Judge Insight with Richard Eteson

Richard EtesonIf you were writing a who’s who of UK a cappella, The Swingle Singers line up over the years would be a good place to start. Richard Eteson sang High Tenor with the Swingles for over 10 years and can be heard on 8 of their albums. Not to mention that he is a Voice Festival stalwart – coming back time and time again to judge for us, so he’s seen his fair share of UK a cappella over the years. This year he was one third of the University Semi-Final judging team and enjoyed watching 12 groups perform 8 minutes each.

After the weekend Richard shared some reflection on his judging experience, as well as some hints and tips that he would absolutely love to tell groups as they are planning sets in the future.

So first things first, what did you think of what you saw at the Festival Weekend?
I really enjoyed it and although it is a cliche, the standard really does keep getting higher every year. There is now real quality throughout the semi-finals and finals which is fantastic to see, although it makes it much tougher for the judges of course.

Time is short in a set, so what do you wish groups made more time for?
I felt a lot of performances have become quite formulaic as competition showcases – “let’s show off what our group/our star soloist can do, and pick a good balance of fast/slow songs ticking as many boxes as possible”. In essence I feel there needs to be a solid reason to include anything in a set – ask yourselves, “What is the function of this song/solo/bit of VP/feature?” or “How should this make the audience react/feel?”.

Impressive skills and impeccable performance are now very much a given at this level, much more can be explored in transmitting the emotion/feeling/reason of a song.

It’s been a while since I’ve seen a group telling a single story throughout the set – maybe reaching over into drama a little bit. While we know time is precious particularly when planning for the Voice Festival or an Edinburgh show, groups might consider making a brief announcement between songs to the audience (either to make it more personable, or to make it seem more like a gig, to tell us more about the group, the song, the soloist, the back story of an arrangement), to make a connection between the performers and the audience.

Most importantly – The Voice Festival has one of the best judging rubrics around – a third of this is devoted to creativity in any aspect of the performance – be bold and imaginative – if done well it really will make you stand out!

Musically, what makes the excellent stand out from the average?
The general quality of musicianship and performance is now extremely high – always try and go deeper and further in rehearsal preparation than the next group in terms of tuning, solid groove/time, blend, ensemble, dynamic range, balance of voices, contrast or unity of voicing, style of song. In rehearsal there should always be something else that you can refine when breaking down an arrangement. Remember though once you’ve done all that work, that the song needs to be put back together again and still make sense as a whole.

Arranging is getting more ambitious, but it would be great for groups to consider writing an original song from time to time (rather than an arrangement of a well known song)

We know that groups are thinking about the visual impact of their shows more and more; what do you wish groups would consider?
Couple of thoughts on this one – particularly for the University and Youth groups: How about getting away from the uniform-like costumes? Consider starting the set off stage (at the moment every group enters, lines up, blows a note then starts), or staggering the entry (starting with a few singers then adding more bit by bit as the song grows).

And what about something different that a group could incorporate into their set?
Well, no one has the monopoly of ideas on this one but what about some audience participation in a classy way – not just clapping along, but teaching them a chorus line, or a 2 part refrain, or some elaborate body percussion that adds an extra dimension to the performance?

You can follow Richard Eteson on Twitter @WillyEteson