With the planned retirement of Dana Skoglund, Kaleidoscope Quartet seeks a resonant low bass with entrepreneurial spirit. This is an excellent opportunity for a dedicated singer who wants to play an equal role in all aspects (artistic & business) of running a professional a cappella group.
Please take note of all information below before applying to kquartetmn1@gmail.com.
Audition Timeline & Process
We are running this process on a rolling basis, as we plan a graceful transition for Dana to ease into retirement, and for you to ease into the group. We will take the time needed to find the right person.
Auditions will include an invitation to sing with the group at a rehearsal, where we’ll assess artistic skill and chemistry. Music will be sent to you in advance to prepare. It will be in a wide range of styles. Additionally, you are invited to send two of your own selections to the group in advance, so we can learn your musical vision and interests. Candidates who pass the artistic audition will then be invited to a separate meeting to discuss the business portion of running the group.
Eligibility
The role is only appropriate for singers with professional experience in a cappella or choral singing. We all joke that singing in this quartet has been our “choral rehab”, as we’ve learned to adapt our techniques to the demands of high-level quartet singing.
The key musical qualities we are looking for include: excellent musicianship; strong ensemble awareness (listening for and shaping the group sound rather than focusing solely on one’s own voice); reliable intonation; rhythmic sophistication; vocal flexibility across genres; the ability to contribute fully as an ensemble singer while also delivering solos; and a confident, comfortable stage presence.
We are looking for a vocal range of D2–B3, with available lower (A1) and upper (E4) extensions.
You should live in or near the Twin Cities, Minnesota.
Time
The quartet is our “main side hustle.” Each KQ member has a separate full-time career, keeps time for loved ones, and enjoys other musical extra-curriculars. Currently, we gather for approximately one performance per month, weekly rehearsals, and distinct business meetings every other month, with much of the work happening on our own individual initiatives, asynchronously, and coordinated via email or text.
The time commitment can change, and has changed. This will be discussed and agreed on as a group of equals.
From a broader tenure perspective, we seek a member who wishes to make a long-term commitment to this project. Kaleidoscope Quartet will become what you (and we) make of it.
Location
Most of our rehearsals and performances happen in or near the Twin Cities. We have also done short run-out tours (from day trips to long weekends) to greater Minnesota and surrounding states. How far we travel, and how often, is something we can explore further once you have fully joined our group.
Artistry
Work
Our primary focus is live concerts. Recordings and educational outreach have been minor aspects so far, and are growth opportunities, but our raison d’etre remains live performance.
Sound
We prioritize a distinctive and dynamic group sound. Our goal is for audiences to leave emotionally moved, and to remember the distinctive sound and blend we create with just four voices—not because it is flashy, but because it is deeply musical (“Harmony in every hue”). We invest in individual and collective craftsmanship in order to consistently raise the quality of our ensemble sound. To date, we have always sung unamplified.
Programming
We curate our own music selections for every show. This means finding, arranging, or composing music (all approaches are welcome); securing rights where applicable; transposing and editing pieces to suit our range and voicing.
Our repertoire is guided by our shared tastes and artistic interests. When we bring pieces to the group, we pay close attention to distinctive musical elements, compelling texts, and the emotional impact each work may have on an audience. Program ideas emerge from our collective exploration of repertoire that stretches the TTBB a cappella canon. We sometimes joke that we are not a barbershop group, but for the right fee (now well into eight figures), we can be persuaded.
Historically, we have added 15–20 new pieces to our repertoire each year.
Memorizing
An important aspect of our shows is that we perform all the music memorized. This enhances our connection to the audience and each other, and deepens our musical interpretation and stage presence. The exception to this rule is when we share the stage with partner groups who bring their music on stage, in which case we match their practice.
Process
To develop our distinct sound and style, we draw inspiration from the processes of top-tier a cappella groups like the King’s Singers, Voces8, and Cantus. We have collaborated with fellow choral artists, respected choir directors, and music educators on past projects, and we consider this external artistic engagement an essential part of our development as a group. Over time, we’ve built an approach that pushes our particular mix of personalities to always “be better” than before, while still having fun with each other. With the addition of a new member to the group, we recognize that this process will need to evolve to suit our new dynamic, though we remain committed to escalating artistic excellence.
Business
Partnership
If you join, you will become a full and equal Partner in a legal Partnership, with the same rights and responsibilities as the rest of us. You will therefore be responsible for one-fourth of everything, both in the music and the business, and you will receive an equal fourth of all profits. Partner income currently consists primarily of ticket sales and gig fees, with smaller amounts of album sales and Patreon subscriptions. We run and develop all aspects of the business together, playing to our strengths and interests. Though these are significant responsibilities, we will guide you into this role with care and support. Further detailed financial information will be provided during the business portion of the audition process.
Self-Produced Shows
Our current routine anchors the year around a springtime “flagship” concert, where we produce every aspect of the program. This means, in addition to artistic concerns, that we identify and negotiate venues, choose ticket prices, set and execute a marketing strategy, organize front-of-house and day-of logistics, and choose and maintain supporting technologies.
We divide the work based on strengths and interests, and we often move roles around. Where needed, we get help from partners and expert contractors to do functions that distract from our core business.
Besides the annual flagship, we tend to self-produce an additional 2–3 shows per year, usually for tours in greater Minnesota or neighboring states.
Gigs
We maintain a network of partners who pay us to perform for or with them. Example partnerships include houses of worship (services and/or concert series), arts organizations, educational institutions, and private events put on by patrons of the arts. This work makes up about half our income, grows our network, and provides relief from the more wide-ranging demands of self-production. Every member of the quartet plays a part in developing and securing new gigs.
Development
Being a member of Kaleidoscope Quartet means more than joining an established group; it is an opportunity to shape a high-caliber men’s a cappella group that creates new music, reaches new audiences, explores new business models, and models a form of masculinity grounded in care, collaboration, and craftsmanship.
To Apply
Send an email detailing your interest to kquartetmn1@gmail.com.