The beginner is often called upon to give an audition for church work. This calls for some type of solo that the church requires, and the singer should impress his auditors with his ability to read at sight. Many churches allow for only one or two rehearsals on any composition to be performed, and the ability to learn speedily and learn to sing a composition without preliminary work will stand the singer in very good stead.

Motion pictures are a field in themselves, and it is wise for the singer to inquire of the musical director who is in charge just what type of music he is auditioning for. In case this is not known, selections similar to those used for radio auditions are best.

Smartness, personality, voice, and temperament are necessary for the singer who desires to appear in singing pictures. For work that calls for singing only, backstage, as it were, or for dubbing into a sound track, the singer must show excellent technique and dramatic power and high notes that are sure to be needed. Personal appearance in such cases is not vitally important.

Television calls for microphone personality with the addition of attractive appearance and acting ability.
I know of no greater help and source of comfort to a singer than an accompanist who, through frequent association and practice, has learned the artist’s manner of interpretation and his idiosyncrasies. Since an experienced, congenial accompanist can aid a singer in innumerable ways, every student would do well to arrange to practice and work with such a pianist as soon as he is ready to study repertoire and his budget allows such an expenditure.

It is always best to have a familiar accompanist for performances or auditions, for it is oftentimes fatal to trust in anyone who happens to be there at the moment and "thinks he can play it." Although auditions can be obtained sometimes by the singer himself without the aid of an agent or manager, the average young artist will advance further and more rapidly if he can induce a reputable agent to take him under his wing. Few artists are capable of managing their own appearances, for they have neither the practical knowledge—the business sense—nor the all-important connections. However, since so much depends upon the agent or manager, the choice must be a very careful one.

There are various kinds of managements. There are, for example, the imposing firms backed by the big broadcasting companies. Then there are the smaller agencies, with a less impressive list of artists, which are usually conducted and sponsored by the agent himself. There are many managers who arrange concerts in their communities but who do not endeavor to promote individual artists; and there are also those personal representatives who take charge of an artist’s entire professional career and represent him in a business sense to all other managers, agencies, etc. The large, reputable concerns seldom accept an unknown artist unless his gifts are exceptional. The lesser agent will take unknowns under his wing, but they must have what he feels are superior qualifications for Singing Success.