Masterclass - Dr. Dewey
Kat H.
Widmung - Shumann
First sing-through
-very floaty and beautiful tone
-more use of breath?
Dr. Dewey comments and stuff
-change in body language; match the intention of the song
-avoiding "sinking" while singing; use energy to move more "upwards"
-properly alignment and posture help avoid a "kink" in the sound (like in a hose)
-there are no bad sounds; just more useful or more effective sounds
-find what is right; no what is wrong (find things you want to do or work towards)
-neck tension, jaw tension, and "tummy" tension are the most common struggles with tension for singers
-use "headgear" (hand with thumbs on jaw bone and fingers on head) to help jaw open correctly and avoid tension
Nalani M.
(didn't get the song title)
-this girl has previous acting experience for sure (choices were very intentional, fun, engaging, and helped tell a clear story)
-her sound is mature and powerful (especially in her higher range)
Dr. Dewey comments and stuff
-singing as if you were crying helps focus the sound and increase the intensity
-don't press the vocal folds together to increase sound and focus (this only works to a certain point; it is a "losing battle")
-use some physical motion to unlock the abdominal muscles when you think you are running out of breath
-generating energy in your abdomen to help liven the tone'
Camilla H.
Vanilla Ice Cream - She Loves Me
-very pop-y and musical theater sound
-very smart and fun acting choices in the "speaky" parts (apply this to the whole song)
Dr. Dewey comments and stuff
-add "twang" to the sound to increase efficiency of sound production (not nasal, "in the nose, but not of the nose")
-don't sing "loud," sing with "carrying power" (much more efficient and less taxing)
-divorce the pitch of the voice from the position of the larynx
-in classical singing, we want this "divorce" to be as far a part as possible
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