Kat Hirschi-
Use opposite postures to accomplish the goal. Most young singers have hidden neck tension. Help with this by sitting on a chair and leaning forward or slumping against a wall. Don’t find what is wrong, find what is right. Use headgear with thumbs on the jaw to discover jaw release. Find a way to hold the weight of your head. The jawbone should swing backward. Use the arms to demonstrate this
Nalani Matthais-
Immediately I can hear how free her sound is, especially on sustained passages. I hear this slightly less on the pickup notes to the phrases. She has such extreme control on soft, high notes. Occasionally on high notes there is some kind of slight obstruction to the sound. It could just be some phlegm in the throat from what I can hear. Singing as if she were crying put a little bit more focus in her sound. This loosened the vocal cords and allowed them to come together more naturally. Don’t ever press the vocal cords together. Use panting between phrases to avoid sucking breaths. You aren’t always running out of breath, but you might be locking up because you’re worried that you’re running out of breath. Thinking of the panting helped the breath throughout the whole last few phrases. Pump the breath.
Camilla Hein- Vanilla Ice Cream
It was interesting to hear this song with a slightly more contemporary spin. She has pop elements in the sound of her voice. Using the phone as a prop was a nice touch. I would have loved a slightly taller sound in the mouth, especially when she opened up to sustained notes. Lean toward what is going to scare you vocally, not away from it. Add twang to musical theatre sound. That sound is not in the nose. “I had applesauce for breakfast.” No nasal sounds. Of the nose not in the nose. Divorce your voice from your larynx.
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