Hi folks.
As I have been re-reading your critiques, I was planning to comment on each one. As I got started on this, it occurred to me that I needed to say nearly the same kind of thing to each of you. So, here are some suggestions that I think will help you improve your critiques.
Keep in mind that your critique should help the singer get better at error detection which in turn should help them practice more effectively. So, when you can, be as specific and descriptive as possible. We want to describe carefully what it is that we see and hear, so that the singer can learn from our comments which errors s/he needs to be on the look-out for in her/his practice.
Example: Your voice has an attractive balance of brightness and warmth when you sing words that have the [e] vowel in them. Other times your sound seems to be more muffled, especially on the darker vowel sounds (in words like come, autumn, love).
Even though we know that we get the best motor learning if we pay attention to the effect of good biomechanics, rather than directing our attention to the biomechanics themselves, sometimes it is still helpful to include specific comments about what we see happening physically.
Example: Most of the time, your posture seems upright, energetic, and expansive. However, when you are approaching high notes (like on the word flight about halfway into the song), I notice that your right shoulder creeps up and you turn your head slightly in that direction.
Notice how I have begun with a positive that includes a specific moment when I particularly noticed it happening, and then followed with a comment about an error that I detected, again, with a specific idea about when/where they might be on the lookout for this error.
More later . . .
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