Thursday, October 31, 2013
Sarah Boucher Lesson Summary 10/31
Memory Check...'nough said! Fun times, glad it is over. I just have one that was a bit shakey that we are going to look at again next week.
Caitlin Craig VRH October 31, 2013
Sarah Boucher: Sarah's breathing seemed to be fairly released. The German was accurate, but the vowels could be a little more focused. I saw a nice focus in character. I could tell that you know what you were singing about. The timbre and sound felt like it was falling in front of you. I think that there were a lot of good things happening during your performance, but I think that having more free-flowing air might help release the breath even more.
Jared Campbell: Jared's shoulders looked stiff, and his rib cage needed more release. It looked like he was holding it, and not letting it expand. His timbre seemed appropriate for the piece. Free flowing air could help the connection in the sound and release in the voice. His sternum also needed to be lifted.
Carolee Beck: Her sternum needs to be raised. Her breath would be much more released, if her lungs were able to expand. It seems to be in a speech-like place. Sometimes the timbre can be dry, coarse, and with a wide vibrato. I wonder what would happen if she raised her sternum w/out collapsing and had a sense of more free flowing air.
Jared Campbell: Jared's shoulders looked stiff, and his rib cage needed more release. It looked like he was holding it, and not letting it expand. His timbre seemed appropriate for the piece. Free flowing air could help the connection in the sound and release in the voice. His sternum also needed to be lifted.
Carolee Beck: Her sternum needs to be raised. Her breath would be much more released, if her lungs were able to expand. It seems to be in a speech-like place. Sometimes the timbre can be dry, coarse, and with a wide vibrato. I wonder what would happen if she raised her sternum w/out collapsing and had a sense of more free flowing air.
Ben Shaw VRH 10/31/2013
1. Jaron Putnam
2. Breathing: balloon
3. Intonation: weak start, good afterward
4. Timbre: great balance of weight in voice
5. Diction: great
6. Expression: great facials, expression shown also in music
7. Masterclass: na
8. Overall: great
1. Sarah Boucher
2. Breath: a bit high in the chest, seemingly
3. Intonation: great, generally. watch sustained "easy notes."
4. Timbre: clear voice
5. Diction: good d's,t's, ich and ach lauts. Could use more on other consonants
6. expression: good facials!
7. Masterclass: NA
8. Overall: good job!
1. Sarah Boucher
2. Breath: great breath at the start. Keep throughout.
3. Intonation: good, generally.
4. Timbre: more full sound; great sound!
5. Diction: hard to understand
6. expression: good shaping. phrases have even more potential.
7. Masterclass: NA
8. Overall: great.
1. Taylee Beckstead
2. Breath: good inhalation at start. Use the sense of inhalation to start phrases.
3. Intonation: good
4. Timbre: forte high notes: good resonance!
5. Diction: awesome. This adds to expressive power.
6. Expression: noticeable investment.
7. Masterclass: NA
8. Overall: awesome job!
1. Jared Campbell
2. breath: bucket
3. Intonation: pinching can cause pitch to sag
4. Timbre: rich low register
5. Diction: good enough... more helps
6. Expression: confidence in face; shows investment
7. Masterclass: NA
8. Overall: good. Beware of tight, rigid posture.
2. Breathing: balloon
3. Intonation: weak start, good afterward
4. Timbre: great balance of weight in voice
5. Diction: great
6. Expression: great facials, expression shown also in music
7. Masterclass: na
8. Overall: great
1. Sarah Boucher
2. Breath: a bit high in the chest, seemingly
3. Intonation: great, generally. watch sustained "easy notes."
4. Timbre: clear voice
5. Diction: good d's,t's, ich and ach lauts. Could use more on other consonants
6. expression: good facials!
7. Masterclass: NA
8. Overall: good job!
1. Sarah Boucher
2. Breath: great breath at the start. Keep throughout.
3. Intonation: good, generally.
4. Timbre: more full sound; great sound!
5. Diction: hard to understand
6. expression: good shaping. phrases have even more potential.
7. Masterclass: NA
8. Overall: great.
1. Taylee Beckstead
2. Breath: good inhalation at start. Use the sense of inhalation to start phrases.
3. Intonation: good
4. Timbre: forte high notes: good resonance!
5. Diction: awesome. This adds to expressive power.
6. Expression: noticeable investment.
7. Masterclass: NA
8. Overall: awesome job!
1. Jared Campbell
2. breath: bucket
3. Intonation: pinching can cause pitch to sag
4. Timbre: rich low register
5. Diction: good enough... more helps
6. Expression: confidence in face; shows investment
7. Masterclass: NA
8. Overall: good. Beware of tight, rigid posture.
Caitlin Craig Masterclass 10/29/13
Emily Cottam: Her breaths were fairly low and quiet. I heard some improvement of the flutter in her vibrato, but I think that there could be even more release in the sound. I sensed that she knew what she was singing about, but I would've liked to see even more specificity in her thought and eyes. Cindy worked on opening her mouth and revitalizing the energy throughout the phrase. The sound was a night and day difference when she did. It was bigger, warmer, and freer. I'm excited to hear what it sounds like when she implements this into all of her singing.
Hannah Lovato: This song is perfect for Hannah's voice. The quick moving grace notes, and tempo suit her voice very well. I could see the energy burning in her eyes. There were some intonation problems while descending. Timbre seemed to be in the proper placement, and I sensed a good laryngeal tug. Cindy worked on fixing the problem spots by asking Hannah which parts were her favorite part to sing, and why. And then she tried to find the things that made them work, and integrate them into the parts that Hannah was struggling with. I heard an improvement in the intonation, and phrasing.
Caitlin's Take-away:
Hannah Lovato: This song is perfect for Hannah's voice. The quick moving grace notes, and tempo suit her voice very well. I could see the energy burning in her eyes. There were some intonation problems while descending. Timbre seemed to be in the proper placement, and I sensed a good laryngeal tug. Cindy worked on fixing the problem spots by asking Hannah which parts were her favorite part to sing, and why. And then she tried to find the things that made them work, and integrate them into the parts that Hannah was struggling with. I heard an improvement in the intonation, and phrasing.
Caitlin's Take-away:
- down, down, down, down damnit! (only singing on vowel)
- jaw unhinged and articulating words with soft shape.
Amber's voice lesson summary
Voice lesson 10-29-13
It was memory check day. Thanks to Sarah G.'s help it went quite well. We still had some time at the end of the lesson to start wood-shedding some music. We worked on the emotion and meaning of texts by saying them with what the feeling should be in both English and German, then singing it through. It is amazing how much that helped. The whole "Think and let' thing really comes forward here.
It was memory check day. Thanks to Sarah G.'s help it went quite well. We still had some time at the end of the lesson to start wood-shedding some music. We worked on the emotion and meaning of texts by saying them with what the feeling should be in both English and German, then singing it through. It is amazing how much that helped. The whole "Think and let' thing really comes forward here.
Amber's master class notes 10-29
Master Class 10-29-13
Emily C.
She was dark resonant and round as usual.
Stuff given to think about to help get e better take on the emotion of the song.
Q: What is this (text) about?
A: A prayer for forgiveness.
Q: Do you think the person saying this prayer is hopeful that God will forgive them?
The advice here is to sing this text from the point of view of having hope. That way there is more room for the positive and less of the negative to take away from the performance.
Then came the fun physical stuff: "Exaggerate the open mouth."
Wow, what a nice difference. With the mouth more open the sound can go more ways and be more effective.She sounded so much better.
In the end the advice I think to us all is to never sing a song from a sad position. Sing whit the idea of what you (or the character) is going to do about it.
Hannah L.
Ahh, Bright, fluttery and playful.
Advice: Pick your favorite part of the song and then superimpose those feelings, and/or the feel of that phrase onto your least favorite bit.
It took a couple of tries, but Hannah really nailed it.
Think and let... THINK AND LET
Caitlin Craig
Light fluty and young. I love it when Caitlin sings because she has fun even when she messes up.
Advice: Keep tellign your larynx, DOWN... "DOWN LARYNX DOWN!!!!... ecpecially onthe higher notes.
Holy freakin' crap where has that big mature solid voice been hiding all this time?
Like...WOW!
MAJOR difference! Way to go Caitlin!
Emily C.
She was dark resonant and round as usual.
Stuff given to think about to help get e better take on the emotion of the song.
Q: What is this (text) about?
A: A prayer for forgiveness.
Q: Do you think the person saying this prayer is hopeful that God will forgive them?
The advice here is to sing this text from the point of view of having hope. That way there is more room for the positive and less of the negative to take away from the performance.
Then came the fun physical stuff: "Exaggerate the open mouth."
Wow, what a nice difference. With the mouth more open the sound can go more ways and be more effective.She sounded so much better.
In the end the advice I think to us all is to never sing a song from a sad position. Sing whit the idea of what you (or the character) is going to do about it.
Hannah L.
Ahh, Bright, fluttery and playful.
Advice: Pick your favorite part of the song and then superimpose those feelings, and/or the feel of that phrase onto your least favorite bit.
It took a couple of tries, but Hannah really nailed it.
Think and let... THINK AND LET
Caitlin Craig
Light fluty and young. I love it when Caitlin sings because she has fun even when she messes up.
Advice: Keep tellign your larynx, DOWN... "DOWN LARYNX DOWN!!!!... ecpecially onthe higher notes.
Holy freakin' crap where has that big mature solid voice been hiding all this time?
Like...WOW!
MAJOR difference! Way to go Caitlin!
Amber joint practice
Amber and Sarah G's joint practice
This week I got to practice with Sarah G. We were both stressing about the memory checks we had the next day and spent the time quizzing each other.
Sarah was an absolute genius at figuring out that my worst hangups were on the first word of every phrase. She also found several different ways of breaking down my text and drilling me on it so that I would be more solid and not as likely to draw a blank when get nervous.
I then sat with her music and translations and listened while she tripped her way through hers. She was in am uch better spot than I was emotionally, so she was able to get through it much easier.
Memory check went quite well the next day. :)
This week I got to practice with Sarah G. We were both stressing about the memory checks we had the next day and spent the time quizzing each other.
Sarah was an absolute genius at figuring out that my worst hangups were on the first word of every phrase. She also found several different ways of breaking down my text and drilling me on it so that I would be more solid and not as likely to draw a blank when get nervous.
I then sat with her music and translations and listened while she tripped her way through hers. She was in am uch better spot than I was emotionally, so she was able to get through it much easier.
Memory check went quite well the next day. :)
Amber's NV chapter 14
NV Chapter 14
Find the rue definition of success for yourself that measure up to your own standards, not anyone else's. Learn to enjoy the journey. The journey itself is a success. Don't ever stop working toward improvement just because you think you've “made it”. Stay authentic.
Concepts; staying authentic, clear and beautiful is more important than so-called prestige. Make sure you truly understand what success really is before you pursue it.
Words: Journey, clear, honest, beautiful, AUTHENTIC.
Connection: It really is all about the journey. I hope I never arrive, because if I do, I think I'll be really REALLY bored.
Find the rue definition of success for yourself that measure up to your own standards, not anyone else's. Learn to enjoy the journey. The journey itself is a success. Don't ever stop working toward improvement just because you think you've “made it”. Stay authentic.
Concepts; staying authentic, clear and beautiful is more important than so-called prestige. Make sure you truly understand what success really is before you pursue it.
Words: Journey, clear, honest, beautiful, AUTHENTIC.
Connection: It really is all about the journey. I hope I never arrive, because if I do, I think I'll be really REALLY bored.
Amber's NV chapter 13
NV chapter 13
How to be a healthy singer, Dink lots of water, be proactive on your daily life when using your voice for other things, don't do drugs, don't smoke, don't do ANYTHING that can dry you out. Eat a healthy diet, exercise wisely (no grunty lifting). Pay attention to your appearance, but remember that the most important thing is to be and appear healthy. If you happen to have a big fluctuation in weight, be aware that you have to readjust how you sing to compensate for the change on pressure in your abdomen. Avoid activities, such as hard onsets, squeezing the vocal fold to hard, etc. that lead to difficulties with nodules and polyps. If you get sick, be wise, know your body, and weigh each situation with a view to the longer career and your survival. If you decide to be a full time singer/performer, be prepared for the unusual life that goes with it. Be sure that you know what you need to be emotionally healthy in the human connections around you and build your career accordingly.
Last but not least, You need to strike a balance between humility and confidence. If you are a needy self-effacing martyr, or a pompous jerk people will be less likely to want to work with you.
Concepts: Do all that you can to take care or yourself physically and mentally. Be a good person to work with. Make sure that you really want a certain kind of lifestyle before you dive in.
Words: Pee pale (drink enough water), Confident but humble, WATER, lifestyle, healthy.
Connection: most people should be doing most of this stuff already.
How to be a healthy singer, Dink lots of water, be proactive on your daily life when using your voice for other things, don't do drugs, don't smoke, don't do ANYTHING that can dry you out. Eat a healthy diet, exercise wisely (no grunty lifting). Pay attention to your appearance, but remember that the most important thing is to be and appear healthy. If you happen to have a big fluctuation in weight, be aware that you have to readjust how you sing to compensate for the change on pressure in your abdomen. Avoid activities, such as hard onsets, squeezing the vocal fold to hard, etc. that lead to difficulties with nodules and polyps. If you get sick, be wise, know your body, and weigh each situation with a view to the longer career and your survival. If you decide to be a full time singer/performer, be prepared for the unusual life that goes with it. Be sure that you know what you need to be emotionally healthy in the human connections around you and build your career accordingly.
Last but not least, You need to strike a balance between humility and confidence. If you are a needy self-effacing martyr, or a pompous jerk people will be less likely to want to work with you.
Concepts: Do all that you can to take care or yourself physically and mentally. Be a good person to work with. Make sure that you really want a certain kind of lifestyle before you dive in.
Words: Pee pale (drink enough water), Confident but humble, WATER, lifestyle, healthy.
Connection: most people should be doing most of this stuff already.
Luke Shepherd VRH 10/31/2013
Sarah Brenay: You have very connected lines and phrases which is impressive. You have a very dark, rich timbre, but it could use a little more 'speakyness'. I wish there was a little more diction (I was of course listening to your spanish). It was very flowy but all the same it was hard at times to discern the words. Very good work on this piece.
Mariah Boyer: I loved your very first entrance! You gradually lost that ease though and later on it felt like you were working harder than you were at the beginning. Watch for intonation on those descending passages and large leaps. Great diction on "drop" with those p's and the c's on "music". Biggest thing to work on would be getting the sustaining energy to keep those phrases and leaps in tune. You're making great progress.
Carol Beck: I LOVE this song and I think that your unique voice works very well for this character from Avenue Q. It was a pleasant timbre but got a little pressed for those high notes. If you could get some lower body energy and open your throat your voice would kill us on this song. Lots of potential.
Mariah Boyer: I loved your very first entrance! You gradually lost that ease though and later on it felt like you were working harder than you were at the beginning. Watch for intonation on those descending passages and large leaps. Great diction on "drop" with those p's and the c's on "music". Biggest thing to work on would be getting the sustaining energy to keep those phrases and leaps in tune. You're making great progress.
Carol Beck: I LOVE this song and I think that your unique voice works very well for this character from Avenue Q. It was a pleasant timbre but got a little pressed for those high notes. If you could get some lower body energy and open your throat your voice would kill us on this song. Lots of potential.
Elizabeth Tait VRH 10.31.13
Sarah Boucher
Nice energy in the eyes and nice stance. It seemed very comfortable to me. I sense something American about your German, I believe it the "r"s and the dipthongs. I notice that you use a chest voice thang in the lower range, which is great. But right now, it seems unbalanced with the rest of your voice. I don't know how to help with that though haha.... I also noticed your descending intervals were a common place you went flat. Make those smaller.
Sarah Brenay
I loved the line you created. Your sound is beautiful, probably the best I've ever heard from you. I wish the beautiful sound had started at the beginning of the piece, not the middle. Your vibrato is so nice, but I wish it was on every note and at the beginning of every note. Nice sassy face! I liked it! I sense you need more free flowing air, but that confuses me because you need more chiaro....
Taylee Beckstead
Your eyes got crazy right before you sang, when you took your first breath. Just be aware of that, because it was scary! Each breath seemed unprepared and last minute. I can't tell if you forgot you were coming in, or you just took a fast breath. I seems like your high notes are pressed out of your body, in an effort to project. Try singing backwards and upwards instead (recycle the sound.)
Laekin Burgess
I want you to have so much ownership over the piece that you can leave the pianist in the dust if need be. that's all I have. haha
Nice energy in the eyes and nice stance. It seemed very comfortable to me. I sense something American about your German, I believe it the "r"s and the dipthongs. I notice that you use a chest voice thang in the lower range, which is great. But right now, it seems unbalanced with the rest of your voice. I don't know how to help with that though haha.... I also noticed your descending intervals were a common place you went flat. Make those smaller.
Sarah Brenay
I loved the line you created. Your sound is beautiful, probably the best I've ever heard from you. I wish the beautiful sound had started at the beginning of the piece, not the middle. Your vibrato is so nice, but I wish it was on every note and at the beginning of every note. Nice sassy face! I liked it! I sense you need more free flowing air, but that confuses me because you need more chiaro....
Taylee Beckstead
Your eyes got crazy right before you sang, when you took your first breath. Just be aware of that, because it was scary! Each breath seemed unprepared and last minute. I can't tell if you forgot you were coming in, or you just took a fast breath. I seems like your high notes are pressed out of your body, in an effort to project. Try singing backwards and upwards instead (recycle the sound.)
Laekin Burgess
I want you to have so much ownership over the piece that you can leave the pianist in the dust if need be. that's all I have. haha
Elizabeth Tait Masterclass 10.29.13
Emily Cottam
Good things:
- I loved the far away look in your eyes at the beginning, I really believed it.
- Your forward vowels are nice and forward.
- I liked how on one phrase, you sounded like you were musically sobbing, which was so perfect. I hope that made sense
- You are beautiful!
- When Cindy asked you to become more hopeful, it was a really good thing. REMEMBER THAT.
Things to improve
- I didn't hear your introduction at all, speak louder woman!
- I wish your [u] had less [y]
- Your darker vowels were too dark, especially [a]
Hannah Lovato
Good things
- I really liked that you gave your body freedom to move with the song, I think that helped you.
Things to improve
- The sound seems pressed to me. I feel like there is some kind of space in your head that you are not accessing, and the sound is stuck inside of you. Perhaps more molar space could help with that...
- I notice that you close down on space as you descend in pitch, which does not prepare you well for high notes.
- I wish you would open your mouth more, it seems quite stuck
- It seems like you sing in one gear (a reference to the NV)
- I see in yourself that you are predicting yourself to fail, and it hurts my heart to see that! I hear so much potential in you, don't be self-doubting!
Caitlin
Good things:
- I always enjoy your acting, it's always one of your strengths. Just very pleasant to watch.
Things to improve:
- It seemed that when you came in, you weren't ready. It took you off guard, and therefore took me off guard.
- All vowels sound the same in the high register, like "uh."
- So you have a great smile, but you lose it when you sing. However, maybe losing the smile is good until you can establish a consistently low larynx.
Good things:
- I loved the far away look in your eyes at the beginning, I really believed it.
- Your forward vowels are nice and forward.
- I liked how on one phrase, you sounded like you were musically sobbing, which was so perfect. I hope that made sense
- You are beautiful!
- When Cindy asked you to become more hopeful, it was a really good thing. REMEMBER THAT.
Things to improve
- I didn't hear your introduction at all, speak louder woman!
- I wish your [u] had less [y]
- Your darker vowels were too dark, especially [a]
Hannah Lovato
Good things
- I really liked that you gave your body freedom to move with the song, I think that helped you.
Things to improve
- The sound seems pressed to me. I feel like there is some kind of space in your head that you are not accessing, and the sound is stuck inside of you. Perhaps more molar space could help with that...
- I notice that you close down on space as you descend in pitch, which does not prepare you well for high notes.
- I wish you would open your mouth more, it seems quite stuck
- It seems like you sing in one gear (a reference to the NV)
- I see in yourself that you are predicting yourself to fail, and it hurts my heart to see that! I hear so much potential in you, don't be self-doubting!
Caitlin
Good things:
- I always enjoy your acting, it's always one of your strengths. Just very pleasant to watch.
Things to improve:
- It seemed that when you came in, you weren't ready. It took you off guard, and therefore took me off guard.
- All vowels sound the same in the high register, like "uh."
- So you have a great smile, but you lose it when you sing. However, maybe losing the smile is good until you can establish a consistently low larynx.
Luke Shepherd Masterclass 10/29.2013
Emily Cottam: You had excellent facial expression at the beginning but then it didn't change much throughout. It seems that you know the overall mood of what you're singing about but you could use more specificity to make one part different from another. It looks like you're taking good breaths but sometimes you don't suspend it and your rib cage collapses immediately. Wow, when Cindy had you open your mouth you had so much sound! Your voice had more depth and resonance and I even heard some overtones. Open your mouth, girl! Great performance.
Hannah Lovato: Very fun facials throughout, you were very engaged in the piece. I love the resonant timbre of your voice. Careful that you don't lose oscuro in your upper register. The high notes seemed almost effortless for you. Don't lose head space that you have in those higher passages in the middle passage. Very rich voice and great performance.
Caitlin Craig: You always make me smile when you sing because of your cheer and your smile. I don't think you prepped for that first note, though. I feel like you lose the "huh" primal sound when you go high and you lose that tracheal tug. Cindy focused exclusively on that and there were really nice moments when you got that balance and connection.
Hannah Lovato: Very fun facials throughout, you were very engaged in the piece. I love the resonant timbre of your voice. Careful that you don't lose oscuro in your upper register. The high notes seemed almost effortless for you. Don't lose head space that you have in those higher passages in the middle passage. Very rich voice and great performance.
Caitlin Craig: You always make me smile when you sing because of your cheer and your smile. I don't think you prepped for that first note, though. I feel like you lose the "huh" primal sound when you go high and you lose that tracheal tug. Cindy focused exclusively on that and there were really nice moments when you got that balance and connection.
Sarah Brenay - VRH - 10/31/13 HAPPY HALLOWEEN!!!
Taylee Tubs
You look really lovely and relaxed while you sing. Except... a little tension in the upper back still. The body could be more poised, especially the shoulders. I also think that the jaw never reached that released position you want! Remember the tootsie rolls. Every vowel, no matter where it is in the range, should have the same open, relaxed jaw. It's a little scary, but if you trust the voice to carry on without holding it sounds so much better.
Mariah Boyer
Now this piece is a really tricky one! It's difficult to get all the pitches in your head. Unfortunately that's what you're going to have to do for this one. Until you can hear every pitch in your piece with and without accompaniment, I wouldn't vocalize it. Knowing the accompaniment will also help you stay with the accompanist. I think that a lot of these were nervous mistakes, and I totally understand where you're coming from. Live and learn baby! We all do it. And we all move on and learn from it. I would also find a lighter, more boyant tone on this piece. Baroque vibrato is very different from, say, Wagnerian. So don't be afraid to back off the voice and let it be very light n' floaty. Keep up the good work girl.
Carolee
It was really fun to finally hear Carolee's voice today. What a unique, awesome voice. It sounds like she's found a really nice, bright, forward sound that's perfect for musical theater. I did see the larynx riding up on some of the higher phrases which is very worrying. The vibrato also sounded very forced. I hope she can work out a healthy technique to support that totally cool voice.
You look really lovely and relaxed while you sing. Except... a little tension in the upper back still. The body could be more poised, especially the shoulders. I also think that the jaw never reached that released position you want! Remember the tootsie rolls. Every vowel, no matter where it is in the range, should have the same open, relaxed jaw. It's a little scary, but if you trust the voice to carry on without holding it sounds so much better.
Mariah Boyer
Now this piece is a really tricky one! It's difficult to get all the pitches in your head. Unfortunately that's what you're going to have to do for this one. Until you can hear every pitch in your piece with and without accompaniment, I wouldn't vocalize it. Knowing the accompaniment will also help you stay with the accompanist. I think that a lot of these were nervous mistakes, and I totally understand where you're coming from. Live and learn baby! We all do it. And we all move on and learn from it. I would also find a lighter, more boyant tone on this piece. Baroque vibrato is very different from, say, Wagnerian. So don't be afraid to back off the voice and let it be very light n' floaty. Keep up the good work girl.
Carolee
It was really fun to finally hear Carolee's voice today. What a unique, awesome voice. It sounds like she's found a really nice, bright, forward sound that's perfect for musical theater. I did see the larynx riding up on some of the higher phrases which is very worrying. The vibrato also sounded very forced. I hope she can work out a healthy technique to support that totally cool voice.
Sarah Brenay - Masterclass - 10/29/13
Emily C
I couldn't really hear your introduction. Smile and project when you state your name and piece. Ah! What a beautiful voice and face! You look very calm and lovely when you sing. Your voice is very rich and velvety, really nice to listen to. I'm wondering about your vibrato. I'm noticing that it is very fast, but that's not a bad thing UNLESS it is uncomfortable or tense somewhere in your body. So do a self vibrato exam and see if it's being forced anywhere. If not, disregard this. It's just that I don't hear vibrato at that speed often and I want you to make sure it's healthy! I'm also seeing you hold your jaw closed throughout your piece. The [u] vowel is especially tight. All vowels can be formed without moving the jaw - you only need to move your lips forward for [u]. When Cindy got you to open your mouth more the sound changed drastically! So much more sound came out with the same amount of energy. AWESOME! Keep working on releasing the jaw and opening the mouth. Seriously. That's where it's at girl.
Hannah L
I wanted to hear more line in Hannah's piece. She was giving each note equal emphasis, especially in the first section of the piece. Her energy and facial expression was very good though! The molars aren't coming apart in the low range as much as they'd like. This sounded like a very challenging piece and I fell Hannah did a pretty great job with it. She's still got some strange quirks as far as body movement while she sings. I feel like Cindy's work with her made a huge difference. Applying the sensation of her favorite section to other sections made them sound much more pleasant, and it looked like it made it easier as well!
Caitlin Craig
I'd say we need to connect your singing to your speech more. The inhalation is not as full as it could be, probably would improve if the body was more aligned. Seriously, do jumping jacks. At least for me, that is the most poised align feeling ever. When Cindy had you sing the song on [a], it became very evident exactly where problem spots were. This is a great tool to expose problems. For example, as you got into the upper middle range, the vowel changed to [ae], and you know when that happens that something is doing something it shouldn't be - probably the tongue or jaw or larynx. As Cindy worked with you to keep your larynx down, your tone came through so full and clear! It was a wonderful sound. Great job!
I couldn't really hear your introduction. Smile and project when you state your name and piece. Ah! What a beautiful voice and face! You look very calm and lovely when you sing. Your voice is very rich and velvety, really nice to listen to. I'm wondering about your vibrato. I'm noticing that it is very fast, but that's not a bad thing UNLESS it is uncomfortable or tense somewhere in your body. So do a self vibrato exam and see if it's being forced anywhere. If not, disregard this. It's just that I don't hear vibrato at that speed often and I want you to make sure it's healthy! I'm also seeing you hold your jaw closed throughout your piece. The [u] vowel is especially tight. All vowels can be formed without moving the jaw - you only need to move your lips forward for [u]. When Cindy got you to open your mouth more the sound changed drastically! So much more sound came out with the same amount of energy. AWESOME! Keep working on releasing the jaw and opening the mouth. Seriously. That's where it's at girl.
Hannah L
I wanted to hear more line in Hannah's piece. She was giving each note equal emphasis, especially in the first section of the piece. Her energy and facial expression was very good though! The molars aren't coming apart in the low range as much as they'd like. This sounded like a very challenging piece and I fell Hannah did a pretty great job with it. She's still got some strange quirks as far as body movement while she sings. I feel like Cindy's work with her made a huge difference. Applying the sensation of her favorite section to other sections made them sound much more pleasant, and it looked like it made it easier as well!
Caitlin Craig
I'd say we need to connect your singing to your speech more. The inhalation is not as full as it could be, probably would improve if the body was more aligned. Seriously, do jumping jacks. At least for me, that is the most poised align feeling ever. When Cindy had you sing the song on [a], it became very evident exactly where problem spots were. This is a great tool to expose problems. For example, as you got into the upper middle range, the vowel changed to [ae], and you know when that happens that something is doing something it shouldn't be - probably the tongue or jaw or larynx. As Cindy worked with you to keep your larynx down, your tone came through so full and clear! It was a wonderful sound. Great job!
Emily F. VRH 10/31
Emily F. VRH 10/31:
Sarah Boucher: Breathing looked a little high in the body, but I didn't notice any problems with air flow. Your sound was well-supported, with graceful use of air, and gasp-free. Good job. Your timbre has a nice chiaroscuro balance which is really pleasant to listen to. Expression was good. You are always collected and have good expression to watch and it makes your performances enjoyable to watch--thank you! My only critique would be with the German diction. The "au", "L" and "r" sounds particularly are quite Americanized. Maybe you can practice using the tip of your tongue for a higher, gentler "L", and review diphthong and "r" pronunciations.
Jared Campbell: I noticed overall body tension in Jared, from the close-together feet to the slightly raised shoulders. I think this made it difficult to have good free-flowing air and maybe affected the vibrato, which sounded a little forced. Timbre is warm with good "chiaro" sound. I just wanted everything to open up more--jaw, feet, chest, words, and emotion. The kind of "locked down" feeling I saw reminds me of what I feel when I sing in front of an audience. I liked his choice of song and I feel like a lot of what he is doing vocally is great, just needs to be released more.
Caitlin Craig: Hey! There was a definite improvement from Tuesday! Your sound was more connected and full as a result of the work on keeping that larynx low. When you forgot the lyrics, the larynx crept back up for a little while, but you were able to get back on track some. It looked like you were concentrating hard on your technique, which made it difficult to understand what the song is about. I also noticed that you move your body quite a bit with the music, and I wonder if that is taking away from the energy you could use vocally? Overall, improved, and good work on that larynx!
Luke Shepherd: What a fun song and a good way to end VRH! Your expression and commitment to the lyrics made this an enjoyable performance. Timbre was pretty airy throughout, with some clear, full spots. Those nice, clear places were at the end of long notes and when the emotion was most present. I don't know how you channeled your energy there, but the sound was focused and full and exactly what I wanted! It almost seemed like the air was gushing in and out the rest of the time, and I think part of that was because of the emotion required for the piece.
Sarah Boucher: Breathing looked a little high in the body, but I didn't notice any problems with air flow. Your sound was well-supported, with graceful use of air, and gasp-free. Good job. Your timbre has a nice chiaroscuro balance which is really pleasant to listen to. Expression was good. You are always collected and have good expression to watch and it makes your performances enjoyable to watch--thank you! My only critique would be with the German diction. The "au", "L" and "r" sounds particularly are quite Americanized. Maybe you can practice using the tip of your tongue for a higher, gentler "L", and review diphthong and "r" pronunciations.
Jared Campbell: I noticed overall body tension in Jared, from the close-together feet to the slightly raised shoulders. I think this made it difficult to have good free-flowing air and maybe affected the vibrato, which sounded a little forced. Timbre is warm with good "chiaro" sound. I just wanted everything to open up more--jaw, feet, chest, words, and emotion. The kind of "locked down" feeling I saw reminds me of what I feel when I sing in front of an audience. I liked his choice of song and I feel like a lot of what he is doing vocally is great, just needs to be released more.
Caitlin Craig: Hey! There was a definite improvement from Tuesday! Your sound was more connected and full as a result of the work on keeping that larynx low. When you forgot the lyrics, the larynx crept back up for a little while, but you were able to get back on track some. It looked like you were concentrating hard on your technique, which made it difficult to understand what the song is about. I also noticed that you move your body quite a bit with the music, and I wonder if that is taking away from the energy you could use vocally? Overall, improved, and good work on that larynx!
Luke Shepherd: What a fun song and a good way to end VRH! Your expression and commitment to the lyrics made this an enjoyable performance. Timbre was pretty airy throughout, with some clear, full spots. Those nice, clear places were at the end of long notes and when the emotion was most present. I don't know how you channeled your energy there, but the sound was focused and full and exactly what I wanted! It almost seemed like the air was gushing in and out the rest of the time, and I think part of that was because of the emotion required for the piece.
Mariah Partner Practice #3
Mariah Partner Practice #3
Brooke and I worked on memorization for this practice and it was very helpful. We followed along while the other person recited the poems for their song. This helped us to see what we needed to work on and make sure that we weren't messing up on anything. Brooke helped me a lot with the diction on "Traume" since she has a lot of German diction training and I have none. So that was especially beneficial.
Brooke and I worked on memorization for this practice and it was very helpful. We followed along while the other person recited the poems for their song. This helped us to see what we needed to work on and make sure that we weren't messing up on anything. Brooke helped me a lot with the diction on "Traume" since she has a lot of German diction training and I have none. So that was especially beneficial.
Sam Meredith VRH 10/31
Jaron Putnam-I didn't notice any problems with Jaron's breathing today. Most of the notes seemed well supported, but there were some short notes that seemed a little too cut off. The lower notes were also a concern, so maybe there is some improvement in breath that could be made, but I didn't notice any major problems. The intonation was accurate and the timbre was warm. I did notice some tension in his neck on bigger jumps, though. The diction was good and the expression was as well.
Taylee Beckstead-The breathing was pretty good in Taylee's performance, but I did notice some audible breaths. Her intonation was really good, but I did notice that the intonation dropped a little bit on her last phrase. I think she just ran out of air. I really liked her vibrant timbre. The diction was mostly good, but there was one articulation of the word 'Dieu' that could use some work. I think she did a good job conveying the proper emotion of the piece.
Laekin Burgess- I think Laekin's breathing was a little bit rushed. I think she was nervous about not having the music memorized and that created some tension that made the breaths more shallow. There was some intonation trouble that resulted from that I think. I thought her articulation of her short notes, was really good, though. The timbre was full when she didn't have trouble remembering the words. When this piece is more fully memorized she will have a lot more success there and also in expressing the emotion of the piece.
Laura Berg-I did notice a few shoulder breaths in Laura's performance, but for the most part it didn't seem like she was running out of air. The intonation was good, but I think there needs to be a little bit more balance in the timbre between her low and high voice. There was also some trouble locking into her last pitch. I didn't notice many diction problems, but I think I heard the word 'licht' pronounced incorrectly. I also think she could do a little more to express the emotion of the piece.
Taylee Beckstead-The breathing was pretty good in Taylee's performance, but I did notice some audible breaths. Her intonation was really good, but I did notice that the intonation dropped a little bit on her last phrase. I think she just ran out of air. I really liked her vibrant timbre. The diction was mostly good, but there was one articulation of the word 'Dieu' that could use some work. I think she did a good job conveying the proper emotion of the piece.
Laekin Burgess- I think Laekin's breathing was a little bit rushed. I think she was nervous about not having the music memorized and that created some tension that made the breaths more shallow. There was some intonation trouble that resulted from that I think. I thought her articulation of her short notes, was really good, though. The timbre was full when she didn't have trouble remembering the words. When this piece is more fully memorized she will have a lot more success there and also in expressing the emotion of the piece.
Laura Berg-I did notice a few shoulder breaths in Laura's performance, but for the most part it didn't seem like she was running out of air. The intonation was good, but I think there needs to be a little bit more balance in the timbre between her low and high voice. There was also some trouble locking into her last pitch. I didn't notice many diction problems, but I think I heard the word 'licht' pronounced incorrectly. I also think she could do a little more to express the emotion of the piece.
Mariah Partner Practice #2
Mariah Partner Practice #2
We started out with Brooke singing one of her pieces and we worked on helping her have more line in her phrasing. She did the ragdoll position while singing which helped her be more free and connected. I sang "D'un Genio" while Brooke played and I sounded very weak on that song, especially the higher notes. Brooke helped me to try to open up more on those higher notes and not be so constricted. I sang in the ragdoll position as well and that helped me loosen up a little bit, but the high note was still tight. We tried a couple other things like trying to put the sound more forward which didn't help. But we also tried having me think the sound was going up and out through my forehead which helped me have more space and try to increase the sound instead of forcing the air.
We started out with Brooke singing one of her pieces and we worked on helping her have more line in her phrasing. She did the ragdoll position while singing which helped her be more free and connected. I sang "D'un Genio" while Brooke played and I sounded very weak on that song, especially the higher notes. Brooke helped me to try to open up more on those higher notes and not be so constricted. I sang in the ragdoll position as well and that helped me loosen up a little bit, but the high note was still tight. We tried a couple other things like trying to put the sound more forward which didn't help. But we also tried having me think the sound was going up and out through my forehead which helped me have more space and try to increase the sound instead of forcing the air.
Mariah VRH 10/31
Mariah VRH 10/31
Jaron Putnam
Jaron had a rich timbre, but I think he could make it more full. His breathing was balloon-like but he could have more free-flowing air to help the sound carry. He had good intonation and posture and his jaw seemed pretty relaxed. His expression was good, but I think he could tell the story a little more and possible add more dynamics.
Taylee Bekstead
Taylee had balloon breathing but maybe didn't fill up as much as she could. Her diction was good and she could go even further with it. Her intonation was a little off coming down on some phrases but other than that there didn't seem to be any problems. She had a light timbre for this piece and she could open her mouth more. Taylee had great facial expressions but her expression faded a bit on the last phrase. She also fiddled her fingers throughout the performance. Overall, it was a good performance but it could be more.
Laekin Burgess
Laekin had a full, mature and feminine timbre but it was not quite as full on her higher notes. Her diction was good but she could go a little further with it. Her jaw seemed a little tight; she could let it drop more. Her breathing was low but not quite full. The song seemed a little too fast for her.
Jaron Putnam
Jaron had a rich timbre, but I think he could make it more full. His breathing was balloon-like but he could have more free-flowing air to help the sound carry. He had good intonation and posture and his jaw seemed pretty relaxed. His expression was good, but I think he could tell the story a little more and possible add more dynamics.
Taylee Bekstead
Taylee had balloon breathing but maybe didn't fill up as much as she could. Her diction was good and she could go even further with it. Her intonation was a little off coming down on some phrases but other than that there didn't seem to be any problems. She had a light timbre for this piece and she could open her mouth more. Taylee had great facial expressions but her expression faded a bit on the last phrase. She also fiddled her fingers throughout the performance. Overall, it was a good performance but it could be more.
Laekin Burgess
Laekin had a full, mature and feminine timbre but it was not quite as full on her higher notes. Her diction was good but she could go a little further with it. Her jaw seemed a little tight; she could let it drop more. Her breathing was low but not quite full. The song seemed a little too fast for her.
Sam Meredith Master Class 10/29
Emily Cottam-I didn't notice any big problems with breath during Emily's performance. She looked really relaxed in her body. The intonation was good and she has a really warm timbre in her voice, but I did perceive some tension in her jaw, which could definitely improve her timbre if she got rid of it. The diction was good. I thought she did a decent job expressing the emotion of the piece the first time, but I really liked it after Cindy worked with her a little bit. She has a great foundation to start with with regards to this piece.
Hannah Lovato-I thought this was a great performance. The breathing was mostly good, but on the shorter breaths I did notice that there was some action in the shoulders. Her intonation was good and her timbre was bubbly, which works very nicely with her song. There did seem to be some tension in the neck in her upper register. The diction was good, but the opening vowel could be a little more pure. The expression was there and made the whole performance great to watch. It was already good, but she also made some great improvements after Cindy worked with her. I really enjoyed watching Hannah sing today.
Caitlin Craig-Caitlin's timbre was a little breathy and I think that is probably a result of some tension in the shoulders. The intonation was mostly good. There were a few shaky notes, but I think that is just a matter of not having the music memorized well enough and not a problem of her not being able to find her pitch. The diction was good. I think the expression could use some work. I think she was just thinking a lot about technique the first time through. I thought that the performance improved a lot once Cindy gave her more instruction. The tone was a lot fuller and fun to listen to.
Hannah Lovato-I thought this was a great performance. The breathing was mostly good, but on the shorter breaths I did notice that there was some action in the shoulders. Her intonation was good and her timbre was bubbly, which works very nicely with her song. There did seem to be some tension in the neck in her upper register. The diction was good, but the opening vowel could be a little more pure. The expression was there and made the whole performance great to watch. It was already good, but she also made some great improvements after Cindy worked with her. I really enjoyed watching Hannah sing today.
Caitlin Craig-Caitlin's timbre was a little breathy and I think that is probably a result of some tension in the shoulders. The intonation was mostly good. There were a few shaky notes, but I think that is just a matter of not having the music memorized well enough and not a problem of her not being able to find her pitch. The diction was good. I think the expression could use some work. I think she was just thinking a lot about technique the first time through. I thought that the performance improved a lot once Cindy gave her more instruction. The tone was a lot fuller and fun to listen to.
Mariah MC 10/29
Mariah MC 10/29
Emily Cottam
Emily has a mature, fluttering timbre that is unique and lovely. Her expression was good but seemed to go away during the piano interludes. She fiddled with her fingers a little bit but it was better than she has done in the past. Her breathing was like a bucket and didn't seem to fill up all the way. Her intonation was good except for a couple little problems at the ends of phrases and when descending in pitch. In masterclass, Cindy worked on helping Emily with her expression to have a belief in forgiveness to come. Expressing sadness is important, but the audience wants to know what you're going to do about the sad situation rather than just see the performer be sad. Cindy also told Emily to open her mouth more. At first they opened it in an exaggerated position, but this really helped Emily's sound. It was much more full and free. Some of Emily's take aways were to continually revitalize the energy and let the mouth be open.
Hannah Lovato
Hannah has a mature, vibrant timbre. Her high notes were a little disconnected which may have been caused by a lack of free-flowing air. Hannah could drop her jaw and round out her vowels more. Her expression was good, but moved around a lot. She could have more specific images. In masterclass, Cindy asked Hannah what her favorite part and least favorite part in the song were. When she tried to recreate the sound of her favorite part in her least favorite part, it helped the phrase have more line. Cindy also helped her to think higher vibrations and this helped Hannah have a fuller sound.
Caitlin Craig
Caitlin was breathing like a bucket and did not seem to have free-flowing air. She could also drop her jaw and open her mouth more to really let that sound carry. In masterclass, Cindy had her sing on an [a] sound and think to keep her larynx down on her higher notes. Singing is just [a] with soft shapes. This really helped Caitlin to have a more full sound with line.
Sarah Gee Lesson 10/29
Cindy and I had a deep discussion on somethings that I've been thinking about a lot lately. Why I'm doing music, what is it that I want to do with music and what I need to do in order to do that. Memory check went a lot better than it has in the past. there are definitely things that I need to improve but I've gotten myself cracking on that already. And It was a relief to know that I didn't have to memorize Jubal's lyre.
Sarah Gee 10/29 Partner Practice
I practiced with Amber Denslow and we worked on text memorization rather than sing because we were both feeling a little vocally tired after choir. We really needed to work on that for memory check, anyway, so it was really helpful. I had her jump around saying the different phrases in a different order. That really helped her. For me we just went through the text of my piece. Amber suggested that I pronounce Jubal the Hebrew way. It was really helpful to work with her.
Laura B VRH Oct. 31
Laura B
Sarah Boucher: Very nice breath support in the body, especially on the high notes. I could tell that she had a more difficult time making the same connection on the bottom notes. Some of the pronunciation of German would become spread and sounded very American, especially “arme.” There was also a lot of jaw movement which may have messed with the pronunciation as well as the connection in the body. Over all, her singing was pleasant, and I there was no very noticeable tension in the body.
Jared Campbell: He has beautiful voice with a naturally bright quality and a nice even vibrato. It seemed like he was singing further back in his voice then he naturally would have, trying to create a darker quality. I think that this made those high notes difficult to hit. I can tell that he knows what the words mean, but he can make a deeper connection with them which would help his expression.
Caitlin Craig: I can tell that she has been working hard on keeping her larynx down, and it showed in her performance. Her high notes didn't seem as held back and were freer. I could also tell though that she was evaluating her singing throughout the performance, which made it difficult for her to be expressive. I love how there is more presence coming into her voice.
Luke Shepard: So cute! I loved his expression. For the most part, his movements were intentional and worked. However, there were some movements that more seemed like he was flailing unintentionally. Be careful with the breath. It did help with expression, but I felt like he lost the connection in his body and had a hard time hitting notes that normally wouldn't be a problem for him.
Sarah Boucher: Very nice breath support in the body, especially on the high notes. I could tell that she had a more difficult time making the same connection on the bottom notes. Some of the pronunciation of German would become spread and sounded very American, especially “arme.” There was also a lot of jaw movement which may have messed with the pronunciation as well as the connection in the body. Over all, her singing was pleasant, and I there was no very noticeable tension in the body.
Jared Campbell: He has beautiful voice with a naturally bright quality and a nice even vibrato. It seemed like he was singing further back in his voice then he naturally would have, trying to create a darker quality. I think that this made those high notes difficult to hit. I can tell that he knows what the words mean, but he can make a deeper connection with them which would help his expression.
Caitlin Craig: I can tell that she has been working hard on keeping her larynx down, and it showed in her performance. Her high notes didn't seem as held back and were freer. I could also tell though that she was evaluating her singing throughout the performance, which made it difficult for her to be expressive. I love how there is more presence coming into her voice.
Luke Shepard: So cute! I loved his expression. For the most part, his movements were intentional and worked. However, there were some movements that more seemed like he was flailing unintentionally. Be careful with the breath. It did help with expression, but I felt like he lost the connection in his body and had a hard time hitting notes that normally wouldn't be a problem for him.
Emily C.: VRH, 10/31/13
Emily Cottam
Vocal Recital Hour Critiques, 10/31/13
Jaron Putnam
Breathing is slightly audible with slight sternal movement. Intonation is very good. Timbre is warm and smooth. The legato line throughout the piece was excellent and relaxed. The diction was good as far as I could tell--there were some moments where the dynamic level made it a little difficult to hear what you were saying though, so keep the breathflow consistent through it to maintain resonance on the lower notes. Expressiveness was very good and enjoyable to watch because it changed throughout the piece and it was very relaxed. Overall, I thought it was a very good performance, and I love watching you because you always look excited and happy to perform.
Taylee Beckstead
Breathing is like a balloon--I didn’t see any particularly unnecessary movement in the shoulders/sternum area. The intonation is very good. Timbre is clear and slightly pingy on higher notes--I absolutely love your steady vibrato. Diction is good as far as I could tell. Expression is very good and it changed throughout the piece, so I liked that. I especially loved the dynamic variation throughout the piece. The ends of phrases died out a little bit towards the end, so maintain that breathflow throughout the piece, and I think you should be fine.
Laekin Burgess
Breathing is like a bucket. Intonation was good. Timbre was bright, clear, and a little shaky, but I think it was because you were worried about getting off with the piano. No matter what the accompanist does, keep going, and they’ll keep up with you (eventually). Diction was good as far as I could tell. Overall, I thought it was a good performance, but just remember that you’re in charge of the piece and it’s okay to leave the accompanist behind if you know what you’re doing. :)
Laura Berg
Breathing is a like a balloon, but I think you could provide consistent and constant airflow throughout the entire phrase--it’s a bit quiet at the start and ends of phrases, and I think if you provide the same airflow throughout it’d even itself out. I love your vibrato--absolutely gorgeous. Intonation is very good. Timbre is warm and full. Diction could use more consonant sounds for German. Expression is very good, but I think it could use some more variation. Overall, I thought it was a very good performance, and besides the one memory slip, I thought it was very put together and got better as the song progressed. I always love listening to you sing.
Sarah Boucher VRH 10/31
Sarah Brenay: Sarah has such a richness to her sound, it is lovely! I heard a lot of space in her tone that I really enjoyed. I think that she needs more free flowing air in her singing. Her inhalation was good but it was just that she held the breath instead of letting it carry her through the phrase. I would also suggests more release in the body, she seemed a little "locked" down. The diction was pretty good but I could use a little more! Great job Sar!
Mariah Boyer: Mariah's high notes in the phrase were a bit pinched, making them sound a little bit flat. I think more back space would be helpful to round the sound out a bit and let the vibrato be free. That was the first time I ever understood some of those words, her diction was great! She even hit all the P's on "drop". Mariah didn't collapse in her body at all in her breaths which was great to see as well. Since she is doing so well at not collapsing I think she should work on letting the air flow through her more. Great job Mariah!
Carolee Beck: Carolee's tone was a little bit nasal, she needs more breath behind it and maybe a little chest voice??? I don't know! I also heard a bit raspy quality in her voice, but I kind of like it haha! I could understand the words well, but I know them :) so I would suggest more consonants. I thought that the breath could have been utilized better throughout the phrases, she often ran out at the end of the phrase. She had nice emotion behind the song and was pleasant to watch. Great job Carolee!
Mariah Boyer: Mariah's high notes in the phrase were a bit pinched, making them sound a little bit flat. I think more back space would be helpful to round the sound out a bit and let the vibrato be free. That was the first time I ever understood some of those words, her diction was great! She even hit all the P's on "drop". Mariah didn't collapse in her body at all in her breaths which was great to see as well. Since she is doing so well at not collapsing I think she should work on letting the air flow through her more. Great job Mariah!
Carolee Beck: Carolee's tone was a little bit nasal, she needs more breath behind it and maybe a little chest voice??? I don't know! I also heard a bit raspy quality in her voice, but I kind of like it haha! I could understand the words well, but I know them :) so I would suggest more consonants. I thought that the breath could have been utilized better throughout the phrases, she often ran out at the end of the phrase. She had nice emotion behind the song and was pleasant to watch. Great job Carolee!
Taylee - VRH 10/31/13
Jaron Putnam:
B:
I:
T: something was missing... I'm not sure what. That's not to say that it was bad by any means, but it wasn't his normal sound to me
D: very crisp and distinguishable
E: What is the story of this piece?
O:
Sarah Boucher:
B: quite
I: seemed to fall back on open e vowel
T: Ringing
D: great German!
E: I loved that she knew what she was saying, but how did it relate personally to her?
O:
Sarah Brenay:
B:
I: very pleasing
T: dark, rounded
D: lost some of the beginnings of words
E: Even in serious piece have energy in the eyes (specifically in piano intro)
O: I would like more energy, even though it is a more serious work.
Jared Campbell:
B:
I: great! the very highest pitch was a little reached for, but really nice through-out.
T: lacked energy
D: lost some words at the end of phrases
E: would have loved a lot more.
O: energy seemed to disappear at the end of phrases. I think he seemed to be thinking more about the notes and rhythms, rather than the the power behind the message. This is a song that carries strong emotion, and he didn't surrender to that.
Mariah Boyer:
B:
I: lost tonal center, had a hard time getting back into right key.
T: could use some more SSS. there was a lot of laryngeal tension preventing the natural speaking sensation
D: had a lot of dark "ah" sound in top note in second "music"
E: I think she had a hard time connecting after she slipped on the tonality.
O:
Laekin Burgess:
B:
I:
T:
D: German sounds very easy for her to say, which I really like about her German songs.
E: what does the song mean?
O: would have liked more linear-ness. Even though the piano struggled, I didn't feel like she kept the line going on her own.
Caitlin Craig:
B:
I: sat on the lower end of pitch
T: not as full as as it could be with a lower larynx
D:Love how natural the German is though!! (just get a few of those words myelinated better ;))
E: what does this song mean?
O: Think DEEP. Depth in breathe. Lower larynx.
Carolee Beck:
B: silent.
I:
T: jazzy, forward
D: understood all the words!
E: Loved how she gave into the style!
O:
Laura Berg:
B:
I:
T: Rounded,
D: able to distinguish individual words, but sometimes i lost part of the word.
E: What does this song. (There were a lot of "deer in the headlights" eyes.
O:
So I just realized that I tried to do every single person, instead of doing every third.... bah...
B:
I:
T: something was missing... I'm not sure what. That's not to say that it was bad by any means, but it wasn't his normal sound to me
D: very crisp and distinguishable
E: What is the story of this piece?
O:
Sarah Boucher:
B: quite
I: seemed to fall back on open e vowel
T: Ringing
D: great German!
E: I loved that she knew what she was saying, but how did it relate personally to her?
O:
Sarah Brenay:
B:
I: very pleasing
T: dark, rounded
D: lost some of the beginnings of words
E: Even in serious piece have energy in the eyes (specifically in piano intro)
O: I would like more energy, even though it is a more serious work.
Jared Campbell:
B:
I: great! the very highest pitch was a little reached for, but really nice through-out.
T: lacked energy
D: lost some words at the end of phrases
E: would have loved a lot more.
O: energy seemed to disappear at the end of phrases. I think he seemed to be thinking more about the notes and rhythms, rather than the the power behind the message. This is a song that carries strong emotion, and he didn't surrender to that.
Mariah Boyer:
B:
I: lost tonal center, had a hard time getting back into right key.
T: could use some more SSS. there was a lot of laryngeal tension preventing the natural speaking sensation
D: had a lot of dark "ah" sound in top note in second "music"
E: I think she had a hard time connecting after she slipped on the tonality.
O:
Laekin Burgess:
B:
I:
T:
D: German sounds very easy for her to say, which I really like about her German songs.
E: what does the song mean?
O: would have liked more linear-ness. Even though the piano struggled, I didn't feel like she kept the line going on her own.
Caitlin Craig:
B:
I: sat on the lower end of pitch
T: not as full as as it could be with a lower larynx
D:Love how natural the German is though!! (just get a few of those words myelinated better ;))
E: what does this song mean?
O: Think DEEP. Depth in breathe. Lower larynx.
Carolee Beck:
B: silent.
I:
T: jazzy, forward
D: understood all the words!
E: Loved how she gave into the style!
O:
Laura Berg:
B:
I:
T: Rounded,
D: able to distinguish individual words, but sometimes i lost part of the word.
E: What does this song. (There were a lot of "deer in the headlights" eyes.
O:
So I just realized that I tried to do every single person, instead of doing every third.... bah...
Jake recital hour
Ja-rone
Well done brother. You always sound so healthy. You very rarely strain when you sing. I feel like you really have a good mix of the chiaro oscuro going on. Nice low notes bro!
Ps, I secretly think you are a closet tenor... Just sayin...
Taylee:
I wish that you would keep the air flowing and the voice spinning on ALL the notes, not just the long ones. Good French! I feel like you get a little honky ion your middle range, but n the higher notes it is awesome because it sounds like you have the chiaro oscuro mix going on very nicely. Try to apply that to your whole range
Larkin:
Keep calm, be confident. Don't head bang with the beat ;)
Well done brother. You always sound so healthy. You very rarely strain when you sing. I feel like you really have a good mix of the chiaro oscuro going on. Nice low notes bro!
Ps, I secretly think you are a closet tenor... Just sayin...
Taylee:
I wish that you would keep the air flowing and the voice spinning on ALL the notes, not just the long ones. Good French! I feel like you get a little honky ion your middle range, but n the higher notes it is awesome because it sounds like you have the chiaro oscuro mix going on very nicely. Try to apply that to your whole range
Larkin:
Keep calm, be confident. Don't head bang with the beat ;)
Wednesday, October 30, 2013
Emily C.: Lesson Summary, 10/30/13
Emily Cottam
10/30/13 Lesson
While working on the typical vocal exercises, we worked mostly on trying to maintain the position of the inhale--I have a habit of collapsing my ribcage and not supporting with enough air through the phrase. I should feel like I have butterflies in my stomach, or my torso is as open as a hollowed out log. We also tried to focus on maintaining molar space in the back, while not forcing my mouth open and overworking the tongue. She warned me that I should avoid taking in too much air for a phrase--let my body instinctively take in the amount of air I need for the phrase. Excess air is let out as an audible “puff.” We worked again on “Pieta Signore” because it’s the song I struggle most with. I need to stay in character from the very beginning of the piece; I should use a different expression or put different emphasis on every word, keeping in mind the syllabic emphasis from the Italian diction itself. I need to exaggerate and almost go over the top with my emoting, my double consonants, and the speed variation (my ritardandos in particularly expressive parts of the piece). This requires lots of airflow to help maintain the legato (like we talked about in The Naked Voice!) line in the diction because it gets a little choppy sometimes. Brianna had me use an exercise band to help ground myself and remind myself to keep the air flowing, and this really helped, so I’m going to be sure to invest in on as soon as I can.
Taylee - SS ch 11
Taylee. Summary: Just as we are striving to find
our naked voice, we should be just as determined to uncover our personality,
including (but not limited to) our strengths, weaknesses, tendencies and limits.
As we are choosing our repertoire to sing, we should remember that it is our choice!
As long as it means something to us, that meaning will be able to flow through
us and out to the listeners. A personal connection will always trump intellectual
speculation. As we prepare for auditions or performances, again, remember to be
true to yourself. Envisioning yourself giving your best performance is a
great way to remind yourself about what you are capable of. This practice also
helps to shake away nerves and potential tension, because we will have already
gone through the motions (at least mentally). What we focus on is what will
happen (myelination at work). I sound
like a broken record, but we must know ourselves and what our needs are in
learning music. Time management, memory strategies and limitations, physical
and mental health, these all play a factor in being a good vocalist.
Key Terms: fach box. positive visualization. audiation. mark/marking. warm-ups.
Key Concepts: The most important principle in pursuing any career should be the same as the principle involved in learning to sing: Be true to yourself.
Making Connections: I like specific instructions. If there is something concrete for me to follow, there is a lesser likely-hood of failure. But a lot of what this chapter said made sense. I especially liked the part about choosing my own repertoire. Why shouldn't I sing what makes me feel good? As I continue to improve my technique, my repertoire will naturally follow my abilities if I just adhere to what is in my sweetspot
Laura B SS Chapter 12
Laura B
Chapter Summary: As human beings, we often try to come up with excuses for when things are not going exactly as planned or when a mistake is made. It can take a lot of humility to take responsibility for ourselves. However, learning to take responsibility is crucial if we are to become successful singers and successful in life in general. We must take responsibility for our voices, for the practice that we put in, for our repertoire, and for our preparedness in learning it. In taking responsibility for ourselves, we also must strive to be true to ourselves in every way and not compromise our standards. However, we also need to learn when to swallow our pride. When a composer or director says something that we may not agree with but in the long run will not be detrimental to us, we must learn to just bite our tongues and follow their instructions. We also must learn to say no when those instructions would put is in a place that would be harmful to our voices as well as our values and emotional well-being. When saying no, we must do so in a humble, gracious way. Preparedness is also another show of humility and respect for our colleagues, because it shows that we honor their time. No matter how long it may take for us too feel prepared, we need to make sure that we plan our time so that we will be prepared for the first rehearsal. We should also be kind and generous to our colleagues through seeking to help them. All in all, we should know and come to terms with the part that we play, and with humility, do our best in each role that we are given.
Key Concept: Taking responsibility for yourself is essential in finding your authentic self.
Key Terms: personal responsibility, la voce, preparedness,
Making Connections: This was a humbling chapter for me and a good reminder of why it is important to consistently be prepared for every part that we play in life. I know that I have missed out on opportunities simply because I was not prepared for them. I am making a goal with myself that I will be a consistently reliable and prepared person, in whatever responsibilities I am given.
Chapter Summary: As human beings, we often try to come up with excuses for when things are not going exactly as planned or when a mistake is made. It can take a lot of humility to take responsibility for ourselves. However, learning to take responsibility is crucial if we are to become successful singers and successful in life in general. We must take responsibility for our voices, for the practice that we put in, for our repertoire, and for our preparedness in learning it. In taking responsibility for ourselves, we also must strive to be true to ourselves in every way and not compromise our standards. However, we also need to learn when to swallow our pride. When a composer or director says something that we may not agree with but in the long run will not be detrimental to us, we must learn to just bite our tongues and follow their instructions. We also must learn to say no when those instructions would put is in a place that would be harmful to our voices as well as our values and emotional well-being. When saying no, we must do so in a humble, gracious way. Preparedness is also another show of humility and respect for our colleagues, because it shows that we honor their time. No matter how long it may take for us too feel prepared, we need to make sure that we plan our time so that we will be prepared for the first rehearsal. We should also be kind and generous to our colleagues through seeking to help them. All in all, we should know and come to terms with the part that we play, and with humility, do our best in each role that we are given.
Key Concept: Taking responsibility for yourself is essential in finding your authentic self.
Key Terms: personal responsibility, la voce, preparedness,
Making Connections: This was a humbling chapter for me and a good reminder of why it is important to consistently be prepared for every part that we play in life. I know that I have missed out on opportunities simply because I was not prepared for them. I am making a goal with myself that I will be a consistently reliable and prepared person, in whatever responsibilities I am given.
Laura B SS Chapter 11
Laura B
Chapter Summary: The most important thing that we can do as a singer is be true to ourselves. In the music industry, others will attempt to put us in a box and expect certain repertoire based on our voice type and vocal quality. However, we should make sure that we are the determining factor and choose a repertoire that speaks to us, we enjoy singing, and at the same time is healthy in our voice. When auditioning, the author suggested that we visualize ourselves succeeding and what that would feel like before the audition. We should come into the audition with confidence, not over-the-top energy or apology. We need to go into it with the mindset that we are going to give everything that we have, as if we were performing for an audience and not for a panel of judges. The most effective way to learn repertoire is to follow the order of first studying the text, then speaking the text, speaking the text in rhythm, learn the pitches through playing them and listening to them, and finally singing it. Performing is more then singing. It is about feeling moved by the music and then expressing that to the audience. In order to have the most freedom of expression in artistry, we must ensure that we are organized time-wise and financially so that unneeded stress does not come into our rehearsals or performances.
Key Concept: Be true to yourself
Key Terms: fach system, repertoire, boxing yourself in, audition, positive visualization, expectations, "get the grill warmed up," "have church," audiation, marking, actors, organization, time management, financial management.
Making Connections: Another chalk full chapter. I loved the part about being true to who you are and finding your true voice. This is often a big challenge for me, because I have never really figured out what my true voice is. I feel like I am an expressive performer, but have formed many bad habits for expressive singing. It has made me scared to sing expressively because I am really trying to get over those habits. It was reassuring to me to read about going back to the basics and doing things that allow for the voice to be healthy.
Chapter Summary: The most important thing that we can do as a singer is be true to ourselves. In the music industry, others will attempt to put us in a box and expect certain repertoire based on our voice type and vocal quality. However, we should make sure that we are the determining factor and choose a repertoire that speaks to us, we enjoy singing, and at the same time is healthy in our voice. When auditioning, the author suggested that we visualize ourselves succeeding and what that would feel like before the audition. We should come into the audition with confidence, not over-the-top energy or apology. We need to go into it with the mindset that we are going to give everything that we have, as if we were performing for an audience and not for a panel of judges. The most effective way to learn repertoire is to follow the order of first studying the text, then speaking the text, speaking the text in rhythm, learn the pitches through playing them and listening to them, and finally singing it. Performing is more then singing. It is about feeling moved by the music and then expressing that to the audience. In order to have the most freedom of expression in artistry, we must ensure that we are organized time-wise and financially so that unneeded stress does not come into our rehearsals or performances.
Key Concept: Be true to yourself
Key Terms: fach system, repertoire, boxing yourself in, audition, positive visualization, expectations, "get the grill warmed up," "have church," audiation, marking, actors, organization, time management, financial management.
Making Connections: Another chalk full chapter. I loved the part about being true to who you are and finding your true voice. This is often a big challenge for me, because I have never really figured out what my true voice is. I feel like I am an expressive performer, but have formed many bad habits for expressive singing. It has made me scared to sing expressively because I am really trying to get over those habits. It was reassuring to me to read about going back to the basics and doing things that allow for the voice to be healthy.
Bric Slade VRH 10/29/13
Bric Slade VRH 10/24/13
Elizabeth Tait: It sounded great. There was free flowing air. The breathing was smooth. The diction was great. There might have been some tension in the upper range.
Ben Shaw: Sounded like he was holding back the resonance in the bottom of his throat. Needs better placement. Sounded like the air could be flowing more freely. Diction was alright. Could use more expression.
Kaylee Ann Simmons: Needs more shape and line to the phrasing. Needs to stay more connected. This will bring more free flowing air.
Mandie Skousen: For the most part air was free but still could sense some tension in the root of the tongue.
Laura Wride: Needs more free flowing air.
Emily Cottam: Needs more free flowing air.
Brad Summers: Improved since last time with the placement of the resonance. Still feeling like it needs to be more up and back. Speaking the text will help the music run more smoothly.
Luke Shepherd: Great performance. Air was free and flowing. Expressive in the text. The diction was understandable. There might have been some tension in the upper body that I noticed.
Jaron Putnum: Great performance. The air was free.
Taylee Beckstead: had flowing air.
Sam Meredith: Still seems like he needs better placement of resonance. Sounds like he is swallowing his sound. Sounded connected.
Elizabeth Tait: It sounded great. There was free flowing air. The breathing was smooth. The diction was great. There might have been some tension in the upper range.
Ben Shaw: Sounded like he was holding back the resonance in the bottom of his throat. Needs better placement. Sounded like the air could be flowing more freely. Diction was alright. Could use more expression.
Kaylee Ann Simmons: Needs more shape and line to the phrasing. Needs to stay more connected. This will bring more free flowing air.
Mandie Skousen: For the most part air was free but still could sense some tension in the root of the tongue.
Laura Wride: Needs more free flowing air.
Emily Cottam: Needs more free flowing air.
Brad Summers: Improved since last time with the placement of the resonance. Still feeling like it needs to be more up and back. Speaking the text will help the music run more smoothly.
Luke Shepherd: Great performance. Air was free and flowing. Expressive in the text. The diction was understandable. There might have been some tension in the upper body that I noticed.
Jaron Putnum: Great performance. The air was free.
Taylee Beckstead: had flowing air.
Sam Meredith: Still seems like he needs better placement of resonance. Sounds like he is swallowing his sound. Sounded connected.
Sarah Brenay - SS - Ch. 11
Chapter Summary: Smith gives readers career advice. His main belief is that a singer must be true to themselves and follow their own path to success. What worked for someone else will not necessarily work for you. In choosing repertoire, Smith advises readers to choose music that the love and that they want to sing, rather than focusing so much on the fach system. The important thing is to infuse the piece with your own personality. To have a successful audition we need to be poised, focused, and have a positive mental visualization of how the piece will go. The goal should not be to impress or to prove anything. Instead, our focus should be on what we want to communicate and create in each moment. Smith also mentions that having an over enthusiastic or apologetic attitude in auditions is selfish and can be very obnoxious. Give every performance everything you've got, not holding back or apologizing for anything. Auditions are no different from performances. Smith's 5 step process for learning repertoire is: study the text, speak the text, speak the text in rhythm, get the pitches down mentally, then sing. A note he made on marking was that if you don't know how to do it properly, never do it. He did say that a singer should mark dramatically until they know their staging, so that they avoid contradictions in interpretation and mess themselves up. As singers, we can't express ourselves in the way that actors do, or else we may tighten the body and voice. We need to stay free while we express emotion. It's important not to do strenuous exercises before a performance so that we don't tire the voice. Sigh's and wobbles are good for performance warm ups, as is talking. We need to know ourselves, and know what it takes for us to be prepared. Showing up unprepared for rehearsals is a great way to get fired and earn a bad reputation. We also need to be good managers of our time and our finances.
Key Concepts: Be true to yourself. Sing what you love and what you like singing. Give your all in performances. Be prepared. Think positively, visualize positively. Manage your time and money well. Know yourself and your voice.
Key Terms:
Fach - assigns singers specific roles and wardrobes
Making Connections: Woah. This was another loaded chapter. So much good stuff! The tips for performance really resonated with me. I'm realizing all that I've been doing wrong when I perform, and some things I'm doing right. I also like his advice for picking repertoire. There are a lot of aspects to singing that I haven't thought about before, and Smith gives a great introduction to these concepts and gives great advice.
Key Concepts: Be true to yourself. Sing what you love and what you like singing. Give your all in performances. Be prepared. Think positively, visualize positively. Manage your time and money well. Know yourself and your voice.
Key Terms:
Fach - assigns singers specific roles and wardrobes
Making Connections: Woah. This was another loaded chapter. So much good stuff! The tips for performance really resonated with me. I'm realizing all that I've been doing wrong when I perform, and some things I'm doing right. I also like his advice for picking repertoire. There are a lot of aspects to singing that I haven't thought about before, and Smith gives a great introduction to these concepts and gives great advice.
Caitlin Craig VRH October 24, 2013
Elizabeth Tait: It sounded great, but I wanted to hear more free flowing air in the passages.
Ben Shaw: More simply speaking and pingy placement. Sound falling in front of you, rather than resonating inside your body.
Kaylee Ann Simmons: More free flowing air to aid the legato line, and shape phrasing.
Mandie Skousen: more free flowing air.
Laura Wride: more free flowing air.
Emily Cottam: more free flowing air to even the vibrato through vocal line.
Brad Summers: more free flowing air to create a smoother line. This would also help us to better understand the humorous text.
Bric Slade: More free flowing air would help him fix his placement problems.
Luke Shepherd: flowing air to unify vowels throughout the range.
Jaron Putnum: flowing air.
Taylee Beckstead: flowing air
Sam Meredith: flowing air.
Ben Shaw: More simply speaking and pingy placement. Sound falling in front of you, rather than resonating inside your body.
Kaylee Ann Simmons: More free flowing air to aid the legato line, and shape phrasing.
Mandie Skousen: more free flowing air.
Laura Wride: more free flowing air.
Emily Cottam: more free flowing air to even the vibrato through vocal line.
Brad Summers: more free flowing air to create a smoother line. This would also help us to better understand the humorous text.
Bric Slade: More free flowing air would help him fix his placement problems.
Luke Shepherd: flowing air to unify vowels throughout the range.
Jaron Putnum: flowing air.
Taylee Beckstead: flowing air
Sam Meredith: flowing air.
Caitlin Craig SS Chapter 10 Summary
Chapter Summary: In Chapter 10 Smith introduces some additional techniques to "playing the game" or singing while performing. During the practice time frame singers will think of technique, but when it comes to performing, it is not a time to be thinking of technique. This is where we must trust our practice. The Additional techniques to "playing the game" go as follows:
Key Terms: playing the game, vowel substitution, shadow vowels, Fioratura, musicality, musicianship, agility, pulses, staccato,
Key Concepts: Diction=anti-legato, Diction is the means to an end, not the end goal, over-pronouncing can cause unwanted tension, and doesn't not convey the bigger picture. There is a difference between musicianship and musicality. Airflow should be maintained through crescendo and decrescendo. Practicing Fioratura passages are crucial the healthy and longevity of the voice. Free vocalism is good vocalism. The more freedom we attain in phonation, the free we will be to sing in any style we want. Singers should be maintaining integrity of communication in whatever genre they are singing."The singer/actor should not change singing technique from one style to the other. He or she should only change the way he or she uses the language."
Making Connections: I have been desperately working on unhinging my jaw, and maintaining space between my molars this semester. The section of legato technique has opened my eyes, and really given me something to think about, and not chew on! ;) I am excited to implement the idea of maintaining the airflow and legato line by using my lip and tongue as articulators. This will help with entangling my voice, and perhaps help me with lower laryngeal position.
- Legato Technique: It is important to maintain the integrity of the vowel shape throughout the entirety of the voice's range. This can only happen when we are articulating the vowels with free phonation and airflow. To find this unity of the vowel definition one can use the sigh-like legato line while speaking the text, because vowels are sounds that do not interrupt the airflow. Changing vowels in the top of the voice can make sound freer, however it isn't a genuine or healthy technique to fall back on. Additional jaw movement isn't necessary. We can maintain the same unhinged jaw sensation when singing all of the vowels. The difference occurs in the separation of the tongue from the jaw. "The goal is to use the lips and the tongue to channel the air along the sigh path without tension in the jaw." The lift of the soft palate occurs independently with the correct channeling of air. Vowel substitution is when "we find a vowel that when sung sounds authentic but allows for free-flowing air." Consonants are a different story. Consonants create a partial or complete interruption of the airflow; in other words they partially break the legato line of proper singing. Like in the phonation of vowels, the jaw must be unhinged with the tongue separated no matter what we are singing. This may sound sloppy, but rather it makes them more clear, and promotes the airflow. Double consonants can inhibit the legato line as well, however we can double them in a way that promotes the propulsion of the legato line. One must be careful while singing double consonants to not increase sub-glottal pressure, as this decreases airflow. Shadow vowels are only helpful when they are used at the end of phrases (i.e. "God-[I]"). The trick is to keep the tongue in a higher position so that the vowel alignment remains. "The principle way to avoid this habit is to sing through all the final consonants while connecting to the following initial consonants without opening the mouth, which is what causes the shadow vowel. If the legato line is maintained, the resultant airflow will still catapult the consonant out to the audience and transmit clearly." When singers can find the balance of maintaining free-flowing airflow through the phonation of vowels, with minor interruption of breath through consonants they will find a genuine and expressive timbre.
- Diction: Diction=anti-legato. Over-pronouncing can cause unwanted tension, and interrupts the sound and airflow. Diction is the means to an end, not the end goal. Perfect diction is not always understood, however the music is there to help tell the story, and the deeper metaphorical intent. We must find a balance of pronunciation and conveying emotional truth, compositional intent, expression, and airflow to sing with clarity.
- Musicality: Musicality isn't musicianship. Musicianship is the base of music learning: rhythms, dynamics, pitches, & tempos. Musicality is implementing expression into the components of musicianship. Musicality is expressed through appropriate shape of phrasing, variety in color, and the ebb/flow of tempo -- all guided by the emotion of the piece. Musicality is a mark of proper vocal production. We can find our inherent musicality by singing freely and with intent.
- Dynamics: Singing softly requires consistent airflow while decreasing intensity of phonation. When learning music, we should ask ourselves why a composer placed a certain dynamic marking there. Sometimes it isn't as much of a change in dynamic, but rather a change in color. We must maintain airflow, and release to sing softly. When crescendo occurs we energize the airflow without increasing vocal resistance.
- Agility and Fioratura: Practicing agility through Fioratura passages is crucial to vocal health and longevity. Learning to sing Fioratura passages well, will help to free tension in the voice. Good Fioratura singing is not singing note by note, but in a legato contour or shape of the phrase. Learning these types of passages can be made easier by following these steps: 1. divide into pulses 2. Singing pulses w/legato 3. Sing all notes pulse by pulse 4. Combine two pulses at a time 5. Combine all pulses. By focusing on pulses, we can learn how to phonate the other notes, while maintaining airflow, and freeing the voice.
- Singing Staccato (with legato): Staccato=detached. Thinking of staccato notes as short is incorrect, as it tends to stop consistent airflow.
- Dealing with wide intervals: Wide intervals can cause a challenge in maintaining the legato line. Singers must maintain the airflow while shifting seamlessly between gears.
- Dealing with stylistic difference in music: Free vocalism=good vocalism. We must learn to sing with our own voices freely in all styles of music. Singing freely with one's true voice is crucial to discovery of possibilities, and in return the correct repertoire will be revealed.
- Singing nonclassical styles: The difference between classical style and the other genres is the use of the text. "Refined vowels, enhanced airflow, and greater resonance are essential to projecting a voice in a large concert hall or opera house." The more freedom we maintain in our phonation the freer we will be able to sing in any style. Singers should be maintaining integrity of communication in whatever genre they are singing.
Key Terms: playing the game, vowel substitution, shadow vowels, Fioratura, musicality, musicianship, agility, pulses, staccato,
Key Concepts: Diction=anti-legato, Diction is the means to an end, not the end goal, over-pronouncing can cause unwanted tension, and doesn't not convey the bigger picture. There is a difference between musicianship and musicality. Airflow should be maintained through crescendo and decrescendo. Practicing Fioratura passages are crucial the healthy and longevity of the voice. Free vocalism is good vocalism. The more freedom we attain in phonation, the free we will be to sing in any style we want. Singers should be maintaining integrity of communication in whatever genre they are singing."The singer/actor should not change singing technique from one style to the other. He or she should only change the way he or she uses the language."
Making Connections: I have been desperately working on unhinging my jaw, and maintaining space between my molars this semester. The section of legato technique has opened my eyes, and really given me something to think about, and not chew on! ;) I am excited to implement the idea of maintaining the airflow and legato line by using my lip and tongue as articulators. This will help with entangling my voice, and perhaps help me with lower laryngeal position.
Tuesday, October 29, 2013
Sarah Brenay - SS - Ch. 10
Summary: The inventions help us condition the voice for singing, but a singer's approach to singing repertoire is quite different from singing exercises. A singer should not be thinking about technique while they are singing. Performing requires the legato line Smith has described. An important aspect of achieving the proper line is vowel definition. We need to learn to sing vowels without interrupting airflow and and phonation. There should be no feeling of resistance or obstruction to the airflow regardless of the vowel. One good approach to refining vowels is to speak them in a sigh-like falsetto. With consonants, the goal is to pronounce them with minimal interruption to airflow. Singers need to avoid the temptation to over emphasize diction, and instead focus on the emotional intent of the text. The diction should be precise, but not over the top. According to Smith, musicality is inherent in the voice. All that is required of the singer is to sing freely with clear emotional intent. Singing softly should not be so very different from speaking softly: airflow stays the same, but phonation becomes less intense. Smith describes his steps to learning fioratura passages, which is similar to chunking. We should maintain the line even while singing staccato passages.
Key Concepts: Singers should not be thinking about technique while performing. Smith emphasizes the importance of the legato line/ constant airflow. Diction can be overdone to the point that native speakers won't understand it. All voice types should be able to sing fioratura.
Key Terms:
shadow vowels - the added vowel (schwa) that is not a part of the word.
Making Connections: There was a lot of information in this chapter. I will definitely have to revisit it! One thing that stuck out to me was his saying that performing is not the time to think about technique. I get so nervous that all I can think about is technique! Until I really get a piece down that is. I also liked what he said about belting. I'm not sure I'm with him 100% on the inherent musicality of the voice, however. That sounds like some more unfounded Smithism.
Key Concepts: Singers should not be thinking about technique while performing. Smith emphasizes the importance of the legato line/ constant airflow. Diction can be overdone to the point that native speakers won't understand it. All voice types should be able to sing fioratura.
Key Terms:
shadow vowels - the added vowel (schwa) that is not a part of the word.
Making Connections: There was a lot of information in this chapter. I will definitely have to revisit it! One thing that stuck out to me was his saying that performing is not the time to think about technique. I get so nervous that all I can think about is technique! Until I really get a piece down that is. I also liked what he said about belting. I'm not sure I'm with him 100% on the inherent musicality of the voice, however. That sounds like some more unfounded Smithism.
Sam Meredith SS Ch. 12 Summary
Sam
Chapter 12 Summary- Singers have a tendency to refuse to take personal responsibility for their problems. When our voice doesn't sound as good we are always more than willing to find a myriad of excuses why we cannot perform to the best of our abilities. In the end, however, we exercise more control of the health and preparedness of our voice than anything else and we need to take responsibility for it. This principle should also guide our relationship with directors and conductors. We should definitely take into account what they have to say, but in the end we know better than anyone else what is best for our voice and for us as people and that should be our first priority. Personal responsibility also needs to take effect when we show up to our rehearsals. It is our responsibility to have our music learned. It doesn't matter how long it takes us to learn it, but it needs to be learned by our deadline. This kind of responsibility is a key part of having integrity as a performer and being a good colleague
Key Concept-Personal responsibility is an incredibly important characteristic for a singer. It prevents us from making excuses when our voice isn't in great condition, increases our preparedness, and helps us have better relationships with directors and colleagues
Key Terms-Personal Responsibility, La Voce
Making Connections-I know that I am quite often guilty of making excuses regarding my singing. I think I need to just take care of it better and deal with it when it doesn't feel the best.
Chapter 12 Summary- Singers have a tendency to refuse to take personal responsibility for their problems. When our voice doesn't sound as good we are always more than willing to find a myriad of excuses why we cannot perform to the best of our abilities. In the end, however, we exercise more control of the health and preparedness of our voice than anything else and we need to take responsibility for it. This principle should also guide our relationship with directors and conductors. We should definitely take into account what they have to say, but in the end we know better than anyone else what is best for our voice and for us as people and that should be our first priority. Personal responsibility also needs to take effect when we show up to our rehearsals. It is our responsibility to have our music learned. It doesn't matter how long it takes us to learn it, but it needs to be learned by our deadline. This kind of responsibility is a key part of having integrity as a performer and being a good colleague
Key Concept-Personal responsibility is an incredibly important characteristic for a singer. It prevents us from making excuses when our voice isn't in great condition, increases our preparedness, and helps us have better relationships with directors and colleagues
Key Terms-Personal Responsibility, La Voce
Making Connections-I know that I am quite often guilty of making excuses regarding my singing. I think I need to just take care of it better and deal with it when it doesn't feel the best.
Emily C.: Joint Practice, 10/28/13
Emily C.: Joint Practice, 10/28/13
Shalayna and I worked on keeping our jaws apart when speaking the text and maintaining space between the back molars, especially since I have a habit of keeping my mouth sort of closed when singing. We used Tootsie Rolls to do this. We also talked about keeping our breath engaged and encouraging the airflow to continue through the end of the phrase (avoiding the harsh glottal stop at the end of phrases to force the breath to end, causing the subdued “cough” sound you get from exhaling after the glottal stop). We picked a vowel that we were good at (i.e. “oo”) and sang one of my pieces, “Pieta Signore” on that vowel, trying to maintain good airflow and keeping the molars apart, relaxing the jaw.
(On a side note: The things we worked on during this session were almost exactly the same things Cindy had me work on in my Master Class...)
Jared Daley Masterclass 10/29/2013
Jared Daley masterclass 10/29/2013
Emily Cottam-
There was quiet breathing, I have noticed improvement. Mostly in tune, occasionally vibrato seems to pull pitch down. Seems tight somewhere, maybe free up airflow. I also noticed some jaw tension. Diction was alright. I'm not familiar with the words, so I couldn't really tell. Good expression! At times she seemed sad. Overall it was performed well. Keep mouth open, keep energy up and airflow free. Great dramatic improvement after suggestions were made. Know what you are singing about. My favorite suggestion was speaking like Dory trying to speak whale.
Hannah Lovato-
Breath was better, there were a couple of gaspy breaths. They were audible, I was looking down so I could see what she was doing with her body. In tune, Improvement in keeping pitch up, but sometimes still flat. Voice is sounding freer and has an enjoyable quality to it. Diction was pretty good. There were a couple of mushy parts, like in the higher parts. More consonants up high! Seemed worried about song while singing it. Need more happy expression. Very well done! She needs to find parts that she likes and follow woodens plan M+ M- M+. she needs to think Flowy, more line, and higher higher higher! Think and let.
Caitlin Craig-
Breathing was better, but still a bit high. Chest rose. In tune, something sounds a little stiff. Sound falls back sometimes. Nice tone, high larynx can make it sound forced. German was good! Always can use more consonants. Expression was decent. Needs happiness in eyes! Great improvement! Enjoy singing more! Had a dead face sometimes. I also noticed that she sang better after she had a little mess up. Something released. Think Larynx down Damn it! Sing with "ah" with soft shapes. Sounded amazing when she got her larynx down.
Emily Cottam-
There was quiet breathing, I have noticed improvement. Mostly in tune, occasionally vibrato seems to pull pitch down. Seems tight somewhere, maybe free up airflow. I also noticed some jaw tension. Diction was alright. I'm not familiar with the words, so I couldn't really tell. Good expression! At times she seemed sad. Overall it was performed well. Keep mouth open, keep energy up and airflow free. Great dramatic improvement after suggestions were made. Know what you are singing about. My favorite suggestion was speaking like Dory trying to speak whale.
Hannah Lovato-
Breath was better, there were a couple of gaspy breaths. They were audible, I was looking down so I could see what she was doing with her body. In tune, Improvement in keeping pitch up, but sometimes still flat. Voice is sounding freer and has an enjoyable quality to it. Diction was pretty good. There were a couple of mushy parts, like in the higher parts. More consonants up high! Seemed worried about song while singing it. Need more happy expression. Very well done! She needs to find parts that she likes and follow woodens plan M+ M- M+. she needs to think Flowy, more line, and higher higher higher! Think and let.
Caitlin Craig-
Breathing was better, but still a bit high. Chest rose. In tune, something sounds a little stiff. Sound falls back sometimes. Nice tone, high larynx can make it sound forced. German was good! Always can use more consonants. Expression was decent. Needs happiness in eyes! Great improvement! Enjoy singing more! Had a dead face sometimes. I also noticed that she sang better after she had a little mess up. Something released. Think Larynx down Damn it! Sing with "ah" with soft shapes. Sounded amazing when she got her larynx down.
Jared Daley TNV Chapter 12
Jared Daley TNV Chapter 12
This chapter gave me anxiety because i felt like we danced around the same concept over and over. Make your own decisions regarding your singing. Own yourself, make choices and learn from them. Take responsibility for bad singing. Don't blame health, or bad mood. It's and organic thing, your voice, so it's constantly changing. It may feel different everyday. Face the bad with perspective and honesty. Take advice and make your own decisions. We must discover who we are, what we are meant to be, and then work hard to stay on that path. Don't let pride get in the way of accommodating conductors and directors. There are tactful strategies in approaching them when there is a problem. Tread lightly! We have to know ourselves and when to say no. Be prepared and take responsibility. To sum up a really boring section of the chapter PAY YOUR DUES.
Key term
Key concept- In the real world you must not make excuses for yourself. Take responsibility and also be true to yourself.
Connection- I love opera, but it was a really hard decision when I said, I'm probably not going to enjoy or even want an opera career. I know my strengths and I am trying to work towards that path.
This chapter gave me anxiety because i felt like we danced around the same concept over and over. Make your own decisions regarding your singing. Own yourself, make choices and learn from them. Take responsibility for bad singing. Don't blame health, or bad mood. It's and organic thing, your voice, so it's constantly changing. It may feel different everyday. Face the bad with perspective and honesty. Take advice and make your own decisions. We must discover who we are, what we are meant to be, and then work hard to stay on that path. Don't let pride get in the way of accommodating conductors and directors. There are tactful strategies in approaching them when there is a problem. Tread lightly! We have to know ourselves and when to say no. Be prepared and take responsibility. To sum up a really boring section of the chapter PAY YOUR DUES.
Key term
Key concept- In the real world you must not make excuses for yourself. Take responsibility and also be true to yourself.
Connection- I love opera, but it was a really hard decision when I said, I'm probably not going to enjoy or even want an opera career. I know my strengths and I am trying to work towards that path.
Jared Daley TNV Chapter 11
Jared Daley TNV Chapter 11
Be true to yourself! That really sums up the chapter. Once we discover ourselves we must fully and openly continue on that path as we pursue a career. The Fach system places us in a box. Don't limit yourself. Your repertoire will emerge naturally as you develop your voice. Choose rep you love and want to sing. Find pieces you can connect to. Voice category labels are subjective and often meaningless. What people are looking for is constantly changing. Be true to yourself. There is power in positive visualization. You can imagine yourself looking great, feeling confident, having energy, and feeling freedom in your voice. First visualize physical atmosphere, and enter with confidence. secondly, visualize each aria or song and what you are trying to communicate with each one. Third, sinf through pieces mentally, notice how it feels free. When it's time to sing go out and do it! Learning rep- 1. study the text. 2. Speak the text. 3. speak text in rhythm. 4. get pitches in your ear. 5. sing it. Rehearsals- marking is important. If you can't mark properly than it's better to just sing out. High falsetto is used with no tightness or air flow restriction. Singers are actors, they feel the emotions of their character. Bodies can sometimes respond to emotions with muscular tension. We must learn to convey the emotions rather than feel them. Warm up before performance, don't condition. You must be prepared for your role. Learn it, know it, love it. Then there was the random section on financial planning. We must be good with our finances. it's pretty simple to me.
Key terms- Positive visualization
Key concept- Like I said before we have to learn who we are and be true to it. All our choice should be made on our own, based on being true to ourselves.
Connection- This may seem dumb, but I became a better singer after I came out. I gained more confidence and became true to who i am.
Be true to yourself! That really sums up the chapter. Once we discover ourselves we must fully and openly continue on that path as we pursue a career. The Fach system places us in a box. Don't limit yourself. Your repertoire will emerge naturally as you develop your voice. Choose rep you love and want to sing. Find pieces you can connect to. Voice category labels are subjective and often meaningless. What people are looking for is constantly changing. Be true to yourself. There is power in positive visualization. You can imagine yourself looking great, feeling confident, having energy, and feeling freedom in your voice. First visualize physical atmosphere, and enter with confidence. secondly, visualize each aria or song and what you are trying to communicate with each one. Third, sinf through pieces mentally, notice how it feels free. When it's time to sing go out and do it! Learning rep- 1. study the text. 2. Speak the text. 3. speak text in rhythm. 4. get pitches in your ear. 5. sing it. Rehearsals- marking is important. If you can't mark properly than it's better to just sing out. High falsetto is used with no tightness or air flow restriction. Singers are actors, they feel the emotions of their character. Bodies can sometimes respond to emotions with muscular tension. We must learn to convey the emotions rather than feel them. Warm up before performance, don't condition. You must be prepared for your role. Learn it, know it, love it. Then there was the random section on financial planning. We must be good with our finances. it's pretty simple to me.
Key terms- Positive visualization
Key concept- Like I said before we have to learn who we are and be true to it. All our choice should be made on our own, based on being true to ourselves.
Connection- This may seem dumb, but I became a better singer after I came out. I gained more confidence and became true to who i am.
Jared Daley TNV Chapter 10
Jared Daley TNV Chapter 10
Singing a piece of music is playing the game. The inventions are there to condition us for the game. As it gets more difficult, we have to step up our practice so we can step up our game. With vowel definition vowels have no interruption of air flow. Trying to keep the purity of the vowel is hard. We must learn to channel air through refined vowel definition. The Goal is to have native speakers understand us. Diction is sometimes the "anti-legato". Spitting out consonants can cause tension and interrupt air flow. The purpose of good diction is to make the text understandable. Musicality- Because singers come from and instrumentalist background, they attempt to be musical in a similar way. In that sense they are imitating an instrumentalist imitating a singer. Singing freely with intention will cause the voice to naturally sing with musicality. Dynamics- Airflow shouldnt' be shut down to sing quietly. Always constant and free! Agility and fioratura- there are five steps to singing floridly; Divide it into pieces, sing pulse with legato, sing all notes pulse by pulse, combine two pulses at a time, and finally combine all pulses. Staccato- maintain a legato technique or constant flow of air using a supraglottal. Other styles of music are possible to sing well and healthily. It is all about the constant free flowing air.
Key terms Fioratura
Key concept- there are many things we must do while conditioning our voice, but these are only for practice. When it's game time, go play the flippin game.
Connection- I loved the section on the belt. I've had the opportunity to learn from some amazing people so I understand how easily it is to have an amazing "belt" and still be open and free.
Singing a piece of music is playing the game. The inventions are there to condition us for the game. As it gets more difficult, we have to step up our practice so we can step up our game. With vowel definition vowels have no interruption of air flow. Trying to keep the purity of the vowel is hard. We must learn to channel air through refined vowel definition. The Goal is to have native speakers understand us. Diction is sometimes the "anti-legato". Spitting out consonants can cause tension and interrupt air flow. The purpose of good diction is to make the text understandable. Musicality- Because singers come from and instrumentalist background, they attempt to be musical in a similar way. In that sense they are imitating an instrumentalist imitating a singer. Singing freely with intention will cause the voice to naturally sing with musicality. Dynamics- Airflow shouldnt' be shut down to sing quietly. Always constant and free! Agility and fioratura- there are five steps to singing floridly; Divide it into pieces, sing pulse with legato, sing all notes pulse by pulse, combine two pulses at a time, and finally combine all pulses. Staccato- maintain a legato technique or constant flow of air using a supraglottal. Other styles of music are possible to sing well and healthily. It is all about the constant free flowing air.
Key terms Fioratura
Key concept- there are many things we must do while conditioning our voice, but these are only for practice. When it's game time, go play the flippin game.
Connection- I loved the section on the belt. I've had the opportunity to learn from some amazing people so I understand how easily it is to have an amazing "belt" and still be open and free.
Emily F. masterclass 10/29
Emily F. masterclass 10/29:
Emily Cottam: I noticed that your intonation was pretty closely related to the breath energy. When you got to the ends of phrases and were maybe running out of air was when the pitch dipped. Also, I wonder if having a more consistent airflow would help with getting more consonants out. The dynamic was really piano, but you could have given even more volume throughout. Maybe you could try singing the whole song fortissimo to see what the body feels like and transfer that feeling to singing the song piano? Just an idea. When Cindy asked you to sing with more hope, the audience was invited in, and you seemed more open and available. It was great! And then, when you practiced singing with your mouth more open (by the way, it didn't look obnoxiously open as it might have felt to you--it seemed fine) it was improved even more. I really enjoyed seeing the changes in you today. Good work!
Hannah Lovato: It looks like you really have a picture in your mind about this song. Your expression makes you fun to watch--thank you! Something interesting I noticed today about you is that your body is loose and relaxed, but the tension you have is in your jaw and lips. I wonder how it would feel to let your body be more stable and strong and let your lips be floppy? You also have a tendency to "direct" the music with your body--when the melody ascends, your shoulders go up and in, and when the line descends, your body kind of collapses. When Cindy had you notice how you felt for your favorite part and apply it to your least favorite part, it improved. Your "ah" vowel sounds really nicely balanced.
Caitlin Craig: Your German sounded great. When I heard you sing the first time through, the song almost sounded too high for you, but I think it was just a lack of connection in your body. I thought maybe speaking the lyrics would be helpful. Your improvement when Cindy worked with you was significant! The flagpole idea for keeping the larynx low seemed to be really beneficial to you. You may not have felt the change too much, but I could definitely hear a big change in your sound. It was fuller, less airy, with more ring and depth. Good job.
Emily Cottam: I noticed that your intonation was pretty closely related to the breath energy. When you got to the ends of phrases and were maybe running out of air was when the pitch dipped. Also, I wonder if having a more consistent airflow would help with getting more consonants out. The dynamic was really piano, but you could have given even more volume throughout. Maybe you could try singing the whole song fortissimo to see what the body feels like and transfer that feeling to singing the song piano? Just an idea. When Cindy asked you to sing with more hope, the audience was invited in, and you seemed more open and available. It was great! And then, when you practiced singing with your mouth more open (by the way, it didn't look obnoxiously open as it might have felt to you--it seemed fine) it was improved even more. I really enjoyed seeing the changes in you today. Good work!
Hannah Lovato: It looks like you really have a picture in your mind about this song. Your expression makes you fun to watch--thank you! Something interesting I noticed today about you is that your body is loose and relaxed, but the tension you have is in your jaw and lips. I wonder how it would feel to let your body be more stable and strong and let your lips be floppy? You also have a tendency to "direct" the music with your body--when the melody ascends, your shoulders go up and in, and when the line descends, your body kind of collapses. When Cindy had you notice how you felt for your favorite part and apply it to your least favorite part, it improved. Your "ah" vowel sounds really nicely balanced.
Caitlin Craig: Your German sounded great. When I heard you sing the first time through, the song almost sounded too high for you, but I think it was just a lack of connection in your body. I thought maybe speaking the lyrics would be helpful. Your improvement when Cindy worked with you was significant! The flagpole idea for keeping the larynx low seemed to be really beneficial to you. You may not have felt the change too much, but I could definitely hear a big change in your sound. It was fuller, less airy, with more ring and depth. Good job.
Emily C.: TNV, Ch. 12
The Naked Voice: Chapter 12
Emily Cottam
Chapter Summary: Smith discusses the importance of staying true to yourself and being independent and trusting your decisions. Choosing repertoire and deciding whether or not to audition or compete in something is ultimately up to you. It’s best not to blame outside things for the functioning of your voice--rather, just take responsibility and work with it, despite the roadblocks. “We must be careful not to let pride get in the way of accommodating [conductor/director] expectations.” ALWAYS come prepared to rehearsals. Don’t be afraid to ask for outside help. “Be a generous colleague.” “It takes humility and wisdom to determine where we fit in the business, and therefore when and how to give input.”
Key Concepts: Finding your way to a professional career is different for everyone, and there is no set way to become successful. Being flexible to the desires of the director is good for professional standing, but it’s also important to know when it’s time to make negotiations or bow out. Have all your music learned by the first rehearsal. Work well with others because if you help them, they’re likely to help you.
Making Connections: I think this chapter had some very valuable insight concerning the expectations in the professional music world, and a lot of this advice is directly applicable to the things we do off-stage. Everyone has their own path to follow, and each road to success is different. Being able to discuss through problems, negotiate, and work together is something that is valuable in any working situation.
Emily F. lesson 10/29
Emily F. lesson 10/29: It was an interesting lesson today. I came having warmed up some and my voice felt fine. When we started the vocalizes, I found myself thinking really hard. All of the ideas in pedagogy are swimming around in my head and all my singing problems are coming to the forefront of my awareness. It's a little overwhelming, but I'm trying to trust that I'm improving. So I had a hard time feeling free. I've particularly been paying attention to the base of the tongue issues, so my singing felt strange. It was "easy" in my larynx, but felt exposed and vulnerable. And it was unfamiliar. I felt like I had to experiment with my body a lot to get the free feeling I wanted. We did a lot of "getting high" type exercises. When I worked on my songs, I found myself trying to "get it right," technique-wise, and then found that I was locking myself into a set position, mentally and physically. I was thinking about the book idea of the thousands of gears, so I tried to shake myself loose and adjust as I was going. I had an issue with keeping my sound energized throughout the songs--nothing new there. I'm not sure how I can learn to energize my singing without the aids and tricks that I have in lessons. When I pull on the exercise band, or do the flamingo surfer, my sound changes every time. It didn't feel like a really productive lesson, but I'm hoping that all the foreign feelings meant that I was making progress and change.
Subscribe to:
Posts (Atom)