.

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In this module you will be assessed on:

Your ability to promote yourself and network with industry professionals (such as university lecturers)

A creation of a professional standard website, social media platform and a Performer's CV.

A Personal Statement that links to a university or drama school.

2 x contrasting audition tapes aimed at a specific university or drama school.

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Pantomime
Danceworks
Scripted Performance
Unite Dance Festival
Musical

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Creating Your Piece / Stimulus

What interests you about performing?

What type of pieces do you enjoy creating?

Where do your stronger skills lie?

What reaction do you like evoking from the audience?

Is there a particular topic you would like to explore?

Are there artists, performances, practitioners or works that inspire you?

How could you incorporate or diverge from these influences?

The Following questions should be considered and answered within your pitch.

Format

Is your piece live?

Is your piece recorded?

Is there a bit of both?

Why have you chosen this format?

What are the benefits of this format?

What could be some drawbacks of this format?

Multimedia layers

What other media layers could you include in your piece?

Voice recording?

Visual media?

Videos?

What will this add to your piece? / What is the function of the multimedia in your piece?

How could using layers of multimedia create the illusion of more than one person on stage?

Themes and plot

What are the general themes of your piece?

Is your piece based on anyone or anything?

Is there a narrative or plot to your piece?

Style and Features

What is the style of your piece?

What is the structure of your piece? (chronological, episodic, circular etc?)

Is it a Performance Art Installation? (Think Butter Dance)

How and where is musical theatre featured in your piece?

How will you use movement or choreography to express your ideas?

Are there specific gestures, postures, or dance styles that align with your theme?

Will your project include original music or existing compositions?

How does the sound or music contribute to the overall atmosphere of your performance?

Target Audience

Who is your target audience?

Why are they your target audience?

What about your piece makes it appropriate for your target audience?

Audience

Where is your audience going to be for the performance

Aims

What is the aim of your piece?

What do you want your audience to gain from the piece?

How are you going to achieve this?

Skills

What skills is your piece exhibiting?

Is there an emphasis on one of the disciplines of musical theatre? - Why?

Creating Your Material

How are you going to create the material?

Do you need to look at writing monologues?

Are you editing music?

How are you going to create a story/narrative/material with only one person?

Technical Aspects

What technical elements will be crucial to your performance? (e.g., lighting, sound, costume)

How do these technical aspects enhance or support your artistic vision?

Rehearsal

What is your rehearsal schedule, and how will you manage your time effectively?

How will you gather feedback and how will you incorporate it into your project?

How will you reflect on and evaluate your project throughout its development?

How will you make adjustments or refinements based on your reflections?

Logistics:

What resources, props, or equipment do you need for your project?

How will you handle the practical aspects of staging and performance?

CONTINGENCY PLAN

You must create a contingency plans for various elements of your solo project.

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Task 1. Create a plan.

This task needs to be completed / material gathered by the end of next week's session (due to panto and danceworks breakdown).

Reflect what you completed last week.

Was it to a high enough standard?

What do you still need to complete in order to piece together all 3 layers of the music video (vocals, backing and footage).

Task 2. Start carrying out your plan.

Reflecting as you go as to whether you are on track.

At the end of the session - reflect on work completed. What do you need to do next week in order to complete the music video task?

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Jodi

I Dreamed a Dream - Les Miserables

Well done at maintaining British accent (as is traditional with this song).

Opt up good choice.

Tongue position / anchoring / retraction on 'big notes' - let the emotion keep you there.

Billy

No One's Gonna Hurt You - Sweeney Todd

Plan your thinner folds (cry sensation to get laryngeal tilt into thin folds)

Plan your breaths to get you there.

Try not to slip into an American accent e.g TheRE.

Last 'But in time' is there!! just support.

Melissa E

Shoes Upon The Table - Blood Brothers

Song suits you.

Find ways to feel music when rehearsing to keep you in tune.

Carla

Moments in the Woods - Into the Woods

Listen to track to get your voice in the right place. You need to get used to moving away from speech quality when moving into higher sections of the song.

Make ofter / higher.

Good use of speech quality at start.

Look at I Know Things Now from Into The Woods.

Bri

Cabaret - Cabaret

Find the sass!

Support through the changes from speech quality to higher thick folds / more 'sing songy' section.

Crazy emotions to drive you.

Listen to music for timing

Melissa I

My Name Is Tallulah - Bugsy Malone

TWANG! Higher than you think, perhaps more effort level needed because it is traditionally a children's song, so they would have smaller vocal anatomy to make higher notes easier.

Gracie

Only a Fool - Bugsy Malone

Sing through the notes more (especially on thin fold chorus).

Share you voice with the room more, you are very quiet and introspective. Even though the song is introspective, you still need to find the MT performance aspect of it.

Find somewhere for the song to go as the melody etc repeats itself.

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Melissa I

Part of Your World - The Little Mermaid.

Can you sing this more like your Elf Character in Pantomime?

Good with 'what do you call 'em' etc.

Plan 'stay all day in the sun' & 'explore the shore up above'. Anchoring, loud, confident. Higher larynx.

You would use this in auditions for roles targeted at children, so you need to be ridiculously over the top.

Bri

Poor Unfortunate Souls - The Little Mermaid.

More sass.

Sound ugly! / find place to safely growl? Speak little more. (This got there at 'go ahead, make your choice').

Clearer diction.

Suits you!

Gracie

Part of Your World - The Little Mermaid

'but who cares, no big deal' tuning and elongate the notes - enjoy them.

Try to get your higher thick folds / twang working in the higher notes. - Don't be afraid of being loud.

Melissa E

Show Yourself - Frozen 2

Listen to track more, acknowledge what your voice feels like when you are singing/blending with the original track.

Explore vibrations in your chest for lower notes.

Jodi

I Won't Say I'm In Love - Hercules

Explore sass in opening.

more 'north and south' with jaw? relax jaw on certain sections (oh no riffs)

Cry for thin folds at end.

Billy

A Whole New World - Aladdin

(Be aware of your own ethnic casting)

Lovely higher thicker folds.

I know your voice is tired.

Plan your breaths.

Look at turning this into a solo (possible as the lyrics don't necessarily conform to any gender).

Carla

Sally's Song - The Nightmare Before Christmas

Don't be afraid of your thin folds.

Thin folds can sometimes be easier to sing in when your voice is tired - not always though.

BREATHE!! relax abdominal wall.

Good 'stepping'.

SHOULDERS!!!!

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•Opening paragraph explaining what performance you are linking your targets to and why (panto / dance works), linking to your specialism and future higher education goals

•Identify the skills you need for future performances and your future goals AND WHY

•Identify the 3 targets you are choosing to work towards

•Evaluate why these are important skills for you to work towards (how will this benefit future performances)

•Identify performances/rehearsals where you have not executed these skills effectively before – speculate why you think that might have been

•Provide examples (from YouTube or otherwise) of industry professionals executing your chosen targets well and evaluate what makes it a good performance

•Write, in detail, what exercises and routines you are going to do in order to reach your identified targets

•Create a weekly plan that clearly identifies your exercises (use the table provided)

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1. Choose your groups (3 or 4)

2. Choose what song you would like to work on (preferably MT) this can just be an excerpt of a song for this project

3. Choose and download your backing track

4. Plan & rehearse who will be singing what

5. Plan your shots & your 'narrative'

6. Record your audio.

Using headphones to listen to the audio (or very quiet playback of the backing track), record your vocals. The recording should feature vocals only.

7. Import your recorded audio into Audacity (add any desired effects to the vocals)

8. Import your backing track into audacity

9. Line up the recorded audio with your backing track

10. Export the track (as WAV) and use your now recorded song, use this to film your music video.

You can mime or sing along to the recorded song - its up to you!

11. Import your footage into movie/film editing software (CapCut on smartphone), (iMovie on larger apple devices)

12. Import your audio into the movie/film editing software

13. Line up your shots to the words of the song and edit clips until you're happy with the outcome.

Using CapCut

1. Upload your final recorded track (vocals and backing track) to padlet

2. play the track and click the button with 4 diagonal arrows

3. Click the three dots at the top

4. Click share attachment

5. Scroll down to save to files

6. Edit title of file at the bottom if desired and then click save (top corner)

7. In Capcut, import your chosen videos

8. To import the audio, click audio then sounds and then the icon that looks like a folder

9. Click 'from files' and then 'import from files'

10. Choose the track you have created

11. Begin lining up your videos with the audio

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MTV어쿠스틱(청음 연구소)

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[Relative Pitch] The Interval Songs ( Ear Training ) /Ascending

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Omigod You Guys (Complete Tracks with Guide Vocals)

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Stage Stars - Legally Blonde: Accompaniments

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Omigod You Guys (Complete Tracks with Guide Vocals)

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Welcome to the Rockettes Auditions! | Presented by Rothman Orthopaedics

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Drama Personal Statement Example 10 | Studential.com

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When I was twelve years old, I took part in my first drama performance. I played the part of ‘Diva’, an egotistical movie star who, with her personal assistant, was among the group of ordinary shoppers trapped in a supermarket that turns out to be run by Satan. Not a classic role, and even though ou…

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In this module you will be assessed on:

Your ability to produce a solo project, using appropriate planning processes.

A performance of your solo project, showcase a proficient level of ability and skills linked to a project scenario

A portfolio that reflects your intricate planning details, decisions, modifications, drafts of scripts, rehearsal videos and knowledge of the subject.

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Hamilton Opening Night - Cast Perspective

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Produced by Hamilton star Leslie Odom Jr., a small video crew followed around members of the #HamiltonBway cast on Opening Night of the show. Get a never before seen glimpse into the big day, then come see us yourself. www.hamiltonbroadway.com

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Give myself completely to the moment. Surrender myself to my deepest emotion. Lose myself into a character alien to that of mine. Escape from realism that occurs around me. Create my own intense, unrealistic setting but yet with such a profound truth and honesty. Grasp Reality. Escape from it, bend it, and give in to that specific reality. Reality as it is written on those pages filled with black ink portraying emotions. The art of transposing those words to their righteous place, the theater, with an instrument so unique and so personal, my own body, is one of the most exciting and freeing arts to learn.

I am determined to explore my ability in drama and expand my knowledge in this matter relentlessly. As an actor I am obliged to do so, because getting the very best out of my acting ability is my pursuit of excelling. Currently I am taking drama classes at Het Paleis in Antwerp. We spend a lot of time analyzing body movement, how to gain awareness of my body and how to move fluently on stage. Performing several plays a year boosts my confidence to give myself every time to the moment.Playing one of the lead roles in A Midsummer Night's Dream by William Shakespeare has given me insight in creating a character, and thereby being it yourself, in an Elizabethan play. But I could not suppress the feeling that due the Dutch translation the intensity of the original has gone astray.

I felt myself compelled to deepen myself in English monologues and the technique to do this in a proper way. Especially pronunciation has to be accurate. I have always played theater in my mother tongue; Dutch. As satisfactory as that may be, acting in a foreign language is my new aspiration. Developing this skill meticulously is best achievable in an English teaching environment.

I play the piano since I was 7. The influence that this dexterity has contributed to my acting skills is not trivial. Music is a story filled with emotions transposed to paper in notes. Every pianist translates those notes with their own interpretation of those emotions. Given that dimension, playing the piano, or any other instrument, is in a sense comparable to acting.
I have played a character in the musical The Wizard of Oz. That experience gave me the possibility to enhance my singing capacity. The interaction with other actors is especially intense when singing a duet.It creates a moment so intimate and powerful. Composing piano music for several plays at my hometown theatre was a very challenging undertaking. It was very important to write music that connected with the characters. I have spent plenty of time analyzing plays, looking for the variety of emotions and feelings. To compose music for plays,I had to know every character. What I learned by doing this, is comprehend a play in detail.

The fact that acting in English is a new challenging aptitude for me, makes it even more important and motivating to have a chance to learn and develop this skill in one of the best drama schools in the world. The stress on pronunciation training and audition speeches upgrades this specific course for me personally to a made-to-measure syllabus. And for the reason that I am still studying at Karel-de-Grote University in Antwerp makes it truly perfect that this course is both concise and intensive. The timing cannot be more ideal.

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Give myself completely to the moment. Surrender myself to my deepest emotion. Lose myself into a character alien to that of mine. Escape from realism that occurs around me. Create my own intense, unrealistic setting but yet with such a profound truth and honesty. Grasp Reality.

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G17 - Using Development Plans to Refine Skills

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G17 - Using Development Plans to Refine Skills

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Pantomime
Danceworks
Unite Festival
Scripted
Musical Theatre

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Evidence (at least 3 pieces for a pass) 

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Evidence (at least 3 pieces for a pass) 

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Melissa E
Good Morning Baltimore - Hairspray

(Something not Somefing)

Good strong opening.

Tongue placement - keep the tip behind your bottom teeth, don't curl your tongue into a 'bowl' shape.

Don't be afraid of acting this song.

Bri

The History of Wrong Guys - Kinky Boots

Twang !

(watch accidental american accent)

Let the 'charlie's out / fill the room.

Jodi
By The Sea - Sweeney Todd

Really go for that accent to build the character in this song.  - Don't worry about sounding 'beautiful'.

Plan the breaths.

Gracie
Killer Instinct - Bring It On

Diction on faster bits.

Good breath control on longer, faster, section (just anticipate it a bit more)

Retraction on 'be me'

Melissa I
Dead Girl Walking - Heathers

Secure high thick fold notes

All about owning the character in this song

Check melody on in a couple of sections.

Carla
Sexy - Mean Girls

Be silly with this song!!!

Think about what Karen is thinking in the pauses at the start!

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Evidence you could include, but not exclusive to:

Evidence of you rehearsing
Any scripts / discarded scripts
Evidence of discarded ideas
Evidence of your Technical scripts
Photos of costume
Planning for staging
Planning for choreography
What apps/software used to edit music/videos/voice overs
Copies of videos/music/voice overs

EXPLANATIONS FOR ALL OF THESE EVIDENCES.

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I've always found there to be something special about the theatre, the smell of it, the coldb before a rehearsal or performance, the heat during, that sparkling possibility of building a whole world on top of bare boards. A space inside which an audience can be immediately transported to anywhere, anytime and introduced to a plethora of people and emotions, be made to laugh, cry, hate, to be disgusted and angered, lifted and dumped, to think; to feel. The power that these spaces can wield, the possibilities, are endless.

I have always felt an affinity for the theatre, though it wasn't until I met my Drama and Theatre Studies tutor, Jon Aldridge, at Penwith College that my taste for theatre became more of an addiction. At first it was everything about acting that fascinated me, I spent hours studying scripts, practitioners and actors in a quest to improve myself and as my scope widened I began to focus on the processes involved in staging a production, the direction of a piece, understanding of a text and also the scripting itself. Everything about the art began to consume me and this was given an outlet during my second year when we were handed the task of devising and performing an original piece of theatre. I relished the challenge and whilst everyone in the group contributed I took on the responsibility of writing, directing and scoring the piece, which dropped only six points from a possible one hundred and forty, across the seven group members involved.

Over the four years I worked with Jon and IMAGO I was introduced to and performed in an expansive range of productions encompassing many different writing and performance styles, giving me a real insight into the different methods used to produce theatre, from stylised expressionism to Russian naturalism, 'in-yer-face' theatre and avant-garde theatre to the 'theatre of the absurd'.

These roles and productions include Dan in 'Closer', Krogstad in 'A Doll's House', Trofimov in 'The Cherry Orchard', Mr.Samsa in 'Metamorphosis', Agamemnon in 'Agamemnon', Various in 'A Letter for Queen Victoria', Dan in 'Sexual Perversity in Chicago', Vladimir in 'Waiting for Godot', Hamm in 'Endgame', Aston in 'The Caretaker' and Josef K in 'The Trial'. The latter we took on a four week tour of the U.S.A.

The range of roles that I have been given during this time has taught me a great deal about myself. These rich and vivid characters teach the actor so much, not only about the psychology of a character but also about the historical, political and social contexts surrounding the play in question, making every production a learning curve. My time working alongside a professional director as experienced and committed as Jon on so many productions has also paid dividends to the way I approach theatre, his meticulous approach and organisation can only act as a model for any future production I am involved in.

I've decided to pursue a degree in Drama and Theatre rather than an Acting degree because the range of skills gained are better suited for a career in the profession. After my degree I wish to take on further training, an Acting or Directing MA perhaps. Ultimately I'd love to be involved in a specialised area of the theatre industry, or teaching in higher education.

Away from the theatre I am a passionate musician and give private tuition in my spare time. I read a lot, which is never enough. I love socialising and all the normal past times that go with it: films, the beach, drinking, dancing and playing football.

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Theatre Studies Personal Statement Example 1

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I've always found there to be something special about the theatre, the smell of it, the coldb before a rehearsal or performance, the heat during, that sparkling possibility of building a whole world on top of bare boards.

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G17.1 Identify personal opportunities and areas for improvement related to progression.
G17.2. Create a plan for personal development.
G17.3. Develop performance skills in response to the plan.

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Gracie
Requiem  - Dear Evan Hansen

Come at all notes from above to make sure you are definitely in tune.

Watch big 'gaspy' breaths, think downward when you breathe and only take necessary amount of breath for the phrase coming up.

Go for the endings.

Well done at acting through the song.

Bri
I Say No - Heathers

Fantastic neutral posture to start. Lovely tone in opening.

Try twang  / higher larynx position (nya nya / kids voice) during higher sections / chorus.

That key change after 'dude' is so hard to find. Keep going between the track and backing track to nail that.

Billy
I never Planned On You - Newsies

Could do with some twang on the higher notes too.

Less breath so higher notes aren't forced.

Characterisation.

Carla
Burn - Hamilton

Thin folds in opening perhaps?

Diction - spit the words. This will also help you land on the notes.

'I'm re-reading the letters' was lovely and soft, work on bringing that voice into the rest of the song.

Plan the riffs' journeys.

Get angry!

The ending is there, its just getting rid of tension and stamina!

Jodi

See I'm Smiling - The Last 5 Years

More speech quality / less singing at the beginning

Plan out big jumps in your head (we made it to Ohio)

Have you tried the original belt on 'and i'?

Melissa I
Lifeboat - Heathers

Lower notes - extra diction and feel them on your chest if possible.

Melissa E

I Know Its Today - Shrek

Diction in faster parts in verses, wrap your mouth around the words / plan the consonants (spit!!)

Singing 'big' high notes too high, relax!!
Don't just assume that all higher notes are hard / need too much effort and volume.

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Skills audit and outline for Development Plan One.

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Portfolio of Evidence target based questions

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Portfolio of Evidence target based questions

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What were your initial thoughts relating to the project?

What skills do you need to put on this project?

What have you achieved so far?

How did you achieve it?

What are your targets for the next few weeks?

How do you plan to achieve these targets?

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Billy - To improve my movement memory by the end of UNITE.

Bri - To improve my timing when performing dance by the end of UNITE.

Liv - To improve my punctuality during lessons by Feb half-term.

Melissa E - To improve my spatial awareness when performing by then end of UNITE.

Gracie - To improve my timing when performing dance by the end of UNITE.

Carla - To improve my facial expressions during rehearsals in the lead up to UNITE.

Melissa I - To increase my energy levels during dress rehearsals, to be worked on in preparation for UNITE.

Jodi - To improve my accuracy of arm placement in preparation for UNITE.

Isabella - To improve my spatial awareness when performing by then end of UNITE.

Ryli - To improve on my determination when learning and performing dance in preparation for UNITE.

Maiya - To improve my accuracy of footwork when performing and rehearsing in preparation for UNITE.

Celeste - To improve my application of technique within dance styles, in preparation for UNITE.

Elloise - To improve my application of technique within dance styles, in preparation for UNITE.

Azira - To improve my personal rehearsals through independent practice, completing up to 3 rehearsals a week in preparation for performance work.

Cat - To improve my musicality and concentration during performances to ensure I don't rush. I aim to improve this by UNITE.

Harriet - To improve my facial expressions during rehearsals in the lead up to UNITE.

Ash - To improve my coordination when performing dance, in preparation for UNITE.

Oliver - To improve my focus during performances, to ensure I complete the dance fully. I aim to improve this by UNITE.

Purple - To improve my facial expressions during rehearsals in the lead up to UNITE.

Bridie - To improve my movement memory when performing and rehearsing dance, in preparation for UNITE.

Lew - To improve my facial expressions during rehearsals in the lead up to UNITE.

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Bri
Before You Go - Lewis Capaldi
Good choice - pop / rock category is one that you don't need to worry about the gender of the original singer.
Make sure you rehearse with a backing track before performing (I know you've been working on Pantomime)

Work on finding the right key for the verses (because its written for a male voice, it's either going to be really high or really low!).

Fingers Crossed - lovely high notes, don't be afraid to try higher songs because your voice is capable of more than you think, it just needs practice!

Melissa I
Six Feet Under - Billie Eilish

Again a lovely choice for this category.

Perform this like you are the coolest person in the world - almost like you don't care.

Secure transition from thick to thin on 'bloom' - make sure you know the exact 'journey' of the notes in the riff down.

Next steps - find emotion (that affects your face / performance) within the 'cool' of the song

Impossible - James Arthur

Will be lovely when you figure out where your voice needs to fit.

Jodi
Jealous - Labrinth

Beautiful choice, beautifully sang.

Well done at conveying emotion through a song with no character

Experiment with throwing away some of the lines a bit more (opposite of Musical Theatre)

Perhaps flipping into thin fold in the first 'hard for me to say  / jealous of the way'

Youth - Daughter
Well done at finding a new key straight away!

Billy
She - Elvis Costello

Lovely choice - that won't be overdone for auditions.

Stand still.

You can allow yourself to have a slight 'character' with this song, because of the smooth jazz pop style.
Find more of a performance element.

Prepare your mind for the higher notes in phrases.

Melissa E
Someone Like You - Adele

Strong start

Don’t sing an Adele song with an American accent

Keep vowels open in chorus & land on the middle of each note - plan the note journey in your head.

Choose which melody you are going to sing for 'don't for get me I beg'. Adele does 2 versions depending on whether she is singing live or not / whether she is feeling vocally well.
You can do the higher version in thin folds.

Don't fall off the end of the notes.

Gracie
Worst of You - Maisie Peters

Nice choice

Find the cool element again.

Find the spoken elements - you were nearly there, but commit to it 'i'm used to it' etc.

Make sure you still landing on each note accurately, even if you are 'throwing them away' in the pop style.

Back to Black - Amy Winehouse

Find your lazy, speaking voice within the verses.

Carla
Matilda - Harry Styles

Ensure you are in the right key as the backing track.

Good attempt at thinning out your thick folds.

Try not to fall / swoop around the notes. Land on them and hold on to them until its time to move off them.

A Thousand Years - Christina Perry
Beautiful soft section in chorus.

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Planning pitch

Things to consider:

pitch your ideas relating to your one-person show in a short presentation to your peers. In this pitch, you will identify the aims of your project

include:

Chosen Stimulus & Why

Story arc of short piece

Style and genre

Target Audience & what you want them to gain

Identify any issues or constraints that might arise throughout the project and how you could overcome them. You might include:

Cast size

Budget

The issues faced when creating new material

Using existing material

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https://www.audacityteam.org/download/mac/

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Current Version: 3.3.3
To find out what's new, visit the releases feed on Github.
Thank you for downloading Audacity

Your download will start in 5 seconds. Problems with the download? Please use this direct link

Recommended Download - Latest Version of Audacity

Left-click the Audacity .dmg link below.

Then left-click the Audacity macOS DMG link to start the download.

Once the download has completed to your Downloads folder, Double-click the DMG file to mount it.

Drag the Audacity.app icon rightwards onto the "Applications" folder shortcut.

You can also drag Audacity out of the DMG to any other location. You need the administrator password to copy Audacity to "Applications".

Launch Audacity.app from /Applications or from your chosen location.

Do not double-click the "Audacity.app" in the DMG window to launch it. Audacity must not be run from the DMG.

SHA 256 Checksum:

e9fd97ddf1b489d547d4c2dfd2573cff4e62cb92e92ee50f7adf9f62a5dfbeb0

SHA 256 Checksum:

SHA 256 Checksum:

FFmpeg Support

Audacity 3.3.3 for macOS has versions for both Intel and Apple silicon macs.
If you use the optional FFmpeg library you will need to download the appropriate version of it.

Installation of Audacity

1. Double-click the downloaded DMG to mount it.

2. Drag the "Audacity.app" icon in the DMG window to the /Applications folder icon on the right. Alternatively, drag the "Audacity.app" icon to any other location of your choosing.

3. Do not double-click the "Audacity" icon in the DMG to launch Audacity from there.

4. Eject the DMG at bottom left of Finder, then launch Audacity.app from /Applications or from your chosen location.

Plugins: If you still have an "Audacity" installation folder for a version before 3.2.0, you will see working duplicates of Audacity's shipped Nyquist plug-ins in the Generate, Effect or Analyze Menu. You may also see non-working duplicates of other previously shipped plug-ins. To clean up the duplicates please see: Installing and updating Audacity on Mac.

Before deleting the Audacity folder from a previous installation, remember to move any optional plug-ins you added to its plug-ins folder to the new Audacity Plug-Ins folder at ~/Library/Application Support/audacity/Plug-Ins.

Optional Downloads

Plug-ins and Libraries

Plugins - Download additional effects and filters.

FFmpeg import/export library - Allows Audacity to import and export many additional audio formats such as AC3, AMR(NB), M4A and WMA, and to import audio from video files.
64-bit version required for Audacity 2.3.1 and above.

Alternative Download Links

OldFoss hosts the current Audacity version and all previous versions from 2.1.2 onwards.

System Requirements

Audacity is for Macs running macOS 13 Ventura, macOS 12 Monterey, macOS 11 Big Sur, 10.15 Catalina, 10.14 Mojave and 10.13 High Sierra.

Audacity runs best with at least 2 GB RAM and a 2 GHz processor.

For lengthy multi-track projects, we recommend a minimum of 4 GB RAM and 4 GHz processor.

Older Mac operating systems/PPC Macs

For Mac OS 9 and Mac OS 10.0 through macOS 10.12, legacy Universal binary versions of Audacity with Intel and PPC support are still available.

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Thank you for downloading Audacity Your download will start in 5 seconds. Problems with the download? Please use this direct link Recommended Download - Latest Version of Audacity Left-click the Audacity .dmg link below. Then left-click the Audacity macOS DMG link to start the download. Onc

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BTEC and UCAS points | Pearson qualifications

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In applications submitted for 2017 admissions onwards, the Level 3 BTEC Nationals in Children's Play, Learning and Development (introduced in 2012) and the revised version amended to meet the Early Years Educator criteria (introduced in 2014) will qualify for the following UCAS tariff points.

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G18.1. Devise and develop a personal performing arts project. G18.2. Demonstrate technical and interpretive skills within a project.

G18.3. Create final outcomes in response to the aims and constraints of the project.

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https://www.audacityteam.org/download/windows/

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Audacity is a free, easy-to-use, multi-track audio editor and recorder for Windows, Mac OS X, GNU/Linux and other operating systems. Edit, mix, and enhance your audio tracks with the power of Audacity. Download now.

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LIFT: the Musical - 7 - Lost in Translations

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LIFT: the Musical - 7 - Lost in Translations

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(Paper copy on my desk)

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Vocal Coach and Musical Theatre Teacher

About Me

I am an experienced vocal coach, specialising in singing and acting for musical theatre. Graduating with a first class degree in Music Theatre from the University of Central Lancashire, I then studied and received a Masters in Professional Voice Practice from the Royal Birmingham Conservatoire. I also hold a level 5 qualification in Education and Training.

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I aim to train my students holistically concentrating on vocal production, the physical body and mental well-being.

Click below to see my CV!

Services

College Based Training

Private one-to-one lessons

I work in a college environment at Burton and South Derbyshire College teaching Level 2, 3, 4 and 5 Performing Arts Courses. Contact the college to see if this is the right training for you!
www.bsdc.ac.uk

I also offer private, one - to one singing lessons from my home.

Reach Your Goals

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Vocal Coach and Musical Theatre Teacher About Me I am an experienced vocal coach, specialising in singing and acting for musical theatre. Graduating with a first class degree in Music Theatre from the University of Central Lancashire, I then studied and received a Masters in Professional Voice Practice from the Royal Birmingham Conservatoire.