Spoken Accents for Theater

What makes an accent real, and what makes it phony? What is really a Southern accent in the United States and what is someone doing a vocal caricature. What is a true cockney accent and what mistakes do Americans typically make with English accents on stage?

I have no idea. But here is a variety of information on accents for you to investigate further. Listen particularly to rhythm, intensity and articulation.

THE SPEECH ACCENT ARCHIVE
http://accent.gmu.edu

Example of a Scottish Accent:
http://accent.gmu.edu/searchsaa.php?function=detail&speakerid=611

Listen to accents from all over the world to compare spoken word accents. What a great tool for studying speech. These recordings are real people, not stereotypes. A great reference for real world speech accents. On this website, each recording is someone from a different part of the world saying the following paragraph:

Please call Stella. Ask her to bring these things with her from the store: Six spoons of fresh snow peas, five thick slabs of blue cheese, and maybe a snack for her brother Bob. We also need a small plastic snake and a big toy frog for the kids. She can scoop these things into three red bags, and we will go meet her Wednesday at the train station.

ENGLISH ACCENTS
http://www.bbc.co.uk/voices/recordings/index.shtml

Listen in to the diverse voices of the United Kingdom, Channel Islands and Isle of Man – from Shetland to Penzance. Eavesdrop on Rotarians in Pitlochry and Travellers in Belfast. Drop in on skateboarders in Milton Keynes. Overhear pigeon fanciers in Durham.

The clips are drawn from the Voices recordings – which capture 1,200 people in conversation. Some of the clips are people talking about language – slang, dialect, taboo words, accents. Other clips cover all sorts of subjects and simply offer a flavour of how we talk today.

“I think the US has always had a more of an emphasis on mobility which is why there hasn’t been a core of accent speakers to build a distict accent. Regional accents are changing in the UK now and in the south most of the old accents are dying out.”

THE REAL SOUND OF SHAKESPEARE?
http://news.bbc.co.uk/1/hi/magazine/4694993.stm

Ever been baffled by the bard? Vexed by his verse? Or perplexed by his puns? London’s Globe theatre thinks it has the answer: perform Shakespeare’s plays in Shakespeare’s dialect.

The Globe, London (pic Donald Cooper)
The Globe will stage Troilus and Cressida for six weeks

In August the theatre will stage an “original production” of Troilus and Cressida, with the actors performing the lines as closely as possibly to the play’s first performance – in 1604.

By opening night, they will have rehearsed using phonetic scripts for two months and, hopefully, will render the play just as its author intended. They say their accents are somewhere between Australian, Cornish, Irish and Scottish, with a dash of Yorkshire – yet bizarrely, completely intelligible if you happen to come from North Carolina.

For example, the word “voice” is pronounced the same as “vice”, “reason” as “raisin”, “room” as “Rome”, “one” as “own” – breathing new life into Shakespeare’s rhyming and punning.

WHY ARE ACCENTS IN A PARTICULAR PLACE THE WAY THEY ARE?
Why are the accents a particular place like they are?

Separate development accounts for some accent variation. But sometimes we need to talk about the first generation of speakers of a particular language brought up in a new place. The first children to grow up in a new place are very important. The children who grow up together are a ‘peer group’. They want to speak the same as each other to express their group identity. The accent they develop as they go through their childhood will become the basis for the accents of the new place. So where does their accent come from?

The first generation of children will draw on the accents of the adults around them, and will create something new. If people move to a new place in groups (as English speakers did to America, Australia and New Zealand) that group usually brings several different accents with them. The children will draw on the mixture of accents they hear and create their own accent out of what they hear. The modern accents of Australia are more similar to London accents of English than to any other accent from England — this is probably because the founder generation (in the eighteenth century) had a large component drawn from the poor of London, who were transported to Australia as convicts. The accents of New Zealand are similar to Australian accents because a large proportion of the early English-speaking settlers of New Zealand came from Australia.

The mix found in the speech of the settlers of a new place establishes the kind of accent that their children will develop.
I’ve always wondered about accents and why we (North Americans) don’t sound like our British or (Insert country of origin) ancestors? When people moved over here from Europe they would have sounded British or whatever to start with, but obviously today they don’t.There are many different accents within the British Isles, and it’s likely that they have changed over the last centuries. Remember also that not all the ancestors of North Americans came from Europe.

WHY DON’T NORTH AMERICANS SOUND BRITISH?
I’ve always wondered about accents and why we (North Americans) don’t sound like our British or (Insert country of origin) ancestors? When people moved over here from Europe they would have sounded British or whatever to start with, but obviously today they don’t. How long does this process of dialect/losing or gaining accent take? And why does it happen? I suppose it has to do with language evolving and regional influences. It’s odd but people from the South Shore of Nova Scotia sound to me like they could be from Maine…..very similar accent…I love accents.

LISTEN TO A SCOTTISH ACCENT
http://www.world-english.org/scottish_robertburns.htm
A Scottish accent reading Robert Burns poem “My Love Is Like a Red, Red Rose”

Brigadoon Musician Page

brigadoonposter.JPGUPDATED 06/28/07 – Please check for updates.

Brigadoon Musicians – this is your official page with all the info you need for our 2007 run with Lyric Light Opera of the Northwest. Please bookmark – all changes and updates will be done on this page.

Read about Brigadoon on Wikipedia

SHOW DATES
OPENING NIGHTS – July 13 and September 7 – 5pm call time to run music.
General Call Times for Orchestra – 6pm for Fri-Sat – 12:30pm for Sun (90 minutes before curtain)
July 13-15, 20-22, 27-29 McIntyre Hall, Mount Vernon, WA
September 7-9, 14-16 Kirkland Performing Arts Center, Kirkland, WA
Fri./Sat. 7:30pm, Sun 2pm – for both venues.

REHEARSALS
*NOTE* Our weekday “optional” rehearsals are not optional for musicians, they are optional for me to call.

July 12 Thurs – 6pm-11pm Dress Rehearsal – McIntyre Hall
July 11 Wed – 6pm-11pm Dress Rehearsal – McIntyre Hall
July 7 Sat – *CANCELLED*
July 5 Thurs – 6-10pm – Run thru with Cast – MVPres
*NEW* July 3 Tuesday – 6-9pm MVPres – Will call sections that need work
June 30 – *CANCELLED*
June 28 Thurs – 6-10pm – Songs with Cast MVPres
*NEW* – June 26 Tuesday – 6-9pm MVPres – Will call sections that need work
June 23 Saturday – 10am-3pm – Orchestra at MVPres
June 16 Saturday – 10am-3pm – Orchestra at MVPres
*Note* – September 6 Thursday – 6-11pm – Kirkland Dress Rehearsal

SCORE EDITS
(Cut starts at first designation, orch. enters at second marking)
7 – Bonnie Jean – Repeat B to repeat sign for Verse 1, 2, 3.
7A Dance – Cut G-L, Cut N-Z, Cut 6-8
NEW 8 – At G repeat back from B-D, then on to G. At end Attacca to 8b.
8A Rain Scene – Cut All
NEW 9 – Love of My Life – Repeat first 2 bars. Cut verse 3 (B to repeat 3rd time), in other words repeat from B to repeat sign 3x only instead of 4.
11A Dance – Cut D-J (also cut pickups into D).
NEW 14b added (not in score) – Lundie Scene music TBD.
16 Entrance of the Clans – Tacet F-End (Bagpipes play here)
19 Sword Dance and Reel – Cut F-O (NOT Q “cue” but O “oh”)
NEW 22 – The Chase – STOP and cut from two measures before Y, including pickups.
NEW 22A – Scene Change – At end, jump back to #22 (Chase) and play from two before Y (including pickup) to end.
NEW 24 – Glen Scene Opening – Repeat first four measures of “A”.
NEW 24A – Repeat first two measures.
NEW 25 Funeral – Tacet WHOLE SONG. (Bagpipes play, timpani enter at end by cue)
NEW 27 – Scene Change – Vamp Boogie Woogie section 8 bar phrase, end of vamp we’ll continue to play the last three bars. In other words, vamp the 8 bars from the cut time Boogie Woogie section until cued to wrap it up with the last three bar closer.
NEW 29 Scene Change – Cut last six bars (bagpipes will take over).
31 Exit Music – Have all songs prepared. We’ll probably end up doing #3 “Almost Like Being In Love”.

Percussionist Notes
15 – Play chimes starting 6 measures from end. Will be cued over music. Should sound like church wedding bells. Sparse hits, use your judgement – just alludes to wedding bells.
17 – End of 17 as music has stopped. Drum roll – When Mr. Lundie says “Ay lad, ye’re married” then play full on wedding bells solo. Both will be cued.
25 – Funeral – Play snare roll under first part with bagpiper. Then bagpiper plays solo with dancer. At end of dance as they exit you will play light timpani hits – will be cued. End section will be: hit – hit – long roll – several hits (all soft as cued).

BAGPIPES Notes
16 – Play “Itchy Fingers” style when timpani stops. Will be obvious. Orchestra stops and timpani plays solo for 4 bars, then you come in. This is the “Entrance of the Clans”.
25 – FROM STAGE – Funeral – You enter on the last chord of 24b (Dance music) and play a Funeral Procession with a snare roll under you. Make a definite stop, then begin the Funeral Dance (solo dancer will perform to your music). You will exit stage with funeral procession.

LOCATIONS
MVPres – Mount Vernon Presbyterian Church – 1511 E. Broadway, Mount Vernon, WA 98273
McIntyre Hall – 2501 East College Way, Mount Vernon, WA 98273
Kirkland Performance Center – 350 Kirkland Ave Kirkland, WA 98033

SCORES

06/12/07 – Scores are in! Pick up at MV Pres.

MUSICIAN NOTES

1) Musicians need to wear all black clothing for shows.
2) Musicians need clip-on music stand lights, stands will be provided

Produced by Lyric Light Opera of the Northwest.

Getting to Kirkland Performance Center

350 Kirkland Ave
Kirkland, WA 98033

By car:

From Interstate 405 North and South:
Take Exit 18 and go west toward Kirkland on 85th Street to Third Street. Turn left on Third. Turn left into the parking garage under the Kirkland Library just after the Kirkland Transit Center. Kirkland Performance Center is one block east next to the outdoor swimming pool.

From State Route 520 Eastbound:
Take the Lake Washington Boulevard exit, driving north along this boulevard for about two miles to downtown Kirkland. Turn right at Kirkland Avenue, which is the first light you reach in downtown Kirkland. Drive two blocks, and turn left on Third, making an immediate right into the parking garage under the Kirkland Library. Kirkland Performance Center is one block east next to the outdoor swimming pool.

From State Route 520 Westbound:
Take the 108th Avenue NE exit and continue north on 108th Avenue for about two miles. This street becomes Sixth Street South; drive to the four-way stop at Kirkland Avenue and turn left. The theatre is one block ahead on the right. The parking garage is located just beyond the theatre, on the right, under the Kirkland Library.

Parking:
Free four hour parking for Kirkland Performance Center is available in the Municipal Garage underneath the Kirkland Library. The library is located at the corner of Third Street and Kirkland Avenue just west of Kirkland Performance Center. Please do not park in any of the lots around the theatre belonging to other businesses.
By bus:
The Kirkland Transit Center is one block west of the theatre. Major bus routes include 230, 231, 234, 251 and more. Call METRO at 206-553-3000 or visit http://transit.metrokc.gov/ for more information.