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Karin- VRH/ Lesson 11/09

 In VRH this week I observed Emma Joy Diesen. Her tone was very clear, and she did very well switching between registers. When she was singing in her lower registers, she used her formants well to still get that ringing resonance even though the notes were lower. She had a great speech-like quality which was appropriate for musical theatre. In addition she had a good ring on her upper register “i” vowel.  In my lesson this week, we talked about switching registers and fingering all while keeping the resonance. There is a melisma in Ach ich fuhl’s that had been particularly challenging for me when switching registers on an Eb. So we practiced chunking it out and feeling like I have a direction I am going in the run. 
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Voice overview, Tanner Doyle

 I was really impressed by Kimberly Black's performance of "When she loved me" from Toy story. This song has always been a real tear jerker, and her characterization of the song really brought that. I noticed that she had great spin in her voice the whole time, and really showed how far she has come over this semester (even though she was already really good when she started). The only thing that I could possibly say is that maybe she could played with dynamics more to bring out some of those emotions? She sounded beautiful the whole time, so maybe she could even sacrifice some of that for the drama of the text. My lessons this week were good. There was some miscommunications about times, and I'm recovering from being sick, but overall things went well. The biggest takeaway for me is about actually how to sing when I'm sick. As my vocal folds are swollen/irritated from coughing and whatnot, my temptation is to protect myself by coming off the voice. I'm learni...
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Maggie - McCoy Ch. 5

 I'm going to be completely honest here: the first section went right over my head and I was very confused because I didn't feel like enough examples or explanations were being given. So, I was very relieved when section two opened with how singers can apply the information about the formants and harmonics we learned in section one. He used three examples which consisted of the male passaggio, the female upper passaggio, and a personal example of intonation. I love the consistent reference to the singer's vowel shape and how significant of a role this plays in producing resonance and harmonics. In the female upper passaggio, he talked about subtly shifting the shape of the vowel and in the intonation example, he discussed how vowels make a big difference in our ability to blend and tune to the other singers we perform with. I had a teacher once and during my time with them, I really struggled producing resonant sound through my passaggio and higher. This really confused me ...
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