Brianna Skeen- Smith- Chapters 10-14

 Summary

-These last few chapters focus on how the techniques discussed in the previous chapters can be applied in the real world of singing and performance. It discusses what makes a good audition, and how to be successful as a singer. One of the best ways that you can be successful as a singer is to figure out what you want out of your life. What is important to you and stay true to that as you pursue a career in singing. It is important to take care of your physical health as a singer by staying hydrated and by keeping your body healthy. The best performances and auditions are when a singer enjoys what they perform and personalize it to themselves, wether that is choosing repetoire for an audition that speaks to you personally and suits what you love in your voice. Finding balance and freedom in your voice can help you to find balance and freedom in your life. You need to create your own definition of success and always seek to improve and become your best self while accepting and loving where you are in your growth process today. 

Application

-I loved reading these chapters and learning what Smith thinks about application in what makes a successful singer. I don't agree that it is better to err on the side of arrogance when it comes to auditions but rather that a singer should seek to be confident in sharing an unapologetic performance with the people they are auditioning for. I definitely agree that a singer gives the best performance when they are authentic with what they choose to sing. I for one have learned to enjoy the songs that I have learned to sing over my univerisy studies but the songs that I still sing today and the ones that I choose to sing for my recital are the ones that I feel more of a personal connection to and just throughly enjoy singing. Each time I get a new student, I always like to ask them what they want to sing. I don't even care what genre it is necessarily because I know that the work that we do in our warm-ups and with the repetoire is going to be fruitless if they don't enjoy what they are singing. I also agree with the value of discovering your own voice and not trying to become a caricature of someone else or a past version of yourself. I actually had a conversation with one of my students about that very thing this week. She was singing a song that she really liked by an artist called Birdy. I had her sing the first verse of the song and noticed that she was imitating the original artist. So I had a discussion with her on how I wanted to hear HER sing the song and not her trying to sound like Birdy. She was a little frustrated with it because she really wanted to imitate it because that's how she learned the song. It's still a work in progress. I know that I still have a hard time trying to connect to my own unique voice. I love how each singer needs to define what they want out of their career and then go for it. I for one would like to focus more of my career on teaching, but I think it would be a good goal to try to audition to perform in one production a year knowing how long it takes me to adequately study and learn a role. I love that learning about your voice helps you to learn more about yourself.

Vocal Masterclass with Laurie Hart

 Gideon Benge - Andrew Lloyd Weber (The day starts, the day ends)

• Very theatrical, and I love that about how Gideon performs!
• He sounds best at little moments when the emotion is more intense.
• Raw passion
• Higher and lower range
• Belting healthily - I agree, that can be difficult for singers to figure out.
• How do you practice?
• Singing all the way through, but in section three or four times
• Helps get all the parts just right and obligates connection.
• Really relaxed, drony singing.
• “I think you can stretch that even more.”
• Say the lines like a normal conversation.
• Experimentation - yes, Laurie does that a lot with me, and that’s something we’ve talked about in class.
• Plan where your breath is going to be.
• Gives you more time to swell.
• Choral directors, I believe, often don’t like to breathe when singing a phrase or have people breathe at particular spots... If that’s the case here, I understand the struggle in translating into solo singing. I speak from experience, haha! :)
• Lip trill
• I do this a lot, and it tickles! Not as much when I’m playing a high brass instrument though, since I have a small mouthpiece on my lips.
• Breathe only when you have to when you do this.
• Silent breath
• This is crucial in choral singing, too!!! My high school choir teacher has a whole exercise pertaining to this!
• It can be harder if you have a habit of using a noisy breath.
• It can be very hard when you run out of air too quickly.
• When locking knees, you can find a partner and push against each other’s hands.
• Felt easier!
• Oh, it is? Interesting!
• Keep the knees soft.
• Happy quiet “Ah”
• That helps raise the air up and over instead of back and down.
• Practice in front of the mirror a little more ;)
• Yes! Laurie tells me to do that all the time!

Amelia Kearl - Vie Melodien

• “I love it! It’s my favorite!” I’m so glad!! It’s always so nice to sing a song you absolutely love!
• The high F in the beginning really rang!
• The diction is very nice and soft (in a good way, of course)!
• The words are the most beautiful words in the world!
• The song is kind of about everything.
• Beautiful things in childhood and in the world
• Ideas of things
• Not like you’re singing this to someone, but you’re just talking about beautiful things in the world.
• Vowels only
• Circle around like a windmill.
• Keep winding around.
• I think this helps with keeping the larynx stabilized and keeps it from shifting
• “It felt really easy!”
• It also releases tension in the body, which is SUPER important!
• The body was more connected
• Let the jaw release and be free!
• Laurie drilled this with me!
• Creating a new neural pathway takes a lot of repetition. JUST LIKE IN THE TALENT CODE!!!!
• Don’t sing two different vowels when you don’t need to.
• Interesting. I think I do that sometimes…
• It can be hard to focus on multiple things at once.
• Flash cards with different emotions?
• This sounds like a really fun acting exercise!
• I can’t remember exactly what Laurie had her do specifically, but it looked like switching off between being hysterical and being happy.
• “I was all in with that exercise!”
• It helps free up the voice!

Brianna Skeen-Smith- Chapters 7-9

 Summary

-These chapters focus on having a healthy and vibrant onset in whenever we start singing or when we are navigating through melismatic passages, having consistent vowels and loose vocal fold contact, and keeping consistent vowels from low to high notes and vice versa. It uses exercices to accomplish this called "spontaneous combustion" for onset, "wobble" for relaxed phonation, and "getting high" for consistent vowels from register to register.

Application

-These exercises are really great for creating a healthy and relaxed natural sound in the singer. I actually used the "spontaneous combustion" exercise with one of my students a couple of weeks ago. She was having a difficult time with the onset of the last few notes of the song she was working on. To be specific is was the line "my honey bun" from the song "Honey Bun" from the musical South Pacific. The last few notes all occured on a Bb4 right in her passagio. So we just isolated the note from the text and sang it seperately following the exercise on that particular note. After doing that she was able to hit that note with ease and with a healthier onset that didn't require her to push for the note. I use the "getting high" warm-upm all the time in my own practice and lessons. It really helps me to navigate through my passagio a lot easier and with a more consistent vowel and resonance.

Tanner Pruett - Smith - Ch. 10-14

 

• Learning to sing with legato is the basis for healthy singing

• The jaw does not needed for any vowel in any language

• Train the jaw and the tongue to function separately from each other 

• Soft palate 

• Breathe in the “upper half” of the yawn without depressing the back of the tongue

• “If the air is flowing and the lips and tongue define the vowels without entangling the larynx, then the soft palate will lift in response.” (pg. 110)

• Articulating consonants should minimally inhibit airflow

• Use lips and tongue as much as possible (instead of jaw)

• Diction is a means to an end; over pronunciation only inhibits airflow and can cause tension

• The right repertoire will come when we are singing with our “true sound” and our voices are working well

• Find music that you connect with and that you will help you want to create a compelling performance

• Be aware of your fach, but always choose works that you connect with

• Repertoire standard for auditions and competitions is 5 or 6 arias from various styles, musical periods, and languages

• One in Italian, French, German, and English

• One by Mozart

• Contrasting pieces from the Baroque, Classical, Romantic, and contemporary periods

• Positive visualization (before auditioning)

• Visualize the physical atmosphere of the audition space

• Imagine yourself walking in with confidence, dressed very well

• Visualize each aria or song that you might be asked to sing

• Think about what you want to communicate in each piece

• Sing through the piece mentally, focusing on the feeling of true freedom in the voice

• Once you have done those three things, you are free to simply “tell the story” (pg. 138)

• Learning repertoire

• 1. Study the text

• Know what every word means and what the poet and the composer are trying to say

• 2. Speak the text 

• Speak it monotone, phrase-by-phrase, and as a dramatic reading

• 3. Speaking the text in rhythm 

• Keep a steady beat and only focus on rhythm

• 4. Get the pitches in your ear

• Speak the text with monotone while playing the pitches on the piano

• 5. Sing it

• Marking

• Make sure to have freedom in the voice when marking

• NEVER mark energy or dramatic intention

• Don’t mark when singing with an orchestra (unless explicitly given permission to do so by the conductor)

• Take responsibility for your singing

• Allergies, sickness, and other things happen, but at the end of the day we are in charge of our singing and are responsible for it

• Directors and conductors

• Stand up for yourself, but respectfully and within reason (don’t be a diva)

• Make a list of unprepared conductors and directors so you know who you like working with

• Being prepared is the key to being a good colleague

• Hydration

• Small amounts of water throughout the day

• Steam can help before a performance (short term solution)

• Warm, mild salt water can help flush out mucus from congestion 

• Unhealthy vocal habits

• Smoking (duh)

• Improper “speaking technique” (vocal fry, shouting, etc)

• See Thomas’s book for more on this

• Mental health

• I disagree with not addressing mental health in lessons and/or coachings. If you are literally falling apart mentally, you won’t be able to sing.  With my future students, I am happy to use the time that they are paying for in whatever way they find most helpful (within reason)

• I thought the last chapter was interesting, but there is not much to write about. The message I got from this chapter is to learn from the experiences of those who have already been in the field. Do research and talk to people who you want to be like. Honestly, I give these last 4 chapters a “meh” out of 10. 

Hayden- Smith- Ch. 10-14

10

The bit about legato singing reminds me of something that we have been working on lately in lessons, with keeping resonance consistent in the chest. We've also been working on being conscious of the vowels I am singing in English (this in coachings). It's interesting to me that we don't have English diction classes.

11

I like the idea of "vowel substitution" as opposed to "vowel modification"

Fioratura vs coloratura?

I like what he writes about musical theatre singing. Singing theatre stuff does not come easily to me, so I think I will try to apply some of this stuff to a theatre piece or two.

What he writes about Fachs is interesting. I've spent plenty of time this semester trying to figure out what pieces would sound the best in my voice, but that's not the strategy that he thinks is best.

Consonants

There was a lot of other stuff in chapter 11 that I really liked, but none that I really felt like commenting on. I do think it'll be a chapter that I will go back to later.

12

Take responsibility for your own voice.

Being prepared can help make one a good colleague.

13

Hydration! I love water

Looks like I gotta get into a better exercise habit

14

How can I be happy with myself so as to sing my best?

Jessi Mitchell - Smith - Ch. 10-14

 I liked the chapter on healthy lifestyles for singers. I found it interesting that Smith mentioned dry climates and how breathing in steam can help lubricate the vocal folds a little better. I also was interested with what he said about physical appearance and televised opera. I’ve always thought of opera as one of the most body-positive and inclusive art forms, so it was a little weird to read that televised operas often place higher value on physical appearance and modern beauty standards rather than just the quality of one’s voice.

Saige Barlow-Voice Recital Hour-Nov 18

 Patrice Densley - Something in Italian

• E major, begins with Il mio ben…

• Very smooth and beautiful!

• The emotional expression is very simple yet powerful! What an idol!

• I would love to automatically hit an F#5 as well as you did! Holy cow!

• I think you should sing soprano more often, or at least mezzo soprano.

Maribelle Taylor - Screw Loose - Cry-Baby

• You don’t know how to sing musical theatre?? LIES!!!!!

• I do notice a difference from when you would sing in the musicals we did together. It’s placed differently, for instance.

• The theatrical abilities haven’t changed much, but they’re always better!

• This sounds like a great song for a Provo girl going to BYU. 😂

Kaylyn Baldwin - Fire Aria

• She changes pitches so easily!

• Her jaw is very released!

• She makes singing look so easy! 😩

• Nevertheless, I always look forward to hearing her sing!

• Her high notes are on fire!

Megan Richards - Sorry, I missed it. I was busy passing the role…

• The pitches shift, but I am noticing full closure of the folds.

• Very soft, but it’s absolutely gorgeous!

Courtney Fairbourn - The Light in the Piazza - The Light in the Piazza

• She has a gorgeous musical theatre voice!

• She said something about swelling or something in her vocal folds, but I cannot sense a single problem that interferes with her having a good performance!

• She has a very forward sound, and I love hearing it!

Misteen English - Safer

• I am always noticing improvement with Misteen’s voice!

• The diction is better, and the air is a lot more steady!

• The projection is a lot better!

Kennan Thompson - Le Rose Despin (That’s what it sounds like anyway)

• The diction is fantastic! I can tell that you might’ve worked on this with Dallas. Either way, you’re pretty good at diction.

• Very smooth and light!

• Your singing always gets better and better!

Hayden Höglund - Le Nozze de Figaro

• I remember the first time I have heard you sing this song, and I think your diction is so much better!

• Your singing has also improved!

• I like your story that you’re conveying through your face! I’m hooked!

Layton L. - Chanson Romanesque (I know it’s from a song cycle)

• I think your vibrato has improved! There’s less shaking throughout the rest of the body, so that shows that you’re better at controlling the vibrato.

• Overall, great job!

• Pitches are very accurate!

• The story was great, too!

Nalani Mathias - All That Matters - Finding Neverland

• I’m so enthralled by the way you sing musical theatre!

• The diction is very clear, and you’re enunciating extremely well!

• Obviously, you probably have years of musical experience, but holy cow I love the way you act!

Autumn Nelson - Nel cor più non mi sento

• I love this song!!!

• In the Eb major, which is a whole step lower than I usually hear or sing it.

• My sister sings it in F major.

• A little airy at times.

• I think you might be more comfortable with musical theatre based on how you sing the middle range.

Millie Hein - I Hate Men

• Very rich sounding voice, kind of like Alyssa’s voice!

• I think you should try singing some jazz. I think that suits your voice really well.

• Short and simple

Taylor Woolf - Dying Ain’t So Bad

• You have a very naturally beautiful voice!

• The dynamic contrast is excellent and seemingly effortless!

• I think the pitches tend to shift a little.

Tanner Pruett - “In Short” - Edges

• Trigger warning - Explicit words

• I think your story is a lot better, and your diction in turn is a lot better!

• I love the little dances you included!

• The transitions are fantastic!

Amelia Kearl-Voice lesson

 So my voice lessons are on Friday so I always write about them almost a week later. It is really good for me because it is a nice review of what we did last week the night before my next voice lesson. Last week was the memorization deadline for the music so in lessons, I sang all of my music.

Exercise: ng on a 1 3 5 3 1 maintaining airflow and phonation. It's interesting, now that I'm reading "The Naked Voice" I am noticing how all of Venicia's exercises are focused on creating a full, connected sound while maintaining consistent airflow. 

It is really interesting to see how far you have come in a lesson like that. One of my songs at the beginning of the semester I literally couldn't even sing through, because I created so much tension in that higher range. Well now I can sing it all the way through. It isn't perfect, but it is so much better than it used to be. Another one of my songs I had no idea how to sing. It was a musical theater piece and I really only knew how to sing classical. Now even though my voice sometimes hiccups in random places in this song, I know it is only because I have learned how to sing this song with a musical theater placement. With more exposure and time singing in this style, I am confident that my voice will grow stronger an become accustomed to this. While I acknowledged in my lesson that I would probably not be singing this one for juries, I was never the less happy in my choice. This song challenged me in a new way and pushed me to learn things I didn't know about. 

Most of my lesson was devoted to hearing my songs but we also talked about posture again an how to fix it. We used the exercise that Cindy used in masterclass where she had Kat sit against the wall. My muscles are apparently so used to bad posture that when I use good posture they hurt. Venicia explained it to me like my muscles were just stretching and I needed to start stretching them more (into the correct position) so they get strengthened the right way. 

It's interesting as well to listen back to my recordings. Last year I was super super critical of myself and expected perfection. That really got in my way during my practicing (no mercy!) and my lessons (I was unauthentic). This year I have gotten over that. Listening to my recording this year is so different. Before I would cringe at every mistake. Now I watch for every success and know that the mistakes I hear are ok as long as I acknowledge them and start working on turning them into strengths. 

Saige Barlow-Smith-Ch 10-14

I love how these chapters broke down the “game” of learning music the author discusses here. I also appreciate that he addresses special steps and addresses considerations for various styles of music, such as musical theatre. I think that’s very important for teachers to be able to know,  since we’ll get a lot of students who are more interested in more contemporary styles than plain old classical music. Of course, it is important for us to maintain a healthy voice, as he addressed, but it is also important for us to hold ourselves accountable for our voices and determine our own thought process for success. I think that ties well to what the author said in the beginning about how your voice reflects who you are. That, to me, is the key to our success is knowing the right strategies, but also reflecting the voice you want as well as becoming a better person.

Amelia Kearl-Smith-Chapters 10-14

 Technique, diction, and posture should be automatic by the way we have trained. 

Conditioning is different than performing

Legato technique: balance of phonation, airflow, and intensity

Articulators direct air

1. phonation and airflow

2. Learning to articulate vowels wile maintaining free phonation and airflow

3. Vowels defined by moving articulators

4. Consonants

5. Sigh the vowels

Less tension is always my goal. I'd take the modification over the exact vowel personally

Soft palate lifts independently as a result of correct channeling of the air

Beware! Yawn raises the soft palate but depresses the tongue

Singers rely on an internal pitch in our minds before we produce a pitch

Out of tune: improper vocal production??

Instruments imitate the way singers sound.

How to sing quiet: maintain constant airflow and decrease intensity of phonation.

Belt has same phonation and airflow as in other ranges. 

Opera music conveys the emotion

Singers goal: tell the story

Choose audition songs that show off your best qualities

Singer's instinct will tell you what to sing

Positive visualization of audition

Don't be fake or apologize in audition

Are my rough vocal days really just doomed? Can't I work until my voice is in a good place?

Take care of yourself and your instrument. Your instrument is your body!!!

I NEEEEEEED to drink more water!

Sick? Salt water rinse.

Balance in Diet and exercise

Weight effects the voice. So interesting

Sing because it is your passion! Be genuine. If you don't love to sing why are you here???

Have integrity to yourself as a performer

Emotionally and physically connected to our instrument

Courtney Fairbourn- Smith- Chapters 10-14

It was interesting how these concepts applied to repertoire. I especially loved when he broke down the learning the process for certain skills, such a fioritura. His suggestions on practicing specific things were practical and tied back to his foundational skills from the inventions. I also really like his five step process for learning new rep. I have had a similar concept in my head for a while now, but it was really helpful to see it all written out like that. Personally, I need to spend more time speaking the text and speaking it in rhythm. I think this will help me find more freedom in my larynx and articulators for sure. 

I also agreed with a lot of what he said about other styles. I think that classical and musical theater styles for example are more similar than people often think. I do think that there are specific skills for various styles that don't necessarily cross over. For example, the yodeling-like sound in country or bluegrass music is something we don't really use in classical singing. However, the basics of healthy singing can be utilized in both styles.  

The other section of this reading that I have strong feelings on is his discussion on choosing repertoire. I agree with him so much. It it is so important to be invested in the music you are learning, but it is also important to always try new things. Knowing how you feel about music and valuing your own opinion is another aspect of trusting oneself that I need to work on. 

Logan Kelley-Smith-Ch10-14

 I appreciated that he said that when thinking of a yawn we should only think of the upper half. I have had the problems with tongue depression that he described. I also generally agree with his principles of not modifying vowels, because in most cases this has caused other problems for me. We need to think of diction in a way that it doesn't get in the way of the legato line. Over-enunciation can inhibit this. I thought it was interesting that he said we should never sing with weight in the voice. This is something I hadn't considered until recently but has made a major difference to me. 

The key to healthy belt singing is to keep the air moving consistently and not necessarily think of just head or chest singing. The most important thing we can do is to find repertoire that we genuinely love to sing. Choose repertoire in the area of your voice that feels comfortable. Don't get stuck in awkward areas of the voice. Think of auditions as performances, and be genuine, not apologetic. We need to act in a way that doesn't create tension. Be aware of what you can handle and always show up prepared.

Take responsibility for the voice and how it is working. Don't blame outside effects for what happens when you perform. Don't let fear of consequences prevent you from taking responsibility. Be flexible with what you are asked to make the experience good for yourself and those around you. Know what it takes for you to learn music. Know your position and respond appropriately for where you are in your career.

Do what you can to live a healthy lifestyle. More than anything, know yourself and what you can handle. If you aren't feeling well, you should still be able to sing, but don't put yourself in situations where you might push or create problems for yourself. Cancel when needed. Don't take everything your coach says as truth. Know your situation and voice, then apply appropriately. True success comes from finding and following your passion. Let singers be unique and don't compare them to others. Aspects of learning vocal production can help us balance all aspects of our lives.

Kaylee Borchert - Smith - Ch. 10-14

 I love that he said "Singers should not be thinking about technique when they sing," as this reinforces the idea that I've always been told that the song will come out however you have practiced it in a performance. So if you don't practice with the right technique then when you perform that technique will not be there. Legato technique, vowel definition, vowel substitution, French nasals, consonance, shadow vowels, diction, musicality, dynamics, etc. These are all different things to work on, different techniques that you have to take into consideration. Consonance is one as I have been working on one of my English pieces, as well as in Scenes, and choir that has been stressed especially. 

You have to be committed! There is not one way to achieve success, you have to be true to you. Be careful when you have to act while singing because it can cause tension, thus we have to express through the singing. I loved reading this section as this is something I have noticed within myself, I love getting into character but I often have to watch and make sure it does not affect my singing. Do not play the role of the victim, take responsibility and be confident in the choices you make. 

In order to be a healthy singer you must also be a healthy human. Hydration - he brought up using steam before a performance because it doesn't produce mucus but it lubricates the cords, I thought this was very insightful. I also thought his remarks on physical appearance quite interesting and how physical appearance is much more important nowadays. 

Being successful is not about wealth and riches, rather Smith points out that it is following your own path and sticking with it. It looks different for everyone, and fame and riches might be found along the way but that is not the end all be all. 

Brianna Skeen- Smith- Chapters 4-6

 Summary            

-These chapters focus on Smith's first three inventions. The first invention focuses on being able to speak freely and without tension by purifying vowels and speaking in your own vernacular. He adds the concept of "speaking with line" to emphasize connection between words and phrases when we speak. The exercises described are also to focus on getting the singer's vowels into a good placement.Smith refers to these exercises as buiding a good foundation for the "chiaro" aspect of the voice. The second invention focuses on breathing and airflow. With these exercises, Smith has the singer focus more on having a consistent airflow that can help transition between registers. Smith refers to this work as working on the "oscuro" aspect of the voice. The third invention that Smith uses is called "the balancing act" in providing exercises that combine the elements found in "speaking simply" for a bright sound with elements found in "free flowing air" for a dark sound to create a balanced chiaroscuro sound. These excersises focus on how projection, singing with line, and eliminating the sensation of resistance can help free the voice for a clean and balanced sound that is fre of tension.

Application

-I really like the concept of these exercises. I actually used some of them with my students this week. I like the concept of finding a relaxed laryngal space with clean vowels and a healthy projection before adding the sensation of singing. I also liked how the sirens are about airflow and finding an airy space on top as opposed to trying to push to get high. As Smith is always saying, "It's not how high you get, its how you get high." I liked that the airflow excercises were less about range than they were about having consistency with airflow and allowing the air to carry the pitches and not the larynx. 

Patrice- Recital Hour- 11/18

Mariebelle Tayolr

Screw Loose

• You had so much fun!
• Great transitions between your registers

Taylor Woolf

Dying Ain't So Bad

• This song is great in in your voice
• Getting back to the lower register was a bit rocky- I would work on those leap warm ups

Kennan Thomspon

Le Rose d'ispan

• Good onsets
• Overall really nice!
• Work on nasal sound sneaking in

Megan Richards

• Support is needed in higher register
• Good consistency overall

Kaylyn Baldwin

The Fire Aria

• I love watching you perform!
• I often loose the sound when you look down
• One of the best physically pleasing performances I've seen you do!

Courtney Fairbourn

Light in the Piazza

• BEAUTIFUL!
• I love this style in your voice

Misteen English

Safer

• A nasal quality slips in occasionally-as you get further in the song it pops up more
• One of the best times I've heard you sing this song
• YES.

Hayden Hoglund

• A lot more consistency than the last time I heard you sing this song
• Also more personality to the song too
• Leaps- can be more solid (leaping up especially)

Layton Loucks

• Difficult timing on this song
• Be confident on the low notes
• 
  

Nalani Mathias

All That Matters

• You have such a poignant voice
• I wanted the first verse and chorus to build a bit more
• Great riff

Millie Hein

I Hate Men

• Very fun!
• I want to see the meaning in of the song in your face

Autumn Nelson

Nel col mio sento

• A lot air is escaping
• good consistency- I want to hear more spinning of the air

Logan Kelley Recital Hour 11/18

 Recital Hour November 18

Generally I am bad at pointing out things that are going well vocally, so today I am going to focus only on that.

Patrice D- I love how captivating she is at performing, even a classical song. When she opened up to the higher passages in the middle, the sound floated well and landed in an easy place, especially the highest end. She keeps a bright tone throughout without the sound feeling too heavy.

Maribelle T- She has told me before that she can’t sing in her lower range, but it sounded nice and resonant throughout this song. As she transitions higher it stays in a resonant, consistent place. I loved hearing this sound as it got higher because it is something I have never heard from her. 

Taylor W- This is a song that could easily be pressed or thin on top, but she does a great job of keeping it very open as it gets higher. She is very intentional about the use of registers. She keeps a nice sense of upward space for a musical theatre sound. The high D on “it gets sad” was very open considering it is an awkward vowel.

Kennan T- This is the most expressive singing I have heard from him. The high and low extremes in the range do not sound pressed at all. Especially above C4, the sound carries consistently through the phrases and with ease.

Megan R- She almost always has a very clear sound. She is able to access high notes easily in this way without it sounding pinched. You can tell she is relaxed because the song spins easily.

Kaylyn B- She has incredible colors in her singing because of all of the space she utilizes. Her runs are completely effortless which shows how much freedom she has in her singing. She is also able to add a lot of contrast into dynamics and sound.

Courtney F- Her middle range is more free than it has ever been. I can hear her navigating all areas of her voice with ease. This is a musically complex song, and she is always aware of the musical complexities. Especially the major leaps seem easy and cohesive in sound quality.

Misteen E- The spoken section at the beginning is effortless and doesn’t feel forced at all. This is when she is able to find the most natural placement in the song. I especially loved the contrast she found in the bridge. As it got higher, especially the highest “life fly by,” the sound felt like it wanted to open up even more.

Hayden H- I love how he is able to keep a richness in his sound throughout. It sounds like he is effectively accessing space, and working to keep that both high and low. It is especially evident in the upper range of this song.

Layton L- I love the edge he has in the higher range in his voice. I don’t know that I had heard it in this way before. Even though there was a lot of text, he was able to navigate it well and not let it get in the way of his singing. 

Nalani M- I love how she so effectively uses each area of her range and doesn’t ever get stuck in one. Through the second verse she effectively belts, but then transitions into a mixed sound through the chorus, especially up to the high Db. She lightens up nicely in the second to last phrase.