TC: Ch. 7 Summary, Emily Cottam

The Talent Code: Chapter 7, “How to Ignite a Hotbed”

Emily Cottam

Chapter Summary: In Feinberg and Levin’s “Knowledge Is Power Program (KIPP),” they teach students with strict discipline that can be applied to any situation the student may be involved in; doing homework properly, respecting their fellow peers and teachers, developing confidence in their own skills, setting long-term goals, and understanding that everything they do has a consequence on themselves and the people around them so they do everything deliberately and with purpose. By forcing the students to live a structured student life, the students can take these skills into the “real world” and as a result come out highly disciplined and successful adults. 

Key Concepts: If discipline and detail-orientation can be taught to students at a young age, it can usually result in a successful and confident adult. By teaching organizational skills while still in elementary school, the students leave to secondary education with a better foundation. 

Key Terms:

Discipline

Detail-oriented/deliberate teaching style

Making Connections: I can use this in my own life as a student by living a more disciplined lifestyle where I can aptly perceive the long and short term consequences of my actions (particularly if I decide to procrastinate on assignments). Practicing organizational habits can also help me be successful in my academic career and elsewhere. 

TC: Ch. 6 Summary, Emily Cottam

The Talent Code: Chapter 6, “The Curaçao Experiment”

Emily Cottam

Chapter Summary: There are many factors that come together to create a “talent hotbed”: Ignition (someone else can do it; why not me?--which can also be associated with a chance circumstance), cultural discipline, deep practice coaching, support, and passion. But even when these come together, the “motivational fire” has to stay lit, and if not, these hotbeds fail. The correct combination of positive reinforcement and frequency of coaching is important--too much can be ineffective. Sometimes presenting challenges (“You can’t do that, so don’t worry about it.”) provides proper motivation as well. Simple phrasing of a compliment can alter one’s motivation. 

Key Concepts: When coaching someone or complimenting someone, timing and phrasing are both equally important. Complimenting how hard someone has worked to reach a goal rather than their innate intelligence can influence their level of motivation to complete a task. 

Key Terms:

Verbal/external motivation and praise 

Motivational language

Making Connections: I can use this information for when I’m complimenting others in my critiques or face to face--this way, I can help motivate them to keep going or to do better in their future endeavors. I can also use this sort of complimenting for myself, instead of relying on my own innate skills, but rather on my developed and learned ability so that I can encourage myself to work harder. 

TC: Ch. 5 Summary, Emily Cottam

The Talent Code: Chapter 5, “Primal Cues”

Emily Cottam

Chapter Summary: Passion is an important ingredient in “talent”--internal motivation needs to be very strong in order to commit so much time to mastering a skill. Those who committed to a goal in the long term usually had more success than those with short term commitments, even if they start at the same level of skill. Our motivation to do something (“trigger”), is supported by some sort of primal cue: the desire for future belonging, material reward, self-fulfillment. These are often unconsciously received. Loss and struggle is also a very powerful motivator. 

Key Concepts: Behind every “talent” there is a motivator, and these can often begin from their environment (a desire to do something worthwhile, a goal to reach better circumstances, etc.) and are then taken in as internal motivation. These are often unconscious as well. 

Key Terms:

breakthrough-then-bloom pattern/a.k.a. ignition

primal cues

Making Connections: I can apply this to myself when I set goals for myself--committing myself to long term practice and discipline instead of looking at short term results and becoming discouraged. Perhaps I can also use this when I look at my motivation for doing anything, particularly by asking myself, “Why am I doing this, and how will this help me?” and finding an answer that will keep me motivated (i.e. “I may not use science in my field of study, but I’m learning how to prepare information and research.”). 

TC: Ch. 4 Summary, Emily Cottam

The Talent Code: Chapter 4, “The Three Rules of Deep Practice”

Emily Cottam

Chapter Summary: De Groot showed through his experiments with chess players that professionals are able to recognize the medium of their specialty through means of “chunking” and group organization of thoughts instead of individual pieces. They’ve simply myelinated particular patterns so they don’t have to consciously think about them. Steps to learning a skill effectively: Take it in pieces (chunking), imitate the final product (so you can get a good model for learning), take it slow, repeat it. Over time, it’s important to “learn to feel it,” or in other words, build up an internal model so your practice is more effective every time. Practice just beyond your current ability, correct any errors, and repeat. 

Key Concepts: The main difference that sets apart professionals from amateurs is the way they approach problems in their field--professionals are able to understand a game/song/etc. through recognition of patterns, not individual pieces.

Learning a new skill requires that you build an internal model, take things slowly, correct errors, and repeat. 

Key Terms:

“The Holy Shit Effect” (HSE)

chunking

self-regulation

sweet spot

Making Connections: I can use this in my daily practice by exposing myself to many different phrases of music, so that when I come across any familiar musical lines, and I can easily apply what I’ve already learned in the past to my new music. I can also use the chunking method in my practice to memorize music not in individual notes, but as complete sections of music. 

Ben Shaw 1st lesson summary

I'm taking lessons from Brianna Krause. In our first lesson, we first talked about the revised syllabus and related items such as our unique memory deadline, the accompanist policy, and the anticipated early end to our lessons. Then, we did some vocalizing. In vocalizing, we talked about three specific principles-- "Dump periods" for descending scales, falling through high notes, and using encouraging thoughts (as opposed to fearful thoughts)-- as constructive mediums for success. We also talked about proper placement of sound and the concept of having an imaginary vacuum on top of one's head. We then spent the rest of the lesson looking through repertoire for this semester and also for an upcoming junior recital. Specifically, we decided on a bit of Italian music and music by Ralph Vaughan Williams, with a small number of other pieces, to select from. We concluded with the reminder for me to bring the syllabus contract next lesson.

The Talent Code, Chapt 3 summary, Michael Lechner

Chapter 3: The Brontes, the Z-Boys, and the Renaissance

Chapter Summary
     The myelinization of our neurological system is in control of our entire skill set. A lot of theories have been passed around about "genius," and they generally fall apart under close scrutiny. We always hear stories of someone who somehow was magically born with a gift and used it to influence people. Prime examples are the Bronte siblings. Rumors and myth about their lives and writings were rampant, but in actuality, they practiced writing in a minimal risk environment where their mistakes were recognized and systematically corrected. The phenomenal growth of "genius" in the Renaissance, despite other theories, can clearly be explained through myelin. The apprenticeship practice, where a young boy (7-10) would be taken on by a craftsmen, and for the next 5-10 years would work within a system of a master who expected the best possible work, and strove to refine technique in a skill set. This provides for myelinization of the circuits that arer most desired in the profession. Our genes are hardwired to do this, making us "myelin beings." The human potential is to choose skills or actions, and perform them until we can do them effortlessly. The more we deep practice the way we want to perform, the more natural that performance becomes, thanks to myelin.

Key Concepts
     Genius is really just the optimization of myelin insulating neural circuitry through deep practice.
     Our genes do not prewire us for certain higher skill sets, but allow us to choose our own through deep practice.

Key Terms
     craft guilds
     apprentice

Making Connections
     Like we've discussed in class, we need to refine the model we have internalized. An apprentice who wouldn't accept instruction would be much less likely to improve.
     Like the Z-Boys with their "pool skating" I need to step out of safe zones and risk a little bit.

Jake Spjute recital hour critiques

Sarah Brenay:
Seemed like she was doing a lot of "chest breathing"
Sang in tune, was very clear
Pretty timbre, good space and nasality. Strong resonance.
I needed to hear crisper consonants.
I was kind of confused by the direction of her expressions.
Wiggled a little too much.its ok to move, but swaying takes away from your strength. ( I do it too)

Sarah Boucher:
A lot of chest breathing, instead of from the diaphragm.
Mostly in tune. I heard the pitch sag a little bit at times.
Awesome diction, every word was totally clear.

Taylee Bekstead :
Has a case of the wiggles
German needs stronger sharper consonants
Moments of brilliance, also moments of dullness, coarseness.

Mariah Boyer :
Diction needs work, probably I hasn't had Italian yet.
Looks pretty stiff.. Tension?
I saw some great breaths from the diaphragm
Went a little flat in the upper register
Be happy! It's a beautiful song!

Carolee Beck:
Loving the expressiveness, I feel like you are really into the character
I saw a little head shakiness, tension.
Rushed, chesty breathing
Very confident!

Emily Cottam:
Started a little flat. Needs better breathe preparation
Very expressive
Need to hear pure Italian vowels and consonants

Caitlin Craig:
Needs a stronger stance
Sways when nervous which takes away from your power

Laura Berg:
Light, sweet tone
Saw some chest breathing
Jaw looked a little tense, tight.

Voice Recital Hour Observations-Jaron Putnam

Voice Recital Hour Observations: August 29th 2013

Sarah Brenay: Intonation- Pitch is very "lifted". No intonation struggles. Pleasing to listen to timbre. A resonant sound but without being nasily. One "high" note in the song didn't seem legato and effortless. Possible lack of breath support? or even just preparing for the pitch and thinking of it on the same level as the other pitches.

Sarah Boucher: Expressiveness! Great connection to the song. Could feel the emotion of the piece. I understood all of the words, and the timbre was bright and pleasing to listen to.

Taylee Beckstead: This piece has a very difficult melodic line. Watch the intonation on fast moving "wide" lines. (arpeggiated chords) Loved the connection to the piece, and even though it was in a foreign language I was receiving an emotion for the piece, and I understood the feel of the piece.

Mariah Boyer: Noticed expansion of the ribcage. Breath sounded supported. Noticed a lack of legato line on the higher pitches. There was a disconnect. Noticed a "tight jaw"

Carolee Beck: "Shaking head" vibrato- no need. Stylistic breathiness to the timbre and sound. Breath is a little "shoulder shruggy". Breath from the diaphragm!

Emily Cottam: Moving of upper body singing. Effects the sound. Timbre is more covered. Work on increasing resonance and brightness? Diction was hard to understand. More consonants.

Caitlin Craig: Light and a little breathy timbre. Great expression! I learned a lot about the song through the expression and the way is was performed.

Laura Berg: First breath, didn't notice expansion or proper preparation.Beautiful song! and well sung. Heard the pitch go in and out in a few spots. Work on legato line.

Caitlin Craig Lesson Summary 8/29

Today was my first lesson of the semester with Brianna.  We went over the syllabus, and highlighted the differences between previous years (i.e. juries are now worth 50% of the voice lesson grade).  She also gave me specific dates for song analysis forms and memory checks, since they are different from the syllabus as well, and because her studio will be ending voice lessons earlier than the other voice studios.  It made me excited to begin my new repertoire.
Prior to my voice lesson, I had been doing some research on rep, and so I brought those ideas with me, to discuss the likeliness of me singing them.  So we discussed the ideas that I had brought to the table, and some rep that I hadn't thought of before for my senior recital.  I learned of a book that I can find in the USU library that lists arias under voice type, but Brianna couldn't remember the title of it.  So I will be searching for that book this week.
Although, I didn't vocalize in this lesson, I'm looking forward to vocalizing next lesson, and improving this semester.  I'm really wanting to take a different approach to my voice study this semester and see how studying/practicing smarter and deeper makes a difference in my experience, and improvement.  My goal for this week is to copy my music and begin learning at least one of them, so I will have it ready to sing by my next lesson.

Michael Lechner's VRH 29 Aug, 2013

     Sarah Breney
Breathing: Solid most of the time, not full enough to support consistently though.
Intonation: Beginnings of phrases eased into the correct pitch.
Timbre: Very even, clear.
Diction: Easy to understand, consonants were emphasized just right.
Expressiveness: Emotion was clearly portrayed, but phrase development, a little bit more contrast would have played it out better.
Overall: Enjoyable performance, but perhaps wasn't as comfortable with the selection as possible, leading to some slight tension.
     Sarah Boucher
Breathing: Very well placed breaths, I hardly noticed them. Support was constant through phrases.
Intonation: Good, perhaps a few jumps were overreached.
Timbre: Very bright and airy. Following strong phrase ending, particularly with plenty of vibrato, the beginning of the next phrase was nearly indistinct sometimes.
Diction: Precise.
Expressiveness: Well developed characterization throughout the body, which made it naturally carry into the voice.
Overall: Great musical theater performance, very lively.
     Taylee Beckstead
Breathing: Maybe not as relaxed as could be, but effective.
Intonation: In fast descending passages, the middle notes were losing their distinction.
Timbre: Consistent with great resonance for a very open feel, bright and happy.
Diction: Pretty clean, having to start and stop may have affected that though.
Expressiveness: Difficult with the nature of the performance but a little bit more could have been done.
Overall: A little more work to clean up the notes in those tricky descending passages and I'd call it fantastic.
     Mariah Boyer
Breathing: Sometimes awkward, and didn't support the whole phrase. I wondered if her practice tempo hadn't been faster.
Intonation: Mostly on pitch, the jumps to the higher register felt sharp.
Timbre: Even and open, but again with the jumps, it felt like the sound got into the nasal passages a little bit.
Diction: Impressive, it's never easy switching back and forth from languages.
Expression: I couldn't identify a strong motive.
Overall: More breath control and relaxation on the jumps would have really transformed the piece.
     Carolee Beck
Breathing: Gave support, but was a little jerky, I felt.
Intonation: Pitches were very distinct, a few phrases were eased into, but that may have been the nature of the piece and the desired effect.
Timbre: Heavy, a little throaty.
Diction: Not as clean as a typical art song, but again, that may have been the desired effect.
Expression: The sound and the body didn't quite match up. The sound was what I expected with the piece.
Overall: Jazzy. Felt a little bit forced, but the overall effect of the piece really showed a powerful voice.
     Emily Cottam
Breathing: Not as smooth or relaxed as it could have been.
Intonation: Mostly very clean, but sometimes appeared a little flat.
Timbre: I think this is where the pitches come out a little flat, because of the deeply placed sound, and an almost dark tone, the pitch came out a little lower than intended. Very easy on the ear though.
Diction: Clean.
Expressiveness: I didn't feel the message of the song. The left arm was held at a stiff angle like she was thinking about directing herself, and made it seem as though she was simply singing, as opposed to performing and finding emotional connection.
Overall: Not as relaxed or open as I think it could have been. The sound was very pleasing and there was some great phrase development, but there could have been more.
     Caitlin Craig
Breathing: Could have been deeper. The support wasn't enough for all phrases to be connected smoothly.
Intonation: Right on.
Timbre: Open and clear, but got the sound got sucked back occasionally.
Diction: Some of the French vowels got swallowed a little bit.
Expressiveness: I felt like the piece called for a bit more variety of feeling, but intensity was there.
Overall: Smooth performance and very relaxing voice. Just a little more support.
     Laura Berg
Breathing: Quick breaths that lasted. Control was very consistent.
Intonation: Mostly solid, just a few notes seemed to waver a little bit in the lower regions.
Timbre: Very full, just a bit chesty on the low notes.
Diction: Not very clear. The consonants were hard to catch.
Expressiveness: Great use of dynamic contrast, but occasionally got too soft and the piano covered the voice.
Overall: Pleasing sound with great expression.

VRH Critiques 8/29/13 Caitlin Craig

Sarah Brenay:
Breathing: good low breaths, although some of them could have been a little more quieter.
Intonation: seemed to be exact.
Timbre: warm, I liked the placement most of the time, there were a few notes that lost the simple placement.
Diction: good word endings.  There were a few diphthongs that I heard sneak in.
Expressiveness: She had expressive eyes, although I felt that she could have been more specific in her character.
Overall: It was a pleasant and enjoyable performance.  I would have liked her character development to have been a little more specific, while maintaining quieter breaths.

Sarah Boucher:
Breathing: I felt that she had confident low relaxed breaths.
Intonation: great, maybe even sharp in a few points.
Timbre: bright, confident, bubbly.
Diction: I understood every word, and for the nature of a musical theater piece.
Expressiveness: She did a very good job at conveying the story and message.  I felt like she had researched it, and felt confident in the story she was telling.
Overall: I enjoyed her performance.  The only thing I would address was perhaps she needed to release her jaw a little bit, because I felt like some of the high notes could have been freer if she hadn't been so tense there.

Taylee Beckstead:
Breathing: I felt like her breaths were a little tight, and not as released and low in her body.
Intonation: good.
Timbre: a little pingy, it wasn't always in the simple placement, and fell back in some moments.
Diction: she could have been a little more clearer on her z's, and such, but overall pretty good.
Expressiveness: She did a good job for the fact that the accompanist had never seen her music.  I think that she did a good job at recovering from the madness of the situation.
Overall: She did a good job for the situation, but placement, and breathing could be improved.

Mariah Boyer:
Breathing: constricted.  I think she could do better at prepping for her breath, and have more of a release in her lower body.
Intonation: good.
Timbre: clear, but there was a little force due to her breathing.
Diction: good, to the best of my knowledge.
Expressiveness: I could have used a little more connection to the meaning and story telling.
Overall: Intonation was good, but lower released breaths would help her.

Carolee Beck:
Breathing: high and not released
Intonation: her vibrato is very wide towards the end of her phrases, which causes a wobble in her pitch.
Timbre: dry, coarse, mellow, chesty.  I would be curious to hear her sound when it was in a simple forward place.
Diction: diction could be much clearer, but for the nature of this jazz piece, it wasn't completely inappropriate.
Expressiveness: She was expressive and looked like she was enjoying the moment.
Overall: Lower breaths, and an evening out of her vibrato could really help her with intonation, and overall vocal health.

Emily Cottam
Breathing: her breaths could be deeper, and less constricted.
Intonation: I felt as if this was a struggle.  At the beginning, and ends of phrases, and when her vibrato came in.
Timbre: covered, and lacks the bright simple placement.
Diction: not bad.
Expressiveness: I didn't feel any connection from her to the words or the message.
Overall: Good diction from my recollection, but intonation, and better breath support would be a good place to start.

Laura Berg:
Breathing: could be even more released.
Intonation: good, sometimes when vibrato creeped in it was wobbly.
Timbre: sometimes bright, sometimes restricted.
Diction: I felt like there were some diphthongs and such in her english that could be simplified.
Expressiveness: She had a smile on her face, but her performance lacked the specificity in acting that I would like.
Overall: I loved her smile, but I think she could work on having a more freer sound.

Performance Critique - Sarah Brenay

Sarah Boucher
Breath is high in chest, a bit shallow, could be because of posture. Shoulders are curved forward, need to be back. I didn't detect any difficulties with intonation at all, she really knew the piece well. The vibrato was a little inconsistent between low and high register though. She has a warm, bright tone with great focus, which is fitting with this musical theater really well. Diction was really clean, I had no trouble understanding every word. Her gestures and expressions were very engaging and matched the piece well. I really enjoyed listening to this, I don't think I've ever heard Sarah sound better! Very entertaining and lovely.

Taylee Beckstead
shallow breath. I feel like the gestures/movements are causing her to cave in her posture, shrug her shoulders, and jut her head forward. Can't let your gestures interfere with breathing and posture. The intonation was well done, especially in the register she's comfortable with. In the higher register, however, some notes disappeared entirely. A pleasant, deep voice, but pinched in high register, needs to free up. As I said before, very engaging and animated, great connection with the audience, but don't let movement inhibit the voice.

Marian Boyer
Breathing is nicely supported on the intake, but is allowed to collapse as the phrase goes on - ribs cave in. I can tell she's worked hard on the piece and knows the notes, but the sound placement is effecting the sound. Rich, dark tone, but pressed on high notes, sounds swallowed. Diction could use improvement. I would like more to be happening in the face. Serious jaw tension issues, needs to release. Good instrument but needs technical training.

Carolee Beck
Again, posture is severely effecting breathing. Head juts forward and shoulders cave in. No problems with intonation as far as I could tell. Timbre is nasal, muscled, edgy, chesty, but suits the style of the piece. Great, powerful voice, lots of attitude. I didn't get a sense that she understood the meaning of the text. I felt like she was into singing, but not into the song.

Emily Cotton
Allows breath support to collapse during the phrase. Tension and pressure causes her to go flat consistently. Rich, full, velvety timbre, but heavy and pressed. Diction was done well, but a little mechanical, perhaps syllabic stress would help. Very animated in the face and eyes! Really well done on the expressiveness.

Caitlin Craig
Adjusting posture will help with breath support - right now it's a little slouched. Intonation was right on. The timbre was pretty breathy, sounds a little scratchy. The song really fit her well, she created a nice mood. The french was really good. Expression was appropriate for the mood of the song, but could use more energy. Slow and sad doesn't mean low energy. Again, this song really suited her, I enjoyed listening.

Laura Berg
Breathing is low in the body and nicely supported!  BUT again, posture is interfering with what is otherwise a good mechanism. Legs are bending like she's about to sit down, needs to straighten up. Intonation was great. A really nice bell-like, brassy timbre, very pleasant. But a little heavy and pinched at times. The diction could really use some work, I couldn't hear every third word. I don't know if that's a resonance issue or a diction problem, or what. Expression was convincing, happy and emphatic. But wow girl, we need to work on that jaw! Really evident when vibrato is used, really tense and looks uncomfortable!

Laura Berg VRH 8/29 Critiques

Sarah Brenay - Breathing at times was audible and shallow and at times deep. Sustained her phrases. Accurate intonation. Bell-like timbre, at times gravelly and constricted. Went darker during the low parts. She used clear diction. Expressiveness was good, but she could have more fully conveyed the magic of the text. Overall, I liked her mature tone. She gave a very pleasant performance which was easy to listen to and watch.
Sarah Boucher - She used good sustaining breaths, but was at times a little too airy. Intonation was overall very good, but became slightly questionable on some of the lower notes. She used a very melodious timbre, but was forced at some points. Great and crisp diction. Great Expressiveness, and I could really see meaning of the text. Overall, her expressiveness really made the performance very enjoyable to watch and be a part of. I was surprised by the maturity of her voice.
Taylee Becksted - She took good deep breaths, which really sustained her whole performance and helped her to sing with power. Great intonation. She had a very confident and bell-like timbre. Her diction was clear, and she was very expressive with the text, which made the performance interesting to watch. Overall, she sang with a beautiful and mature tone that really helped her performance to stand out.
Mariah Boyer - Her breathing was shallow, as evidenced by the very audible breath intakes. This could have been affected by nerves. Her intonation was overall very good, but tended to go slightly flat on a few notes. She used a darker timbre which also felt slightly tense. Diction could have been a little clearer. She did a great job using dynamics to increase expressiveness. Could have should more expressiveness in the body. Overall, she has a beautiful voice, but I could tell that she was nervous and it affected her singing and gave her tension.
Carolee Beck - Her breathing was very surface and shallow, as evidenced by the audible breath intakes and tonal placement. This could have also been a stylistic thing. No problem with intonation. Her timbre was very jazzy and bell-like, also breathy. She used crisp diction in the style she was singing. Her expressiveness I felt was mostly in the music itself and not the meaning of the words. Could have more fully expressed the words' meaning through the body. Overall, she did a great job singing such a famous song! You hit those runs, girl! Really fun to listen to.
Emily Cottam - Her breathing tended to be more shallow, as evidenced by the big audible breaths and the breathy tone. Intonation was alright, but tended to go slightly flat. Dark timbre. Diction was good at times, but in other instances would get lost in the darkness of the timbre. I was unsure if she knew what the words meant in the song. Overall, she has a dark, rich voice that if she brightened it a little might help her intonation and diction.
Caitlin Craig - She used deep breaths, that sustained her phrases. No complaints on intonation. Her timbre was smooth and open. Diction was at times a little swallowed sounding. She did a great job expressing the mysteriousness of the melody. Overall, she gave a very pleasant, and short, performance.

Luke Shepherd VRH 8/29

Sarah Boucher:

Breathing: Breathing looked under control at parts, including some breaths through the nose, and other breaths weren't as good . 

Intonation: One or two onsets were a little flat, perhaps under-energized, but mostly in tune. 

Timbre: There was a difference between phrases that were released and clear and other notes that were a little pushed and out of tune. 

Diction: I understood every word she sang (which is a big deal) 

Expressiveness: Her expression matched the longing of the song. 

Overall: A very charming performance.

Taylee Beckstead:

Breathing: There were a couple shallow or gaspy breaths that made several phrases feel kind of frantic or uneven

Intonation: Very clear intonation. 

Timbre: She sang with a very confident and powerful sound, though it felt a little pushed at times.

Diction: Very good energy spent on consonants and being understood.

Expressiveness: Fun and exciting facial expressions and phrasing.

Overall: A very fun and confident performance.

Mariah Boyer:

Breathing: Good expansion in abdomen for low breath but she let it collapse pretty fast.

Intonation: Mostly solid intonation but there was some scooping for notes.

Timbre: Open and clear timbre with a bit of an edge. The high notes sounded a little forced/unprepared.

Diction: Some of the italian vowels weren't 'pure' and some of the consonants were dropped.

Expressiveness: She looked scared or nervous (understandable, I'm always that way in VRH) Try to use that energy to show emotion on your face on not your body.

Overall: Great song choice, good switch from italian to english mid-song.

Carolee Beck:

Breathing: Gaspy breaths were probably the result of her restricting posture.

Intonation: 'Scoopy' at parts but other than that good intonation (clean riffs)

Timbre: The vibrato sounded a little forced and tense and the lower register lost the brilliance and was a little dull.

Diction: The power and zing she wanted to have for a song like this were lost when the vowels became to wide.

Expressiveness: Effectively expressive face. Interesting choice for this setting, I could tell her body wanted to move around more. Hard to do in the crook of the piano. 

Overall: Gutsy choice and kudos for taking a risk! Needs more connection to get that powerful, grounded sound for a piece like this.

Emily Cottam:

Breathing: There were some breaths in the middle of phrases. Planning out when and how to breathe would fix that.

Intonation: On the ascending runs there were some missed or out of tune notes. Those can be fixed by going over them more slowly and more legato.

Timbre: Very sweet timbre that had some darkness in it.

Diction: Double consonants were good. Good dentalized 't's on "diletto"

Expressiveness: It was hard to know the emotion of the piece without more commitment in the face. Let the eyes and the face tell the story. I think you were just nervous.

Overall: Very pleasant sound, wanted to feel more. I could hear a lot of potential.

Caitlin Craig:

Breathing: Breathing was a little difficult with the occasional swaying side to side and dipping. Her hips didn't seem centered.

Intonation: The only issues came from under energized breaths, but mostly good.

Timbre: Breathy quality especially creeps into the higher register.

Diction: French pronunciation was pretty clear.

Expressiveness: Effective slide. Eyes were really focused and intense which is good at parts but there are other emotions in the text that perhaps asked for some variance.

Overall: Very expressive performance. I love to watch Caitlin sing and see what she does with the text.

Laura Berg:

Breathing: Low, quick breaths. Good. Posture fell a bit forward.

Intonation: Solid intonation

Timbre: Higher register was very bright and full. The timbre was in and out in lower register with some 'creeping' into notes.

Diction: The words were hard to understand at times. There was one harsh glottal. 

Expressiveness: Very clear expression on specific phrases, but other phrases were in and out. 

Overall: Very enjoyable performance. With more consistent thoughtful expression and full sound throughout entire range this would be most excellent.

VRH Critiques 8/29/13 Sam Meredith

Sarah Brenay: 
I thought the breathing was for the most part great. Her tone had consistent support and there was good dynamic growth at the ends of all the phrases, which is a result of strong breath support. The breaths also didn't seem obvious; a very seamless performance. The intonation was strong for the most part, but it did seem to struggle more when a larger interval was sung. Her voice had a very clear and consistent timbre. Diction was great. All of the text was clear and understandable. I also thought she did a good job conveying the message of the music. The song had a nice, romantic, smooth mood to it. Overall it was a very good performance with very few improvements that need to be made. One suggestion i would make, however, is to refrain from holding onto the piano.

Sarah Boucher: The song had good breath support, but I did notice her sneak in a quick breath at the beginning of the piece. It wasn't a bad breath, but judging by how the rest of the performance went i think she could sing right through that phrase without the breath. Intonation was for the most part accurate, but in the upper register her voice seemed slightly constricted, which affected the intonation just a little bit. Other than the constriction in the upper register previously mentioned, the timbre was very bright and pure. All of the diction was great and as far as expressiveness is concerned I think that was the best part of the performance. She did a great job really getting into her character and making the message of the song stand out. Overall a very powerful performance that was thorough in all aspects.

Taylee Beckstead: The breathing patterns for her piece seemed to be really tough. It's a quick song with a lot of difficult movement, so it is probably difficult to find a good place to breath. Although the breathing was good, i think in some places it was rushed slightly, thus making it difficult for her to get enough breath to support her singing. The intonation was solid throughout most of the performances. The only spots where I noticed that the intonation dropped were the places where she had to sneak quick breaths, so that may be the reason for the intonation trouble. The timbre was mostly nice, but in certain parts there was a breathy quality to it. I thought the expression of the piece was very good. The text was German so I didn't understand the words, but I felt the emotion of the piece through Taylee's performance. She's got a great voice that will come out even more if she breaths more effectively.

Mariah Boyer: The breathing technique for the majority of the piece was excellent. As she sung you could see that good expansion in the rib cage allowing her to use maximum space for gathering air. The only part where i saw the breathing slip was near the end. If she gets a bigger final breath, she will be able to hold onto that last note nicely just like she did on the ends of all the other phrases. The intonation was wonderful throughout the piece. She had a nice timbre, but it seemed to be closed some of the time. I would like to hear a more open sound. I thought the diction gave a really nice focus to the important vowel sounds in the lyrics. The expression was good, although i could stand to have just a little bit more just to give some more emotion to the piece. Overall a good performance, although it would be good to refrain from adjusting one's hair during the performance.

Carolee Beck: I think improved posture could improve breathing techniques and thus maintain consistent support throughout the phrases. She has great energy when she hits those notes in her middle to upper register, but that seemed to die off slightly when she had to move to her lower register without taking a breath. The intonation was great. The melody does a lot of moving, but she sang all the intervals clearly and accurately. The timbre was fine until it got a little heady in the upper register. Diction was good and contributed to overall wonderful expression throughout the piece. She's got a great, powerful voice that has a lot of soul.

Emily Cottam: Some of the phrases in this performance seemed to lose a bit of support near the end. I think this may have something to do with the fact that a little too much of the breathing was happening in the chest and shoulders area. Taking breaths that aren't so shallow with definitely help. The intonation was very clear, but suffered slightly towards the ends of phrases due to lack of breath support. The timbre seemed to be slightly covered. That was some of the best sounding Italian I've heard in awhile. Excellent diction. I think she did a good job expressing the mood of the piece, but i would still like to see a little bit more emotion. On the whole it was a very technically sound performance.

Caitlin Craig: I think the breathing could have been a little stronger. The tone didn't seem to always have all the support it needs. I think just being more relaxed in the performance will help that. She was on pitch, but the timbre seemed to be a little breathy at times. I thought the French was very accurate. It gave the piece a great sound and added to the overall wonderful conveyance of the mood of the piece. Good performance, but I think If she just relaxed a little more it would help.

Laura Berg: The breathing was great. She had consistent support for her tone throughout the piece. There's evidence of that in how well she was able to move her voice. The intonation was good, but there are a couple of difficult leaps in the piece that could be a little more crisp and accurate. I thought she had a nice, full and effervescent timbre to her performance. The diction was mostly clear. All in all i thought the piece was very well interpreted. It was, therefore, a very comprehensive performance.

Bric Slades VRH Critiques8/29

Bric Slade
VRH Critique
August 29th, 2013

Sarah Brenay
I feel that for the most part she had very smooth breathing, but still there were parts that she could work on not taking sharp breaths. Mostly with the breathing it felt like she was holding back energy in certain places of the piece and it could be making her more tired. Intonation wasn't a problem, she was in tune. The timbre of her singing could be more resonant. Her wording was clear and precise. I could understand her. Overall her performance was confident and expressive. Could be more free with the breathing.

Sarah Boucher
Smooth relaxed unrestricted breathing. Intonation for the most part clear and in-tune. Timbre seemed too relaxed and could be more open and resonant. Piece was wonderfully expressive. Clear diction. Overall, wider more gothic vowels will help intonation be that much better.

Taylee Beckstead
Breathing was too sharp and it was effecting her intonation. Bright resonant timbre helped her performance be clear and in tune. Seemed like there was one level of expression in the piece. Clear and precise diction. All in all it could be more expressive if she understood the piece more perhaps. This would also help her with her breathing more relaxed.

Mariah Boyer
Sharp intake breathing. Holding breath too much in parts where she doesn't sing. This tires a singer out and makes it harder to breathe properly. Clear and sweet timbre. Emotional expression. Breathing properly will amplify her story-telling ability. Understandable for the most part, improper breathing effecting the other part. In short, Beautiful intonation and timbre. Breathing more smoothly and relaxed will make the piece seem more natural and free energy to be more expressive.

Carolee Beck
Smooth, calm, confidant breathing. Her timbre is wide and spacious. Her vowels might need a little work but that is my unprofessional opinion. Needs precise diction, feels like I am losing her words. Her performance was deeply expressive and moving.

Emily Cottam
Restricted breathing which in turn is effecting low notes. Her high notes seemed neglected, like she was just rolling over them. She has an open and spacious timbre. Not enough expression in the piece. Seemed a little "american" in the italian.

Laura Berg
Tight restricted breathing. Bright bell-like timbre. Couldn't understand a word, wondered if it was in another language. Tight in the body. Lively expression in the face. If we could find a way to keep that expression without tightening the body and relaxing her breathing it would make her performance that much better.

Cailtlin Craig
Needs to work on breathing more deeply, they are too shallow, which cause slight intonation problems. Quite relaxed in the body. Clear diction and timbre. Very expressive performance.

Emily Cottam's Lesson Summary, 8/29

Emily Cottam

8/29 Lesson

Today was my first lesson, and the first thing we did was discuss the syllabus and make sure that I understood what is expected of me as a vocal performance major. We then started out with some basic vocalizing, including lip trills down a five note scale, which was later increased to a full octave scale. We discussed proper breathing technique, which is open, brought in deep into the body (with an open back and lower ribcage), and completely silent. We also talked about ways to maintain an open ribcage even while singing by doing “drop” tests where I remind myself to expand my ribcage as I’m going down a scale. After that was done a few times, she had me sing on “tsaw” down a five note scale, starting with an open breath, holding out the “ts”, and then finally going down the scale. This was again later increased into a full octave. Next, we started arpeggios, singing on “thaw,” utilizing the same breathing techniques she introduced earlier, keeping my ribcage open and my vocal tract “out of the way.” I noticed that as we were doing these vocal exercises, my voice felt very smooth and my vibrato evened out effortlessly. Proper breathing was something that automatically regulates the tone and resonance of your voice, and that was something I hadn’t managed before. Next, my teacher introduced me to a new concept that could help me “trick” myself into reaching high notes without tension--she told me to think of a note higher than the note I was aiming for, and simply let the proper note come out without any tension. It was very helpful, and I was able to reach notes I hadn’t been able to reach in months without any effort (because I had been experiencing some vocal stress). We utilized this mental trick on some of my arpeggios. She had me turn away from the keyboard because that made me anticipate the note, which resulted in my tensing up as we did these exercises. She instructed me to do morning vocalization (on the lip trills mentioned earlier) for 20-25 minutes every day to help combat my unhealthy speech habits. We then moved on to select a range of pieces for me to go home and listen to so I can decide which pieces I would like to work on the most. Overall, this lesson was extremely informational and helpful--I had a practice session immediately after, and I applied the techniques I learned and was able to sing longer and without any tension and vocal fatigue. 

Emily Cottam's VRH Critique, 8/29

Emily Cottam

VRH Critique

August 29, 2013

Sarah Brenay

She had a very good preparatory breath. Throughout the piece she had some issues because her phrases seemed unequally supported by her breathing, but she also had several moments with good support. She sang well in tune and she obviously knew the music very well. It was clear, but her lower notes seemed slightly muffled, and as a result some of her lyrics were difficult to understand. Her expression and body language was aptly coordinated with the piece. She was relaxed and had excellent duet interaction with her partner. Overall, I really enjoyed her performance, particularly because of how relaxed she was and how she was able to communicate with her accompanist/partner. 

Sarah Boucher

Her breathing was very controlled and there was no undesired movement as far as I could tell. Her intonation was excellent. The timbre of her voice was bell-like, and there were quick transitions that went smoothly from light to fuller/rounder. Her diction was very good and understandable. Her expressiveness was good for the piece--she appeared melancholic through the use of her facial expression and body language. Overall, I really enjoyed her piece because even though the theme of the song is generally quite consistent, she added contrast through the use of dynamics and tone. 

Taylee Beckstead

Her breathing was good, but there was an occasional audible intake of breath, but it was only once or twice. Her intonation was good, but some of the high notes were slightly under pitch. The timbre of her voice was round with the smallest metallic feel, possibly because of the way her voice resonated in the room. Her diction was good with strong emphasis on the consonants--I don’t know much about German singing quite yet, but I would’ve liked a more even balance between consonants and vowels. Her expressiveness was very good. Her body language and facial expression appeared to be “cocky” or “sultry” as far as I could tell. Overall, I liked listening to her sing because you could clearly hear that she worked on the diction and expression for this piece. 

Mariah Boyer

Her breathing was good, but I noticed that as she changed pitches, her chest rose and fell just slightly. Her high notes seemed just a little shaky, but the intonation for the rest of the piece was excellent. The timbre of her voice was very dark and smooth, particularly for the lower notes. Her diction was good, but at times it seemed to sound a little muffled--perhaps loosen the jaw a little. At some points it was a little difficult to tell where she switched from French to English, but it was good overall. Her expression was appropriate for the piece with a melancholic facial expression, and some variation in her body language and facial expression would have been appropriate as well. Overall, I really enjoyed her performance, particularly because she seemed so calm and in-character. 

Carolee Beck

Her breathing could’ve used some more support; her chest rose and fell with some of her breaths. Her intonation was excellent. Her tone sort of reminded me of Norah Jones but with more resonance--there was that jazzy and conversational feel to the whole song. Her diction was very good; although there were one or two words that I couldn’t understand, but that may have just been me. Her expression matched the tone of the song--very relaxed and easy going. Overall, I think her performance was very effective because almost everything about her stage presence and the way she sang her song matched the “jazzy” feel. 

Emily Cottam

From what I could tell of my own performance, my pitch was slightly off, especially on the high notes, and my vibrato was difficult to control because of my nerves. I’m hoping that the more practice I get performing in front of people, the better job I can do. 

Caitlyn Craig

From what I could see, her breathing was good. There may have been the occasional shoulder rise, but only once or twice. Her intonation was excellent. The timbre of her voice was a little breathy, but it had a nice dark tone to it as well. Her diction was good as far as I could tell. Her facial expression seemed just a bit tense--relax the forehead perhaps, but other than that, she did a very good job emoting her piece. I think I would’ve liked a little more dynamic contrast.  Overall, I liked the performance because she seemed very prepared to perform her song and she performed with confidence. 

Laura Berg

Her breathing was good, as well as her intonation, which was well in tune and didn’t have any outstanding pitch issues. The timbre of her voice seemed bell-like and clear. Her diction was a little difficult to understand, probably because at either ends of the phrase (it changed throughout the song), she suddenly decrescendo’d to the point where I couldn’t understand what she was saying. This affected her resonance, I believe, because the sections where she added volume were just beautiful. Her expressiveness was good, but I think I would’ve like some more contrast in her body language and facial expression. Overall, I really enjoyed her singing because her tone was silky and very pleasant to listen to. 

Elizabeth VRH 8/29

VRH 8/29

Name: Sarah Brenay

Breathing: I didn’t see anything that worried me, which I think was due to her upright and poised body.  Great surprise breath at the faux start! haha

Intonation: I was impressed with her pitch.  She was consistently in the top of the pitch, which left me feeling at ease.

Timbre:  A tiny bit nasally, but has a velvety, cushioned quality.  I would love to hear nasal sound disappear and be replaced with ping.  Then she could be velvet ping!

Diction: I could have used more consonants.  Dig into the consonants!

Expressiveness:  Very unawkward body, which is refreshing.  However, her face was just generally pleasant, not specifically an emotion.

Overall Performance Generally pleasant, but did not move me to climb a mountain!

Name: Sarah Boucher

Breathing: I think there might be a breathing problem that I can’t detect, because I hear a wide vibrato.  I saw nothing wrong in the body, however.

Intonation: Sarah has a tendency to be flat in times past, and I noticed 1 phrase in which that was a problem again.  However, a lot of improvement on that front.

Timbre: Has a brightness, but with a lack of depth and fullness.  The brightness is very pleasing though. 

Diction: I never thought about it, and I consider that a very good sign.

Expressiveness: I’ve noticed a bad habit of Sarah’s: moving her arms a certain way and twisting her body as an “expressive” move.  I can explain better in person.  But I loved her face, it really told a story for me personally.

Overall Performance: Compelling, but not moving.  However, her performances are headed in a great direction.

Name: Taylee Beckstead

Breathing: It seemed that she had some gaspy breaths

Intonation: There is a consistent flatness problem, but it’s probably a resonance problem, not an aural problem.   The flatness of the tone lends a sense of flatness of pitch.

Timbre: horizontal and fuzzy

Diction: I could have used a more lively spoken introduction!

Expressiveness: Here face has intense expression, but it comes across as insincere.  It seems as if she has stock facial that she uses that don’t come from a real place.

Overall Performance: I would like to see an improvement in her sincerity and see a voice going away from thinness to richness, because she has the potential.

Name: Mariah Boyer

Breathing: I noticed an expansion of the lower abdomen, so good start.  Great posture, so that’s awesome.  I think she doesn’t have good breath support for high notes, because the vibrato is a bit “beaty”

Intonation: There was a flatness problem that seemed a result of tightness in the larynx…I think.

Timbre: Strident in the high pitches, fuzzy in middle range

Diction: I couldn’t tell what language she was singing in, and that’s a problem.

Expressiveness: She uses her shoulders to show emotion, which she could instead transfer to her face.  Her face has some emotion, but it’s non-descript.

Overall Performance:  I didn’t feel any strong emotions, but I wasn’t offended!

Name: Carolee Beck

Breathing: Her uneven vibrato is hint that perhaps she does have much longevity in her breath.  I think that could be coming from poor posture (collapsed torso)

Intonation: All good girl!

Timbre: Resonantly scratchy….

Diction: Good for the style, of which I am not an expert.  Her introduction could have used more gumption

Expressiveness: I feel that the nature of the song shouldn’t be in this setting, standing still in front of a piano.  I wish she could be moving around a bit with a microphone haha.  I felt she was halted from what she wanted to do with her body, feeling constricted.

Overall Performance: Very pleasing tone, but her voice could use some filling out!

Name: Emily Cottam

Breathing: Her body seemed a bit stiff, but it was surprisingly not killing her vocally.   What good stuff could happen if she was using her body!

Intonation: Immediately noticed a flatness problem, especially on descending lines.  Perhaps she just needs to be aware that is her problem, and it will be fixed.

Timbre: Sparkling, with darkness.

Diction: Glad to hear dentalized “t”s  Italian was satisfactory. 

Expressiveness: I could tell she was nervous, so it inhibited a show of passion.  That was apparent in her introduction as well.

Overall Performance: Exciting to hear a voice with a lot of potential, it just needs to be given confidence and freedom.

Name: Caitlin Craig

Breathing:  Her posture didn’t set her up well.  It seemed that the hips were perhaps too forward (my constant problem as well)

Intonation: Some flatness issues, I believe perhaps due to low energy, which again might come from posture. 

Timbre: scratchy and breathy

Diction: Good French pronunciation!

Expressiveness: She has her eyebrows furrowed constantly; she could try a different choice for this piece (sexy, pensive, apathetic, there are many choices for that fabulous text)

Overall Performance: Not nervous, which was comforting, but lacking depth for me.

Name: Laura Berg

Breathing: I don’t have anything to say about this one!

Intonation: Doesn’t seem to be a problem

Timbre: covered at points, but bright at others.  The timbre of her high notes impressed me most, it seemed to really lock in. 

Diction: I couldn’t really pick up the words easily

Expressiveness: I appreciated the specificity in her face at some points, but them it transferred back to stock eyebrow raising.

Overall Performance: Not nervous, which was comforting, but lacking realness I think.  But good!

Jared Daley VRH 8/29

Jared Daley
VRH Critiques
8/28

1.Sarah Brenay
2.When she first started singing and got stopped her prep breath was nearly perfect. The second time around wasn't nearly as good as the first.
3.There were only a few notes that i Noticed that were a little under pitch. For the most part the song was in tune.
4.She had a very warm tone. There were a few vowels that sounded covered.
5.In musical theatre, super diction is needed. Needed stronger beginning consonants.
6. Seemed very calm and relaxed. There was definitely expression there, but can always use more! Especially in a love song.
8.There were some really open moments and her voice was velvety in many places. It was a great start to VRH.

1.Sarah Boucher
2.There were a few shallow breathes and a couple gaspy ones.
3. For the most part I'd say the voice stayed in tune.
4. There were some really resonant moments, and some rich sounds. It wasn't consistent though.
5. There were a few vowels that became a little too spread. I noticed because the rest was really smooth and those spread vowels stuck out.
6. Very expressive, could tap into that character more. I enjoyed watching it, but she could have really drawn us in.
8. Overall i enjoyed the performance, her voice was rich and was very resonant in a lot of places. Consistency is probably a worthwhile goal.

1.Taylee Beckstead
2.Her catch breaths were gaspy, but when she had more time her breaths and preparedness were fabulous.
3. She was in tune as far as i could tell.
4. Her voice was very free at times, but there were a few moments that sounded covered.
5. Her German was understandable, but could always be a little crisper. I could identify every word she sang but some of them were a little fuzzy.
6.There were a lot of problems with the piano with pulled focused and you lost expression. It wasn't her fault though. She had to start over a lot because of the difficult piano part.
8.Overall it went very well considering all the unavoidable stops and starts. She didn't let it affect her voice, just her focus.

1.Mariah Boyer
2.Breathing was very gaspy. Shoulders went up with her breath. Affected support of high notes
3. Very in tune in the lower register. some upper register notes were a bit under at times
4. She had a darker sound and it was very clear in the lower parts of her voice.
5. Her English Diction was better than the Italian parts. The italian wasn't as crisp, but i could understand all the english with is impressive in the soprano range.
6. Seemed a little nervous, it may have affected her ability to show expression. No awkward movements, but she could have kept her eyes alive!
8. Overall considering she is a younger singer, i could see the potential in her voice. She has a rich dark sound that i love

1.Carolee Beck
2. Her breaths were shallow and she brought her shoulders up nearly every time she inhaled. It definitely affected the support she could have had.
3.Overall she was in tune.
4. She has a velvety jazzy voice that i may or may not be in love with. Needs support though!
5. considering the piece the diction was ok. A piece can still be stylized with perfect diction.
6.When she smiled and got into the piece it was so open and expressive, but she needs to smile more and enjoy the performance.
8. Overall i really enjoyed the performance, I can see a lot of potential in her voice. Her voice can sound so mature at times. She needs to work on her breath and support.

1.Emily Cottam
2. Lots of breathing in the middle of phrases. definitely affected the overall performance.
3. Higher notes weren't quite in tune.
4. She has a very round tone, but it tends to be covered.
5. I could have used a lot more consonants. It wasn't very crisp.
6. She was very expressive, but had some awkward arm movements that were distracting
8. She had a potentially very rich sound but it was hollow at times.

1.Caitlin Craig
2. Overall she appeared to have pretty stable and supporting breaths
3. It was in tune for the most part.
4. It was very clear, there were times however where her voice became thin.
5. In this piece in particular i could have used more crisp consonants. Vowels were mostly clear
6.Her eyes were very expressive, it was a very believable performance. She knew what it was about and I felt it from her expression.
8. She has improved a lot, her voice is a lot clearer and has a pleasant tone.

1.Laura Berg
2. Her breaths were shallow at times.
3. I felt that her piece remained in tune throughout.
4. Strong round tone. Sometimes a little tense.
5. Consonants could have been crisper. Vowels were clear and open for the most part.
6. Very expressive! There were a few awkward movements, maybe due to tension?
8. Her sound was rich and strong, but i felt there was some tension inhibiting her true power in her voice. It was a beautifully expressive performance, very believable.

LaeKin Burgess VRH notes 8/29

LaeKin Burgess
VRH notes 8/29

Sarah Brenay
Breathing: Some of the higher notes were not fully supported by the breath but for the most part there was a nice flow of breath to all her notes.
Intonation: Everything was in tune
Timbre: I really liked this song in Sarah's voice.  Her timber was warm and dark which fit the lower notes and mood of the song really nicely.
Diction: The diction wasn't strong by any means but I was able to catch most of her words.
Expressiveness: Sarah had a good expressive look on her face but I felt like it came and went throughout the song.
Overall: I really enjoyed this performance. I like this song for her voice. Even though a few of the high notes didn't have enough energy behind them I still felt like it was a really great performance. 

Sarah Boucher
Breathing: Good, low, prepared breaths but sometimes on the release it feels a little pushed.
Intonation: Was great overall, only a few notes under pitch when going from higher notes down to the lower
Timbre:  bright
Diction: I understood all of Sarah's words.
Expressiveness: Sarah makes me tear up every time she sings this song. She does a great job with it.
Overall: It was a very enjoyable performance. Sarah seemed a bit tighter in this performance than ones I have seen in the past but it was still great.

Taylee Beckstead
Breathing:  Breaths good and generally stayed low in the body. The high notes could have used more energy.
Intonation: Overall tunefulness was good.
Timbre: Kind of tight in some places but with proper release she has a rich, beautiful sound.
Diction: It definitely could have used sharper consonants. I was losing a lot of what you were saying. German especially needs to have really strong consonants.
Expressiveness: My only suggestion on this would be not to move quite as much. Facial expressions were great. Be careful not to lean forward in an effort to express emotion. 
Overall: This was a great performance for Taylee. I feel like her sound could resonate a little better if she would lift the soft palate a bit more. Taylee seemed to have confidence in her high notes and overall composure.

Mariah Boyer
Breathing: Breath seemed kind of high in her chest. Ran out of breath on a few of the phrases.There was tension in the high notes not allowing the air to energize them. Low notes are beautiful, though.
Intonation: Higher notes seem "covered" which tends to make them sound flat. Otherwise it was great.
Timbre: Breathy, dark.
Diction: I understood all of the text
Expressiveness: Stood perfectly still so there were no distracting body movements(which is good) and there was definitely some good expression in her eyes but she could give even more.  Could use imagery to keep emotion there.
Overall:  I really like Mariah's voice. Just let those high notes free girl (I know, easier said than done)! Really nice voice, though. Lift soft palate, energize those high notes and be a little more free with your performance, you look a bit uptight.

Carolee Beck
Breathing: Is high in her chest and is pushy coming out
Intonation: in tune
Timbre: nasally, dark, low
Diction: Could use a bit more diction but that might not flow with the style of the piece as well.
Expressiveness:  Very good, she looks like she is having fun when she is performing.  She should avoid leaning forward and pushing.
Overall:  Carolee has a unique voice which is fun with the style she is singing.  Biggest thing I would say is to not be so pushy with the breath.

Emily Cottam
Breathing: Needs to be more energized in some places
Intonation: Struggled a bit in this area because the breath was under energized but it was generally good and in tune
Timbre: Very nice, light timbre which is sometimes fluttery
Diction: I need a little bit more. I don't speak Italian or anything but I think it could use to be a little more crisp.
Expressiveness: Try using imagery in your head to bring forth the desired emotion. I could've used a bit more emotion to tell what you were singing about.
Overall: Nice work done here. It could use a little more stability in the vibrato and breath but it's a beautiful voice. Nice performance.

Caitlyn Craig
Breathing: I feel like your chest is a little low and if you raise it a little and allow those ribs to expand a bit more you might have more breath (Just a suggestion) sometimes it seemed like you were running out. There were some nice low breaths there though.
Intonation: Right on
Timbre: Mellow, bright, sometimes a bit breathy
Diction: Sounds good
Expressiveness: Lovely expression in her face and eyes. I can get an idea of what she is singing about even though it is in French.
Overall: Caitlyn has such a nice voice and there were some really good moments in her singing.  The breath can be a bit more energized for the high notes especially for onset. Great performance!

Laura Berg
Breathing: Breath seems a little high in the chest which made the release sound a bit pushy
Intonation: Good with just a few notes under pitch when the breath was pushed
Timbre: Beautiful voice, dark, full timbre
Diction: More consonants
Expressiveness: Beautiful expression but I could still use a bit more
Overall: I really enjoyed the performance. Relax a little, it seemed a bit uptight.

Ben Shaw Aug29 recital notes

1. Sarah Brenay. Note: I stepped out for this performance to satisfy a pressing need.

1. Sarah Boucher
2. Breathing: Audible at parts.
3. Intonation: Sarah's performance was in tune.
4. Timbre: Resonate tone, "smiley," so to speak
5. Diction: Clear diction
6. Expressiveness: Impressive. Dynamic contrast/mood changes yielded a pleasing performance. This expressiveness is evident of technique becoming more natural to her (TC "automatism").
7. Masterclass: NA
8. Overall performance: Sarah is a confident performer who understands the emotional message of the song. Overall, excellent performance.

1. Taylee Beckstead
2. Breathing: Sometimes tight, otherwise supported.
3. Intonation: Great even on passages with more notes.
4. Timbre: Taylee has a mature voice, most evident in her middle range.
5. Diction: clear
6. Expressiveness: Engaging
7. Masterclass: NA
8. Overall performance: Very engaging. The German was impressive, and it is evident that Taylee has a flexible voice and is a confident performer.

1.Mariah Boyer
2. Breathing: Relaxed.
3. Intonation: tension and reaching with high notes yielded intonation difficulty.
4. Timbre: Rich tone, although a bit "swallowed" at parts, affecting the resonance.
5. Diction: Generally clear
6. Expressiveness: not bad. Even More dynamic contrast would sound more pleasing.
7. Masterclass: NA
8. Overall performance: Focused, aware of the emotional content. Performance tip: pin bangs back so audience can better see your eyes.

1. Carolee Beck
2. Breathing: a bit gaspy
3. Intonation: accurate. Consider sliding less.
4. Timbre: Rich tone that is pleasing to the ear, breathy at parts.
5. Diction: Good start to words and phrases. Keep it up all the way through.
6. Expressiveness: expression matched the song very well.
7. Masterclass: NA
8. Overall performance: Confident performer. Consider changing rep; a song like this can't truly showcase the beauty of one's voice, nor can it represent the expressive ability of the performer.

1. Emily Cottam
2. Breathing: at the beginning of the song, tensed up as breath was drawn. This pattern continued, showing a lack of breath support.
3. Intonation: Spot on.
4. Timbre: sweet and sparkling.
5. Expressiveness: There was not a lot of musical expression (dynamic contrast in particular) in this performance.
6. Diction: could be more clear.
7. Masterclass: NA
8. Overall performance: Good preparation. Tone quality made for a pleasing performance.

1. Caitlin Craig
2. Breathing: better at some parts than others; noise crept in (no pun intended).
3. Intonation: very good.
4. Timbre: Clear mature voice. a bit nazaly, breathy at parts.
5. Diction: clear
6. Expressiveness: Very good sense of French style and expressiveness.
7. Masterclass: NA
8. Overall performance: Seemed a little tense at first, but the tension waned as the song progressed.

1. Laura Berg
2. Breathing: Generally good, low breaths.
3. Intonation: no complaints here.
4. Timbre: Clear, resonate voice.
5. Diction: sometimes hard to understand the words.
6. Expressiveness: More dynamic contrast would fit the song better.
7. Masterclass: NA
8. Overall Performance: Good generally. The sound was off-and-on; the resonance was lost at parts. Also, some words were lost because of this. Tension in the shoulders as well.