The Demo Site

Simply Vaastu
By Razvik Schwadev

Cellars for Commercial Purpose

Generally cellars are not recommended for a commercial purpose, but due to space problems, people construct full cellars in multi
storied commercial complexes. A full cellar is never recommended; it should not be made in the southwest or the centre portion.

Cellars are best in the northeast area.
Cellars are also acceptable at any sector other than the southwest and centre portion.
Cellars for commercial purposes are not recommended but can be used for moving space and car
parking.
The entry should be from the northeast.
Ventilation can be provided in north or east side.
The slope at cellar should be from south to north and west to east.
Cellars at centre, west and south carry adverse effects.
As in normal building, bore well or underground water sump may be planed in northeast area.
Northeast should be the lowest, southeast and northwest can be equal and southwest should be the highest.
Electrical installation generators, lifts etc should be in the southeast area.
No water or any electrical equipment should be at the central area.

Negative Forces Don't have an Influence on Family

There are a host of issues that have a bearing on the progress and prosperity of a family. Vaastu has laid down some guidelines to ensure negative forces don't have an influence on a family.

Here are some basic principles:
A temple of any Goddess in front of a plot leads to progress.
A plot at a dead end retards growth.
Progress is retarded in a building constructed on dead soil.
The road in front of a house should not get narrow from north to south.
Any tall building towards the northeast leads to loss of wealth.
Excess space to the west affects the careers of the men in the family.
A building very tall in comparison to width and length won't yield good results.
The south part of a house being the lowest level is bad fro progress of the men in the family.
If all rooms are not as per Vaastu specifications, the atmosphere in the family will be affected.

Extracted From TOI, DIY Conservatories

Article Source: http://EzineArticles.com/?expert=Razvik_Schwadev
http://EzineArticles.com/?Simply-Vaastu&id=426334

Peace Day 2008

• Event Date: 09.21.08|
• Event Time: 08:00am
• Location: Earth
  
• This event supported by: Peace One Day
  
• Cause Leaders: Jeremy Gilley
  

Learning To Play Extreme Guitar - Fun With The Aeolian Mode-Relative And Parallel Minor Keys
By Michael Fletcher

First and foremost, for those of you who have not read my previous article pertaining to the the Aeolian Mode, it would be beneficial for you to do so. Otherwise, this particular article might become confusing at times. It's always best to build a solid foundation of understanding before engaging in progressive principles.

As we have previously discovered, the Aeolian Mode is a minor scale. It is also referred to as the Pure Minor Scale or the Natural Minor scale. It has several unique characteristics both in sound and application (see previous article for explanation). Further, the Aeolian Mode (scale) is rooted on the 6th degree of it's respective major scale. Once again, read the previous article for all of the essential details surrounding the Aeolian Mode.

As guitarists, an important element of performance is to establish a tonal center for our audience to hold on to. Tonic absolutely rules when establishing any tonality. What is meant by tonality? All of the notes and chords that belong in or to any piece of music.

Try this simple chord progression. Play an A min 7 chord for two measures. Progress to a D min7 chord for one measure, then return to the A min7 chord. We just established a tonality; a tonal center. The A min7 chord functions as the I minor (the tonic, home base). The D min7 chord is a great movement away from the tonic and functions as a IV minor. Returning to the A min7 chord (I minor), after playing the IV minor (D min7), is like a breath of fresh air. Everything sounds

right.

The Aeolian Mode (Natural Minor Scale) played at the fifth fret (A), will establish the melodic tonal center for the above referenced progression. In short, we just created a minor tonality both in harmonic structure and melodic structure.

The associated major key signature for this example is C major. Remember, the Aeolian Mode is rooted on the 6th degree of it's own respective major scale. A is the 6th degree of the C major scale. Therefore, it is referred to as the Relative Minor for the key of C major (see previous article).

Relative Minor and Parallel Minor key signatures are great tonalities to establish in order to take your listener away from the respective major scale. It is this movement away from the major tonality that provides interest and color for the listener to experience. Tonality and movement (musical motion) is everything when painting a musical portrait.

In my opinion, Parallel Minor is the greatest an best movement away from the major key signature. A I minor, IV minor progression in Parallel Minor is C minor7 to F minor7. This is a complete departure from the major key (C major) tonality. In the key of C major, the I chord is C major and the IV chord is F major. In the key of C parallel minor, both the C major chord (I major) and the F major chord (IV major) become minor chords (the 3rd of each chord is lowered by 1/2 step to create minor). Note that when Aeolian is played as Relative minor, the chords still reflect the major key signature. There is more contrast when played as Parallel minor. When Aeolian (or any of the other traditional minor scales; subjects for future articles) is played at C, it is referred to as parallel (key of C major) minor to the key of C major. Therefore, for the key of C

major, there are two traditional minor key signatures; Relative and Parallel.

This article is a very basic approach to the two types of minor key application. For an in-depth analysis, it's best to seek out an instructor or program that is very descriptive. The intent here, is to merely skim the surface with some of these concepts.

Once again, it's important to become educated in music. An authentic understanding of music theory will help in all areas of music. Understanding the function of scales and chords enhances one's ability to compose, perform, arrange, and produce music. Knowledge is power.

Contrary to what some might think, obtaining a great foundation in music theory doesn't take years. It takes the desire to learn and a logical approach to these principles. A professional guitar course can chop years off the time it would take for one to learn these concepts in a traditional college or university setting.

There are many things to consider when establishing a minor tonality. Too many to discuss in this article. However, many of these subjects will be addressed in future articles. Stay tuned.

http://www.ultraguitarmethod.com/

© 2008 Michael E. Fletcher. All Rights Reserved Worldwide.

Ultra Guitar Method is designed to place years of professional playing experience under your fingers in a very short amount of time thus, placing you light years ahead of the competition. All theoretical, technical, mechanical, and application principles contained in the method are designed exclusively for the guitar. Learning is made exciting and fun.

Make no mistake about it; if your goal is to understand the entire guitar fingerboard and experience an incredible new mechanical and theoretical freedom as a guitar player, then Ultra Guitar Method is an absolute must.

While others are losing valuable time on the standard old books of C, F and G, this is your opportunity to step directly into the future with a guitar method that is as flexible as your own personality and as vast as your imagination will allow.

Visit the Ultra Guitar Method website today. Your future is now.

Article Source: http://EzineArticles.com/?expert=Michael_Fletcher
http://EzineArticles.com/?Learning-To-Play-Extreme-Guitar---Fun-With-The-Aeolian-Mode-Relative-And-Parallel-Minor-Keys&id=1092807

Mystery Link

Quick Start Guide to Doing Magic Tricks

By Barb Church

When you are thinking about free magic tricks and you really want them free; then go to the internet, you'll find plenty there. Yep, online is the place to look for free magic tricks.

No doubt about it, if you keep staying the course when it come to trying to find free magic tricks on the internet, you will eventually reach your goal if you don't give up.

There they are for the taking if you know where to search online; multiple forms of free magic tricks including coin tricks, rope tricks, card tricks and all kinds of illusions.

Don't start with the more difficult tricks when you are a beginner in magic; use the easier free magic tricks first to build up confidence. All it takes is a solid plan foundation, and then your repertoire begins to shine. Keep this up and soon you will find the harder magic tricks are within your grasp.

Guess what, free magic tricks are not the only items you will come across in these online sites; there is much more if you keep looking. Keep searching and you will find numerous online magic stores in addition. There's no doubt about it, it's places like these that carry all the equipment you need to do your tricks.

Be careful when dealing with online sites, to look out for the scam artists who say they have free magic tricks. Don't be hasty when buying free magic tricks online; check out the source of the site first. Make sure the free magic tricks are available up front; or the free part of the name may not apply and you will have to pay for them.

You may have to search many sites to find what you want, but if parts of the tricks are free and parts are withheld for purchase, then go to another site where the entire trick is free. There are tons of websites that provide free magic tricks online for people who want them.

Start practicing now by utilizing some of the very simple free magic tricks that abound on the internet and make your learning more fun. They will be out in the open so you can get ahold of them in no time. It's really quite simple; there is just one simple order to things and that is before you can practice, you need to have the tricks in front of you and all the stuff, like props, that goes with them. Then and only then will you be able to perform.

Barb Church writes helpful articles on interests such as Easy Magic Tricks, and Fire Magic Tricks. You can find more tips at http://beginnersguidetomagic.info/

Article Source: http://EzineArticles.com/?expert=Barb_Church
http://EzineArticles.com/?Quick-Start-Guide-to-Doing-Magic-Tricks&id=1012633

Mystery Link

Earth Day - Then And Now
By Carolyn S Belanger

In the late 1960's air pollution clouded our cities with toxic fumes spewed out by cars and factories. Air pollution in New York, Los Angeles and other major cities were linked to disease and death, thus leaving city life barely breathable. Another concern was the large-scale use of pesticides, which were often used in highly populated areas. Additionally large amounts of dead fish were reported on the Great Lakes, and the media carried the news that Lake Erie, one of America's largest bodies of fresh water, was in its death throes. Ohio had another jolt when Cleveland's Cuyahoga River, an artery inundated with oil and toxic chemicals, burst into flames by spontaneous combustion.

In addition to the media coverage about the Great Lakes, the media coverage of the massive youth rallies of 1969 - as well as the ghetto riots of 1965 to 1968 - helped to impress on the American public that the United States had become an urban country with complex problems compounded by huge numbers of people. In the 1960's most talk was about conservation and preservation of our parks and recreational areas. Talk of environment or sustainability did not come into effect until the early 1970's.

One prominent politician, Gaylord Nelson, then Senator from Wisconsin, had been frustrated throughout the 1960s because only a few of his Congressional colleagues had any interest in environmental issues. However, during his travels across the United States, Nelson had been greatly impressed by the dedication and the expertise of the many student and citizen volunteers who were trying to solve pollution problems in their communities. Early in December 1969, Senator Nelson of Wisconsin and a 25-year old named Denis Hayes, former President of the Stanford student body, as national coordinator, became making plans for the inaugural Earth Day.

On April 22, 1970, the first Earth Day was celebrated. It was on that day that Americans made it clear that they understood and were deeply concerned over the deterioration of our environment and the mindless dissipation of our resources. That day left a permanent impact on the politics of America. It forcibly thrust the issue of environmental quality and resources conservation into the political dialogue of the Nation. That was the important objective and achievement of Earth Day. It showed the political and opinion leadership of the country that the people cared, that they were ready for political action, that the politicians had better get ready, too. In short, Earth Day launched the Environmental decade with a bang.

Perhaps the most impressive observance was in New York City, whose mayor, John V. Lindsay, had thrown the full weight of his influence behind Earth Day. For two hours, Fifth Avenue was closed to traffic between 14th Street and 59th Street, bringing midtown Manhattan to a virtual standstill. One innovative group of demonstrator's grabbed attention by dragging a net filled with dead fish down the thoroughfare, shouting to passersby, "This could be you!" Later in the day, a rally filled Union Square to overflowing as Mayor Lindsay, assisted by celebrities Paul Newman and Ali McGraw, spoke from a raised platform looking out over a sea of smiling faces. In New York, as elsewhere, self-policing demonstrators left surprising little litter in their wake.

Earth Day 1970 made it clear that the public is committed to saving our environment. Although the battle is far from over we have made substantial progress. In the ten years since 1970 much of the basic legislation needed to protect the environment has been enacted into law: the Clean Air Act, the Water Quality Improvement Act, the Water Pollution and Control Act Amendments, the Resource Recovery Act, the Resource Conservation and Recovery Act, the Toxic Substances Control Act, the Occupational Safety and Health Act, the Federal Environmental Pesticide Control Act, the Endangered Species Act, the Safe Drinking Water Act, the Federal Land Policy and Management Act, and the Surface Mining Control and Reclamation Act. And, the most important piece of environmental legislation in our history, the National Environmental Policy Act (NEPA) was signed into law on January 1, 1970.

Here is your call to action, celebrate Earth Day 2008 on April 22nd. Plant a tree, reduce green house gasses, or make a commitment to start recycling, these are small steps and yet these steps can do so much for our environment.

Visit Earth Day 2008 for more information.

Article Source: http://EzineArticles.com/?expert=Carolyn_S_Belanger
http://EzineArticles.com/?Earth-Day---Then-And-Now&id=1097736

By Brad Carter

I absolutely love magic! It's so mind-boggling and fun to watch. I've enjoyed magic for almost 13 years and still can't get enough. One area of magic that I find very interesting is mentalism. The idea of being able to read minds and do mind control tricks has always fascinated me. In this article, I'm going to talk about 6 points that will help you to learn mentalism for the aspiring magician.

1. So what is mentalism? Mentalism is a performing art that uses mind tricks to impress the audience. This is the area of magic that can be very simple to perform yet very complex to the spectator. If you looking to get into magic, you should learn mentalism because of the simple mind tricks that you can start with.

2. Presentation is VERY important when performing mentalism. Mentalism is all about mind control and mind reading so you have to play the part that you can actually read their mind. So you can imagine that you're going to have to have a bit of fluff built into your conversations with your spectators. If you watch the presentations of popular magicians, you will notice that they have a particular way of talking and presenting that makes their tricks very believable.

3. Persuasion is key to having a great performance. When you start to learn mentalism, your communication skills have to be persuasive. The reason why is because some tricks are very simple to do, but require you to persuade the spectator to think a certain way. When you prep your spectator with persuasive talk, your magic trick delivery will be absolutely spectacular.

4. Misdirection and concealment. This part of mentalism requires you to draw the eyes of your spectators whereever you want. Body control and hand movements are very delicate which will keep your spectators from looking at other parts of your performance. If you can master misdirection, you can pretty much do anything like make things disappear.

5. Mind reading is the most popular part of mentalism. This is what makes mentalism so unique is it's ability to read minds. When you start to learn mentalism, you will most likely start with tricks that require mind reading. There are several easy tricks to get started with that you can do immediately. These easy tricks will help you to focus on your presentation and persuasion rather than the trick. Mastering mind reading is probably the most important part about becoming a mentalist.

6. Card tricks. Mixing up your routine with card tricks is highly recommended when performing mentalism. A deck of cards add to the "randomness" of being able to read minds. Card tricks are nice because spectators are familiar with it, but can still be amazed which will help prepare them for other parts of your presentation.

Putting all these things together into a spectacular performance will probably take some work. You should always try to learn mentalism on a daily basis so that you can keep practicing your tricks everywhere you go. Once you start remembering tricks, you can interweave your tricks together to come up with with a routine that will impress anyone!

Discover how you can learn mentalism and how you can start dazzling spectators instantly. Discover the dark secrets to learning mentalism at http://LearnMentalism.BlogSpot.com.

Article Source: http://EzineArticles.com/?expert=Brad_Carter
http://EzineArticles.com/?6-Things-You-Should-Know-When-You-Learn-Mentalism&id=1056751

Mystery Link

The Human Voice is an Incredible and Powerful Instrument for Singers, Public Speakers or Actors

By Jonathan Morgan Jenkins

We will be discussing an incredible creation, the Human Voice. During my 26 years of training this incredible gift, I never cease to be amazed at the lack of knowledge of it's most basic functions and how it is often taken for granted or even intentionally or unintentionally abused by misguided vocalists. Let us take a glimpse at this powerful instrument and, hopefully, develop a healthy respect.

Larynx

From Wikipedia, the free encyclopedia

The larynx (plural larynges), colloquially known as the voicebox, is an organ in the neck of mammals involved in protection of the trachea and sound production. The larynx houses the vocal folds, and is situated just below where the tract of the pharynx splits into the trachea and the esophagus.
I must first say that I consider the Larynx to be one of the greatest miracles and gifts that mankind has ever been given. Let's pause for a moment and consider life without a larynx. If you could not speak, sing or laugh I think you would agree that your life would change in a major way. We have actually been born with a free instrument. It is more functional and complex than any instrument created by man because it can not only create pitch, but it can also communicate words when used in connection with the parts in the throat and the head that produce diction and tone.

No other instrument can do this. With many people, though, they shy away from singing because many students, in my experience, think they sound poor. This is often because, as in my case, somebody close to them laughed at them when they sang and maybe said they had no talent. Unfortunately with the voice, many people have completely forgot that, like any other instrument, it must be trained to reach its potential.

I agree that there exists many people who sound wonderful without any training. The mistake many of these people make is that they can achieve "exceptional" voices if they would submit themselves to effective training. This is because their basic voice is so far advanced without training. Often times they conclude they have a "natural talent" and " have a perfect voice that does not need training". Another problem these "natural voices" have is the lack of knowledge of how to achieve effective breath control. As I have learned through my many years, humans do not breathe correctly under normal conditions. All of us must learn this basic and vital ability.

For example, if you were learning the clarinet, you would not expect to just be able to play it once you purchased your instrument. That would be ridiculous! Anybody would expect that they would have to take some kind of lessons. One reason we forget this in respect to the voice is that our instrument already works. Since we have used it to communicate, starting with our first scream after being born, we have already developed some level of vocalization and pitch.

Another consideration is that, with the clarinet or any other instrument, if you do not want to play or learn, you can sell your instrument and chose another. With the voice, though, you are stuck with what your have. This is why many people harbor ill feelings about their voice for many years. For many, it is easier to just keep quite than take another chance at being ridiculed for singing poorly. This result is a shame as most people can be trained to sing effectively. To reach our vocal performance goals, we must first be grateful for the gift we have and believe that it can improve with correct information and effort.

Now we can discuss the nuts and bolts of this marvelous creation called the larynx.

The larynx, also known as the voice box, is an organ in the neck of mammals that protects the trachea and is the miracle organ that creates sound production. The larynx houses the vocal cords. It is positioned just below where the tract of the pharynx, the part of your throat you see when you look straight back into your mouth, splits into the trachea (passage to the lungs) and the esophagus (passage to your stomach).

Sound is generated in the larynx. Further, this is where pitch and volume are manipulated. The strength of the airflow from the lungs, generated from the lower abdominal muscles and controlled by the diaphragm, contributes to loudness of overall sound. As this air column passes through the vocal chords, a fundamental sound is produced.

The vocal chords are, then, stretched according to the information received from the brain and a certain pitch is produced. This is information is important weather we are singing or speaking. As I have clearly written about in my book, Singing and Speaking on the Edge of a Grunt, Public Speakers and Actors must perform the same air support and control of any singer. In fact, if a speaker, actor, etc. is to be effective, they must also alter their pitch and volume like any singer.

This connection of similar vocal training for these different vocal disciplines is often not supported. They are seldom considered to be doing the same thing when they perform. But, in my world, they all need to become Vocal Warriors. We are all doing the same thing. We are using our voice to express entertainment and ideas to others. Strategies for vocal development are the same for all. This is an important cornerstone of my teaching philosophy.

After the basic sound vibration exits the vocal cords it is altered as it travels through the vocal tract, eventually exiting the mouth and nose. The changes occur based on the individual construction of your unique body and on the position of the pharynx tongue, lips, and mouth. The process of altering a source sound as it passes through the filter of the vocal tract creates the many different vowel and consonant sounds of the world's languages. Further, this is where comedians, for instance, alter their sound to mimic other people's voices or others create cartoon characters.

The vocal folds can be held close together by adducting the arytenoid cartilages. The muscles attached to the arytenoid cartilages control the degree of opening.

Vocal fold length and tension can be controlled by rocking the thyroid cartilage forward and backward on the cricoid cartilage, and by manipulating the tension of the muscles within the vocal folds. This causes the pitch produced during phonation to rise or fall.

To summarize, these two basic movements exist within the larynx.

1) Bringing the vocal chords together so they vibrate and produce a fundamental vibrating sound when air travels between them.

2) Once the fundamental sound is produced, the vocal chords are stretched (just like tightening a guitar string and the pitch rises) and the pitch changes.

Although there exists more complex muscle movements within the larynx needed to produce sound, these are the most fundamental and easiest to understand. After all, my main goal is for you to understand the fundamental basics of vocal production so you can apply them daily and improve your sound. I am not trying to prepare you for pre-med school!

This information is only the beginning to understand the complexities of how to operate the Human Voice. To become a powerful and accomplished vocalist, you must have a thorough understanding of the Abdominal Muscle Systems, the Larynx, the Resonating Cavities in the Throat and Head and the many facets of Diction that are used to produce the multiple styles of Music or Speaking production.

This information is only the beginning to understand the complexities of how to operate the Human Voice. To become a powerful and accomplished vocalist, you must have a thorough understanding of the Abdominal Muscle Systems, the Larynx, the Resonating Cavities in the Throat and Head and the many facets of Diction that are used to produce the multiple styles of Music or Speaking production. All these subjects are thoroughly discussed in my book, Singing and Speaking on the Edge of a Grunt which can be viewed through the "ebooks" link below.

Thank you for reading. Please visit my web site for more information.

Check out my web site!

http://www.vocaltrainingwarrior.com/ebooks

http://www.vocaltrainingwarrior.com/home_recording_studios

http://www.vocaltrainingwarrior.com/about_me

Article Source: http://EzineArticles.com/?expert=Jonathan_Morgan_Jenkins
http://EzineArticles.com/?The-Human-Voice-is-an-Incredible-and-Powerful-Instrument-for-Singers,-Public-Speakers-or-Actors&id=1078648

Mystery Link

By Millard Grubb

I'm sure that most of us, at one time or another, have wished that we could be on center stage and grab a bit of the limelight. That is all well and good for most of us. But there are a few hardy souls that want more ... They want to be the center of attention and get paid for it. Sadly, there are a few "performers" who feel that all they have to do is put on a costume or wear outlandish makeup and then they're in "show biz."

We know the type:

The costume is somewhat rumpled or out-sized because, after all, "It's only for a few bucks and I have my job to go back to and the party planner wanted something cheap and I don't have to worry about clothes or makeup or new material because they aren't paying me enough to do this" and on and on and on.

In short, there are a lot of "wanna-bees" out there who haven't the foggiest notion of what it takes to be a performer and make a living with it.
I'm saying this because this article is not about the person who wants to go out and entertain friends or do a few things at the church social or around the table at the family reunion.

No, this is about the performer who has been in the arena, marred by sweat, blood and tears.

This is for all those hours that you may have worried where the rent money was going to come from. Maybe you limped into town and had to scrabble under the car seat to find money for gas. Maybe you have had to perform under conditions that appalled you, just to get the groceries.

It's not supposed to be this way. If you want to make a living whether you're a clown, dancer, singer, band, magician, or whatever, then move ahead and go for it. How much money can you make? That all depends. How much do you want?

Consider this: You don't have to be a star to be successful! I have a friend who performs in a mid-sized city in the middle of the country and rarely leaves the city limits and yet he'll make well over $150,000 this year. Another friend in the southwest has never left his hometown, yet he'll make close to $200,000 this year. There is a retired minister who had a program for medical professionals and after only a couple of years was being booked a year in advance and has had to turn down business!
Consider this: In any economy there are always those who have money, talent, contacts, whatever you need to make it as a successful entertainer.
This was the biggest lesson I had to learn in my struggle to be a full-time performer. For years I bought into the nay-sayers and the do-nothings. My friends, my relatives, my closest associates said,

"You can't make it, the economy stinks."

"This might work in the big city, but here, no way."

You're going to come up against it just as I have. Everyone who rises above the crowd to catch the bouquets comes against it. But when you rise to catch the bouquets, you get the tomatoes as well. Don't worry about it, it's part of the game.

You want to be a performer ... go for it.
It's possible to live your dream.

Millard Grubb has been a professional performer for most of his adult life. He has performed as a magician, mentalist, family entertainer, and had his own tv show in Chicago called, "Miracles of the Mind."© If you want more information on how you can learn to be a performer as well, then go to http://www.millardgrubb.com

Article Source: http://EzineArticles.com/?expert=Millard_Grubb
http://EzineArticles.com/?The-Lure-of-Show-Business&id=1071787

Teen Acting Auditions - 10 Ways To Impress A Casting Director & Feel Good After The Audition
By Beverly Stone

Have you ever gone into an audition and thought to yourself I should have come in better prepared? Every teen I know, who is involved in auditioning for theater, has voiced this to me over the years. There are some very simple procedures that will allow you to come out of every audition feeling as if you have done your best. From my experience, this is all an actor can expect of his or herself. It should be the focus of any audition you attend. Here are the ten things to keep in mind for that feel good experience after each audition. Make them a habit. Follow them each time and you will feel like a winner, whether or not you get the part.

• Become familiar and learn a much as possible about the audition requirements before going to the audition, then practice, practice, practice.
• Choose age appropriate monologues and audition songs, if required.
• Make eye contact and greet the panel warmly as soon as you enter the audition room.
• Smile, relax and be yourself.
• If you are singing, go directly to the accompanist with your clearly marked music and if you need to instruct them as to the tempo, sing a few bars softly...do not snap your fingers.
• Introduce yourself and the material you will be performing in a confident, clear voice.


• Memorize the names of the composers or playwrights who authored your selections.
• Pause in between pieces, but practice before hand to stay within the allotted amount of time, if there is one.


• Be sure to understand the play from which a monologue or song is chosen in the event the director asks you questions about the show.
• Thank the panel when you finish your pieces, smile and pause briefly for any additional instructions from them, but do not linger in the room.
  

Keep in mind that every audition, in reality, is a job interview and that you are being observed from the minute you walk into the audition room. Take the opportunity each time to demonstrate not only your talent, but your personal characteristics. Let your personality shine through, and remember that the casting director and audition panel are not there to judge you harshly. They are there to do their job, which is to cast a show to the best of their ability. Learn to take auditioning in stride, as this is part of an actors life. If you decide to work professionally, it is something you will be experiencing for a long, long time. Take it seriously, but have some fun, too. Break a leg!

Article Source: http://EzineArticles.com/?expert=Beverly_Stone
http://EzineArticles.com/?Teen-Acting-Auditions---10-Ways-To-Impress-A-Casting-Director-and-Feel-Good-After-The-Audition&id=1077595