Courtney Fairbourn- Voice Lesson- April 20th

• Overall this lesson was incredibly exciting. A lot of things I've been struggling with the last couple weeks clicked into place for me. I understood not only how I wanted things to feel, but why things didn't always feel great, and what wasn't working about my practicing. 
• 1358531 on a lip buzz 
• So great for just getting me to release sound without trying to manufacture anything. I focused on feeling my stomach release between each set and that was successful. 
• 54321 [bla bla bla] 
• Once again, I just focused on releasing sound and feeling my throat stay nice and open and relaxed. 
• 1232123212321 [u o a]
• [u] feels really dome-y and hooty. I naturally was letting the [o] stay in the space and started the [a] the same way. The problem was that I was overcorrecting the [a] as I moved through the exercise.
• I also can start my warm-ups with these lighter sounds. It doesn't need to be loud with lots of spin in these exercises. I can use these to untie the knots and just let things be loose and flexible. 
• 1353146413531 [uyu]
• I absolutely love the feeling of keeping my [i] vowel in an [u] space. 
• Umlauting the vowel also helps keep my teeth apart.
• 135878987654321 [u a/i]
• Instead of being afraid of [a] energize it. Feel it at the front of your face around your nose
• Use [i] to find the place for a inside the [u]
• Don't worry about backing the vowels, rather let your tongue fill the front of your mouth and think/hear the vowel. Vowel is compressed at the front. Thinking about space in the back is not currently helpful. 
• Tongue is fat, let it take up all the space.
• Say [ajiaji] or [ajeajeaje] then sing 1358531 with mouth open and a smile.
• 12321 [z] 
• let the energy/pressure from the body stay the same and trust the larynx.
• 12321 [za] 
• focus on one thing at a time in my practicing. 
• Keep the pressure the same when the vowel opens. 
• Takes energy and trust the body.
• Changed to [zo] to keep the vowel tall
• [no] 54321 then to [ni] 
• Let the [n] be more forward in my mouth. 
• Focus on feeling the buzz
• Hear the vowel, open your mouth. 
• As you come lower, the vowel compresses more in rather than down 
• Takeaways:
• Just hear the vowel
• Let the tongue fill your mouth
• Think less... Instead focus on feeling something in your practicing. Let the exercise do the work for you. Choose one physical thing to focus on.
• Breath trajectory moves to the top of my forehead, but sound is just being released. 
• [u] creates the right amount of back space. 
• The Light in the Piazza
• Just speak in the [u] space. It's more forward than you think. 

Patrice- Smith- Ch. 13-14

 Better Late than Never Smith Ch. 13-14

Here are some things that stood out to me in these chapters.

How to remain a healthy singer! Hydration, hydration, hydration. Do not smoke, do not scream, avoid smokey bars or places. Do not use drugs. Diet and exercise, be healthy, but not extreme. Get your voice checked when you have concerns. Take care of yourself when you are sick- do not sing, hydrate hydrate hydrate. Be caution with prescriptions that may cause inflammation to the larynx. You will have a nontraditional lifestyle, and that will be hard. Mental health is and will continue to be something to manage. Gain confidence, but stay humble. You can have success. You are the only one who can sound like you. Your voice is unique, have confidence in that. Keep learning and growing. You've got this.

Patrice- Smith- Ch. 10-12

 Better Late than Never Smith Ch. 10-12

Here are some things that stood out to me in these chapters.

Chapter ten was about performing and the difference of practicing and "playing the game". This chapter was  all the things that make singing emotional. Techniques to help with legato include: vowel definition, vowel substitution, what to do with french vowels, how to work with consonants, how to work with shadow vowels (sing them when needed and when not to sing them). Other techniques to "play the game" include: diction (don't over-pronounce, but makes sure it is understandable (aurally and emotionally)), musicality (adding different dynamics, especially on stagnant parts or parts with runs), dynamics and how to sing softly (THIS NEEDS TO BE LEARNED, if not, soft singing will not be done with the correct technique), and singing staccato with legato. There are some things that need to be dealt with in different ways, such as: wide intervals, stylistic differences, or singing in nonclassical styles.

Chapter 11 is about finding your own path. This includes choosing appropriate rep. I have found finding appropriate rep for myself has at times been difficult. When I first started, I had never sung any classical music so I picked song that I thought sounded nice. Turns out, I needed a simpler french songs. but the more and  more that I have sung the more complicated my songs have become. I have become more confident in my rep choices and it has been cool to see my personal progression. Steps to learn rep: study the text, speak the text, speak the text in rhythm, get the pitches in your ear, sing it. Remember you are an actor as well as a singer!

Your voice is yours. But because of there there are thing that can be difficult to manage. You need to take responsibility of your own singing choices. You need to know how to deal with directors and conductors. There will be times you need to say no and know how to say no. Know what you are willing to do and what you are not willing to do and how you will compromise. Be prepared, generous, know when it is appropriate to mark and when you should sing.

Patrice- Smith- Ch. 7-9

 Better Late than Never Smith Ch. 7-9

Here are some things that stood out to me in these chapters.

Spontaneous combustion has to do with the onset. I found recently that once I am on a note, my voice is very consistent and stays- but I need to make sure I am ON the RIGHT note, not slightly sharp, or slightly flat. An exercise that help with spontaneous combustion is five detached [a]'s. Releases are not cutting off the vocal folds, rather just stopping the phonation while the air flow continues. The wobble helps with flexibility of airflow. It stretches your vocal folds long and thin and then releases them to become short and thick. How to get high but not with drugs? Mix chest and head voice, start low, perfect the techniques with your students before they try them on their own.

Patrice- Smith- Ch. 4-6

Better Late than Never Smith Ch. 4-6

Here are some things that stood out to me in these chapters.

Qualifiers of speech: projection, line, defined vowels, on the whole instrument (using the whole body). Simply speaking simply is eliminating the complications of speech and enables the most pure and simple vocal expressions. Different phases to simply speak simply are: one, vernacular speaking; two, speaking with projection; three, speaking with line; four, speaking with projection and line on pitch; and five, refining the vowel. Remeber- bring the tongue forward! The bass of the tongue can become an issue. Free-flowing air will help with falsetto. Muscles need to be disengaged. Here are ways to master free-flowing air: one, downward sigh; two,  siren; and three, descending five-tone scale. How do you balance it all?  The extremes don't work every day. Classical technique is a great foundation for any kind of singing. Warming up is to help the voice feel relaxed.

Patrice- Smith- Intro-Ch. 3

Better Late than Never Smith Intro-Ch. 3

Here are some things I pulled from these chapters.

"The Naked Voice" is to represent authenticity and the purity of one's actual voice. Singing should be like breathing and speaking. Make sure you understand how your instrument works. You do not want a passive resonator, but an active one. The sound of our instrument will change from day to day because our bodies change from day to day. Sing in a wholistic way- that is with your whole self and body. Speaking is so natural and we don't think about it, but we think about singing. Sometimes you need to teach in such a way that students begin to think of singing like speaking, that is, think less. Don't sing/speak the way you think you should, but the way you do. Breathing is the essence of life. The more simply we think about breathing the better we do it. We need good body alignment to breath correctly. The word support can be counter productive. Teach free flow of air and to feel the sensation of flow instead. Releasing the air includes releasing the abdomen muscle. Release all you air all the time. We do not need to control our breath, our vocal folds regulate the airflow.

Patrice- McCoy- Ch. 8

  Better Late than Never McCoy Ch. 8

I kinda talked about this in my chapter 5 post on resonance. Registers are neat to me. Depending on how the resonance sits in one's body and what register it resonates can determine voice type. When I was reading about the woman's voice and classical versus belting I was intrigued. I thought about when I sing the two different styles and how I need to shift my registers or approach note differently depending on the surrounding notes. Recently I have found I better know how to sing in different registers and bring a register up or down depending on the need of the style, sound production, and my needs as a singer. The modes were interesting as well. Depending on how the glottis forms depends on the mode and register. I  love knowing how the body works and functions. I find it helpful in my personal sound production.

Patrice- McCoy- Ch. 7

 Better Late than Never McCoy Ch. 7

Vocal health has never been a huge worry of mine personally, but I do have some friends who have struggled with some pretty major vocal health issues. I do know I can be better at taking care of my voice when I am sick. I definitely have had times when I should not have been singing but did anyway. (The main issue there is my underlaying fear of disappointing people, haha.) The disorders were very interesting to me. Was their a brief moment when I thought I had some of these disorders? Yes. Yes there was. But I think the biggest thing I want to take away is if there is a major issues I or one of my students is having and it lasts for more than 2 weeks, GO GET IT CHECKED. It is better to be safe than to be sorry, especially regarding the voice when one is a professional singer. I liked the conclusion. DON'T PANIC! The voice is resilient and if we take care of our voice, we will be ok. However, I still think it would be cool to get my larynx scoped.

Patrice- McCoy- Ch. 6

  Better Late than Never McCoy Ch. 6

Analyzing the voice was really cool! To see spectrograms of what I hear was very intriguing. I recently recored a solo for a song and watched the solo be edited. It wasn't a spectrogram to be specific, but it had a similar reading. I was able to see some habits of mine that aren't helpful in my singing. These are habits I have been told about, but to physically see it happening was really interesting and helpful. I could see how consistent my vibrato was, the shape of my vibrato, my onsets and offsets, and my pitch accuracy and consistency. Through looking at a spectrogram-type of recording I learned a lot about my voice and my habits. I think analyzing the voice in different ways with different senses will help me be a more effective teacher. I can use sound to hear what my students are producing, touch (when appropriate and consented) to feel the movement of certain muscle, and sight to not only see how their body is reacting, but to visually see the sound they are producing.

Patrice- McCoy- Ch. 5

  Better Late than Never McCoy Ch. 5

Resonance. Man this can be an issue! I remember one time I was in a choir and the director had each of us sing a scale. I didn't realized he was trying to see how smoothly we shifted from one resonant space to the next and I was very obvious in one of my shifts. I often think back on that experience when the topic of head and chest voice comes up. I didn't realize how many shifts a single voice has. Formants were a bit confusing to me- but, if my understanding is correct, certain vowels are standard resonator in certain harmonic sets. The singer's formant was pretty neat to read and talk about in class. The think I found incredible was how resonant the voice is. Didn't realize that a voice can literally out-sing an orchestra, and that is just because of the resonance and the Hz the voice produces. I would love to dive more into the singer's formant to gain a better understanding of it.

Patrice-McCoy- Ch. 4

  Better Late than Never McCoy Ch. 4

The intricacy of the larynx is INCREDIBLE. However, because of that intricacy it is easy to overthink and try to control every bit of the larynx and one's vocal folds. In my mind, the purpose for this chapter is to understand how they larynx and the folds work, then an instructor can know what to teach or focus on to have the larynx and folds work properly. Knowing what the body is doing when certain sounds are made (like onsets, offsets, and phonation modes) is crucial in teaching. But it will be not help in telling the student to fix their aspirated offset they need to make sure they stop the air all the way and not let air pass through an open glottis. We cannot consciously control each muscle in our larynx, so know what it is doing and know how to adjust in other ways is crucial.

Patrice- McCoy- Ch. 3

 Better Late than Never McCoy Ch. 3

The part that interested me the most in this chapter was breathing methods, especially the differences between breath support and breath control. Support is a pulmonary function and control  is a laryngeal function. Breath control is determined by the efficiency of the regulation of airflow through the larynx. Breath support enables production of beautiful sound, breath control allows those sounds to last to the end of long phrases. I think these two concepts get mixed up in my brain with my own singing, so I would like to understand them a bit more and focus having the right control along with the proper support. I feel like the root to a lot of strained singing is improper breath control and breath support. That was the most interesting part of this chapter for me.

Annika-VRH-September 23

 

September 23, 2021

Kat

• So much more power in your upper range compared to masterclass

• Breath support was better

• Still need more emotion

Amelia

• Breath support was great

• Emotions were very easy to see and read

Alyssa

• Diction, attitude, support are all great

• Really fun acting

Sierra

• Very accurate pitches

• Wish I could see more emotion!

Ethan

• Very emotional

• Well supported

Braeden

• I can feel your emotion--so good

• Voice is so soft and soothing but still strong

• Love the falsetto

• Growl!!

• Strong belt

Kylee

• Strong, relaxed belt

• Such a beautiful upper range

• Very controlled riffs

Kaden

• Diction is amazing and so clear

• Emotions and acting are very easy to read

• Very well supported

• Vibrato is stunning--very even

Logan

• Great breath support

• Nice open mouth-- lots of sound

Tim

• Support and emotion were there

Nalani

• Tone is sooooo clear

• Facials and body movements tell the story

• Diction and articulation is very clean

• Sound is very supported

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!