The theme this week is Inspirational Songs and you can find the list of available songs over at MJSBigBlog.Com.  The one song that flew out at me was Carole King’s, “You’ve Got A Friend”.

Maybe Crystal will go back to her keyboard and deliver a soulful, bluesy rendition of this number. I can’t see anyone else capable of performing this number and it just seems so logical in my mind.

Also, upon reading the list, it confirmed in my mind that Katie Stevens did indeed select “Over The Rainbow” as her Top 7 number. She performed this song so beautifully on the Ellen Show earlier today.

But let’s not be sad folks! Both Top 9 eliminated contestants, Katie Stevens and Andrew Garcia, have tweeted that they will be part of the 2-hour Idol Gives Back extravaganza on Wednesday.

If anyone knows if  the entire Top 12 are coming back for an encore, give me shout here in the comments section and I will update this blog topic ASAP.

I am hoping that Alicia Keyes can inject some soulful inspiration into the remaining singers -Aaron Kelly, Casey James, Crystal Bowersox, Lee Dewyze, Michael Lynche, Siobhan Magnus and Tim Urban.  She is such a gifted artist and these singers are so fortunate to have been given the opportunity to learn from her.

Best of luck to the Top 7 Finalists and feel welcome to add your comments before, during and after the live telecast on Tuesday, April 20th.

UPDATE: SONG SPOILERS FOR TONIGHT”S SHOW

By: Rosanne Simunovic

The show is over for another season and Kris Allen is our new American Idol. The shy, young kid from Arkansas quietly stole the title from the refined, genuine and extraordinarily talented Adam Lambert.

However, make no mistake about it – Kris worked very hard to achieve this goal, showcasing his the multi-faceted musical talents as a vocalist, pianist, guitarist and arranger.

I would like to pose a question to the producers: why didn’t each of the singers have the option to sing a separate original composition during the Top 2 performances? 

This is what ensued last year and it was  a wonderful idea. Then, once the winner was announced – David Cook – the true American Idol Theme Song, “Time Of Your Life“ was revealed for the first time. It made sense then and it would have made greater sense this time around.

I will write more about Kris and Adam in the coming days and weeks and months, but, for the last time, here is the Vocal Masterclass Article for American Idol Season 8 top 2 performances.

 Also, please keep checking my Twitter updates so we can stay in closer touch!

Here are my evaluations and, remember, I am reviewing each singer in (first name) alphabetical order. Your comments are always welcome. To quickly access individual singers, simply click on the singer’s link below.

Adam Lambert, Kris Allen,

ADAM LAMBERT: “A Change Is Gonna Come” (Producer’s Choice) by Sam Cooke, “Mad World” (Singer’s Choice) by Tears For Fears and “No Boundaries” (Coronation Song) by Kara DioGuardi

Strengths: Adam- the first song  you performed this week, Mad World , was an innovative reprise from your  Top 8 American Idol performance , celebrating songs popularized during  the year you were born.  Suffice it to say, that this performance h0lds a special place in the hearts of many – your controlled, yet intensely passionate vocals and sensitive delivery were a sublime visual and aural experience.

However, this time, instead of a seated position, you decided to make a more dramatic entrance via the stairs. And so, as the dry ice billowed around you, you ”walked your walk”, descending the stairs in complete darkness, moving mysteriously toward the lighted stage.

My thoughts coincided with Simon – the ethereal stage effects coupled with your long, flowing coat and intense, yet delicate vocal timbre, immediately conjured up images  of  “Phantom Of The Opera“.  And, perhaps this was your intent – to reveal the essence of your tormented soul, as the Phantom so often does in the musical, through these extremely powerful lyrics.

If so, it worked in a monumental way, Adam. Your ability to sing quietly, while never losing the expressive focus in your vocal projection, is a sublime technical characteristic worthy of the highest praise and acknowledgement. The control you exhibited throughout this song was stellar to the “nth” degree. Unbelievable!

I also enjoyed hearing how you intermittently managed to sneak in a little crescendo in your vocal delivery – not too much – but just enough to add another level of nuance into the communicative structure of this song. I could listen to you sing this song over and over and over – the honey sweetness of your head resonance is beautiful beyond description.

 Then in a rapid departure in style – but not in content – Simon Fuller selected  “A Change Is Gonna Come” for your second selection.  First of all, I loved the glamorous formal wear that you adopted for this number. Perfect!

You started this song with a small indication of trepidation in your demeanor and voice – you seemed and sounded a little apprehensive in the early stages.  However, as I further reflected on your performance, it seemed that you were pacing yourself – not giving away too much too soon – and as a result, once you moved away from the microphone stand, the true magic began!

 Therefore, as the song progressed,  your voice rose to incredible heights – climbing hills and reaching vocal peaks that left me totally breathless and in awe of your vocal excellence. 

Additionally, once your vocal fireworks exploded, it  left me breathless!  When you feel, then the performance becomes real – would that every singer could apply this ideology as you so do each and every week, Adam.  This is what distinguishes true artistry – that and a great deal of disciplined and intuitive awareness of  the potential offering of every song.

There were tender and tormented moments in this song - a true reflection of your soul. You dig very deep, Adam and you voice reflected your authentic and real emotion. It was just so tangible.

Because of your ability to reach and liberate untapped sources in this song, the communicative elements of this song were absolutely spectacular.  The song gained new meaning and verve – totally different sound than what I have heard from other artists who have “covered” it.  The depth and passion of your soul were  honestly portrayed through your expressive, multi-layered vocal delivery.

 And your superb ability to quickly vascillate between the  full compliment of your head voice vs. the quieter timbre of your head voice was wonderfully executed throughout this number and added  inflection and nuance throughout this sensitively expressed showcase.

Finally, that sustained note at the end was wonderfully full and focused as it should be – in that vocal masque. Gorgeous and pure!

At the end of the show, you mentioned that you  were extremely happy to have been given the oppportunity to sing this song.  Might I further add that this song was fortunate to find a new and refreshing home in your artistic soul. 

Your closing number was ”No Boundaries“, the American Idol Coronation song written by Kara DioGuardi.  This is such a difficult number – the vocal and dynamic range that is expected from the singer is really daunting.

However, given your stellar level of singing experience and expertise, this song, although far removed from your personal vocal style, resonated extremely well with the viewers. I felt that you successfully incorporated your signature style and methodology into this number.

Also you managed to distance yourself from the technical issues that chased you at the beginning of this song. Oh yes, as in last week’s performance, the tuneless back-up singer made a return appearance. What can you do, right? The show must go on!

And similar to your performance of  “A Change Is Gonna Come“, the seamless manner in which you segued  from your potent head voice to soft head voice was unbelievable. Your technical control, combined with your relaxed facial features, signified how absolutely ready you are for this song and for this competition.

And thank you for adding a wonderful melodic descant in the final refrain – your voice soared over the “now in tune” backup singers and sounded liberated and strong! Great substance and style!

Congratulations, Adam! This was an extraordinary end to an extraordinary American Idol journey. You are most definitely destined for International success. You are iconic – one of a kind - and have left an indelible mark on the Nokia stage  and in my heart that will never be erased.

Bravo and standing “O” from Masterclass Lady!

Critique: Adam – your performance of  “Mad World” was technically and artistically superb, so I have nothing to critique in this number. It was sublime perfection.

Now, I did mention that during the inital stage of “A Change Is Gonna Come“, I sensed a level of anxiety in your voice. Your throat didn’t sound open and free and so your introductory line, “I was born by the river” sounded a bit tense and edgy. I felt that, perhaps, there was too much too much chest resonance in the vocal mix. 

However, you made up for it in the remainder of the number, leading toward that beautifully sustained final note on the word “come” – so pure and focused in your vocal masque.

However, make certain that you always keep that pure, ringing head voice at the core of your louder dynamics.  You have to make sure that the chest resonance doesn’t allow the head voice to take a back seat.

Finally, let’s discuss “No Boundaries“.  I didn’t have major issues with you, Adam, but with the technicians and the back-up singer. Yes, as in last week’s performance, she was once again singing too loudly and with really poor tuning to boot!  

Therefore, the dissonance everyone was sensing at the beginning of this number had little to do with you. You know how to handle these testy situations so well and, as the song progressed,  we heard more stability in the technical mix. I guess someone either woke up the sound guy or muffled the back-up singer. Ha!

Oh – and one more thing, Adam – make certain that you try to maintain a circular formation in your mouth position. This became especially noticeable at the end when you sustained the word “mountain“. Your mouth was open and relaxed, yet too horizontal for my taste.

Even with your relaxed jaw, by merely adding  a circular formation to  mouth position, you  would have noticeably deepened the timbre of your voice. Try it – you’ll like it!

Finally, regarding the song, I was hoping for something more current, relevant and significant to your level of artistry. Suffice it to say that you were better than the song and, through your vocal delivery, elevated this song to listenable heights.

Congratulations, Adam! It has been an immense pleasure and honor for me to write these articles for you and the other singers, although I hardly think you needed any input from my end!

 You came to this show impeccably prepared and it showed. Your genuine and caring demeanor and your extraordinary talent is something truly special.  I will watch with great anticipation as you take the world by storm through your immense artistry and charisma.

“KRIS ALLEN: “What’s Goin’ On” by Marvin Gaye (Producer’s Choice) “Ain’t No Sunshine” (Singer’s Choice) by and “No Boundaries” (Coronation Song) by Kara DioGuardi

Strengths: Kris -your first number,  Ain’t No Sunshine, was a wonderful reprise of your Top 9 performance which celebrated best-selling songs from Itunes.Com.  How I loved your rendition of this classic number and, this week, I fell in love with it once again.

Everything about this performance screamed “outstanding” – the gently layered nuances,  the musical shape of your phrases, your excellent piano skills and, of course, your naturally pure and expressive vocal talent.  Once again, it was clearly evident that your comfort level was optimal, as you appeared relaxed and confident throughout this number.

And when a singer is relaxed and “in the zone“, then the artistic style and substance truly mesh. This song emphasized the depth and inflection in your voice, as you freely enabled the technical support to supply the foundation for your singing.  Your jaw was noticeably relaxed and free and your mouth easily maintained that all-important circular formation for the proper sustaining effect.

Your vocal timbre was colorful and expressive throughout this number - starting softly then, as the song progressed,  adding crescendo and momentum to the melodic and rhythmic line and then closing with a softer, wonderfully controlled dynamic!  Bravo!

During your second number, “What’s Goin’ On“, with guitar in hand, you created a different ambience .  Very acoustic and very intimate!  This was the perfect song choice for you, as it accented ever aspect of your performing style that we have come to know and love over the past few weeks.

I also loved the calypso-generated rhythmic pulse that formed the foundation for this song.  It was excellent and musically contagious. And, in gauging your relaxed and carefree demeanor, you obviously internalized the essence of this wonderful song selection in a believable manner. 

Finally, your performance of the American Idol Coronation song, “No Boundaries“,  was passionate and genuine.  Although your voice did not embrace the melodic line with perfect ease, you did make every concerted effort to deliver this number with artistic sincerity and commitment.

And, in this song, as well as the other two numbers, the clarity of your diction was immaculate – clean and precise. In every performance that you have given over the course of the show, I have  never detected ” muddiness” in your vocal sound or articulation skills – every aspect of your singing style is clean and precise and extremely pitch-centered.

Congratulations, Kris, on an extremely well-rehearsed trio of performances.  You are an excellent musican and a sublime artist and your likeable, sincere demeanor has been a shining beacon in this year’s Top 13 lineup of singers. Bravo!

Critique: Kris -”Ain’t No Sunshine”  was beautifully interpreted, so I have nothing to add that could make this performance better than it already was this week!  This number so suited your vocal style and I can only imagine how wonderful your CD will sound when you are given the freedom to select songs similar to “Ain’t no Sunshine“.

However, your second number, “What’s Goin’ On“, didn’t quite have the punch and pizzazz of “Ain’t No Sunshine“.  The overall performance lacked the dimension and creativity that I witnessed during “Ain’t no Sunshine“.

 You sang the number quite well, but, for me, the espressive qualities that we so enjoyed in “Ain’t No Sunshine” were missing from “What’s Goin’ On“.  The whole performance was extremely linear and one-dimensional.

Furthermore, the technical issues came creeping back into the picture – your jaw was noticeably tense and your mouth extremely horizontal, thus preventing you from accessing the full power in your diaphragmatic support system.

Also, you have to really watch when you are seated with a guitar, Kris . Make certain that you do not slouch, thus ensuring the elevation and openness of the rib cage.  By doing so, you will be more conscious of the diaphragmatic muscles and your support system will be more accessible. 

 And finally, we journey to “No Boundaries“. First of all, let me say that there is no way that the key could have been lowered – as many seemed to think – because you were experiencing technical issues with your lower range at the beginnning of this song.  Any lower and you would not have been heard!

The lower end of  your voice lacked focus and sounded off -center. You were really struggling for those notes and this is where your technical support would have made a difference. It would have guided you to dig deep and flex those muscles, thus rendering more presence and verve to your baritone voice.

Also, always remember that your articualtion must not disappear when singing through your lower range. In fact, it should increase and this increased clarity in your diction would have added energy and focus to your voice.

Additionally, by accessing the proper support in the earlier stages of this song, you would have fared better during the remainder of this number. Technical strength must be present from the minute you open your mouth. Otherwise, it will be extremely difficult to access later on in the number.

And, as the melodic line  moved along and ascended to your tenor range, this is  indeed what happened.  Your diaphragmatic muscles were not ready for the challenge and, as a result, I witnessed a great deal of facial cringing and tension in your upper body. 

In an effort to create a nuanced performance and expand your dynamic possibilities in this song, you accessed the wrong area of your body and, as a result, a visual and aural struggle ensued. You looked and sounded really uncomfortable.  And, again, that elevated head position made its appearance, as you struggled to reach for rather than sing over your upper notes.

Also, your mouth position was loving that inefficient “spread” position – particularly when you sang the word “boundaries” . Always remember, Kris, that a round mouth on all the vowels will increase the depth and uniformity of your voice through every level of the melodic line.

In closing, however, I would like to say how much I have enjoyed watching you grow in confidence and artistry on the American Idol stage. You truly are living a dream and I am so happy that your dream was realized. You are a sweet, caring, genuine and talented individual and it was a pleasure to wrtite these Vocal Masterclass articles for you.

Congratulations! You have now been “kristened” the American Idol Season 8! The future is yours! Bravo!

 For all the latest American Idol News, visit SirLinksalot: American Idol or the American Idol Official Site

By: Rosanne Simunovic

This Top 3 show’s theme should have be named “A-Cappella Madness” , because, in varying degrees, all three singers were determined to strut their acoustic voices this week.

However, overall, it was an uneven showcase of performances, but the technical glitch during one singer’s performance made for some great live television. We can laugh at this now, since that performer has moved on to the Top 2 Finale next week, but it  was quite the disturbing spectacle at the time.

So, let’s have a look at my thoughts on the Top 3 performances this week and please feel free to share your comments after the read.

Also, please keep checking my Twitter updates so we can stay in closer touch!

Update: Special thanks to Minna for her editing advice. Please visit her wonderful David Archuleta site at DaBuzzing.Org

Here are my evaluations and, remember, I am reviewing each singer in (first name) alphabetical order. Your comments are always welcome. To quickly access individual singers, simply click on the singer’s link below.

Adam Lambert,   Danny Gokey,   Kris Allen,

ADAM LAMBERT “One” by U2 and “Cryin” by Aerosmith

Strengths: Adam- I was extremely excited to hear that Simon personally cleared U2′s song, “One”  for this week’s Top 3 performance.  And was it worth the effort? It most certainly was! 

You began this song, in front of the microphone stand, exuding a quiet and extremely vulnerable demeanor, your voice sounding absolutely magnificent. The relaxed, yet expressive tone of your pure vocals set against the backdrop of a  sensitively induced acoustic piano accompaniment, was one of the truly special moments from this week’s show.  I could listen to  you sing like this all night, Adam – your voice is truly, truly beautiful!

However, you are a master of nuance and  inflection and I knew there was more to come as the song progressed. And slowly, yet meaningfully, the song unfolded as the gentle introduction of the string orchestra meshed their lovely sound with the piano, thus encouraging you to generate an increased dynamic level in your voice.

At this point in the number, you visually added more dimension  by releasing the mike from the stand,  moving forward to the perimeter of the stage. Perfect!  How I wish more singers would do this in a performance. Not only does it add variety to a performance, but also it releases tension and adds buoyancy to the lower half of a singer’s body. The physical pacing encourages further relaxation in the knees and added energy from the diaphragm.

At this point, the fiery, expressive vocals “kicked in” and there you were – at the front of the stage – to passionately drive your sensitive vocals into the hearts of your audience. Wonderful timing and so well formulated!

And when you moved to that sustained upper register – changing the melodic line with musical professionalism and confidence – I truly marveled at the high level of your technical development. Your stellar vocal technique allowed you to release all the passion of your soul in a  truly remarkable way while your physical movements so perfectly mirrored the emotional core of this song. It was exhilirating to hear and see, Adam!

How you managed to seamlessly segue from controlled “piano” (soft) level of sound to passionately “forte”  (loud)level as you ascended your vocal range  and, then quietly end this number softly, was a  musical testament to your brilliant strength as an artist and your determination to achieve the absolute best in each and everyone of your performances. 

Most people may not realize and/or take for granted the skill and stamina it takes to achieve such a quick turnaround in the dynamic level in a performance, especially when the performance timeline is so condensed. And yet you did so flawlessly  – with composure and self-assurance. Just wonderful!

This was indeed an  exceptional and  memorable performing  experience – unique and extarordinary.

And, I should draw attention to your physical stance. In both numbers,  it was  technically perfect – the elevated upper body, relaxed shoulders and curved knees – and contributed to the confident presentation of both songs.

Moving on to your personal song choice, “Cryin” by Aerosmith, I have to say that, given the audio problems you were experiencing on stage, it was still a very strong performance. It is almost hard to critique this performance because you were having so many issues with the balance betweeen you and the back-up singers, but I will do my best here.

The song started strongly enough and then – well, you know what happened. You had competition for the lead vocal from the back-up singer. However, I applaud you for removing the earphone and carrying on like the true professional that I have come to know and love over the course of this show.

Physically, you moved about the stage with ease and confidence and, given the audio difficulties during this number, the increased visual aspect of this performance was most welcome.

Also, that round mouth and extended tonque was just the ticket for those upper vocals. And when you executed that vocal slide up to “dyin’”  it was, well, “to die for”.  The intensity that you maintained throughout this number was exceptional – you perfectly captured the angst and anger depicted through the lyrics.

Also, I couldn’t help but notice the contrast between your first and second number. It was reminiscent of  two different performers – you have so many artistic sides and I hope this is the road you will travel as your career unfolds and reaches stellar heights.

Congratulations and bravo and a standing “O” for your dual showcase this week, Adam!

Critique: Adam – you looked so bewildered after your second song and I expect that this was not the performance you had rehearsed or had envisioned at this point in the competition.  But, I am so glad that you removed the earphones so that you would no longer be distracted by the dissonance in the background vocals. 

However, that being said, I was jolted from my typing by the primal scream projected by your back-up gal. Wow! What a mess!  

Then, at some point, the band hopped on the atonal bridge to nowhere and sounded poorly tuned.  But, given the edgy nature of this song, maybe this was the intention. Whatever the reason, everthing seemed strangely disconnected during this song – you, the band, the back-up singers. However, I will give you credit for holding this performance together until the end with professionalism and artistry.  Any other singer would have crumbled.

Also, technically, Adam, this song didn’t resonate as perfectly as your first and, yes, I know that you were probably experiencing a great deal of anxiety given the audio difficulties during this number. 

However, over the past few weeks, I have cautioned you about the  momentary spread in your mouth position during some of your performances. This became problematic during “Cryin“  and the prevalent “eye” diphthong added to the source of the problem. You have to remember to grab the first pure vowel in that diphthong -”ah” -and fully sustain your voice in that vowel. 

You had a tendency to move your voice through all the vowels in that diphthong and, as a  result, I found that your upper register voice sounded thin and poorly focused. By sustaining on one pure vowel, with a rounded mouth position, you would have achieved a higher degree of depth and intensity in your vocal production.

Also, that quivering jaw made a repeat appearance in your performance of, “Cryin“.  Perhaps, the vocal vibrations, added to the passionate energy of your performance, could be factored into this. Whatever the reason, you need to pay attention to any source of tension in your jaw as this leads to tension in your throat muscles which, subsequently, leads to faulty and a less liberated vocal focus – something that I felt was problematic for you during this second performance.

But, let’s end on a positive note, shall we? Your first song was brilliantly performed  – an artistic gem of the highest degree. And, given the technical issues that hindered the second song, the bottom line here is that you are an extremely strong, experienced and meticulous singer – all attributes that provide the foundation for your performances each and every week.

Congratulations once again!  Exceptional work!

DANNY GOKEY: “Dance Little Sister” by Terrance Trent D’Arby and “You Are So Beautiful” by Joe Cocker

Strengths: Danny – first of all, let’s talk about your Top 3 performance of “Dance Little Sister”, chosen for you by Paula Abdul .  What a wonderful way to “kick off” the Top 3 showcase this week.  I  loved the upbeat brass introduction to this song and loved even more how you grabbed the buoyant essence of this song and immediately “ran with it”.  That’s the way you shake the nerves out of your system – by fully immersing your heart and mind into the rhythmic and melodic pulse of the song. Kudos, Danny!

Also, this week and throughout this show, you have been singing with some naturally established technical components. Your circular mouth and, at times, your relaxed jaw, have enabled you to draw some power – be it conscious or not – from your diaphragmatic support system. Add to this your natural tendency to sustain your voice on the first  pure vowel located in  your diphthongs and one can easily figure out why your voice always has such strong presence when you perform.

Also, the key selection of this song was cleverly devised, relieving some pressure and tension from your already over-extended upper range.  For the majority of time, this song rested comfortably in your middle range, thus allowing you to pump out strong vocals throughout this number.

And the soulfully liberated   “do do do dos ” with the saxophonist positively accented the visual presentation of this song, while at the same time, emphasized your natural penchant for the  jazz idiom.  Loved it!

You also engaged the audience tremendously well in this number through your animated and expressive vocal delivery and strong, rhythmic presence.

However, I fell in love with your personal song choice, “You Are So Beautiful” by Joe Cocker. It  was a superlative selection. This song perfectly captured your authentic soulful tone and style so well. The lyrics, combined with the beautiful melody, impeccably highlighted your sensitive, expressive persona and that husky quality in your voice worked emotionally well for this song.

And it was clearly evident that you worked very hard on establishing an innovative arrangement to this song. I adored the  quasi a cappella opening in this song that segued into a lovely acoustic guitar accompaniment. This was just so beautiful and an absolutely exquisite effect, one that firmly established the tender, romantic tone for the whole number.

Your  liberated vocals, the clarity of your diction, the stellar presence of your transluscent head voice was something truly special and my only regret is that you did not have the opportunity to reveal this level of nuance and inflection in some of your previous performances from past weeks.

However, as the saying goes, better late than never  – perhaps you just needed the right song vehicle to drive your voice to stellar heights. If so, you found it in this beautiful song arrangement.  I doesn’t get much better than this. Gorgeous! GORGEOUS!

And the ending, from the liberated soulful singing to the passionately sustained “beau -ti -ful” at a  forte level followed by a tender “to me” resonating with transluscent head voice, was just remarkable and showed tremendous control. It was truly inspired, Danny, and it was blatantly obvious that your poured blood,  sweat, tears, heart and soul into the preparation of this song.

Excellent showcase Danny! Bravo and a standing “O” for your final number – “You Are So Beautiful“.

Critique: Danny – although “Dance Little Sister” , had great entertainment value, I found the lyrical and melodic elements of this song extremely repetitious. As a result,  the full extent of your vocal gift was not realized. The melodic line  of the song was very limited.  I was hoping that you would add some level of variation in the melody line but it never happened.

The cyclic “dance lttle sister” segments were relentless and tedious and this problem would have been alleviated if you had incorporated some soulful riffs into the melodic mix. Creative flexibility in the melodic line would have been a very welcome addition to this song – in fact it cried for it!  

 Additionally, the lacklustre vocal line caused you to abandon your technical skills and your voice sounded much too linear throughout this song. I needed to hear more inflection, more nuance and it just never happened.

Also, you were punching those vocals once again from your throat and your voice sounded noticeably unhealthy and ragged.  I am really concerned for your vocal health, Danny, and hope that  you connect with a solid vocal technician as soon as  possible from your end.

Additionally, you have to be more vigilant in maintaining that all-important circular mouth position, especially on the trickier diphthongs such as the “aye” (pure vowel -=eh) and  vowels such as “ee“. Your failure to do so during this number caused constriction in your throat muscles, thus creating  undue strain and pressure on  your delicate vocal cords.

You must always remember to incorporate the “ah” vowel in all your vowels and then your voice will enjoy consistent clarity and ring throughout every level of your vocal and dynamic range. Certainly the pitch and control will be more even and centered.

Also, you must learn to balance the choreographic and vocal elements so as to create a seamless and fully coordinated visual and aural performing experience. You have a boundless array of energy, Danny, but you must learn to exert stronger control in how this energy is utilized in a performance.

Your buoyant physical movements did not establish proper synchronization with your vocals and, as a result, it diminished the diaphragmatic energy necessary to create an aesthetically correct vocal presence. Toward the end of this song, I saw a great deal of  rhythmic bouncing mixed in with an even greater amount of vocal shouting.  The whole effect looked too forced where it should have appeared fluid and effortless.

However, your performance of “You Are So Beautiful” by Joe Cocker was faultless – bar some technical issues that could not be erased in a span of fifteen minutes. However, I felt that you had more respect for and control of your technical resources and, depsite the raspy edge to your voice -which I feel actually contributed to the song -I sensed that you had meticulously paid close attention to every detail in this number.

This was a well-rehearsed and wonderfully adapted arrangement of a classic song. Also, unlike your first number,  I heard nuance and inflection and a multi-tiered approach to the dynamics – all the good things that render a performance so very special.

Congratulations, Danny!

“KRIS ALLEN: “Apologize” by OneRepublic and “Heartless” by Kanye West

Strengths: Kris -your first song, “Apologize“, was an absolutely inspired song choice for you.  Because it requires a lighter vocal approach, it complimented your voice so much,  highlighting your naturally applied  head resonance. For this reason,  Kara and Randy are to be applauded for choosing this number for one of your Top 3 performances this week.

 Over the course of this season’s show, you have wonderfully demonstrated the depth of your musical talents -as a vocalist and as an instrumentalist.  And this week, thanks to your dual performances, you were given the opportunity to showcase the full extent of your musical abilities.

While comfortably seated at the piano, you were able to fuse both the piano and vocals with an ease and simplicity which I found very impressive.  Your voice exhibited a high degree of  passion and verve. I loved the random melodic riff midway through this song, as it indicated to me that you were attempting to introduce your personal vocal style during this performance.

 I was also extremely impressed with the clarity of  your diction.  I particularly appreciated your effort to enunciate the ”a” in apologize with consistent precision.   In the original cover, it always sounds like “`pologize”, so when I heard the added note for the “a” vowel, it was a welcome treat. 

I am a diction person -really fussy, in fact, as I feel that a singer, in order to better communicate his message to the audience, must make a determined effort to coherently project the lyrics in a song with feeling and inflection.  And, to a certain degree, I felt you were successful in doing so during your first of two performances this week.

However, it was your  personal selection, “Heartless” by Kanye West,  that captured my eyes and ears. I thought this was an exceptional performance  for a variety of reasons.

First of all, how I loved the slow a cappella opening of this song that seamlessly segued into the gentle accelerated strumming of your guitar!  This was the perfect way to add aural dimension to this song. and it also signaled to me what I have suspected all along – that you have a strong sense of  pitch – be it absolute or relative.

I also appreciated your personal interpretation of this Kanye West song.  You “kristened” this song with new life and excitement – the “Kris vibe” - which I have come to love and appreciate so much throughout this season of American Idol.  It demonstrated how fully connected you were to this song and the complete extent of your artistic skills. As a result, your vocals were brimming with expressive nuance and clarity – just outstanding. 

Technically, I thought you utilized your voice in a more consistent manner than was evident when you sang “Apologize“.  Your mouth maintained a circular position and you were attempting to release your jaw when you moved through your upper range. Perhaps the quicker tempo of “Heartless” more successfully minimized your still developing technical skills and/or allowed you to utilize them with increased efficiency.

And, after patiently waiting for my “Kris Allen Masterclass moment”, you finally treated me to the gorgeous timbre of your lower range for an extended period of time during this performance.  Thank you so much, Kris!  However, you also did yourself a favor, for, by fully navigating and releasing the depth of your vocal range, you increased the aural dimension of this number.

Also, by vocalizing through your baritone range, you relieved some pressure off the upper. You created some space for your upper voice in your vocal line and, as a result, your voice sounded more transparent and relaxed when you did indeed sing through your upper range at different points in the song.

I always talk about “pacing” – whether it involves choreographic or vocal elements - and this is how you vocally pace a performance. Even classical singers sing through the bottom of their range when performing their repertoire, as it allows the upper to sound even more beautiful and certainly more relaxed when it does appear at different points in a song. Plus it adds dimension to the melodic line! 

I like to hear a song that challenges every aspect of a singer’s voice. Generally speaking, when  a melody is too repetitious, centering around 4 notes in a singer’s range, it becomes tedious and uninspiring to listen to!  And this song was anything but, Kris, so kudos to you for personally selecting and then conceiving your personal rendition of this well- known cover.

This was an outstanding dual showcase, Kris!  Congratulations!

 Critique: Kris – during “Apologize” and, to a lesser extent, “Heartless,  you still encountered the usual technical problems. Your tense jaw, horizontal mouth and hunched shoulders were so detrimental in revealing the  full power of your natural vocal ability.

By not releasing the tension in your upper body and face, you were inhibiting the constant and powerful support from your diaphragmatic breathing muscles. Also, that horizontal – and almost closed – mouth formation at the beginning of  “Apologize” minimized the full potential of the lower end of your voice. I wanted to invisibly reach through the television screen and re-arrange your mouth and jaw position.

Your breath support was not engaged from the outset of this song and, as a result, you ran into further problems  in your upper range as the song continued.  You have gorgeous head voice, but without the strength and support from the diaphragm, the full potential of your head resonance remained unfocused and vague throughout this number.

And, all that tension in your face and mouth did indeed cause you to crack at one distinct point in the song.

Also, be very careful that you don’t sustain your voice through every vowel of the diphthong. This was most obvious during – yet again – “Apologize “.  For example, when you sang the word “ground “, you should have sustained this word on the “ah” vowel of that diphthong, rather than grabbing both vowels – the “ah-oo” – of the diphthong. 

This occurred many, many times throughout this song – on the words “ground” and “around” and then when you sang the word “apologize“.   For the latter word, a plain “ah” vowel would have sufficed, adding the “eye” and “ee” vowels toward the end of the sustaining process.  By sustaining on one pure vowel for the majority of the time value of the note, your vocal sound would have sounded less cluttered and certainly more pure, centered and focused.

Also, I think  you would have increased the visual dimension of this number had you moved away from the piano and walked toward the front of the stage, ending the song totally a cappella, perhaps incorporating some freestyle vocal riffs.  As it was,  the ending felt a little flat to me – it didn’t leave me with something substantial to take away from this performance.

During, “Heartless” – you ran into the same technical problems, however to a lesser extent. However, I would caution you  to refrain from raising your head and constricting your facial features and neck muscles. All of these negative habits are robbing you of the full potential of your natural vocal ability and negating the efficient process of your diaphragmatic breathing muscles. 

And we need to see the expression mirrored in your eyes. If you are constantly craning your neck in an effort to create vocal sound, not only are you putting undue pressure on your vocal cords, but also you are interrupting  the communicative connection you should be establishing  with your eyes.

So, there you have it, Kris!  You have enormous untapped potential that could be fully realized through proper vocal training. I hope this is on your “to do” list once the show is over.

Congratulations, once again, on your growth as an artist during American Idol Season 8.

For all the latest American Idol News, visit SirLinksalot: American Idol or the American Idol Official Site

By: Rosanne Simunovic

I am running really late this week, so please excuse the abbreviated introduction.

However, I have to say that I enjoyed this week’s show better than last and this is coming from someone who loves retro music and is “so-so” about rock music. I think the singers were more in their element this week because of the nature of the theme.

So, let’s have a look at my thoughts on the Top 4 performances this week and please feel free to share your comments after the read.

Also, please keep checking my Twitter updates so we can stay in closer touch!

Here are my evaluations and, remember, I am reviewing each singer in (first name) alphabetical order. Your comments are always welcome. To quickly access individual singers, simply click on the singer’s link below.

Adam Lambert, Allison Iraheta,

Danny Gokey,         Kris Allen,

Adam Lambert and Allison Iraheta                  Danny Gokey and Kris Allen

ADAM LAMBERT 27-years-old: “Whole Lotta Love” by Led Zeppelin

Strengths: Adam-once again, you highlighted the unmistakable reality that you are indeed an artist for all seasons and tastes.  It has been perfectly documented through your stellar, multi-dimensional weekly performances since the initial airing of this show. Be it, Broadway, country, big band and, as in this week’s case, rock, you have wonderously adapted to every theme with consummate ease, musical finesse and innovative artistry.

You were so connected to this Zeppelin song – incredible, really! And to achieve clearance for this number rmust have been quite the coup, as I believe this is the first time a Led Zeppelin song has been performed on American Idol. So, suffice it to say that Led Zeppelin must have included himself itself as a member of your growing legions of fans.:)

This was such a phenomenal performance. This is the Adam that I have come to know and love, one who has developed confidence and acceptance of who he is an artist and where he wants to take it in the future. You take risks each and every week; however, what is more significant is that you take risks based on your terms and on your knowledge of what works best for you and you alone.

This is what separates you from the “rest of the pack” – this and the obvious fact that you have developed your vocal gift in a way that has permitted you to go to places other singers can only dream about.

The visual presentation of this number left nothing to the imagination. You maneuvered your body about the stage with musical precision and dramatic flair. As a result, the theatrical presentation of this number was vivid and colorful – the confident swagger and strut in your body movements were just the ticket for this song.

The rhythmic precision and candor you exuded throughout this number were spectacular and so, so meticulously formulated. Consequently, there was artistic definition in every fibre of your being which then translated to a nuance-friendly performance.

As an aural presentation, your voice sounded stellar. The manner in which you guided your voice from top to bottom, seamlessly connecting your upper, middle and lower registers with your stellar technique, was absolutely wonderful. When sustaining the vowels, your mouth maintained that very important circular formation, resulting in what appeared to be an effortless transition through every part of your range.

However, make no mistake about it! There was a great deal of effort happening in the lower half of your body. The relaxation of your jaw, coupled with your rounded mouth formation, the relaxed knees, the elevated rib cage – all of these important technical elements encouraged you to manage the vocal gymastics via the support from your diaphragmatic breathing muscles.

And, as I have expressed in past articles, guest mentor, Slash, wanted more from your lower register in this week’s performance, so, “yea” for like minds and all! And like a good student you did just that, highlighting that superb lower range for the majority of this song.

As a result we heard more of a rocky edge to your voice – the growl.  Additionally, it allowed you to relieve some pressure from your upper range, giving it a much needed rest. It is always about balance and, even though your technique is very solid, Adam, you have to realize that sometimes you need to steer your voice in another direction when you sing, if for no other reason than to give the upper register a “time-out”!

However, that being said, your upper voice at the end of this song was perfectly placed – sounding clear and transparent. No way were you going to leave the stage without a glimmer of your potent upper range! (ha!).

Also, in closing, I have to say how much I loved the false ending to this song- the anti-climatic pause and move toward the front of the stage. – before the big, BIG ending. You are so smart -what a brilliant move! It gave you time to position yourself for the last big dramatic push and, as a result, kept the audience in suspense. In a sense, there were two endings – such a stroke of genius!

What more is there to say but bravo Adam Lambert! An Idol for all seasons and tastes! Congratulations on a phenomenal performance!

Critique: Adam – what was that quivering jaw on the word “woman” doing in the midst of all this technical wonder during this week’s performance?  I was confused because you were actually singing through your lower register at this point, so it would appear that you should have felt more relaxed in releasing your vocal sound.

Perhaps, you were feeling the adrenaline depletion that is somewhat normal in the final moments of a song and couldn’t summon the proper support from your diaphragm?

Whatever the reason, it just goes to show that, even though your technical skills run deep, you have to make certain that you keep your upper body out of the control process for your voice. In a effort to express the correct emotional attitude at this point in the song when singing “woman“, you may have inadvertently tightened the jaw and neck muscles, thus allowing it to quiver and quake.

However, this temporary technical glitch was all but a distant memory when you closed the song, performing acrobatic movements with your upper voice with precision and dexterity. It does not get much better than this! Brilliant performance, Adam!

ALLISON IRAHETA 16 -years old: “Cry Baby ” by Janis Joplin

Strengths: Allison -Ooo, I loved this song for your voice. The slow, sultry vibe of this song, coupled with the perfect key selection for your voice, was wonderfully formulated.

Personally, this your best and most authentic performance since the start of this show, reminding me of your stellar vocal performance during Disco week a couple of weeks ago.

However, what makes this performance surpass your Top 7 performance was the obvious fact that you were finally performing a genre of music with which you identify. This year you are our rock queen and I am so glad that you were given the opportunity to perform in this week’s rock-inspired showcase.

Those “cry baby” repeats were exceptionally clear and focused, radiating that all-important head resonance that I keep harping about in your critiques from week to week. You made a successful attempt to avoid the messy “eye” diphthong in the word “cry“, thus allowing your voice to project in a clear and centered manner on the pure “ah” vowel in this diphthong.

Along with this fact, the curve of your mouth was ring-shaped – just the way I like it! And, because your mouth was behaving as it should, it increased the full dimension of your diaphragmatic technical support. Therefore, your voice possessed a higher degree of aesthetic presence and refinement this week, as it was finally resonating in your vocal masque.

The melodic line of this song was a simple one, but maybe that’s the answer to the puzzle when it comes to your song choices. Because the melodic line gave you room to grow and to experiment, it allowed you to comfortably add your personal trademark to this great number. I loved the innovative melodic touches to the original melody – they were perfectly correlated to your young age and budding technical skills.

Visually, as in last week’s performance, I adored your refreshing, youthful demeanor. I cannot tell you often enough how more approachable and accessible you appear in the eyes of the viewers. No more hard look for you, young lady!

Also, I have to say that I disagree with some of the judges and, thus, agree with you Allison in your choice of song. Some of the judges wanted you to sing “A Piece Of My Heart” (groan) As this song has been performed endless number of times on this show and, additionally, has a tedious melody, your avoidance of this song was an extremely smart decision on your part.

This indicates to me that you have indeed researched your song material extremely well, choosing a song that has never been performed on the show before. I basically didn’t care if the melody was simple – it was your ability to personally improvise with the words and lyrics that impressed me, thus raising the performance level of this song to a phenomenal height this week.

Also, I thought that you inherited the emotional core of this song so very well by spinning out golden yarns of vocal sound and thus weaving an honest and cohesive performance. The vocal nuance and inflection that you incorporated into this number was exhilirating to see and hear.

This was an exceptional, confident performance, Allison! Congratulations and brava!

Critique: Allison-once again, the articulation of your lyrics was extremely distorted and, at times I could barely hear a consonant.  The vowels are extremely important but, without crisply articulated consonants, we lose the coherence of the words.  This was particularly evident when you sang with a softer dynamic and/or through your lower range.

Consonants must be enunciated with consistent precision. I always tell my students they are to be applied as a springboard toward the correct vowel placement. All the tools you need for the majority of the consonants are located in your mouth – your lips, teeth and tongue .

However, you must articulate your consonants while maintaining a vertical formation in your mouth and jaw line. By doing so, you will compliment the proper mouth formation for sustaining the vowels. I guarantee that if you did so, you would be surprised at the additional focus you would contribute to your vowel placement. You would enjoy even more ring, more head resonance and, as a result , brilliant clarity and cohesion throughout your range.

Also, you have a perpetual habit of beginning your phrases or some of your words with a glottal attack. That push from your throat after you inhale and before you sing a phrase or a word is telling me that you are still not trusting your diaphragm to render the complete support for your vocal projection.

Additionally, the tension in your throat is preventing you from realizing the full capability of your vocal gifts while, at the same time paving the road for vocal health issues at some point down the road. Certainly that rasp in your voice is indication that your voice needs some tender loving care and I hope you motivate yourself to solidifying and stabilizing your voice once the show is over and before the tour begins.

However, so as not to diminish your performance this week, I have to reiterate that this was a wonderful Top 4 performance -great improvement from the week previous. Kudos Allison!

DANNY GOKEY 28- years old : “Dream On” by Aerosmith

Strengths: Danny -this started out to be a very good performance. Your voice wrapped so easily around the melodic line and your emoted the words with sincerity and conviction.

Also, there was one note (yes, one note) that left an indelible impression on me – the wonderful manner in which you sustained the word “pay” around the 42-second mark of this song. You grabbed the pure “eh” vowel in that messy “aye” diphthong and sustained the note with a touch of crescendo with pitch-centered clarity. Where did this come from? This is what I needed to hear in the rest of your voice, Danny – head resonance resting comfortably at the core of your vocal timbre.

And then, when you moved into the “dream” refrain, your voice and body really hit their groove, as you moved with confidence and zeal throughout the stage. Your husky voice worked so very well for the passionate atmosphere of this song and provided contrast to the intermittent purer vocals you injected in this performance.

And again, when you vocalized and sustained the word “away” you tackled that “aye” diphthong with finesse, centering and focusing your voice on the “eh” vowel. You are quite the enigma, Danny, as this is a difficult diphthong to overcome. Even though you are still refining your technical skills, you have conquered one of the “toughies” already.

And, toward the end of this song, I heard the brief interlude of soul that you wonderfully applied to the refrain of this song. Loved it! Wish I could have heard more, though!

Good work, Danny!

Critique: Danny – well, this song should have been retitled “Scream On” because that was one wallop of a scream at the end. Usually I like to hear more vocal power mixed in with the scream and, after your hilarious comments during the results show, I expect you do too!

However, that being said, the dynamic range of this song is extensive and requires technical strength from the singer. So, we ran into some problems toward the end of this song.

What can you do? It was an ambitious song and, in retrospect, you should have chosen a rock song that would have allowed you to sing in your customary soulful style. The slower-paced song selection would have been a welcome respite from the high energy performances that were showcased by the others.

Also, the strong dynamic that this song required underlined your still developing technical skills. Technique enables a singer to create inflection and nuance in his or her voice without sacrificing the essence and core of the vocal sound.

And, although you are generally singing with a very good mouth position while sustaining the vowels, you are still propelling your sound forward though the constriction of your throat muscles. Why, Danny, why? Use the diaphragm – there is more power there than you think but it has yet to be developed and refined.

And, be very careful when selecting the key of your song – even a semi-tone can make or break a performance. You have to ensure that you are able to sing your song within the perimeters of your natural singing range. If you move beyond it during a song performance, especially for long periods of time, you will encounter a variety of problems, such as poorly centered pitch and instability in your vocal delivery. And this is exactly what happened to you during this week’s performance.

However, that being said, a song change rather than a key change would have been the way to go in your case. There is no way one can avoid the challenges this song presents to the singer and the technical strength to access both lower and upper range with confidence and precision is overwhelming to those who have not yet developed the full extent of their techncial skills.

Hopefully, next week’s song choices will fully capture the essence of your artistry. Good luck next week, Danny and please, please take care of your voice!

Kris Allen “Come Together” by The Beatles

Strengths: Kris – I am glad that somebody remembered the Beatles since they bascially revolutionized the sound of rock by virtue of their combined singing and songwriting talents.

Generally, your voice sounded so transparent and focused throughout this performance. Boy, that natural head resonance in your vocal timbre is just the ticket, isn’t it? And, as I said last week, your pitch always sounds centered because of this important vocal characteristic. I also suspect that you have, if not perfect pitch, then relative pitch.

I also enjoyed the opportunity to hear the natural beauty of your baritone voice during the second half of this number. Your lower register possesses a high degree of natural resonance and ring and you should highlight this area of your range more consistently in your performances.

Why does eveyone think they have to sing high to master a successful performance? We rarely hear baritone or bass voices in mainstream music and, if someone could “break out” and become a star with this vocal makeup, it would create a new and exciting sound for others to follow.

This is what allowed Karen Carpenter to become a star. After years of parading her voice to various recording companies, her brother, Richard, suggested that she “demo” her songs by featuring her lower register. And the rest is history! Her distinctive, mellow voice won over the hearts of millions of fans and her music is still popular today.

Kris – listen to your speaking voice and embrace its natural resonating qualities; then start selecting songs that will further highlight the significantly gorgeous characteristics you clearly possess in your baritone range. I will speak more on this topic in the “critique” section.

Finally, I loved how you engaged the audience during the a cappella portion of this song. You had a great deal to think about during this performance – your voice, your consummate guitar skills -however, you made certain that you involved your audience toward the end of this song. Good call!

Congratulations Kris on a mighty fine performance!

Critique: Kris -first of all, we all know that this genre does not suit you at all. But, you were stuck with it, so what to do, what to do?

First of all, I would have lowered the key about a tone. The chosen key was far too high and it sounded like you were straining your vocal delivery when singing through that cyclic upper melody. Your jaw was tense and you were pushing that precious delicate voice from your throat rather than allowing the diaphragm to support your sound.

Secondly, why not sing a Beatles ballad and one that definitely would have suited the lighter timbre of your voice? Of all the people on stage this week, you should have been the one to sing a quiet,soulful rock ballad.

And, perhaps an expressive ballad would have given you an opportunity to showcase your lower range by creating a soothing and mellow presence on that stage, thus circumventing the boisterous atmosphere of this week’s rock-inspired theme.

Also, be very careful of raising your head when singing through your upper range. Always keep your head level with the audience and/or television camera.

Sing over your upper notes and never reach for them and, while doing so, breathe and support your vocal sound from the diaphragm. Bend your knees, squeeze your butt, sustain your voice on the pure vowel, drop your jaw, keep your mouth round (although the last two elements are slowly improving -kudos!)

Hope this helps you next week Kris! You have two songs to sing, so I hope that both of these numbers are perfectly suited to the style and substance of your vocal artistry. Good work!

DANNY GOKEY and KRIS ALLEN: “Renegade” by Styx

Strengths: Wow! That was an absolute blast! Have you guys been practicing your technique because I detected noticeable improvement in your vocal delivery?

This was particularly true in your case, Kris. Your jaw was wonderfully relaxed and your mouth nice and round – the best I have ever seen you accomplish during your tenure on American Idol. Perhaps the enjoyable feel of singing a duet released tension from your upper body and encouraged you to better adapt your technical skills? Whatever the reason, I loved the improvement.

Your harmones were superb- at times Danny taking the upper, but mostly Kris doing the tenor duties. I loved the interaction between both of you and for you, Kris, this is the strongest, most potent vocal I have heard from you in a long time. Danny – your voice is always a force to be reckoned with, so, as always, your voice had presence and verve.

The song was arranged extremely well, allowing both of you to shine as individuals and as a unit. Sometimes when you are coerced to establish a bond with another singer, one challenges the other and, thus, encourages both singers to raise his or her game. If this was indeed your goal, then you accomplished it with flying colors this week.

Kris – your natural vocal clarity provided a wonderful contrast to Danny’s smokier vocals and yet both nuances blended extremely well. Kris – your voice had more presence and strength by virtue of Danny’s naturally powerful singing voice and Danny – your voice sounded more transparent because of the natural head resonance emanating from Kris’ voice.

I have seen this happen many times when rehearsing with duet partners. Each singer -consciously or unconsciously -tries to adapt his or her voice to achieve a cohesive blend. It just goes to show that a singer has untapped potential in his or her voice to achieve a higher degree of nuance in his or her solo performances.

All in all, I enjoyed this duo performance very, very much! Congratulations to both of you!

Critique: Danny and Kris – what was missing from your duo performance was a stronger interactive element. First of all, I would have enjoyed seeing two separate entrances at the beginning of this song. It would have added more dimension to the overall performance.

Furthermore, cohesive interaction between the two of you was missing throughout this song. Yes, the vocal delivery was very good, but I would have loved to have seen a greater conversational aspect in your performance delivery.

And, toward the end of this song, I could see Kris wanting to establish contact with you Danny but you seemed totally immersed in your own little world. Remember, duets only appear genuine and real when a tangible connection is established between the duet partners.

Also, Danny, you really have to be careful about pushing your vocals when singing through your upper register. You need to add more head resonance in your upper register, similar to what we hear when Kris sings – although in Kris’ case, he needs to add more of the chest resonance. As a result, toward the end of this song, I found that the blend was compromised – too much Danny, not enough Kris!

However, all things considered, I loved your song choice and loved even more hearing the untapped potential in both of your voices. Good work, fellas!

ADAM LAMBERT and ALLISON IRAHETA: “Slow Ride”

Strengths: Adam and Allison – the first thing that impressed me about this wonderfully cohesive duet was the decision to make separate entrances during your solos at the beginning of this song. Immediately, the visual and aural dimension of this number increased considerably through this strong introduction and established both of you as confident, individual artists. (but we already knew that, didn’t we?)

However, as the song moved along, it was impressively apparent that both of you put considerable thought and attention into the smallest detail of this very exciting combined performance. The interaction between the two of you was fluid and relaxed and, more importantly, genuine

I loved how you played off of one another, celebrating the spirit of this song with consummate professionalism and stellar proficiency. And I particularly enjoyed how you echoed one another’s vocal riffs -this was a smart decision and another indication that no detail was spared in the rehearsal process.

Additionally, you harmonized extremely well, both of you adapting your distinct voices to suit the other. The harmonic blend during the “slow ride, take it easy” section was pitch -centered and the a cappella portion at the end of this song solidified this fact. Also, by repeating this line with a simple percussive background, you added yet another aural layer to this multi-dimensional showcase.

And then, to fully balance the visual with aural, your synchronized jump and vocal flourish at the end of this song superbly completed this picture of musical perfection.

If excellence is indeed in the details, then you did achieve your goal in this truly memorable performance. Bravo and bravo rock king and queen!

Critique: Adam and Allison – this was a wonderful performance. Everything I was looking for in this duet was there for all to see. The rapport, the visual and aural details, the solid, expressive singing! Perfect! Congratulations on a stellar duo performance. Now, make a record! (smile)

For all the latest American Idol News, visit SirLinksalot: American Idol or the American Idol Official Site

By: Rosanne Simunovic

Well, first of all, I have to say this music is a blessing for every type of singer. Classic melodies intertwined with meaningful lyrics is always a win-win situation.

This week, the Top 5 were allowed to shine through the talented efforts of Oscar recipient Jamie Foxx and the superb sound of Rickey Minor’s band. It does not get much better than this, folks!

However, some of the vocalists gave more style than substance this week and, for the most part, a few sounded enormously tired.

So, let’s have a look at my thoughts on the Top 5 performances this week and please feel free to share your comments after the read.

Also, please keep checking my Twitter updates so we can stay in closer touch!

Here are my evaluations and, remember, I am reviewing each singer in (first name) alphabetical order. Your comments are always welcome. To quickly access individual singers, simply click on the singer’s link below.

Adam Lambert, Allison Iraheta,

Danny Gokey, Kris Allen,

Matt Giraud,

ADAM LAMBERT 27-years-old: “Feelin’ Good”

Strengths: Adam- you performed Muse’s version of Feeling Good - excellent call!   However, when you walked down the stairs at the beginning of this absolutely stellar performance, you were channeling some Michael Buble as well.  This is the same entrance he uses with this song at the opening of some of his shows and it is wonderfully effective.

What a performance, Adam!  For me, this performance absolutely confirmed the outstanding technical foundation that is at the core of each and every one of your showcases.  That feelin’ upper note - perfectly sustained for what seemed like an eternity -was blanket evidence of this fact. That tongue ( how could we miss the tongue?) – was lying flat and relaxed in the front of your mouth, thus freeing any constriction in your throat and adding rise to the soft palate as well.

As a result, you were more than capable of applying strong support from your diaphragmatic muscles when sustaining the “i” vowel in the second syllable of the word “feelin“. And, of course, you made absolutely certain that your jaw was relaxed and free, thus liberating your vocal sound even further so that it could resonate perfectly in your vocal masque.

And that downward vocal spiral after you held this note, flawlessly executed without a breath or even the remotest facial evidence of concern, was testament to your highly refined technical skills. The descending scale was seamless, pure and centered. 

It actually reminded me of the technical strength and power of classical artist, Cecilia Bartoli, who is, to my mind, the best classical singer in the world today. I saw her execute the same vocal feat, but, obviously in her case, it was during a classical number. I can’t remember the name of the song, but I do remember the moment and you brought it all back to me with your enormous talent and skill during this week’s Top 5 showcase.

Also, the wonderfully sustained pianissimo note on the final word “good” was just beautiful. Your muscles have to make the necessary adjustments so that the pianissimo vocal sound remains steady and pure, while at the same time projecting with subdued confidence and intensity.  And, Adam, for me this was the icing on the cake, further highlighting the extraordinary depth and dimension in your vocal ability.

Finally, on a humorous note, there was definitely no flirting with that lower range, as I so teasingly pointed out in last week’s Vocal Masterclass evaluation. The first half of this song, wonderfully demonstrating the absolute beauty and depth of your baritone voice,  provided superb dimension and contrast when you accessed your upper range later on in this number.

Additionally, the clarity and transparency of your voice during  the quiet opening section of this number was absolutely gorgeous.

Congratulations on another multi-dimensional performance, Adam!  This was a meticulously prepared showcase! Bravo!

 Critique: Adam – once again, I can find little to critique in this performance.  It was just a brilliantly executed vocal masterpiece!

The only thing that I would draw caution to is the tension in your eyes when holding that prolonged upper note at the end of the song.  Make sure you keep the eyes open and free  so as to completely liberate and deepen the full potential of your upper range.  By closing and/or tensing the eyes, you diminish the full effect of the resonating areas in your facial features.

Also, as difficult as this is to do, refrain from raising your head when accessing your upper range.  All this does is create more tension in your neck muscles which will create havoc on the overall quality of the vocal sound. I still feel that there is some level of head resonance that could be more central to your upper register sound; presently I hear a bit too much chest resonance in the vocal mix and this may have to do with some of the tension in your upper body.

However, given the depth of your technical skills, I would think these small adjustments will be very easy for you. You are such a determined and meticulous artist, bringing a great deal of musical intelligence and artistic passion to the Idol table each and every week.  Bravo once again, Adam!

 ALLISON IRAHETA 16 -years old: “Someone To Watch Over Me ”

Strengths: Allison -you looked so beautiful this week – wholesome and naive. This was the perfect look for this song and, one, I might add, that I hope you adopt in the future. It suits your young age and effervescent personality and, additionally, heightens so many positive physical attributes that go unnoticed when you dress in a more austere fashion.

Also, I am glad that you challenged your vocal skills with a strong, powerful ballad. Although I wasn’t particularly fond of this song choice for your vocal style and strength, I thought that you really attempted to achieve a variety of nuance throughout this number.

Additionally, I did so appreciate your ability to inject your rock-inspired vocals within the song structure – it demonstrated how thoroughly focused you are as a budding rock star and your ability to transfer your style to a completely distant genre of music.

Good work, Allison!

 Critique: Allison- as I said above, I felt that this song was not the perfect fit for you – at least, not yet. This song presents enormous challenges for the singer and technical landmines exist at every turn of the phrase or page.

The ascending line during the opening section of this song requires powerful sustaining power and pure, seamless vocal sound as you move through the registers. You employed far too much chest voice – pushing, rather than releasing, your voice on the word ”longing“. 

And this constant push and drive from your throat just never relented throughout this song, causing you to abandon the proper diaphragmatic support necessary to sustain the melodic line of this difficult number.

Furthermore, as you moved into  the middle portion of this number, you encountered some additional technical issues.  This section of the song has to be sung freely, with an increased rubato, or, otherwise, it will sound stilted and restrained. Instead of moving the song forward and, perhaps picking up the pace, you struggled along with the same slow tempo and this caused your breathing to fall apart at the seams.

As your air was poorly managed,  the phrase lines became enormously fragmented.  There were times when you were breathing  far too often, thus creating awkward pauses throughout the song and disrupting the natural flow and intensity of the melodic line.

Also, I feel that a lower key would have been preferable.  In  previous performances,  you always appeared and sounded  most relaxed when singing through your resonant lower range.   As it was, the hoarse, rough quality in your voice, particularly when you moved through your upper range,  just did not suit this song.  This song, by nature of  the lyrics, requires a more vulnerable vocal sound to compliment the singer’s vulnerable persona.  You had the look, Allison, just not the correct voice to truly enhance the emotional core of this number.

Also, your facial features were so tense, thus closing off the resonating areas in your vocal masque.  At the end of the song, your jaw was so tense that it was  quivering when you vocalized the word “watch”.  And, your head – you must learn to sing over your upper notes and never, ever reach for them. I mentioned this fact last week and in weeks previous, so hopefully, you are working to to better solidify and strengthen your technical issues.

In closing, Allison, I would like to caution you to please take care of your voice. That huskiness in your vocal timbre is quite disconcerting and makes me wonder if you are suffering from nodule problems. The tension and strain in your voice makes me think that you will continue to have problems with your vocal health.

I would strongly advise you to (a) see an ENT specialist to out rule any possibility of nodule formation and (b) start working diligently with an extremely knowledgeable vocal technician who can set you on the correct path to complete vocal freedom.

Best of luck, Allison!

 DANNY GOKEY 28- years old : “Come Rain Or Come Shine”

Strengths: Danny -what a performance! You grabbed all the intensity and emotion from this song and created a passionate vocal work of art that was truly exhilirating. If I can speak frankly here, I was not expecting this level of a performance from you. As always, I felt it would be good, just not excellent or downright outstanding. So, color me embarrassed – you showed me, didn’t you?

I absolutely loved the beautiful bluesy, almost gospel, feeling that you emoted and that grew in power and verve as the song unfolded. And, to add more passionate fuel to the fire, the orchestra wonderfully mirrored your vocal drive and energy. Sheer perfection! This was a brilliant performance and your voice exuded dynamic energy and unbelieveble dimension. And the layers of nuance you sprinkled throughout this song were truly exceptional!

When you kicked it up at the end, you revealed the true depth of your incredible vocals and artistic power. Your voice and body were rhythmically so connected to this song.  Also, it goes without saying that the forward momentum was beautifully established. Your phrasing was impeccable and so very musical.

And, I agree with the judges, I feel we have discovered a niche for you, as this music suits you enormously well. You seemed absolutely connected to the rhythmic line of this song. It was quite the spectacle, Danny and in an “oh so good” way!

What more is there left to say except heartfelt congratulations on a truly excellent performance. Bravo Danny!

Critique: Danny -easy does it with the chest voice overload in your vocal mix! I absolutely loved the timbre of your voice at the beginning of this number – you voice was perfectly placed in your vocal masque and the head resonance was ringing with crystal clarity.

Now, what you must remember when you start injecting power vocals into your vocal delivery is to never leave your lovely head voice resonance behind in the dust. It always must be in the center of the vocal mix, strongly and consistently supported through the power and reliability of your diaphragmatic breath support. In this way, you can increase the dynamic range of your voice through the strength and support coming from your breathing muscles.

Also, watch that mouth spread on some of the trickier diphthongs, such as “ay“. Toward the end of your song, I loved the bluesy repetition of the word “rain” , but your mouth position diminished your vocal clarity and I am almost certain that your voice cracked in the process. Spreading your mouth and extending your voice on all the vowels while sustaining it on one note creates unbelievable tension in the throat, thus impeding the vocal excellence and refinement.

Remember to grab the first pure vowel in this diphthong – in this case it being the “eh” vowel -and make certain that your mouth is circular and that jaw relaxed.

However, artistically, this was just a strong performance, Danny, and probably my favorite performance from you since the beginning of American Idol Season 8. Kudos once again!

 Kris Allen “The Way You Look Tonight”

Strengths: Kris – you chose a beautiful song for this evening’s Rat Pack showcase and one that romantically connects singer to listener. You established an intimate connection with your audience by nature of the light timbre of your voice and your sincere, heartfelt aura.

Although you do not possess a large, multi-dimensional voice, you do use it wisely within the confines of your developing technical skills, allowing the emotional core of the song to regulate and heighten the successful performance of your numbers.

You have a wonderfully pure voice, Kris, and, despite all the technical problems that need correction (see your critique), you manage to center your pitch remarkably well. I almost sense that you may have perfect pitch or, at the very least, relative pitch.

Additionally the natural head resonance in your vocal timbre is also beneficial to this important element in solid vocal delivery.

Therefore, as this songs calls for a quiet, subdued approach, I felt that this classic song choice was very well suited to your vocal style and substance. The sensitivity and warmth that we felt while you performed this number is testament to the strength of your communicative skills.

And I cannot tell you how much I adored the uptempo segue into the final half of this song, followed by the rallentando as you moved to close the song. This variation in tempo and mood added wonderful aural and visual dimension to the number. You moved closer to the edge of the stage, thus further solidfying your connection with the audience. Excellent call on your part and kudos to the band for creating this lovely arrangement!

Wonderful work, Kris!

Critique: Kris – drop your jaw and open your mouth, child! Once again, that mouth remained in a fixed horizontally closed position, thus disabling you from accessing the strength and power of your diaphragmatic breath support.

As a result, I felt that the phrasing was really fragmented – you were breathing far, far too often and the song lost a great deal of momentum because of this technical deficiency.

Also, as you ascended the melodic line during the opening portion of this song, you had a tendency to reach for those upper notes rather than singing over them. Mentally, you have to adopt a descending melodic line when singing an ascending melodic line, but you also need the diaphragmatic technical skills firmly in place to fully liberate and focus your voice in your vocal masque.

And, as in last week’s Top 7 showcase, the exaggerated pause at the end of this number allowed the song to lose momentum and intensity when you most definitely needed it.

It would have been a much better call to extend the sustaining process on the word “look“, perhaps adding a decorative note or two. By doing so, you would have increased the natural flow and intensity of the final phrase, making certain that the forward momentum was not compromised at this crucial point in the song.

And intensity was what I felt was missing from this performance – there was not enough nuance and inflection in your voice because you are yet so inexperienced in the proper technical delivery of your vocal sound.  The full power of your natural voice was trapped in your throat and, thus, was produced in an emaciated manner.

And, it was for this very reason that you did indeed reveal a crack or two in your vocal armor as you moved through your vocal range, particularly when you moved into your head voice at the start of the uptempo portion of this song.

Also, from a visual perspective, I would have nixed the mike stand and encouraged you to travel the perimeter of the stage solely with the mike in your hand. This method would have been more conducive in heightening confidence and style in your performance.

However, the good news is that you are here for another week, so, hopefully, you will have an opportunity to strengthen and deepen your technical skills. (fingers crossed, here!)

Congratulations, Kris! Best of luck next week!

MATT GIRAUD 23-years-old:“My Funny Valentine”

Strengths: Matt -you, thankfully, altered the key as per Jamie Foxx’s suggestion. The lower key was certainly better suited to the natural singing range of your voice.

I also appreciated some of the melodic changes you introduced into the original song, as it accented how liberated and free you are as a vocal artist. Further to this fact, in the opening section of this song, before the full band kicked it up a notch, I absolutely fell in love with your voice. Despite the full refinement of your technical skills, your voice sounded centered, pure and resplendent with hushed emotion.

And the manner in which you produced your head voice was spectacular – just perfect! It added color and dimension to the original melodic line and, at the same time, emphasized that you have the confidence and ability to disitinguish your interpretation from the other covers of this wonderful song.

Then, when the arrangement started to accelerate and expand, the song really gained in dimension and harmonic color. I loved the emotion that you injected into this song and I felt that, despite some random pitch issues, you did succeed in capturing the sultry essence of this song.

You took enormous artistic and vocal risks and, in doing so, emphasized your innate musicality and growing confidence on this show.

Excellent work, Matt!

Critique: Matt- we encountered some “iffy“pitch issues along the way. As I have mentioned in previous weeks, I wish you would develop a more circular approach to your mouth formation, as it would heighten the depth and intensity in your vocal sound.

By constantly maintaining a horizontal mouth position and avoiding the pure vowels, you are not able to access the continuity of support from your diaphragmatic breathing muscles and, as a result, your pitch vascillates.

This became a recurring problem for you this week, Matt, most noticeably when you encountered the multi-vowel component in your diphthongs, such as “ay”. When confronted with this diphthong, it would have beneficial to your vocal delivery had you sustained your voice on the primary vowel of this diphthong, the pure “eh” vowel.

However, the circular formation of the mouth is a “must” and that jaw has to be relaxed and free. By doing so, it will encourage you to breathe more deeply from the diaphragm and thus manage your breath support in a consistent and timely fashion.

Also, the placement of your voice behind your vocal masque will be fully realized and your voice will enjoy increased intensity and presence. Furthermore, the natural ebb and flow of the phrase line will be a constant.

Because of the lack of proper breath support in this week’s showcase, I felt that your phrases lacked momentum and drive. You were breathing far too often and, as a result, the overall vocal delivery sounded fragmented, particularly in the second half of this song.

Also, as much as I appreciated your jazzy riffs and runs, you have to make absolutely certain that each note is perfectly supported from the diaphragm. Your pitch really wavered during these moments in your number because your muscles were not properly trained to quickly connect with each and every note in the scale.

You would be wise to practice these scale-like passages slowly, making absolutely certain that your rib- cage muscles are focusing and centering your voice to perfection every step of the way.

Hope all of these suggestions help you Matt! It has been an immense pleasure to watch you grow and develop as a musical artist during your tenure on american Idol Season 8. Best of luck to you in the future!

For all the latest American Idol News, visit SirLinksalot: American Idol or the American Idol Official Site

By: Rosanne Simunovic

Disco night!  Time for the remaining seven singers to create a festive ambience and connect with the audience. But did they?

For the most part, I found this show confusing and not at all what I was expecting. This statement has both a positive and negative vibe attached to it in that, sometimes, the unexpected was a most pleasant surprise and at other times the reverse effect occurred.

As always, I am running late because there are only 24 hours in a day!  (tee hee).  Therefore,  I am anxious to share my views on the performances from Disco Night, so here we go! And please  keep checking my Twitter updates so we can stay in closer touch!

Here are my evaluations and, remember, I am reviewing each singer in (first name) alphabetical order. Your comments are always welcome. To quickly access individual singers, simply click on the singer’s link below.

Adam Lambert, Allison Iraheta,

Anoop Desai, Danny Gokey,

Kris Allen, Lil Rounds,

Matt Giraud,

ADAM LAMBERT 27-years-old: “If I Can’t Have You” by Yvonne Elliman

Strengths: Adam- first of all, what a look!  I was not expecting the Glambert look for Disco Week, but then, with you, the credo is always ”expect the unexpected“, isn’t it?  Whatever anyone else does, you do the opposite, don’t you?  

Last week, you were the only singer who did not sing a ballad, thus distinguishing your performance in both tempo and style.  This week, however, while the other singers sang upbeat numbers, you did quite the opposite and toned down your approach.   How you manage to stay one step ahead of everyone is quite another story and I would love to hear it some day. It is true genius on your part.

What an inspired modification of this classic number! And, although I am certain that you were responsible for the initial idea, how classy of you to extend credit to American Idol arranger extraordinaire, Michael Orland,  for his contribution to this finalized masterpiece.

Throughout this number, your voice sounded so controlled and so resonant, at times ringing with head voice  clarity and other times reverberating with dynamically strong, muscular vocals.   You are so knowledgeable in the manner in which you blend your head/chest mix – it allows you to explore vocal terrain rarely explored by other singers because you possess stellar technical accuity.  You are a tremendously refined singer and your hard work and diligence is truly something special.

 The emotion and the angst that you rendered throughout this number was so real, so genuine. We could hear it through your animated voice, especially when you expressed grief and unhappiness through your lamenting upper range vocals . For me, this was the highlight of the entire song. Your voice sounded so open and free, moving from pure head voice into a richer, fuller vocal sound. Ah – it was just so, so beautiful.

You can’t teach this -the technique perhaps – but not the emotion. It has to come from within the heart of a true artist who is not afraid to wear his emotions on his sleeve.  All singers must learn that they must emotionally deliver a vocal number in the same manner as you would speak it; this is the way you extablish a powerful  connection with your audience – by grabbing their hearts, their souls with their vocal passion and sensitivity.

Technique allows singers to stretch their voice and truly use it as a powerful communicative instrument. And, throughout your tenure on American Idol, Adam, you have never ever disappointed us in this respect. You are a sensitive, emotionally driven and, yet, extremely intelligent artist – exceptionally creative and unique.

In closing, I would like to highlight the  little flirting you accomplished with your lower range – it was wonderful to hear the resonant depth and beauty in this area of your vocal range, as it provided such wonderful contrast to the ringing presence of your upper range. Next time, treat us to even more – your bottom voice is gorgeous, like velvet!

And, thank you so much for supporting your lower range -oftentimes this is not the case with singers. However, by accessing your diphragmatic support in a continuous manner, you were capable of creating a seamless segue in to your upper range.  Your melodic line was flawless and centered throughout this number – sheer perfection, really!

Congratulations and standing ovation from MCL! Brilliant showcase!

Critique: Adam – you are released from a critique this week. You mouth was round, your jaw was relaxed, the emotional artistry was impeccable and the whole performance was a magnificent adventure. I think this means that it was an A+++++++, wouldn’t you agree?  Bravo and congratulations on a phenomenal showcase.

ALLISON IRAHETA 16 -years old: “Hot Stuff ” 

Strengths: Allison -that was one sultry performance, young lady! Your vocals sounded resplendent in this number, a mixture of rasp meets head resonance. I feel that you are back on track with your technical skills. Good for you!

Your voice sounded very secure and clear in the more subdued opening section of this number and this signaled to me that you were accessing the powerful support existing in your diaphragmatic breathing muscles.

Then, once you moved into the faster tempo and louder dynamic portion of this number, your diaphragmatic muscles were already in motion and so you were most capable of adding punch and pizzazz to the remainder of this number with the correct technical support.

As a result, you gauged this number extremely well, never sounding breathless or thirsting for more air. Hurray for the diaphragm!

Also, you made certain that the key selection for this song was appropriate for your natural singing range. Once again we heard the resonating magic and beauty of your lower vocal range throughout the majority of this number. As this is the most comfortable area of your voice, you were able to perform with ease and effortlessness. Good for you!

Visually and aurally, there was great dimension throughout this performance showcase. By starting slowly, seated on the stairs, you were able to establish perfect pacing, so that once the faster, more aggressive tempo kicked in, your focus was secure, allowing you to move about the stage with control and confidence.

I loved the syncopated arrangement of this song. It was a wonderfully conceived arrangement and your performing skills reinforced the strong rhythmic aspects of this song performance.

Additionally, I have to applaud that circular mouth formation and the manner in which you grabbed and sustained your pure vowels. This makes such a difference in the aesthetic timbre of your voice, as we hear less of the rasp and more of the inherent beauty of your natural vocal instrument.

However, by the same token, I loved the rock-edged vocal inflections you used throughout this number – lots of raw, energetic vocal power that was managed through the proper technical regimen.

This was an excellent performance, Allison! Just super! Congratulations! 

Critique: Allison-be careful that you do not push your chest voice. Every so often I could hear a gulping sound from your throat and that signaled to me that you were pressing your voice through the constriction of your throat muscles, thus adding more chest and less head resonance.

Granted, this was an intermittent problem throughout your performance this week, but still you must make absolutely sure that you continuously keep your throat relaxed and free. Trust your diaphramtic muscles to do the work! Concentrate your athletic energy in the direction of those muscles, making certain that you have inhaled enough air to complete the technical production of your voice.

Also, you need to work on your articulation skills, Allison. You do have a slight tendency to mumble and, thus, your words never fully resonate on the ears of the listener. Also, once you learn to articulate the consonants with crisp precision, your voice will enjoy more presence, more energy and even greater focus.

Articulation actually increases the resonating power of the human voice, as along as the mouth remains circular. The jaw most only move upward to quickly grab the consonant and then return to a vertical, relaxed position. This way, the diaphragmatic support will remain intact.

However, overall, this was a strong showcase and your confident artistry, especially given your young age, was just exceptional! Great work, Allison!

ANOOP DESAI 22-years-old: “Dim All The Lights” by Donna Summer

Strengths: Anoop -I loved the fact that, like Allison, you started with a slow sustained tempo then segued into an uptempo groove. This is my favorite combo, not only for disco music, but also for many genres of music. Think of Michael Buble’s “Feelin Good” arrangement – it starts slow and easy and then we are hit with that hot, sultry, up-tempo music that continues for the remainder of the song.

It’s this particular element of surprise that adds aural and visual dimension to these numbers and this is what I felt when I watched you perform this week.

Once again, I was so impressed with the sustaining power of your voice throughout this number. However, it was particularly apparent in the beginning stages of this song – the slow, dreamy tempo allowed you to wrap your voice around the melodic line in seamless “bel canto” fashion. Your voice sounded so immaculate and the clarity and pitch-perfect focus was just sublime.

You have worked extremely hard to refine your technical skills, Anoop, and the improvement you have shown throughout this competition has been a joy to behold! As a result, your phrasing was musical and flowing and you made absolutely certain that the diaphragmatic breath support remained central to your performance.

And how about those clean, pristine, pure vowels, particularly when you vocalize the word “lights’? You successfully avoided the horrible diphthong in that word and focused your voice on the pure “ah” vowel. Kudos! That’s the way to do it – the pure vowel approach lends depth, ring and clarity to a singer’s voice because of the presence of head resonance in the vocal mix.

I also loved your precise articulation skills – you communicated your words so clearly and, yet, at the same time did not allow yourself to “chew the lyrics”. The vowels were always front and center, yet the crisp articulation contributed additional energy and focus to your melodic line.

As a result, Anoop, your voice sounded centered and uncluttered. And I loved the bend in your knees when you accessed your upper range. Good for you! This slight bending movement opens the throat and raises the soft palate, thus allowing the voice to flow freely from your mouth and into the hearts of the listeners.

Great work, Anoop! Congratulations!

Critique: Anoop – you exhibited a great deal of vocal substance in this performance, but the vocal style was extremely restrained. Personally, I would have accelerated the up-tempo portion of this song and encouraged you to add some simple choreography.

It seemed to me that there was not too much differentiation between the slow and fast portions of this song and, as a result, your voice sounded extremely one-dimensional throughout this showcase. I was waiting for a more buoyant and energetic sound in the second half of this song and was disappointed that it never happened.

Therefore, the performance crescendo that we always look for during a number never occurred, causing the song to end almost abruptly, lacking style and panache. Always remember that how you end – or begin – a number is as important as the central portion of a song.

However, in your case, the final moments of the song lacked drive and purpose and the audience was left with a less than satisfied perception of the overall performance. And that was really too bad because your vocals were truly quite wonderful.

Also, you did not appear as relaxed and liberated as I have seen in the past. Is the pressure getting to you? I know how hard this must be for you and for the other singers but always remember that you must sing each song as if it were your last.

You want the song to permanently resonate in the eyes and ears of the listeners in a strong and memorable fashion. Even if you were feeling some level of discomfort with song, you must find the strength and tenacity to make the song arrangement work, never allowing the audience to sense your level of unease or trepidation.

Good luck Anoop! You are an extremely talented, hard-working young man and I appreciate and applaud your enormous work ethic. Bravo!

DANNY GOKEY 28- years old : “September” by Earth, Wind And Fire

Strengths: Danny -this was another full-scale and vigorous performance. You poured your whole body and soul into this showcase, working extremely hard to establish strong connection with your audience. This is the one factor that I fully do appreciate in all your performances – your respect for your audience. You are an entertainer and a confident one at that, generously inviting your listeners to participate in your musical ride each and every week.

In this showcase this week, you came out of the gate fighting strong and hard, but in an entertaining way. Love the smile, Danny! I’m a big fan of the smile! And the confident presence you exuded throughout this performance was just wonderful. You lived your song and remained emotionally connected to the positive tone of the lyrics.

And, by the way, this was one of my favorite song choices of the entire evening. It was perfect for you -the mood, the key, the soulful vibe -all of these elements allowed you to effortlessly glide through this performance with rhythmic ease and abandon.

Technically there were some wonderful moments. I saw your determination to maintain a circular mouth position and relaxed jaw when sustaining the rounder vowels, such as “ah“, “oh” and oo“.  That is when your voice sounded truly liberated and free.  The resonance was so perfect and we gained a glimpse into the rich timbre of your natural singing voice. When you allowed the head resonance to remain at the core of your vocal sound, your voice radiated a sparkling ring – one that was free from tension in your neck and throat.

And, I loved how you used the stage as your personal dance floor! That’s what it’s there for and the right amount of movement is an important aspect to a solid vocal performance.  Not only does this add visual dimension to the number, but also, it enables the singer to sing without tension in his or her body. And, I think, for the most part, this I what I most enjoyed in your number this week – the look and feel of pure joy and exhiliration emanating from your persona.

Good work, Danny. Bravo!

Critique: Danny – you must learn to relax those facial muscles. For the most part, you exhibited a great deal of upper body tension and this truly hindered the clarity in your vocal timbre. The facial tension was the most obvious – your jaw was tight, your eyes were constrained, your mouth was horizontal and all these factors diminished the full resonating power of your voice.

You tend to add too much chest resonance into every area of your voice, almost punching out the sound from your throat muscles, rather than allowing the correct muscles -the diaphragmatic rib cage muscles – to project and focus your voice.

For example, in the inital stages of this song, your pitch on the word “away” was poorly centered, suffering from lack of diaphragmatic support and poor usage of the “ay” diphthong.

Instead of grabbing the purer “eh” vowel” and sustaining your voice on this one pure vowel, you vocalized through all the vowels, thus rendering less vocal stability to the melodic line. Your pitch wavered and was totally unsupported. There were many, many instances of this problem in your performance this week Danny.

Also, the tension in your eyes further impeded the full resonating quality of your voice. By closing off those resonators, you prevented your voice from resonating in a complete manner and, therefore, your voice sounded very rough and irregular throughout your singing range.

This is really such a shame, Danny, as you have a beautiful and powerful vocal instrument and must learn to use it wisely or you will cause harm to the delicate vocal cord muscles.

Good luck next week, Danny, and please, practice some vocal exercises to pure vowels only. And breathe and support from the diaphragm.

KRIS ALLEN 23- years old: “She Works Hard For The Money” by Donna Summer

Strengths: Kris – you surprised the listeners with your acoustic rendition of this well-known disco number. This refreshing twist on a classic song was just wonderful – I loved the calypso meter that formed the rhythmic pulse of this number. It was innovative, distinctive and, more important, highlighted the essence of your artistic style.

You are most comfortable when you are strumming the strings of your guitar and I envision for you a career similar to last season’s Top 4 finalist, Jason Castro. Your talent is best served in an intimate environment, surrounded by a stellar group of instrumentalists similar to what we heard in your performance this week.

I believe that you are paving the way for what I hope will be a less intrusive brand of music and one that embraces solid, meaningful lyrics and simple, yet memorable melodic song structures. And you have the perfect voice for this brand of music – it is pure, clear, extremely communicative and genuinely expressive

Additionally, the acoustic ambience of this showcase further highlighted the inherent beauty of your natural singing voice. You possess a natural head voice component throughout your range – how lucky is that? There were no loud instruments or flashing lights to hide vocal flaws and this fact alone demonstrated the confidence you have as an artist and as a musician.

Great work once again, Kris! Kudos!

Critique: Kris -your technical skills are still so green. You need to read everything that was mentioned last week and, in fact, all the weeks since this Top 13 competition began.

The tension in your face, neck and jaw is just excruciating to watch – your light voice is presently lodged in your throat and barely projecting outward to the audience. Thank heavens for microphones! However, if you want to be a truly exceptional acoustic artist, you must learn how to project your voice without the benefit of electricity.

As a result, this one-dimensional aspect in your dynamic range does not make for inspiring or memorable performances.  Presently, you don’t sing with enough  nuance or vocal inflection. Your dynamic range sounds very linear and, as a result, I never feel that there is beginning, middle and end to your song. 

And when you did reach the finale of this song and vocalized a cappella style before the last instrumental fade out, you seemed vocally lost.  This was your perfect chance to add a vocal spin or even an ascending or decending run – something!  But, instead there was this awkward pause, almost like you were collecting your thoughts, between the words “treat her” and “right”.

I almost got the sense that you had, perhaps, planned to add more vocal inflection at this point and, like a skater that decides at the last minute to not do a quadruple jump, you lost your confidence.  As a result, the ending was very lacklustre – it lacked excitement and power. 

Solid technical skills could repair all of these vocal deficiencies, Kris and I hope that you find the motivation and opportunity to study with a teacher that can hone and develop your vocal skills to full potential. You are a talented performer and you need to ensure that your voice stays healthy and enjoys longevity.

Good luck, Kris and, remember, drop that jaw and flex those stomach muscles!

LIL ROUNDS: 24- years old “I’m Every Woman” by Chaka Kahn

Strengths: Lil – this was  a great song choice and it truly suited your distinct dimension as an singing artist.  As always, you looked lovely, exuding the charisma of a star. 

Your choreographic work was quite good and it was wonderful to see you establish an even closer connection with your audience. You travelled the Idol globe during this number – on stage, off stage, to the judges’ table and then into the audience.  Brava!

You also worked extremely hard to emote genuine expressive elements in this performance, alternating spoken lyrics with vocalized lyrics. Double Brava!

Vocally , I felt that you sounded the most comfortable during the last portion of your song. It was during this segment that we finally heard evidence of your  lovely, pure head voice and, as a result this element allowed your resilient vocals to really sparkle.

Lovely work, Lil!

 Critique: Lil -  the first thing I noticed was the hunched position of your shoulders and your extremely deflated rib cage. The former caused undue tension in your upper body while the latter prevented you from continuously providing strong diaphragmatic support for your voice.

Therefore,  as your diaphragmatic support muscles did not establish powerful connection with your vocal cords,  your pitch was severely compromised throughout this number. Additionally, this technical deficiency encouraged you to add far too much chest resonance throughout your range, thus rendering a less than shimmering aspect to your vocal presence. 

Because you exerted so much energy throughout this song, this created a negative overall effect in your vocal performance.  You have to make absolutely certain, Lil, that you balance the choreographic and vocal elements. Quite simply, your erratic movements overwhelmed your vocal presence and diminished the continuity of your vocal technical skills.

There has to be  plan, a structure to your performance  and it never hurts to rehearse these frantic numbers at a snail’s pace during the rehearsal process.  It really works and it also serves as an opportunity to release anxiety. I call it vocal yoga and I love it!  The slower pace allows you to fully isolate and correct  problematic areas with your technique.

 Finally,  I had to agree with Simon about the lack of originality – however, in your defense, it would be difficult to imagine what more you could do with the song. Perhaps, you could have started the song at a slower tempo and then increased the pace later on in the number?    Or, why not sing the whole song as a ballad ? It would be one sultry ballad, I would think!

So, I suppose, with time and effort, a new concept for this song could have been successfully conceived.  Creativity and ingenuity play enormous roles in an artist’s success, so, hopefully, you will be able to develop these skills and/or surround yourself with innovative songwriters.

Good luck with your career, Lil!  It’s been a pleasure to watch you every week!

MATT GIRAUD 23-years-old:“Stayin’ Alive” by The Bee Gees

Strengths: Matt -well, this was a total surprise in that everything seemed to come together for you this week.  I loved your song choice and it was strongly apparent that you did so as well.  You looked confident and well-prepared for this extremely energetic song, pacing your stage movements extremely well throughout this performance.

The visual and aural aspects of this performance were wonderfully blended – I thought that you had truly solidified your vocal skills before rehearsing your dancing skills and therefore the performance never looked hurried or frantic. The choreographic elements were well-conceived and I particularly loved the your playful interaction with the back-up singers. Super!

Unlike previous weeks, your vocals sounded unencumbered and carefree and, at the same time, benefited from the augmented level of diaphragmatic support. Your voice had increased presence and charisma and sounded extremely expressive and buoyant throughout this number. I also appreciated hearing the wonderful inflections you were adding throughout this song performance – they were just wonderful!

Although it may not have been an innovative take of the original cover, I still felt that you added signature style and substance to the performing and musical aspects of this song.

Also, it does not hurt to point out that this is a very difficult song composition. The musical line is extremely challenging for the singer and the lyrical line is very verbose. The singer is constantly moving from lower to upper and then back to lower voice in the blink of an eye and it takes tremendous control to administer these tricky intervals with ease and facility.

However, the naturally light quality of your voice, Matt, was a perfect canvas for managing the different melodic intervals, colors and shades that this song required. I feel that a more weighted voice would have sounded cumbersome and stiff – your voice was the perfect match for this song.

Kudos to you for finding your musical glass slipper as it were – it was a perfect fit!

Bravo and congratulations on a spectacular performance!

Critique: Matt- I have little to critique this week, as I thought both singer and song established a believable and artistically solid bond. You were obviously “in the zone” when singing this number – your head voice was clear and focused, thus rendering an uncluttered timbre throughout your entire singing range. Additionally, your pitch was wonderfully solid this week – just excellent.

However, that being said, you need to continue to work on the proper placement of your vowels in your melodic line, allowing your mouth to remain circular on all the vowels and letting the jaw relax and drop when moving through your upper range. And please, never reach for your upper notes, sing over them and bend those knees in the process.

The quicker tempo of this song was a good fit, because it did not draw attention to the problems you are currently experiencing within your technical development. So, in this respect and at this stage of the competition, it was a wise decision on your part to select this number for your performance this week.

However, I hope you will continue to work on the development and solidification of your diaphragmatic breathing skills so that you will be able to perform a wide spectrum of songs with ease and security.

Good luck next week, Matt!

For all the latest American Idol News, visit SirLinksalot: American Idol or the American Idol Official Site .

By: Rosanne Simunovic

I loved this theme, but Quentin Tarantino truly scares me. That face means business and some of the Idols were ready for him and others were intimidated by him. It was also great to see and hear the American Idol band under Rickey Minor on stage, front and center, as they should be.

And because the judges were so loquacious last week, only two judges per contestant were judging the performances. Weird, really weird! I always want to hear what Simon has to say, don’t you? I wonder how they decided which judges would speak to which contestants. That must have been a political minefield!

Also, I was expecting a more diverse collection of songs – why couldn’t someone do Judy Garland’s fabulous rendition of “Singing In the Rain”?  It’s rhythmically and melodically challenging -really neat. How do I know? I worked on this song with one of my students a couple of years ago and it was a blast from the past!

Overall, I thought some singers dramatically improved this week and the rest sort of fell apart. It’s becoming increasingly difficult to spew the same technical comments week after week to some of these singers. No matter how I spin it, it still sounds repetitive – like a broken record that will never get fixed.

(Sigh) Okay -lets’ see how the Top 7 fared this week and you may be surprised at the results via my perspective.

And keep checking my Twitter updates so we can stay in closer touch!

Here are my evaluations and, remember, I am reviewing each singer in (first name) alphabetical order. Your comments are always welcome. To quickly access individual singers, simply click on the singer’s link below.

Adam Lambert, Allison Iraheta,

Anoop Desai, Danny Gokey,

Kris Allen, Lil Rounds,

Matt Giraud,

ADAM LAMBERT 27-years-old: “Born to be Wild” by Steppenwolf from “Easy Rider”

Strengths: Adam-sock it to us once again! This was another entertaining showcase, full of twists and turns via your innovative choreographic and vocal skills. Right off the bat, you established a strong connection with the crowd – reaching out to those lucky people in the front row for a friendly and all too quick “meet and greet.”

And I loved the interaction you demonstrated with the band – first boogeying to one side and then the other. The keyboardist and the backup vocalists established great rhythmic rapport with you in what was probably the most meticulous rehearsed performance of the evening.

And your backward run as you approached them was rhythmic and precise, never shadowing your vocals, but, rather, augmenting them. That’s the way you balance the choreography and vocals – with solid pacing and technical accuity.

The clarity of your head voice was spectacular this week – like give. me. a. break! You are something else! And when you added some chest resonance in the more powerful sections of this song, you made certain that the purity of your head voice was not compromised. Perfect!

Loved the long, sustained clarity of your final note that alternated with wonderfully executed ascending and descending runs. Someone practices his vocalises and classical exercises! Your artistry is innate, but your naturally gifted voice has been cultivated and refined through the correct technical process.

You really squeezed every ounce of harmonic, melodic and rhythmic energy out of that song. At one point, you went into theatrical/cabaret mode (in the “fly so high” section at 1:55 point in your number), subtly changing up the rhythmn and adding some dramatic movements outside of the obvious rock approach to this song.

As a result this song was loaded with a plethora of visual and aural dimension – a roller coaster ride chock full of artistic surprises and revelations. Incredible performance once again, Adam! Bravo!

Critique: Adam -be ever so careful that you watch that intermittent spread in your mouth line when you navigate your upper range. For the most part, your throat is open and free, but always make absolutely certain that every dynamic level of your sound is being controlled via your diaphragm.

I suspect that it is, but, I just want to make absolutely certain that your voice is receiving the care and the support necassry to sustain you as an artist for the rest of your life.

Standing ovation, Adam! You are -simply put- a stellar artist, a truly exceptional talent.

ALLISON IRAHETA 16 -years old: “Don’t Want to Miss a Thing ” by Aerosmith  from “Armageddon”

Strengths: Allison -this was a powerful song choice. I loved the arrangement – this is the one that David Cook used last year! I also enjoyed this song because of the passionate blend of lyrics and music. The romantic core of the song is such a potent showcase for a singer and, appropriately enough, it demonstrated the rustic, raw essence of your rock-inspired vocal style. 

On the whole, I felt that this was a remarkable performance and there were stellar moments in this song that registered high on the goosebump scale. The true range and power of your voice was wonderfully highlighted in this song and the expressive passion you emitted throughout was enormous.

This week, you undoubtedly challenged your dynamic range. From the quiet, subdued beginning of this song, building toward the powerful ending, I felt that the communicative elements were incredibly persuasive and real.

Your also exhibited confident and intuitive stage skills and this visual aspect coupled with your strong performance skills resulted in a memorable and, what I feel was your strongest, showcase to date.

I also loved the wonderful variation you incorporated into the vocal line and doubly loved the fact that  your voice exhibited the ringing presence of head voice resonance throughout your range. Finally, you liberated your voice and allowed the diaphragm to direct your sound toward your vocal masque. Through the circular formation of you mouth, you cohesively sustained your voice on the pure vowels, thus ensuring that the disphragmatic breathing process was coherent and solid.

Your lower range, at the beginning of this song sounded like chocolate. Mmm! Mmm! It signaled to me that you were generally establishing good connection with your diaphragmatic support and, as a result, you seamlessly segued into your upper range with ease and refinement.

Finally, I heard a ringing presence in your voice and the fact that you accessed your technical skills to challenge your vocal range is something to be applauded.

This was a very dramatic stage presentation, Allison. Brava!

Critique: Allison-please be careful that you don’t push! Sometimes your voice moved off-center because of the inclusion of too much chest voice in the vocal mix.  You are such an aggressive singer – you have to learn to adopt a more relaxed approach in your singing style.  We need the punch, the muscular vocals, but you tend to cross the line and, at times, exaggerate the process.

As I said above, you generally exhibited solid technical skills in the performance of this song; however, at times, your voice withdrew from its proper focus and negatively affected the pitch.

I was wondering if your stage movements were, perhaps, diminishing consistent energy from your technical support. Although, I loved your self-assured presence on and off stage, it really is imperative that you make absolutely certain that it does not interfere with the projection and focus of your voice.

Also, when you sing through your lower range, remember to use your diaphragmatic breath support in a consistent manner. At times, your voice did lack stability during the opening segments of this song where your lower range was very exposed. Feel those muscles flexing, directing the air to vibrate your vocal cords to full effect.

However, that being said, I loved the timbre of your voice throughout this song – it just sounded more lucid and ringing than in previous weeks and, even though there were some pitch problems, I still felt that you were making a concerted effort to use your voice in the proper technical fashion.

Excellent work, Allison, however, take care of that voice and be cautious about that inherent raspy quality in your voice. It worries me. I don’t want you traveling on the road to future nodule problems.

ANOOP DESAI 22-years-old: “Everything I Do” by Bryan Adams

Strengths: Anoop -at the beginning of this song, there was a gorgeous clarity to your voice that never relented.  And this ringing clarity combined with the enormous expressive elements in your voice were musically and artistically formulated.  You prepared this song meticulously well and I applaud your superb work ethic this week and throughout this competition.

Your interpretation of this song was such a refreshing change from Bryan Adam’s rock-inspired approach. He adds more rasp, more intensity in his vocal arrangement and I think this what Quentin Tarantino was aiming for! 

However,  your approach was tender and heartfelt and the simplicity of your vocal delivery highlighted the inherent beauty of your vocal gift.  It was interesting to hear the difference, realizing that both approaches actually work. 

Your phrasing was very musical, Anoop, and the long sustained lines with beautifully shaped vowels increased the refined flow of the melodic component in this song.  Additionally, your consonants were crystal clear and very precise. You voiced your words distinctly, yet, never allowed the consonants to diminish the full sustaining power of the pure vowels. Wonderfully done!  This supplemented  the forward momentum of this beautiful song performance.

This was such a strong showcase and it was so obvious that you had deeply internalized the emotional core of the song.  You were a sensitive and soulful presence on the stage this week and, more important, extremely believeable and genuine.

Outstanding work, Anoop!   Congratulations!

Critique: Anoop -you encountered few problems this week. Generally, your vocal control was absolutely stellar.

However, be ever so careful that you consistently maintain a circular mouth position when grabbing those vowels. A couple of times, I noticed that you were spreading your mouth, thus adding some pressure and tension to the vocal cords. 

Also, never raise your head when singing through your upper range. Once again, this increases tension in the vocal production and it also separates your visual connection with your listeners. We can’t see your eyes and the singer’s eyes are most definitely the windows into a singer’s soul. So much emotion is displayed through a singer’s expressive eyes and a face looking at the ceiling hinders the process.

Think over you upper notes, mentally and physically moving down as you ascend vocally. Slightly bend your knees and squeeze your butt (ha!), but make sure you have deeply inhaled diaphragmatic air to work with or these tricks will be of no use.

Once again, high Masterclass praise for a very poignant and musical showcase!

DANNY GOKEY 28- years old : “Endless Love” by Diana Ross

Strengths: Danny -I love this song. The words, the music, the passion speak and connect wonderfully to the listeners. I loved how you increased your dynamics throughout this song – it was like building blocks of vocal nuance and depth. When you added your muscular vocals to your more subdued voice, the rich, robust, soulful quality of your timbre truly shimmered.

The phrasing was so musical and you made certain that the inherent drive and power of this slow ballad never relented. This allowed the slow tempo of this number to remain fluid and effortless. You sang the song as you would speak it and therefore added much inflection and modulation to this passionate number.

You sang this song from your heart, Danny and I appreciated the message that you were delivering so very much. Hey, and that gorgeous head voice on the word “love” was signature! Excellent work once again!

Critique: Danny – you exhibited some facial strain on the upper notes intermittently, so be careful. Boy -that raspy quality in your vocal mix still concerns me, although it was not as problematic for you this week, as last. However, you need to make certain that your vocal cords are healthy, so hopefully, you have a wonderful ENT specialist to assist you with any problems you may be experiencing.

Also, the “heave-ho” approach with your breathing was really disconcerting. What I mean is this – those shoulders and chest heaving up and down when you breathed worked against the proper breathing regimen for efficient vocalization. The breathing has to be diaphragmatic and the upper body should remain relaxed and free.

When you breath in such a shallow, inefficient manner, you are wasting air, causing tension in your throat and diminishing the visual strength and dimension of your performance. Also, that horizontal mouth position on some of your vowels increased the level of tension in your vocal timbre, subtracting the full complement of the inherent beauty of your vocal timbre.

As I have said often to many singers, you included, never reach for your notes, Think over the notes – like spiking a volleyball downward! Visualization is a wonderful technique for singers to use and I have many more up my sleeve. But, since everyone at one time or another has played volleyball or basketball, this one seems to work really well.

Great work, nonetheless, Danny! Good luck next week!

KRIS ALLEN 23- years old: “Falling Slowly” by Glen Hansard from “Once” 1985

Strengths: Kris -this was a perfect song choice for you. I loved and breathed it, as did you. I so appreciated the beauty and tranquillity of your lower range in the first half of this song. It provided beautiful contrast to the ringing presence of your upper vocals.

I also warmed to the many elements of vulnerability and sensitivity you displayed in this performance: physically, without the guitar, emotionally, sung from your heart and spiritually, establishing strong connection to your audience.

The ethereal melody of this song was so perfect for your distinct voice, as it encouraged you to bring out gorgeous elements in your voice that were not evident in previous performances. Man, when a song works, it really does so in a monumental way and this is what happened on stage with you this week, Kris. You were connected to the song and vice versa and thus musical magic was created during this lucky Top 7 performance.

Additionally, as you have a really resonant speaking voice, it was great to hear some of this resonance in your baritone singing voice. The clarity and brilliance of your lower range was to die for. Truly evocative! It accentuated the meaningful communicative aspects of this extremely memorable showcase.

And that final two-note sustained moment of pure head voice was pitch perfect, centered and heartfelt. It may not have been technically perfect in terms of how you produced it, but it worked.

Bravo, Kris! Superb work and a brilliant and inspired song selection.

Critique: Kris -technically, you were all over the map. Sometimes your mouth was round, then it was horizontal, then the jaw would tighten.

However, your artistry really enhanced the energy in your vocal sound. I always tell my students to live their song and the technical flaws will be less obvious or reach resolution through a sensitive and emotionally ingrained performance.

Yet, nothing can take the place of firmly ingrained technical skills, as it develops your voice to its full potential and expands your possibilities and dimension as a singer. So, be very careful, Kris, that you work at developing and supporting your vocal talent through the proper technical regimen. Otherwise, you will continue to experience inconsistency in your showcases from week to week.

The tension in you neck and face is still very troublesome and you need to work at maintaining relaxed facial features, a circular mouth while sustaining your vowels and empower the strength and support of your diaphragmatic breathing muscles.

Good luck next week, Kris! Keep up the brilliant work and find some more stellar song selections!

LIL ROUNDS: 24- years old “The Rose” by Bette Midler from “”

Strengths: Lil -you delivered this song with exquisite artistry. I loved the gospel arrangement of this number and I feel that you were truly connected to the arrangement. As always you looked beautiful on stage, rendering great passion and finesse to this classic ballad.. Good work, Lil!

Critique: Lil – technically, I don’t know what happened to you this week. The biggest problem you encountered was your overwhelming tendency to sharpen the melodic line of this song. If I didn’t know better, it almost appeared like you could not hear the orchestra and, therefore, invented you own key.

However, I feel that there was a major technical deficiency with your diaphragmatic support – actually surprising considering how technically solid you have been over the weeks. You appeared to be experiencing major problems with your air supply, intaking air in a shallow manner and then letting it randomly scatter with your vocal sound.

As a result, your voice sound very poorly centered, the timbre vascillating between an airy almost emaciated quality during the softer dynamics to a shaky, uncontrolled tremolo during the louder passages.

I just feel that this was a case of nerves, Lil, and, although I loved the arrangement of this song, your technical problems interfered with positive outcome of your performance. Your support did not kick in the early stage of the song and that is always a bad sign. The lower, softer notes needed to be consistently supported in an efficient manner and, without that, your voice sounded vague and directionless.

Additionally, once you moved into the more powerful section of this song, you did not have a support cushion in place and your voice became uncontrollable – the tremolo just aggravated the pitch problems.

What a shame – you were just wonderful over the last few weeks. The stess of this show must be really affecting you. It’s not for the meek of heart, is it?

Better days ahead, Lil! Put this performance behind you and move forward. Good luck next week!

MATT GIRAUD 23-years-old:“To Really Love a Woman” by Bryan Adams from “”

Strengths: Matt -it was nice to see you back at the piano. I loved you song choice and you added some dynamic vocals throughout this song. It was an expressive and heartfelt performance.

And where did that beautiful head voice come from at the end of this song? Gorgeous! I would have loved to hear more of this quality of vocal sound throughout your natural singing range.

Critique: Matt-you are still determined to sing with a horizontal mouth position, aren’t you? As I have said pretty much every week now, the absence of a circular mouth position, relaxed jaw and open facial features are encouraging you to project your voice in a very inhibited manner. Because of these technical deficiencies, your upper notes were very strained, thus rendering a vocal sound that was uneven and very poorly centered.

I never seemed to hear the natural beauty of your voice because the essence of your vocal timbre was either trapped in your throat and/or released with uncontrolled air.

Therefore, there is always a frustrating airy quality to your voice that could be eliminated if you would access the powerful support that comes from using the strength of your diaphragmatic breathing muscles.

On the other hand, you need to develop absolute trust in those muscles and believe that they will fully shape and focus your voice with confidence and continuity. And this belief will only become absolute when you have made a concerted effort to make some changes in the manner in which you produce your singing voice.

And don’t reach for those upper notes but rather sing over them. The reaching will only cause you to add more strain and tension to your voice. This week, your upper notes were really, really pinched because of this habit and you need to ground your vocal sound with support from the diaphragm or it is just not going to happen for you Matt!

Also, watch those diphthongs in your lyrics -you have to remember to sustain your voice on the pure vowel in those diphthongs. e.g. fly = flah. This will increase the depth and ringing core of your voice . And, I have to tell you, the sustaining power on one vowel coupled with strong diaphragmatic support will feel so easy and effortless you will kick yourself for not adapting to this technical advantage during the earlier stages of this competition.

Good luck next week – please work on your technical skills! Pretty please?

For all the latest American Idol News, visit SirLinksalot: American Idol or the American Idol Official Site .

By: Rosanne Simunovic

Well, I guess the singers are allowed to have an off week, because, for me, this show lacked the glitter and pizzazz of last week’s performances.

Methinks the majority of the singers are overthinking their selections – dissecting and analyzing every detail, reaching a point where the selected song becomes sterile and/or artistically restraining. In other words, they are confused!

Honestly, if I was a contestant on this show, I would make absolutely certain that (a) I could handle the pressure and (b) have some personal vocal coaches and arrangers in the background to guide me in the right direction. This is what David Archuleta did last year and he pretty well sailed through his performances every week.

You need a team of experts if you want to succeed on this show – this is a huge opportunity that requires a cohesive team effort.

So, without further delay, here is how I feel the performances fared this week. And keep checking my Twitter updates so we can stay in closer touch!

Here are my evaluations and, remember, I am reviewing each singer in (first name) alphabetical order. Your comments are always welcome. To quickly access individual singers, simply click on the singer’s link below.

Adam Lambert,  Allison Iraheta,

Anoop Desai,   Danny Gokey,

Kris Allen,       Lil Rounds,

Matt Giraud,    Scott MacIntyre

ADAM LAMBERT 27-years-old: “Mad World” by Tears for Fears

Strengths: Adam- as you began this number in a seated position, the combination of the eerie lighting and your high, ethereal voice was absolutely breathtaking. I finally felt you Adam – your passion, your artistry, your sensitivity.

The artistic strength, skill and sensitivity you brought to this song was pure brilliance. Part of what you do each and every week is innate – a true gift from God. However, the other part, the part that many singers do not want to face and yet you do, comes from working diligently and passionately toward the perfection of your craft. You bring meticulous, well-researched preparation to your performances, thus allowing you to freely sing with deep and expressive emotion, knowing that your voice is technically refined and secure.

You communicated the poignant message of this song in such a powerful manner – your voice was like a paintbrush, displaying colorful palettes and creating an artistic landscape that was truly a masterpiece.

Many of my readers have asked me if you sing with head voice, falsetto and/or if you incorporate chest voice into the mix. Yes – readers – he does all of that, but mainly, as in tonight’s performance, he sings in full head voice during the softer sections of the song and when the louder dynamics “kick in”, so does his diaphragm, creating a stellar head/chest mix.

How I loved and appreciated your phenomenal ability to phrase and mold your melodic line, adding nuance and inflection with impeccable style and finesse! I had goosebumps here, Adam, and it wasn’t because there is yet another ton of snow outside my door. It is all because of you and your impeccable artistry.

And when you stood and totally bared your soul, it was a strong visual and aural moment in this song. I don’t think anyone was breathing until the song ended all too soon. You totally captivated your audience this week with your extraordinary vocal and artistic skills. The sincerity and honesty of this performance was truly extraordinary,

How absolutely spectacular was this performance? It was a Masterclass Performance! Bravo Adam! Kudos!

Critique: Adam -what can I say? Well, I can say nothing because this was as perfect as it gets on this show! Congratulations and thank you for bringing such a high standard of artistry to the American Idol stage each and every week.

ALLISON IRAHETA 16 -years old: “I Can’t Make You Love Me” by Bonnie Raitt Year:1992

Strengths: Allison -finally! You treated us to a vulnerable and sensitive song choice and a stellar one at that! Nothing pours at the heartstrings more than this song and you were extremely wise in choosing this selection.

The key selection of this song was excellent, as it highlighted the beauty and power of your lower voice. You have a naturally radiant lower range and, in fact, I almost wish that you could find songs that would further highlight that area of your range over a longer time period during a performance.

You made absolutely certain that the communicative elements of this song were expressive and real. You carried yourself extremely well throughout the duration of this song and, in choosing this number, exposed another dimension to your artistry. It is not always about singing quickly and I am glad that you realized the importance of this fact.

You took a risk and I suspect it garnered you numerous new fans this week. Great work, Allison!

Critique: Allison- first of all, I have to say that the tempo of this song was pedantic and funereal. It was robotically slow and because of this, it prohibited you from any opportunity to achieve a much needed forward momentum in this number. As a result, the rhythmic shape and flow of the melodic line was compromised.

Additionally, the plodding tempo and lacklustre arrangement encouraged you to sing with far too much chest voice in your upper register. I never heard the crystal clear purity in your voice, as there was a complete lack of head resonance throughout your entire range.

And, yet, you are some sort of enigma, as it seems to me that you know how to grab those vowels with, generally, a fairly circular mouth position. So, I sense that you are not breathing deeply enough and not allowing the full complement of air to direct and project your voice toward your vocal masque. That means that your throat is involved in the vocal process and, if so, then your head voice is doomed and we lose the ring, the clarity and the transparency in your voice.

And moving back to the breathing issue, I found that you were inhaling air far too often, partly due to the slow tempo and partly due to your inefficient breathing skills. Therefore, as previously stated, your phrasing was fragmented – there was no flow, no musical momentum or drive.

However, I did appreciate the fact that you presented us with a more vulnerable and sensitive persona. Now you need to work on your vocal skills so that your voice incorporates the necessary amount of head voice into the vocal mix throughout your range. I have yet to hear ring emanating from your vocal cords – presently your voice sounds murky and dark and lacking in a high degree of nuance and inflection.

My final bit of advice for you is this: grab some technical scales and sing into your upper range, allowing your jaw to drop, the mouth to remain round and the diaphragmatic muscles to flex. Produce a crystal clear, light sound in your upper range and then gently carry that sound down into your lower range.

Increase volume by adding more air from your diaphragm, but always center your vocal timbre with head voice in every part of your range. Head voice must be at the core of your timbre.

Hope all this helps, Allison! Good luck next week!

ANOOP DESAI 22-years-old: “True Colors” by Cindi Lauper

Strengths: Anoop -once again, your voice sounded extremely resonant this week. The ballads seem to highlight the inherent beauty in your natural voice and you wisely attempt to use your technical skills to magnify the full range of dynamic power and skill in your vocal delivery.

You have noticeably improved each and every week, not only as a vocalist, but also as an artist, and your stellar work ethic and resolve are just outstanding!

I also noticed how diligent you were in maintaining that circular mouth position while sustaining those pure vowels. You work so hard on that stage, Anoop, and make every effort toward improvement a cause for celebration. I can see the concentration in your eyes – and the resolve!

This was a very sincere and sensitive performance. Congratulations!

Critique: Anoop -make absolutely sure that you are supporting that lower range. At the beginning of this song, your voice sounded slightly askew(where did that word come from?). I was missing the resonant purity and ring that I have been hearing over the past two weeks.

This week, your support did not properly engage in the lower range and this, unfortunately, hindered the aesthetic production of your upper range. It appeared and sounded to me that you didn’t have enough air to focus your voice with technical strength and continuity.

As a result, you encountered some pitch issues along the way – whether it was your nerves or lack of preparation in your song choice is something only you can answer.

Also, I am wondering if this song was your first song choice. This is a question that I will be voicing with some of the other singers because, overall, the majority of the singers seemed unsettled with their song choices this week.

Certainly there are better songs out there for you. This song is melodically and harmonically repetitive and, yes, colorless (sorry, couldn’t resist!). In the future, make certain that all your song choices – from 1st to last -are impeccable in every aspect – great melodies, wonderful lyrics, strong message, highly entertaining, dynamic variation. You have to love them all to be able to sing them with confidence and assurance.

Good work, nonetheless, Anoop!

DANNY GOKEY 28- years old : “Stand By Me” by Mickey Gilley Year: 1980

Strengths: Danny -this was a strong classic song choice. I loved the slow, sultry start to this arrangement. It gave you ample time and space to center yourself. It also provided wonderful contrast to the remainder of this song.

When the quasi calypso/jazz upbeat portion of the song took flight, your soulful voice beautifully mirrored the relaxed, yet soulful, instrumental vibe in the arrangement. You demonstrated a beautiful and flexible vocal approach to this number and the raspy nuances mixed with your pure vocals were so perfect for your distinct interpretation of this song.

Your expressive delivery was superb – so much emotion was clearly evident in your voice. Therefore, your communicative skills were exemplary throughout this number – you assuredly engaged and connected with your audience.

Additionally, you moved with confidence and musicality throughout this showcase and were a cohesive and powerful rhythmic presence on that stage. You expend so much energy on that stage, Danny, and really strive hard to entertain and captivate your listeners on every level. And you always succeed because of your sincere and genuine demeanor!

This was a great performance! Congratulations!

Critique: Danny -you really have to watch the omnipresent tension in that upper range. You constantly adapted a horizontal shape in your mouth position, which then encouraged you to apply a high degree of tension in your throat muscles.

As a result, your voice sounded forced and weighted -you basically pummeled the sound from your body instead of allowing the vocal delivery to fly freely and unimpeded through the support from the diaphragm. I rarely heard any evidence of head resonance in your vocal mix – it was chest resonance all the way.

You are fortunate that your voice is such a rich instrument – it allows you to skirt over some very important technical elements. However, this charade can only last for so long and then, guess what? You will run into some major vocal issues at some point done the road.

And the raspiness in your voice may already be hinting at this development. You quite possibly may have some present nodule problems that a skilled throat specialist can quickly identify. You would be wise to consult with a doctor as soon as possible. The only real cure for this is vocal rest, followed by a studious approach to proper singing technique.

Also, make certain that, during the rehearsal process of your upbeat numbers, you reduce the tempo a few notches. The slow, sustained practice will allow you to identify your technical deficiencies so that you can correct them and sing with greater efficiency at a faster pace.

You have wonderful skills as a performer, Danny, but you must make certain that you develop your technical skills as well. Your voice is a gift – please handle it with care. It is such a precious commodity and you want to be able to use it for a very, very long time and we want to be able to hear it for a very, very long time!

Good luck next week, Danny!

KRIS ALLEN 23- years old: “All She Wants To do is Dance” by Don Henley – Year: 1985

Strengths: Kris -this week you grabbed the electric guitar and decided to “party” with some lucky ladies in the audience. This performance provided strong contrast to last week’s performance – and I will leave it at that!

The arrangement of this song was very good indeed and I particularly loved the strong addition of the brass section. It added punch and authority to the aural effect of the number and encouraged you to do so with your voice.

Good work, Kris!

Critique: Kris -let’s get serious here. After choosing “Ain’t No Sunshine” last week, no one will ever convince me that this was your first song choice for this week’s Top 8 performance. It was monotonous and repetitive and your eyes didn’t have the same playful spark and glimmer that was so evident in some of your past performances – particularly last week’s showcase.

Last week, you revealed the absolute depth and intensity you were able to achieve as an artist. You needed to run with this level of artistic progress and keep up the momentum, but this song totally inhibited you from every ounce of musical ability that you so obviously possess.

You looked like such an unhappy camper on that stage and your mind seemed pre-occupied and very distracted, as if you were learning this song for the very first time ever! You seemed more focused on achieving the correct chords on your guitar than addressing the throng of girls around you. Something was definitely wrong with this picture.

This was more of a party song, not a memorable competitive number. The melody really went nowhere. If only you had added more melodic variation to this number and, additionally, some expressive nuance in your voice, that may have helped the performance. At least, it would have demonstrated that some concerted effort was expended in the rehearsal process.

There was still some horizontal tension in your mouth and, quite frankly, because the melodic line of this song was so linear, it was difficult to judge your vocals. You basically sang just four or five notes and a few more words throughout this song.

I hope you are given the opportunity to perform once again next week because, in all honesty, this song did you no service whatsoever. You have more to offer, Kris, so make absolutely certain that all your song choices are stellar – from 1st choice down to 5th choice. In this way, you will always come out ahead and be absolutely certain that even your last song choice sits comfortably with you.

Good luck, Kris.

LIL ROUNDS: 24- years old “What’s Love Got to Do with It” by Tina Turner

Strengths: Lil -this week you moved the tempo up a few notches. Good for you! You looked gorgeous – you really dress like a star and this is so very important. You visually create the perfect ambience for each of your performances and, as a result, look and sound thoroughly professional at all times.

As in all of your performances, I so appreciated your diligence in ensuring that the position of your mouth remain round and relaxed, thus ensuring that the diaphragmatic breath support system could, at times, effectively harness and project your voice toward your vocal masque.

You work extremely hard, Lil – this is very evident – and I hope that, over the course of time, you are able to connect with a creative A&R person so that your true vocal and artistic potential can achieve realization and fulfillment.

Good work, nonetheless, Lil!

Critique: Lil -watch that you don’t push your chest resonance into your upper vocals. Usually this is not a problem, but this week you were a little sharp in your upper range. You seemed to be more nervous than last week and this may have factored into the slight disintegration of your naturally vibrant vocal timbre. Usually, your head resonance is quite seamless and pitch issues never ensue in your performances, but it was problematic this week.

Also, be very careful of those up-tempo numbers – they can be fun to perform but can also wreak havoc on the continuity of your diaphragmatic support system. The heightened physical energy can cause a singer to lose air, deflate the rib cage muscles, tighten facial and neck muscles and generally forget about the proper focus of the pure voice on the melodic line. Whether the song is fast or slow, the sustaining process must not be interrupted and the clarity of the voice never compromised.

Also, you seemed really constrained in that very tight dress and, to me, it seemed that you were not able to all to move or breathe freely. I loved your look, but the line of the dress was just so restrictive – how could you breathe or move with any sense of freedom? It was nearly impossible.

Were you able to practice in performance costume prior to the dress rehearsal and live performance? If not, then I would advise you to do so, as this can make all the difference in the world toward the degree of comfort and poise you are able to achieve on stage.

Also, I have to agree with the judges on your song selection. It was just far too iconic – you never want to be compared to Tina Turner. She is a legendary artist and, unless you planned to do something entirely different with this number, it was doomed for failure I’m afraid.

I sensed that this song was not #1 on your list this week? Was it? I wonder. You looked so uncomfortable that I wonder if your first choice was denied clearance. Just a theory!

However, the good news is this: I personally feel that you have a more beautiful, more dynamic voice than Tina Turner and you need to find songs that highlight the inherent depth of your artistry. You have depth, Lil, and you need to challenge your vocals and research songs that will stretch and broaden your stellar vocal potential.

Good luck next week!

MATT GIRAUD 23-years-old:“Part Time Lover” by Stevie Wonder Year:1985

Strengths: Matt -I loved this marvelous and sizzling arrangement of this great song classic. It so suited the jazzy vibe you emitted via your performance skills during this number. I thoroughly enjoyed watching you move and groove on that stage. You seemed to be well engrossed in your own comfort zone, so apparent was the joy and exuberance on your face throughout this number!

As a result, your vocals were naturally expressive and this fact, added to your relaxed stage skills, brought a high communicative element to this performance. You engaged your audience so well with this number. Excellent Matt!

I loved the brief interlude of scat singing during this performance. It provided great dimension to the melodic line, while at the same time, gave us another glimpse into the inherent soulful/jazz-inspired trademark in your vocal delivery.

And you rhythmically dominated the stage, Matt – you can move, dude! I was loving the shoulder moves and everything else in between. All of this added so much to the visual component of this very strong showcase.

I have to say that you do have a marketable look happening Matt, a sense of style that is becoming increasingly distinctive and ingrained in each of your performances. Excellent work, Matt! Kudos!

Critique: Matt- although your performance skills were very strong throughout this number, unfortunately, your vocals were compromised. This was a situation where the performing elements overwhelmed the vocals.

Overall, I felt that your sound remained captured in your throat. Basically, your throat muscles kidnapped your vocals and, as a result, the diaphragm was helpless to liberate your voice to the foreground – namely your vocal masque.

Your technical skills need to be solidified – that mouth is still so horizontal and this encourages you to grab all the vowels in your diphthongs instead of fully sustaining your voice on one pure vowel at a time. As a result, we lose the true and natural quality of your vocal timbre and, at times, there is evidence of air mixed in with your pure vocals. When this happens, the resonating presence of your voice disappears.

I have said this many times to many singers but it does bear repeating: you must continue to slow down these up-tempo songs during the rehearsal process to ensure that the voice is being produced in a consistent and secure manner. You have to exaggerate the sustaining process on the purest vowel in each syllable of your lyrics and, at the same time, become fully aware that the diaphragmatic muscles are fully engaged and connected to the vocal process.

When the vocals are secure, then add the performing elements , making sure that the latter is not overshadowing the former. Otherwise you will have, perhaps, a lot of style, but little substance in the end result. I feel this is what happened this week. Visually, this was a strong performance, but aurally, it lacked vocal authority and charisma.

So, find some technical exercises to fortify your voice and practice them by singing on the purest vowels such as, “ah” eh”, “ee”, “oh” (careful – there is an “oo”component at the end of this vowel – avoid it!), “oo” and “i”. A keep your mouth round, slowly dropping your jaw as you ascend into your higher range.

Good luck next week, Matt!

SCOTT MACINTYRE 23-years-old: ”The Search is Over” by Survivor. Year:1985

Strengths: Scott -and yet another instrument came out tonight – the guitar. And, once again you accompanied yourself with the multi-dimensional professionalism that we have come to applaud and appreciate over the past weeks.

This was an excellent song choice, Scott, and, given the fact that you were able to physically expose yourself to a higher degree, I felt that you established an even stronger visual connection with your audience this week.

However, make no mistake about it, it is the expressive quality in your vocal delivery that captures the hearts of the listeners. There are no bells and whistles when you perform – it’s your beautifully engrained artistry oozing with consummate musicality that dominates each and every one of your performances. Bravo!

This song was a complete departure from the selections you have chosen over the past weeks. There was definitely more angst and intensity in this number than in some of the others you have chosen to sing during this competition. It was wonderful to hear and see you challenge your vocals and increase your performing dimension in this week’s showcase.

Generally speaking, your voice attained its distinctive clarity and ring. I loved the openess and relaxed position of your jaw when you moved toward your upper notes. This signaled to me that the diaphragm was attempting to release your voice and project it to your vocal masque.

Great work once again, Scott! Bravo!

Critique: Scott -unfortunately, you encountered some problems with the upper range and it all centered around your mouth position. Although your jaw appeared relax and free, your mouth was not quite narrow enough to perfectly center and focus those pure vowels on a consistent level.

As a result, you encountered some pitch issues that would have resolved if you had secured a more circular mouth position. The rounded mouth, in combination with powerful diaphragmatic support, really harnesses the full compliment of head resonance throughout a singers’ range and, without it, the voice can sound poorly focused. As well, the heart of the pitch will be compromised.

Also, as your vocal timbre tends to be very bright, the roundness of the mouth position will add more depth and richness, thus allowing your voice to sound evenly textured with both head and chest resonance. It will sound more mature – much like the depth and timbre of your speaking voice.

Also, although I most definitely appreciated your use of the guitar, you looked removed from your comfort zone. I still sense that the piano is your most natural performing sidekick and that is where you should remain. It just works, you know?

However, nothing is stopping you from hopping on a stool or standing in front of or with a microphone and singing a heartfelt ballad to your audience. If you want to add dimension to your performances, this would be my suggestion – that, or become more accustomed and comfortable playing the guitar.

It seemed that the guitar was actually hindering some of the natural beauty and flow in your vocal delivery and, as this song was so dramatic, this diminished the full intensity of your technical support, thus impeding the cohesion of your dynamic range.

However, I fully appreciated your decision to add this song to your American Idol repertoire. I felt that, overall, it was still a very strong, very genuine vocal interpretation.

Great work, once again Scott! I will most definitely miss your genuine artistry and glowing charisma over the remaining weeks. I look forward to the Finale – they better give you a huge spotlight performance, as your elimination this week was far too premature!

For all the latest American Idol News, visit SirLinksalot: American Idol or the American Idol Official Site .

By: Rosanne Simunovic

Because I am traveling tomorrow, I am giving the readers an abbreviated Masterclass article this week. What you see will be my real time comments after viewing tonight`s show.

However, I have one word to describe tonight`s performances -brilliant! For me, all the performances were considerably strong and the individual performers improved immensely in one week! Pretty amazing stuff!

Here are my evaluations and, remember, I am reviewing each singer in (first name) alphabetical order. Your comments are always welcome. To quickly access individual singers, simply click on the singer’s link below.

Adam Lambert,     Allison Iraheta,   Anoop Desai,

Danny Gokey,     Kris Allen,   Lil Rounds,

Matt Giraud,      Megan Joy,  Scott MacIntyre

ADAM LAMBERT 27-years-old: “Play That Funky Music” by – Wild Cherry

Strengths: Come to the cabaret and enjoy another creative performance by Adam!  Why bother to write?  I just enjoyed!  This was genius personified. Your vocal range is astounding and your stage movements – m-wah!  And kudos to you for acknowledging Rickey Minor and the band.  I cannot describe this performance – words do little justice to the extraordinary vocal and performing skills you brought to the stage.

Critique: Adam – critique?   Give me a break!  One cannot critique a phenomenon. However, take care of those upper range notes – please tell me you are screaming from the diaphragm! Please!   And try to keep your mouth in a circular position. Those screams will have even more depth!  

ALLISON IRAHETA 16 -years old: “Don’t Speak” by – No Doubt

Strengths: Allison -  I loved hearing the sustaining elements of your voice in this slower number. Wonderfully done.   You passionately delivered this number to perfection. Love the raspy nuances in your voice – nice contrast to your pure vocals.

Your performing skills are exceptionally strong – you pour every ounce of energy into your performances. You are such a passionate artist!

Oh my – your hair!  Oh well, you’re a rocker chick, right? Enjoy!  Good work, Allison!

Critique: Allison-you were better this week in terms of your technical skills. Slower numbers always coerce a singer to do their technical homework and I feel that you definitely did so!   However, you still tend to punch out those vocals and, because of this, we lose the true beauty and power of your voice. 

And  I am concerned that the raspiness is evidence of poorly ingrained technical skills.  And, I know you have a fabulous voice teacher -so my questions is – are you listening to him?  If not, you should be.  You need to protect your voice – it is a precious, unique commodity.

ANOOP DESAI 22-years-old: “Caught Up” by – Usher

Strengths: Anoop – you chose a song that you felt that the audience could relate to.   That’s the way you research  repertoire.   Good for you!  It was definitely a more current song and it happened at just the right moment in the competition.  

Loved the round mouth- beautifully placed vowels.  Great stage skills – both on and off the stage. Confident presence on stage.   Really confident!  Lots of drama, almost theatrical in presence. Those “oh”  riffs were technically secure and centered. I was truly impressed.

Critique:  Anoop -  this was your strongest performance to date!  A few lower range vocal issues where the diaphragm did not fully connect with the voice, but it is very obvious that you are really working very hard on your technical skills, as well as your performing skills.  You also paced and planned this performance exceptionally well.  Kudos Anoop!

DANNY GOKEY 28- years old : “What Hurts The Most” by – Rascal Flatts

Strengths: Danny – I loved your song choice this week. It provided abundant and timely contrast to the upbeat showcase you have presented over the past few weeks. This is what I have been waiting for – a heartfelt, poignant number that mirrored your “Hero” performance during the semi-final rounds. 

This song selection gave you room to breathe- literally and figuratively.  You emoted this song in such a genuine manner and your dynamic range was astounding.

Your technical skills were so wonderful – generally a round mouth that grabbed and focused those vowels in your vocal masque.  I also loved all the melodic variations you brought to this song. Brilliant performance!

Critique: Danny -try not to spread your mouth on the “i” vowel.  And careful that you do not push too much of your chest voice into that upper register.  However, your passionate delivery overrode the technical deficiencies – it was all about the artistry and you had it with a capital “A”.

KRIS ALLEN 23- years old: “Ain’t No Sunshine” by –

Strengths: Kris – why, I didn`t know you could play the keys!   Loved this song choice and loved your quiet, expressive demeanor.  Your soulful and expressive voice wrapped so cohesively around the melodic line.  You took this song classic and re-invented it.  What a wonderful tribute and testament to the depth of your artistry.

Your voice is such a pure instrument and yet it is laced with nuance and inflection. You are blessed with resplendent head resonance throughout your range and you make sure that it never disappears. That mouth is wonderfully round and your vowels are perfectly placed and focused.  Kudos and Bravo!

Critique: Kris -such a gorgeous performance and I will leave it at that. However, make absolutely certain that you release any tension from your jaw and neck muscles. Let the diaphragmatic muscles do the work – that`s what they are there for!

LIL ROUNDS: 24- years old “Surrender” by – Celine Dion

Strengths: Lil – this week we finally heard  the dynamic beauty in your voice. Wow – that round mouth is really working overtime tonight – good for you. And listen to your stellar breathing skills.! Your phrasing is impeccable – the cohesive magic of your sustaining skills was extraordinary. Wonderful head voice throughout your range.

Beautiful presence!  Loved this performance so very much, but the song choice not as much!

Critique: Lil – I have two words for you- song choice!  You have everything else in place – find a song that will celebrate your creative and passionate artistry. And something in a major key would work as well. Minor=too negative!

MATT GIRAUD 23-years-old:“You Found Me” by – The Frey

Strengths: Matt – you go guy!  This is such an eerie number!  It was an authentically delivered performance, but not the best choice for you.  However, I felt your vocals were sounding confident and you really tried to challenge yourself with this alternative song selection.

I love your style and your persona – there is real charisma emanating from you on stage, Matt.  Your bluesy voice is a wonderful instrument and you know how to use it to expressively deliver your music.

Critique: Matt- work on the support system when you vocalise through your lower range. Your mouth is still too horizontal, thus adding so much tension to you vocal sound. Easy does it, Matt!  Now, let`s get a better song on board for next week, shall we?

MEGAN JOY years-old : “Turn Your Lights Down Low” by Bob Marley/Lauren Hill

Strengths: Megan – you were really excited about this song choice because it is a personal favorite.  I loved this song as well and the expressive elements in your voice just oozed from your mouth.

This was a stellar key selection – your voice rested so comfortably throughout the melodic line of this song.  Your lower range riffs were spectacular, considering that you sing with  very green technical skills. You looked very confident on stage and the development of your performing skills have enjoyed wonderful improvement over the passing weeks.

Critique:Megan - make certain that you keep that rib cage elevated. It was pretty deflated throughout this song. Also, try to “round out” your mouth when sustaining those vowels.  Once you do so. you will feel the need to support your voice from the diaphragm.  However, overall, I loved this performance. Brava!

SCOTT MACINTYRE 23-years-old: ”Just The Way You Are” by – Billy Joel

Strengths: Scott – stellar song selection and one of my favorites.  Oh my goodness gracious. Spine tingling! Tears falling.! Totally acoustic! Fabulous new look!  And the melodic variation was inspired! Pure, uncluttered vocals – technical brilliance! One of the best of the night! Love you!

Critique: Scott – you are scott-free  from a critical assessment. You cannot critique perfection. This was  a Masterclass performance. Just outstanding!

For all the latest American Idol News, visit SirLinksalot: American Idol or the American Idol Official Site .

By: Rosanne Simunovic

This week American Idol paid tribute to the fantastic music from the Motown Era. Legendary artist, Smokey Robinson fulfilled his role as guest mentor to perfection by working and weaving  his Motown magic on the remaining 10 Finalists .

I would also like to mention how absolutely exciting it was to see and hear Stevie Wonder(ful) on the Top 10 Results Show. Is he phenomenal or is he phenomenal?

And I did enjoy hearing Ruben Studdard – it’s been a long time and he still sounds spectacular, doesn’t he?

Now, let us move forward to my Vocal Masterclass evaluations and I welcome your commentary and suggestions after the read!

Here are my evaluations and, remember, I am reviewing each singer in (first name) alphabetical order. Your comments are always welcome. To quickly access individual singers, simply click on the singer’s link below.

Adam Lambert,   Allison Iraheta,

Anoop Desai, Danny Gokey, Kris Allen,

Lil Rounds, Matt Giraud, Megan Joy,

Michael Sarver,  Scott MacIntyre

ADAM LAMBERT 27-years-old: “Tracks of my Tears” by – Smokey and the Miracles

Strengths: Adam-your performance  was gorgeous beyond belief.  You are an extremely intelligent performer, as evidenced in you interview with Smokey Robinson. You voiced weighty, thorough questions for Smokey and I feel it elevated your approach to this song. It’s always good to do your homework, but you went “above and beyond”, so kudos to you for this.

The peaceful and poignant setting you established throughout this song was absolutely beautiful. You sang the song in a manner that reflected and highlighted the emotional core of the message, thus demonstrating that one does not need to sing loud to get his or her point across to the listeners.

The sign of a true artist is to fully translate the mood and the message to your audience and to make them listen without forcing them to listen!   In this respect, you were supremely successful, Adam, and I applaud you for exposing yet another side to your persona. And another piece of the cabaret puzzle is in place!

I also loved the classy, sophisticated new look.  Wow – tres chic indeed!   I barely recognized you – you are quite  the chameleon!  This new look was so perfect for this song -you exuded a quiet sophistication throughout this number and it mirrored your refined  and elegant vocal style.

I was also extremely impressed that you had the courage and confidence to sing with restrained head voice and resonance throughout this song.   It really emphasized how prepared and meticulous you are as an artist in this competition. You emoted this song in a tender, delicate way and allowed the beautiful lyrics to translate to the hearts of your listeners.  The words and music came to life through your superb artistic rendition of this wonderful classic.

Your signature style is truly indomitable, Adam, and I congratulate you once again for giving us a glimpse into the essence of your stellar performing ability.

Bravo! Excellent showcase once again!

Critique: Adam-I guess you have your own way of approaching your technique – spread mouth and all. In the long run, you have to be so careful of the continued use of this approach in your singing style. I felt that, this week, it really diminished the full clarity and core of your head resonance.

Also, the horizontal placement of your mouth also encouraged you to sing through all the vowels in the diphthongs in some of your words.  When you vocalized the word life at the 1:24 mark in the video, I would have preferred a cleaner, pure “ah” vowel. You grabbed every vowel in that “eye” diphthong and, for me, your voice projected back instead of front. It lacked stability.

Same thing happened at the 1:49 mark on the word “smile”, and at 2:43 in the word “place”, but this time you were entering an even higher section of your vocal register and it was more pronounced. You voice  did not sound grounded.  It was a recurrent problem throughout this number;  however, I am just pointing out  some significant areas in the song where I felt  that your voice noticeably suffered because of this technical glitch.

It is so imperative that you keep your mouth circular and your jaw relaxed, thus allowing the diaphragm to harness and direct your vocal energy. And avoid those diphthongs – the pure vowel is the way to go. Your voice will enjoy more depth, more resonance, more transparency if you follow this regimen in the rehearsal and performing process.

However, I could audibly hear the lovely crescendo in your voice on the final word “need”.  The mouth was all wrong, but the stomach muscles were obviously kicking in to create this very difficult, yet effective, crescendo.

Yet, I was aching to hear this final note with a perfect mouth position – circular and relaxed.  I have no doubt that it would have been an even more effective ending to this beautiful number and would have released unnecessary tension from your throat muscles.

Congratulations, however, on an outstanding artistic performance.

ALLISON IRAHETA 16 -years old: “Papa was a Rolling Stone” by – Temptations

Strengths: Allison-what a great song choice! What a great performance!  And how I loved the low, sultry timbre  in your voice at the beginning and throughout this song.  And I appreciated the fact that you incorporated some lovely head voice along the way. Good for you!

Your rhythmic presence on stage was contagious. Oh my, such musicality and such a gift with your phrasing elements! I also loved the gritty vocal nuances you incorporated into  this song. It perfectly elevated the communicative success of your performance and emphasized how deeply you internalize the emotional core of the song.

You really commanded the stage in a monumental way, Allison – showed everyone who’s boss here, but in a genuine and honest manner. You effortlessly worked the stage like a pro and your voice just bounced up and out toward the audience because of your rhythmic passion and stylistic pizzazz and zing!

You are also one clever young lady – you always extract the correct key choice for your natural singing range and thus is the secret of performing success – even if the technical elements are still not quite there yet.

This was a really “crazy good” performance young lady.   This was not an easy song and yet you tackled it with confidence and innate musical style!  Brava and kudos to you!

Critique: Allison-performance-wise, this song was spectacular. But, in an effort not to repeat myself, you need to refer to last week’s critique and, hopefully move forward with the suggestions I voiced.

First of all, a gentle reminder about the overuse of your chest voice  -you are presently over-extending your upper range by incorporating too much chest voice into the vocal mix. Yes, you did have some isolated head voice in this performance, but, when singing your power vocals, there was a discernible push from the throat. As a result, your voice sounded flat at times and lacking in ringing presence.

Also, the tension in your face demonstrated to me that the resonating process of your voice was compromised. Your voice was not being produced in a free, unobstructed manner. You may be subtly applying some diaphragmatic support, but, as long as you maintain the discernible tension in your vocal masque, you will never fully appreciate  and realize the true depth of  your natural singing range.  It’s all punch, now, and no finesse!

In addition, I found your articulation skills to be less than stellar – many times, throughout this song I could not understand the words.  Yes, you must sustain the melodic line on the vowels, but, at the same time, the consonants have to be articulated with quick precision and without disturbing the relaxed open features in the face and jaw.

Also, when are we going to see another side of you? I voiced this question last week and I am voicing it once again. We need to hear your ability to sustain your melodic line and watch it come to full fruition. Only a slower tempo number will fully accomplish this and it might draw your attention to the real deficiencies in your technical elements, allowing you to correct and alleviate them.

Also, a slower number would encourage you to sing with increased nuance, as I feel that this has been truly missing in all of your performances. I love to hear the strong vocals, but I also like to hear the sweet tender vocals as well.

Hope this helps, Allison. Nonetheless, Congratulations on a powerful showcase!

ANOOP DESAI 22-years-old: “O0 Baby Baby” by – Smokey Robinson and The Miracles

Strengths: Anoop- you chose another ballad  this week, so, once again, I was looking for the sustaining power you gave us last week.  Can he do it two weeks in a row?  Yes he can indeed!  I loved how you quietly accessed your head voice.  It provided a wonderful contrast to the rich quality of your natural, lower range.

Also, you had a nice bend in your knees when singing through your power vocals and this allowed the soft palate to remain elevated, thus freeing any discernible areas of tension in your throat.

This was a very difficult song selection and  you took a great, artistic  risk in choosing it. You must have been rehearsing like crazy and your ability to maintain control of the rein and pacify the thought process throughout this number was admirable.  You exuded a calm, soothing presence on the stage that complimented the romantic, soothing nature of this song.

I also appreciated the visual dimension you incorporated into this number, starting the song in a seated position and then rising and moving quietly about the stage. This was very well done and also added an opportunity for you to relax and release any excess tension in your body.

Congratulations on a very good showcase once again, Anoop!

Critique: Anoop- at times, I felt that your pitch was somewhat unsteady in your falsetto range.  Somehow, I think  that the diaphragmatic muscles were not connecting properly to your vocal cords and, as a result, the air was not being released in a bouyant and consistent fashion.

Just a suggestion here: try sustaining your falsetto through an increase in your dynamic level.  I felt that the head voice had a diminished sound and never maintained a forward momentum. A slightly louder – and I emphasize the word slightly - dynamic would have accomplished so much more and would have established more vocal presence in this part of your range.

Also, when holding those long sustained notes, make certain that you maintain a consistent level of support from the diaphragm. I always tell my singers to envision the sound spinning from their mouth and moving out in one long line.

I also suggest that you think of repeating several notes on the same pitch when holding one note, thus ensuring that the diaphragmatic support is vibrant and secure.  This will engage your muscles  to flex and channel the air in a more efficient manner so that the head voice remains steady and centered.

Also, be very careful of the messy “ay” diphthong in the word “baby” – grab the purer “eh” vowel and your sound will enjoy a more focused, clearer and centered presence. In other words, think British and make sure that mouth remains oval in the process!

Very good work, indeed, Anoop!  You are truly challenging and stretching your artistic style and are to be applauded for your hard work and dogged determination.

DANNY GOKEY 28- years old : “Get Ready” by – Temptations

Strengths: Danny – this was a great and energetic song choice and it suited you very well. You obviously feel truly comfortable while singing uptempo numbers, as you possess enormous communication skills. To that end, I fully appreciated the crisp, precise articulation of the consonants, thus ensuring the complete comprehension of the lyrics.

I also loved how you mingled with the back-up singers and, of course, that abbreviated choreography  toward the end of this number was a wonderful visual element in this performance. 

You are fortunate in that your voice has natural presence without requiring a large amount of effort from your technical resources. It is  rich, brawny instrument that worked so very well, especially for this week’s Motown tribute.

This was a really entertaining performance.  Good work, Danny!

Critique: Danny -similar to my comments to Allison, I am beginning to wonder if you are ever going to treat us to a slow, meaningful ballad?  As I mentioned last week, you need to challenge your vocal strategy and start selecting songs that highlight your ability to sing with a greater degree of nuance and inflection.

Generally speaking,  slower melodies afford the singer opportunity to do so because the relaxed tempo allows the singer time to focus on every aspect of  a stellar song performance – solid technical skills, forward momentum of the vocal line,  expressive lyrics, impeccable phrasing, etc.

With this week’s performance, you were once again over-extending the parameters of your natural vocal ability.  You were weaving far too much chest voice into your vocal sound and, as a result, your voice sounded very hoarse, poorly centered and extremely one-dimensional.

I have a feeling that, had rehearsed this song in a slow, snail-like fashion, you would have uncovered a myriad of vocal deficiencies and, thus, would have been able to correct and modfiy the technical issues when you performed this song in the original tempo.  I heard you really struggling for the upper notes, but, because the tempo was so quick – too quick, I thought -it was not as obvious to the average listener.

If you are unable to pace your up-tempo songs really well, Danny, the song loses a sense of control and I feel that this is what happened in this week’s  performance.  Your stage movements seemed erratic and/or ill-planned, thus removing necessary energy that you needed to pour into the diaphragmatic breathing process. 

If nothing else, this competition teaches a singer that disciplined, meticulous rehearsal is necessary to ensure long-term success On this show – or any show – or else the singer will lose stamina and resilience.

Good luck next week Danny and practice slowly and pay close attention to the details. Therein lies excllence! 

KRIS ALLEN 23- years old: “How Sweet it Is” by – Marvin Gaye

Strengths: Kris – you decided to “change it up” this week  and choose an up-tempo song.  This was a great song choice. I loved the slow, sexy start to this song - it was a teaser to the clever movement into the gritty uptempo portion of the song.  Through your playful facial expression, you visually mirrored the tempo change to perfection. I love watching you – your natural expressiveness establishes such a bond with the audience. You bring all of us along for a whimsical musical ride.

You are also so very musical, as evidenced by the manner in which you punctuated the rhythmn through the strumming technique on the guitar.  There is always a forward momentum in your musical line and, yet, it always looks and sounds perfectly controlled. You are extremely masterful in setting just the perfect pace for your songs.

Your voice sounded beautifully resonant and clear. It is such a gorgeous instrument and you moved seamlessly throughout your range.  Do you have perfect pitch? You really have a way of centering your pitch, even if the technique is not where it should be at this moment in time.   The lightness of your voice – resplendent with head resonance – is probably the reason for this. Your voice has clarity and transparency that is ubiquitous throughout your range.

I also appreciated your attempt to maintain a circular mouth formation and relaxed jaw. You were really trying to apply a cohesive approach to myour vowels and, as a result,  your voice sounded wonderfully resonant

Also, the performance structure appeared  effortless and, more important  accented your genuine distinctive  style.  Although this was a well-rehearsed song selection, it appeared and sounded spontaneous and because of this, it felt and looked authentic. This is a signature Marvin Gaye song, but, in your aw-shucks way of performing, turned it into a Kris Allen signature song. And that is what this competition is really about – re-arranging and modernizing music from the past!

I absolutely loved this performance Kris! Bravo!

Critique: Kris -careful that the tension in the neck and jaw doesn’t get out of control  No head-raising on the final note – that’s not a good thing!  Always think down when moving up – think over the note, never reach for your upper note. This approach will only cause needless tension. And bend you knees and squeeze that butt,  breathe, drop your jaw  and  – presto -watch the magic happen.

Over time, I know all of  this will improve and you will feel  a more profound resonation process. However, your performance this week was a spectacular one and I. Loved. It!

LIL ROUNDS: 24- years old “Heatwave” by – Martha and the Vandellas

Strengths: Lil -your interview portion was truly inspiring. You are an intelligent, thoughtful artist and, more than any other singer this week, I felt connected to the inner recesses of your soul.  You are obviously a sensitive and caring artist and this is an integral component for success as a  musician. Your believability factor is genuine and true! You looked terrific this week.

I loved the retro wig – what a great, great look!  Although this was, perhaps, the most inspired song choice,  I still fully appreciated the wonderful performing aspects your brought to this number.  You looked extremely comfortable on stage and your rhythmic presence practically bounced off the television screen.

Your movements were poised and effortless and  you established strong communication with your audience extremely well.  Even though the tempo was a little faster than the norm, the clarity of your diction was extremely good – you slowed the process down in your mind and took time to spin out those consonants in a precise fashion.

However, at the same time, your vowel placement was never compromised and, as a result, your voice enjoyed resonating presence throughout the showcase.   I also have to applaud the all-important  circular bel canto mouth position you maintianed throughout this showcase, allowing your voice to ring freely in your vocal masque. Additionally,  your open, relaxed features generally rendered a seamless timbre throughout your vocal range.

You lived this performance and the performance moved from you to us in a very tangible manner. You are such a fabulous artist, Lil, and certainly have earned your proper placement in this Top 10!

Brava!

Critique: Lil, as I mentioned last week,  make absolutely certain that you are maintaining a sense of continuity toward the application of the diaphragmatic breathing process. Close to the final phase of your song, your voice sounded tired and “chest heavy”.   Your pitch was slightly compromised, resulting in some poorly tuned notes.

I sense that, toward the end of the song, you were running out of steam and, as a result, your breathing was compromised.   You were not able to fully support your voice, thus diminishing the ringing  and pitch-perfect presence of  head voice in your power vocals.

The tempo of this song was quite relentless and left you little room to breathe, so it was remarkable, actually, that you maintained so poised and relaxed throughout this number. The visual component of this song was never compromised; however, the aural component did suffer -slightly -toward the end of this number.

Although you paced this song very well, sometimes the adrenaline rush starts to plummet as the song moves along and that may have been what happened here.  Make totally certain that you practice these up-tempo songs slowly, thus ensuring that  the choreographic elements in a song are not compromising the vocal production.

Also, I hope that, in future performances, you will be able to select a song that will truly accentuate the powerful nuances in your voice – something with more depth and, perhaps, a variation in tempi would do the trick.

However, I thoroughly enjoyed this performance, Lil. It was extremely entertaining and your confidence level escalated in a monumental way this week. Excellent, excellent work!

MATT GIRAUD  23-years-old:“Let’s Get it On” by – Marvin Gaye

Strengths: Matt – you brought wonderful visual dimension to this week’s performance. I appreciated the fact that you moved away from the piano midway through this song – it gave the listeners a chance to enjoy your relaxed vocal skills. Your piano skills are spectacular, but, this week we had the opportunity to solely focus on the gorgeous, mellow quality of your vocal timbre.

I loved the way you frolicked through your head voice -you did so in a playful, yet, soulful manner.  And you walked and moved with such confidence and aplomb -good for you! Your showcase journey enabled you to move closer to your audience and, along the way, to the judges’ table. Excellent!

You selected a wonderful song for this Motown performance and it truly highlighted the style that we have come to identify with you.

Critique: Matt-as I pointed put last week, there is still some discernible tension in your voice.  You love to raise your head, don’t you?  You must be careful that you center your voice from your diaphragm and, at the same time, try to make certain that your mouth retains a circular position.

Also, always remember to allow the jaw to gradually plummet when you sing through your upper/falsetto range; in doing so, it will further encourage your breathing muscles to actively support your voice in a more cohesive manner. And think over your upper notes and never try to reach for them. It also helps to bend your knees slightly when you sing through your tenor range – this will allow the throat to remain open and free.

Additionally, be very conscious of any tension in your throat – it needs to be relaxed at all times so that your voice can project in a liberated manner toward your vocal masque.

Finally, try to grab only the pure vowels in your lyrics. Presently, you are sustaining your voice through all the vowels in your diphthongs, thus diminishing a considerable amount of depth and beauty from your voice and decreasing the nucleus of the exact pitch.

For example, when you encounter the “eye” diphthong in your words, sustain your voice on the first pure vowel in the diphthong, which is “ah“. Isn’t that easier? The same applies to other diphthongs such as “aye” (eh) and “oh” (no “oo” vowel until you are ready to move on to another word or syllable in a word.

However, you must make certain that the diaphragmatic breath support is in place to assist the resonation process of your voice. Breathe deeply and fully from the diaphragm and then flex and contract those muscles to release the correct amount of air for the type of vocal sound you are trying to achieve – high or low, loud or soft.

This will require a great deal of time and effort on your part, but it is truly imperative that you nip these important technical issues in the bud as soon as possible. The result will be a more confident vocal performance and an increase in the dynamic dimension of your vocal production.

However, I have tremendous admiration for your vocal artistry and innate musical skills, Matt. You deserve to move deep into this competition, as you bring a very special and unique dimension to this show.

MEGAN JOY years-old : “For Once in My Life” by Stevie Wonder

Strengths: Megan-you looked wonderful and, overall, this was a good performance.  Sure, maybe the vocals were not perfect, but your style was absolutely wonderful. You moved easily and gracefully on and off stage and injected you personal, quirky style into this soulful classic.

I enjoy watching you, Megan. You have an obvious love for performing that is truly genuine and real. You also make certain that you establish a strong bond with your audience. To that end, I was happy to see that you were confident enough to move off the stage and into the audience. Your stage movements added more dimension to this performance and afforded you the opportunity to relax and move your body – so very important in alleviating any areas of tension in your physical makeup.

I loved the little growl you weaved into your pure vocals – inflection is extremely important in pop music and I was happy to see that you are not timid in this respect. Your voice is wonderfully expressive and the clarity of your diction is impeccable.

Good work, Megan! Loved it!

Critique: Megan -remember to support sweetie!  You were once again singing with an enormous amount of chest voice and when you did move into your upper falsetto range, your muscles were totally unprepared for the transition. Your lovely head voice was unsteady and poorly centered.

You love to belt, don’t you? There is nothing wrong with this approach per say, but singers – especially Broadway singers- learn to do so with a solid technical foundation. You need to blend both chest and head resonance into every part of your range and, by doing so, you will attain a seamless, more confident vocal sound.

As I mentioned last week, your throat was tense and your mouth maintained a horizontal position on some of your vowels – particularly the “ee” vowel.

You need to meticulously work on some technical excercises that will train you to apply a uniform shape to your mouth when singing through all the vowels. And the shape must be circular - similar to biting into an apple.

Also, it is important to relax your throat and jaw muscles and allow the dipahragmatic breathing process to channel and direct your voice toward you vocal masque.

Finally, be every so careful to gauge those stage movements – I felt that all the walking, at times, made you less aware of your vocal production and, thus, some pitch issues ensued as a result of this.

However, I give you high kudos in the sense that you eliminated some of the extraneous body movements we used to see in your earlier performances. So, this makes me think that you are slowly trying to work out these technical issues on a weekly basis. And on live TV! Not an easy task and I congratulate you for your success thus far.

Keep up the wonderful work, Megan, and congratulations once again!

MICHAEL SARVER: ““Ain’t Too Proud to Beg” by – Temptations

Strengths: Michael -well, you certainly came out of the gate fighting, didn’t you? You openly displayed a more confident presence on stage and, for the very first time, looked like you truly belonged in this competition. You selected a very, very good song and, personally, I felt that this was your best song performance throughout the entire competition.

I loved the growling aspects you incorporated into your rich muscular sound; it perfectly reflected your strong and vigorous presence on that stage. Your charisma level escalated in a monumental way with this performance and, for me, I enjoyed the fact that you had reached such a noticeable level of improvement in such a short time.  It accentuated the fact that you had been working very hard to correct the technical flaws that were impedeing the full complement of your vocal production and for that I say: “Bravo”!

I was also loving the rounder mouth, Michael.  You cemented those vowels so perfectly in your vocal masque and, as a result your voice had presence – it had power!  In previous weeks, the natural beauty and potency of your voice was masked – hiding inside your mouth and throat and not resonating in a full way in your vocal masque.

You also moved in a very relaxed, well-formulated manner, never rushing, and made certain that the vocals were not sacrificed by the physical energy you were exerting. You balanced the choreographic and vocal elements very well indeed and the whole presentation looked and sounded effortless.

This was an exceptional performance, Michael! Kudos my man!

Critique: Michael – make sure you don’t force the issue with your voice – keep the throat relaxed at all times.  Trust the diaphragmatic breathing muscles to do the trick – those muscles are very strong and, once you obtain full control over them, then you will never constrict your throat again.  Plus, all this facial and throat tension will cause  further vocal problems down the road and your voice is far too precious for that.

Always remember to keep the head voice at the core of your vocal timbre and increase the dynamic level from the diaphragm. Once this is fully mastered, you will truly be unstoppable.  There are some classical elements in your voice that I absolutely love and that is definitely a good thing.

Bravo once again on such a tremendous performance. Now enjoy some well-deserved time with your family!

SCOTT MACINTYRE 23-years-old: ”You Can’t Hurray Love” by – Supremes

Strengths: Scott – I love watching you at the piano. You are -simply put- an amazing singer and pianist.  I loved this song choice and also appreciated the opportunity to watch you entertain with a more energetic and vigorous approach. It was a good call, so rest well with that thought if and when you read this.

As with Kris’ number, I appreciated the slow opening of this song that segued into the more customary up-tempo version. Another teaser-likeopening and it always works!

Additionally, by adding some wonderful variation to the melodic line, we gained a further glimpse into your innate musicality. Your ability to mold the shape of your phrases is extremely musical and speaks volumes to your creative and sensitive makeup as an artist.

Your upper range was extremely solid – just brimming with clarity and head voice. In fact, I was very impressed with the uniform quality in your vocal timbre and it emphasized how advanced you are in the utilization of the correct technical approach to your singing style.

I was loving that almost roundmouth – it certainly allowed you to cement those pure vowels in a continued fashion and, as a result, your voice always maintained a forward momentum throughout this number. Your phrasing was impeccable, Scott!

The trio of ladies “doo-wapping” with you behind the piano added a great visual component. You looked relaxed, happy and revitalized and it was wonderful to hear and watch you entertain in such a joyous fashion at that precious piano of yours! This was spectacular performance – bravo! bravo!

Critique: Scott-I heard some nasal tone in your vocal makeup at the beginning of this song. Perhaps the slower tempo didn’t encourage you to support in a vigorous manner? Or perhaps it was nervous energy over-riding the technical support system.

However, once you moved into the quicker tempo, your voice gained in resonance and you relaxed your throat, thus diminishing the nasal tone. Nasal resonance is a good thing – it adds a bright, ringing quality to your voice, but nasal tone comes from tension and lack of cohesive support from the diaphragm.

Also, make absolutely certain that you continue to work on the correct shape of your mouth. You jaw appears to be relaxed, so that is not an issue here. But, presently, there is still a slight horizontal spread to your mouth position and I think this is diminshing some wonderful vocal depth and resonance we could be enjoying in your performances.

A quick fix is to think classical while singing pop and allow the circular placement of the mouth to funnel out the pure, translucent quality in your voice. Also, the increased roundness in the mouth will further encourage your diaphragmatic breathing muscles to work in a more bouyant fashion.

However, I think you are a remarkable artist, Scott, and I sense that you are working tremendously hard during the rehearsal process. I loved your showcase this week very much – it was dripping with charisma and musicality! Bravo!

For all the latest American Idol News, visit SirLinksalot: American Idol or the American Idol Official Site .

This week’s theme show focused on the music catalogue from the Grand Ole Opry. Generally, given my classical and musical theatre background, I hold little interest in this particular theme night; however, I do respect that there is an enormous audience for this music and that spells ratings!

Performance-wise, this was a splendid showcase for the singers. The straightforward musical structure  of the selected songs generally encouraged the singers to apply a distinct, innovative approach to these often-performed numbers.

As a  result,  we were treated to some refreshing and modern twists on the original cover songs.  This is what I was listening for and the singers that succeeded in this artistic task gave the strongest and most memorable performances.

Randy Travis was a superb guest mentor and he patiently guided these singers through the rehearsal process.

Now, let us move forward to my Vocal Masterclass evaluations and I welcome your commentary and suggestions after the read!

Here are my evaluations and, remember, I am reviewing each singer in (first name) alphabetical order. Your comments are always welcome. To quickly access individual singers, simply click on the singer’s link below.

Adam Lambert,  Alexis Grace,  Allison Iraheta,

Anoop Desai,  Danny Gokey,  Kris Allen,

Lil Rounds,  Matt Giraud,  Megan Joy,

Michael Sarver,  Scott MacIntyre

Strengths: Adam-well, that was one, sexy, take on this signature Johnny Cash number!  And the Cabaret Idol becomes even more evident with every passing week!  This week, another piece of the Lambert musical puzzle was revealed and it is shaping up to be a good one.

Your Middle Eastern interpretation of this song was quite the inventive arrangement.  Your eyes really connected with the television camera, bringing all of us along for this very unique musical ride.  However, I do have to say that the first part of this song was lost on me, but then, as the song progressed, Cabaret Adam kicked in and I loved it! Loved! It!

Your head voice was gorgeous and you effortlessly accessed this area of your range with the support of  your advanced technical skills.  The beauty of your head voice accented the fact that you have the  range of a counter-tenor, but I think you already know this.   The beauty and the clarity of your upper range is really remarkable – so transparent and true.

I also loved the dramatic hand, arm and head movement; they strengthened the visual components of this number and beautifully complimented the aural experience. You were totally immersed in this song and your artistic focus throughout this number was exceptional. 

Paula was so correct when she said:  ”You are raising your own bar each week”. In essence, you think like an athlete and are competing against yourself.  That signifies confidence and a promise of creatively exciting showcases in the coming weeks.

Bravo Adam!

Critique: Adam-you need to adopt a more vigilant approach to the production of  you lower range. At the  beginning of this song., I felt that your voice lacked true focus.  Part of me thinks that it was due to nerves.  There was a bit of a quiver in your voice, which signaled to me that the diaphragmragmatic breathing muscles were not fully engaged during the supportive process. 

Breathe deeply and dig into those lower notes and make sure you create a cohesive blend of chest and head voice in that part of your range.  You need depth and clarity in this part of your range, so that your baritone voice sounds seamless when you move into your stellar upper range. 

Propel your voice to your vocal masque and make certain that the lower end of your voice is brimming with head resonance. Otherwise,  your baritone voice will continue to sound vague and ambiguous.

Also, from an artistic standpoint, always know that I have deep admiration for everything you have to offer to the American Idol viewers each week.  However, I feel that you are going to have to “reel it in a bit” and create performances that touch Middle America.   You can still be “artsy” over the long term, but, in the next couple of weeks, we need to see and hear performances that will grab the voters, performances with which they can identify.

You are intelligent enough to do both at the same time and, from watching your pre-Idol videos, I know you can do this. Just stand there and sing your heart out – be one of us and let your vocals shine in a way that will rock this competition out of the water. 

Presently, the theatrical aspects of your performances are masking the stellar beauty of your voice. I can appreciate it, but, I am not too sure if the general audience is on the same page as me.

However, when all is said and done, you are a consummate performer, the likes of which we have never seen on American Idol. You take artistic risks and I truly admire your creative tenacity.  The show is fortunate to have discovered you, as your performances are truly distinctive and absolutely unique.

ALEXIS GRACE 21-years-old: “Jolene”

Strengths: Alexis- you selected  one of my favorite Dolly Parton songs.    You looked and sounded radiant and it was such a pleasure to hear you sing such a sensitive ballad. In fact, I would like to hear more in the future.  You certainly highlighted your sensitive and expressive persona with this stellar song choice.

I would like to congratulate you on the melancholy flavor your incorporated into this signature Country classic. I thought it was well-formulated and complimented your natural style and ability.

Additionally, your exposed the beauty and ring of your pure head voice midway through this song  and, in doing so, provided a wonderful contrast to the full sound of your  natural singing range.  Generally, your vocal timbre is brimming with head resonance, thus rendering clarity and transparency throughout your entire vocal range.

Technically, you on the correct pathway; you generally apply a cohesive approach to your pure vowels, sustaining them through the support from the diaphragm.

Also, your stage demeanor reflected the angst emotion in the song lyrics – you felt and communicated this song extremely effectively to  the audience and in  a genuine manner. Good for you!

Good work, Alexis!

Critique: Alexis-make certain that you sustain your falsetto with even stronger diaphragmatic support. I felt that, overall, the vocal sound was beautiful, but was starting to go astray because of lack of continued support. Make certain that you grab the pure vowels and flex those muscles so that the support is consistent and true.

Also, as I said last week,  keep working on a more consistent approach to your mouth formation when sustaining your pure vowels. Presently, your mouth is still somewhat horizontal when you sing through your melodic line, thus allowing some tension and negative pressure to prevail in your overall vocal timbre.

You need to relax that jaw and allow the diaphragmatic muscles to guide and focus your voice in your vocal mask. Also,  a proper technical approach will keep the chest resonance “in check” – something that was a bit too prevalent in your voice this week.

As a result, when you did access your falsetto range, I detected a bit of an unsteady timbre in your vocal sound. The head resonance, not being at the core of your natural range, lost its center.  Your support muscles were not as elevated and energetic as should have been the case, so you had to quickly make an adjustment. And you did!    You worked it out as the song moved forward and you corrected the problem toward the end of the falsetto passage. 

However, when all is said and done, you want to mainitain a seamless continuity throughout your entire range, so that the melodic line sounds smooth and effortless throughout the entire song.

However, I still loved your artistic approach to this song Alexis! Very well done!

ALLISON IRAHETA 16 -years old: “Blame It On Your Heart”  Studio Version

Strengths: Allison- you selected a less familiar song to my ears, so I could sit back and fully appreciate your interpretation in a truly unbiased fashion.  My goodness, you have  a voice, girl! And you have a confident stance when you are on that Idol stage – like you truly belong there and you do!

You even added a country flare to this song – diverting from the customary rock  flavor in your vocals.  It was a rock-country sound in every sense of the word and I was loving it.  Your voice sounded energized and vibrant, brimming with artistic confidence and musicality.

Also, you worked the stage like a pro and, given your young age, your stage skills were truly impressive. You effortlessly navigated the perimeter of the stage, establishing a strong bond with your live audience.

This wa s great performance, Allison. Kudos!

Critique: Allison- as I said last week, be very careful that you do not push those vocals into pure chest resonance. Do not leave the head resonance behind. I love your voice when you sing through your lower range- it is  wonderfully low and sultry; however, the upper vocals are lacking the ringing  presence of necessary head resonance and, as a result, your vocal range sounds uneven and disjointed.

Also, I felt that your throat was so constricted and, as a result, there was  a discernible “push” in the overall quality of your voice. Like some of the other singers in this competition, you are struggling to maintain a circular position to your mouth when grabbing the pure vowels in your lyrics. And your jaw is noticeably tight, thus impeding the proper support from the diaphragm.

I think what is saving your voice right now is the key selection of your songs. Both last week and this week, the key selection highlighted your naural singing range – not too high, not too low, but just right! Smart lady.

However, at some point, you will need to expand the boundaries of your natural singing range if you want to grow as an artist. Therefore, keep working on the expansion of your technical resources.

Also, in future performances, I hope to hear you sing a slower-paced song, one that would demonstrate your softer, vulnerable side. Up until now, all of your songs have been quite identical, so it is imperative that you change your selection focus and opt for a ballad in the near future.

Good luck, Allison

ANOOP DESAI 22-years-old: “You Were Always On My Mind”

Strengths: Anoop- this was  a great, great song choice, one that lends itself to different styles of singing – even classical.    In fact, you adopted a classical “bel canto “approach and, in doing so, demonstrated to everyone  that a classical technical approach to other genres of music actually works.

You sounded absolutely spectacular this week and your improvement level was enormous. Huge, in fact! You did not sound like the Anoop I heard in past weeks. This week, you looked and sounded like a refined, charismatic performer and I applaud you immensely for your hard work and determination to elevate your craft.

I  loved the hushed intensity at the beginning of this song; it perfectly established the romatic mood of this number. And kudos to the pianist, who added some neat chords to compliment this wonderful arrangement, thus elevating the musical dimension of this song performance.  

Your vocals were beautifully sustained on the pure vowel and your mouth was  perfectly round and that jaw extremely relaxed.  As a result, because the resonating areas behind your vocal masque were open and free, your voice exhibited a centered focus and ring .  It sounded seamless and pure from top to bottom

Additionally, you added some wonderful vocal variation to the original melodic structure, distinguishing it from so many of the other covers of this song.   You poured every ounce of your heart and soul into this number, Anoop, and, through your natural sensitivity and musical skills, established an even closer bond with your growing fanbase. 

Bravo and standing ovation!

Critique: Anoop-I can”t add anything in this critique because you improved in such a monumental way. The way you performed this song was so perfect and when you added the passionate riffs toward the end of this song, then that solidified this expessive performance as a “slam-dunk”.

Hopefully, you will continue to grow as a vocalist and create memorable, noteworthy performances!  Somehow, I have no doubt that you will. Excellent work!

DANNY GOKEY 28- years old : “Jesus Take The Wheel”  Studio Version

Strengths: Danny -you tackled  Carrie Underwood’s first successful single with soulful artistry. You looked and sounded sincere and you communicated this song to the audience with clarity and authenticity. Just beautiful! All lyrics were crystal clear.

That is one round mouth for someone that apparently has never taken a voice lesson.  Maybe you are a little bit British?   Whatever the reason, the relaxation in the lower half of your face really harnesses the pure quality in your vocal presence.

Additionally, your rhythmic presence on stage was spectacular. What a great, innovative approach to this signature song. Totally Danny all the way. Where does this musical depth come from?  It is just outstanding.  This was a wonderfully nuanced approach – from the soft dynamic at the beginning of the song to the slow, determined build-up to the passionate vocals during the second half of the song.  Simon calls it “light and shade” – good one, Simon!

A well-paced and well-rehearsed performance.

 Critique: Danny -make certain that you are consistently supporting your voice in the lower range – think higher when you sing lower. The voice needs to have a lift in the lower range, otherwise it will fall flat. I didn’t feel that it was a major problem in this song, as you have a naturally resonant vocal instrument.

However, it could become increasingly more problematic over the course of time. You want to deepen and strengthen tyour lower range, so that it mirrors  the ringing presence and potency of  your upper range.

And speaking of your upper range, be very careful that you do not push the chest resonance into your tenor range. You have a very rich instrument, so it can fool the listeners, but do not trade solid technical skills for forced potency in your upper vocals.  If you do, you will over-extend your vocal cords and run the risk of permanently injuring the muscle.

Make sure that all the strength and power for your vocal sound is emanating from your diaphragmatic breathing muscles. Breathe deeply and let the rib cage and back muscles guide the air to achieve whatever dynamic level you wish to attain.  And always center your power vocals with head resonance – this element always has to be at the core of your vocal sound, high or low, loud or soft.

Great work, Danny!

KRIS ALLEN 23- years old: “To Make You Feel My Love”   Studio Version

Strengths: Kris – you totally captivated me this week with your sensitivity and emotion. The lovely ballad that you selected for this week’s performance was perfect, as we were able to appreciate your sensitive and gentle artistry. Good for you! I was waiting for this!

Also, I enjoyed the fact that you performed without your guitar, as it allowed you to focus your energy on your vocals. This decision paid off in major dividends.

Seated on a stool, you established a quiet, romantic mood and a confident, accommodating demeanor. Additionally, your voice was beautifully resonant and pure this week. The circular formation of your mouth and the relaxation of your jaw was an obvious technical improvement and, for this reason, your voice sounded absolutely gorgeous. It had presence and focus! 

Also, you exhibited great posture – a nice high rib cage, signaling to me that the diaphragmatic  breathing muscles were able to work in a very consistent fashion. It also accentuated your confident stage demeanor, allowing you to communicate your words with confidence and sensitivity

Artistically, this was a sensitive and heartwarming performance. And, yes, I was waiting for the head voice on your final note and you delivered! A little crack in the veneer, but you added some more breath from the diaphragm and sustained the pitch beautifully in the end.

This was a superb performance Kris! I loved  it!

Critique: Kris -keep working on that mouth position and relax that jaw. Trust the diaphragm to do the work.  Your voice is so naturally pure and clear, that once you become more comfortable with the circular mouth position on all the vowels, you will be astounded at the additional depth and resonance in your vocal timbre. It just does the trick – trust me!

However, overall, like Anoop, I felt that your performance and vocal skills improved in a monumental way and this indicated to me that you are working extremely hard at honing and refining your technical skills. What more can Masterclass Lady ask for, right?   Keep up the great work, Kris and best of luck with your rehearsals for next week’s showcase. 

LIL ROUNDS: 24- years old “Independence Day”  Studio Version

Strengths: Lil -you looked absolutely radiant this week.  That red dress was beautiful – it added to the visual aspect of this wonderful performance of Martina McBride’s song.  Throughout this song, you generally retained the perfect “bel canto” mouth position and this resulted in a seamless vocal quality throughout your vocal and dynamic range.

I also appreciated the  slight bend in your knees, as it allowed your soft palate to remain elevated and your throat open and free. As a result your voice always sounded resonant and focused in your vocal masque (facial features)

And speaking of  facial features, every feature was fully relaxed and liberated throughout this anthem song. I especially noted the  beautiful implementation of head resonance in your soft and louder dynamic levels.  Once again, this signaled to me that your technical resources were in full swing in the lower half of your body, guiding and focusing your sound consistently and evenly in your vocal masque.

And, more than any other singer in this competition, you understand the importance of maintaining a circular mouth position on all of the pure vowels. You do try to avoid the messy diphthongs at all cost and, as a result, your voice sounds beautifully centered and true.

For example, you sustained the “ay” diphthong” in the final word  -”day” - on the “eh” vowel and made certain that the circular formation of your mouth assisted the process.  That was super to see and hear – almost a mini-Masterclass moment for the readers at the close of your song.

Brava Lil!  You are a tremendous singer!

Critique: Lil – I would have loved to see you take advantage of the stage area to a greater extent.  The vocals were spectacular, but the performing skills seemed very restrained this week. As you yourself said, this was quite a departure from your R&B roots, so this fact quite possibly hindered the stylistic aspects of your performance.

You need to maintain confidence in your natural artistry and allow your creative juices to spin any song to reflect your personal style. Don’t let the song rule you – you must rule the song. 

Also, make absolutely certain that you support your lower range (I feel that I am typing the same advice for all the singers this week) as consistently as you do the upper!  I felt that your support was not as strong in the lower end of your voice and, at times, you gave into the messy diphthongs in your words. 

It wasn’t as problematic as when I listened to some of the others this week, but, the tendency to become lax in the lower end was still visible to the eye, if not to the ear.  

You  are fortunate that you have a naturally resonant vocal instrument that resonates with relative ease and freedom. However, make certain that you harness this natural energy with consistently applied technical resources.

Great work, nonetheless, Lil.

MATT GIRAUD  23-years-old:” So Small”

Strengths: Matt -once again, we saw and heard you seamlessly connect your vocal and instrumental skills in a monumental way.  Seated at the piano, you appeared very immersed in your comfort zone.  You adopted a very personal approach to this song, distinguishing it from the original Carrie Underwood cover.

Therefore, for this reason alone, your performance deserves the highest praise. You reinvented the song and arranged it to suit your style.  You grabbed control of the artistic reins and guided the listener down a new and exciting musical path.  Bravo!  For all of these above reasons, I found this performance to be spectacular.

Also your piano abilities are brilliant. Brilliant!   You really know how to create a full orchestral accompaniment with that piano. You fingers don’t just “tickle the ivories” – they dig deep into the keys and create gorgeous shading and nuance to mirror the same effect in your stellar vocals.

And speaking of your voice,  you projected a more resonant and confident vocal sound  than in previous weeks,  looking and sounding  like a softer version of  The Buble.   Did the judges just notice this?  It was pretty transparent from the minute I saw you in the semi-final rounds.

Your voice has a husky quality mixed in with a lighter “head voice” texture and, although your technique is not as solidified as I would like it to be, you most certainly made advances in this respect during this week’s showcase. 

Your final note was testament to this: sustaining the word “all” in pure head voice with that ever-important circular mouth and relaxed jaw. You even managed a slight crescendo (gradually louder) on this sustained note, by pushing some air from your diaphragm to achieve a forward momentum. Good for you, Matt!

Great, great performance! I was truly impressed!

Critique: Matt- keep on working to consistently achieve a  circular mouth formation . Presently, the horizontal placement of your mouth is “winning the day” in this respect. Vertical is the way to go!

Also, make certain that you grab those pure vowels and focus your voice on the vowels for as long as possible. Do not let the consonants interfere with the process; they are meant to be vertically articulated in a  crisp, clean and expedient fashion.

Also, remember that beautiful head voice at the end of your song? Always remember to incorporate some of this crucial vocal element into every area of your range, thus ensuring the ringing presence of your voice throughout your range.  Presently, I feel that your voice is lying back in your throat; I need to hear and feel it more forward in placement, resonating freely in your vocal masque.

However, you need to make certain that your intake of air is efficient and deep, allowing your elevated ribcage muscles and back muscles to expand in the process. Then, when you begin to sing, the reverse effect takes place – similar to slowly letting air out of a balloon -and the muscles begin the flexing process that is so important to the perfect vibration of the vocal cords.

This requires slow, consistent practice, but something tells me you are a quick study – and a determined one as well – and you will make inroads in your technical growth at a faster rate than most.

Hope all of this helps Matt! You are an outstanding artist and I look forward to all you have to offer in the coming weeks.

MEGAN JOY years-old : ” Walking After Midnight”   Studio Version

Strengths: Megan- as you said in your brief interview, you changed this song to be comfortable and it really worked.  I loved your quirky, almost throwback persona. It rings very true in my heart and I feel that you are not playing a part on stage – you are being Megan – and I like what I see.

I loved the bluesy, relaxed, laidback style when you performed this song. It was superbly suited to the lyrics and, as a result, the communication level of this song was very strong indeed.

And I did notice that you did refine your excessive body movement, but I found it adorable how every now and then it “kicked back in”.  As I said last week, I actually enjoy some of these atypical and unusual movements, so just streamline them a bit and work them out so that they do not interfere with your vocal line.

Also, I have to applaud you and give you a rousing standing “O” on your outstanding vocal performance, given the fact that you were extremely ill with Influenza B. Wow! And to think of how beautiful those upper notes would have sounded if you had not been so ill? You went for them anyway and they were crystal clear – like a bell! One could hear the congestion in your voice and, yet, still, you were confident and determined enough to sing this song to the very best of your ability. And you did!

Critique: Megan – be very careful of your mouth formation when you enunciate the “ee” vowel. In this week’s performance, your mouth adopted a horizontal spread and you would be wise to maintain a circular position with your mouth on this vowel. You do so with the rounder vowels, like “ah, “oh” and “oo”, but now you need to focus on a consistently circular approach to all your vowels.

Also, watch those hand movements – they sometimes seemed a little bit “out of sync” with the rhythmic flow of the song. A mirror is a singer’s best friend, so, from time to time, make sure you rehearse your song in front of a mirror to correct any excessive or incorrect body movements.

However, because you have been so ill this week, the best advice I have to offer you right now is to rest with a capital “R”!  We want to see a healthy Megan in the coming weeks. Get well soon, Megan and be proud of what you did accomplish on stage this week. Kudos!!!!

MICHAEL SARVER: “Ain’t Goin’ Down Till the Sun Comes Up”

Strengths: Michael – this was  a really good song choice and extremely “lyric-friendly” Generally, I thought you communicated the lyrics quite well and did not hesitate to spin those words out of your mouth. All the words were fairly coherent and, in this respect, the song was communicated very well. Great memory work!

I loved the vocal slide on “oh” midway through this song and you negotiated key change very well. You also acknowledged the “entertainment aspect” of this song, moving quite effortlessly on and off the stage in order to fully engage your audience.  This song requires showmanship and, as a result,  encouraged you to highlight this natural performing aspect in your stage persona.

Good work, Michael!

Critique: Michael -you had a very spread, horizontal mouth position throughout this performance and this detracted from your vocal energy. The voice never moved forward – never truly projected.  I found your facial muscles extremely tense due to the lack of a vertical mouth position  on your pure, uncluttered vowels. Additionally, your throat was extremely constricted, thus deterring the natural resonating presence of your vocal timbre.

Be very careful when rehearsing songs with a verbose, cyclic pattern in the lyrical content. You have to make sure that the vowels are cohesively and continuously attached to the notation in the melodic line. I felt that you were, in essence, “chewing the words” and not allowing the vowels to assist you in the forward focus of your melodic line. The consonants are important – but need to be articulated quickly with a vertical mouth formation.

Also, you tend to sustain your words on multiple vowels or diphthongs, thus diminishing the natural essence of your vocal timbre.  Make absolutely certain that you grab the pure vowel in your words and ignore the diphthongs at all cost.

Finally, when you are rehearsing a fast-paced song, it always helps to slow down the tempo in the rehearsal process. This allows you to deliberately focus on the proper placement of the vowels, making certain that you are diaphragmatically supporting the melodic line in a way that establishes clear focus of the melody in the vocal masque.

Best of luck next week, Michael!

SCOTT MACINTYRE 23-years-old: “Wild Angels”   Studio Version

Strengths: Scott -you exuded an extremely peaceful  presence during this exquisite showcase this week.  Seated at the piano, you communicated this song with passion and musical sensitivity.  It was a superb performance!

And, like Matt, your pianos skills are outstanding. For me, there is nothing greater than watching a vocalist seated at the piano – totally immersed in his element.

I also loved listening to the refined approach you applied to your lyrics:  e.g “perfect world” – relaxed “r” consonant, and uncluttered, ”British-style” vowels.  You really grabbed your pure vowels, as evidenced in your vocal sound during the “wild angels’ segment - lots of pure vowel sustaining ability and a supreme effort to avoid the messy diphthongs in both words.

And without stopping the compliments here, I applaud you on mastering the circular mouth formation when sustaining the   “ee” vowel in the word “be” - it was absolutely perfect and, as a result,  your voice sounded centered and clear.

Your voice sounded so transparent throughout this song and, because of your stellar technical efforts, your vocal timbre had presence and ring throughout this showcase. Gorgeous!

What a phenomenal performance!  Your musical honesty was absolutely inspirational and, as Kara said you bring class and poise to the stage each and every week.

Critique: Scott- you experienced some problems with your falsetto passage. Always remember to  trust your diaphragmatic support system and focus the sound through this technical resource.  You needed to access your pure head voice and, if you wanted to increase the dynamic level, then apply the appropriate amount of support from the diaphragm to achieve the desired result.  

Also, you intermittently  constricted your  facial features, thus closing off the resonating areas in your vocal masque. Remember to  keep your facial features open and relaxed and allow your voice to be guided toward your vocal masque through the breathing process.

Also, we need to hear an upbeat song from you in the very near future. It really doesn’t matter to me whether or not you leave the piano –  I would just love for you to expose a fun-loving, entertaining side to your stage persona.

 It will also diminish some of the pressure that comes from singing musically expressive and sustaining ballads each week  and I will bet your voice will take on a revitalization process.

Also, and this is an aesthetic piece of advice, you might consider donning sunglasses.  It might add a “cool” element to your stage persona and, given your visual impairment, take the focus away from your eyes.  This advice is coming not only from me, but also from several of my artistic friends, who felt this might enhance your stage persona in a positive way.

For all the latest American Idol News, visit SirLinksalot: American Idol or the American Idol Official Site .

Picture Courtesy Of AmericanIdol.Com

Why is the day moving some fast? Am I getting slower as I get older? Probably!

Well, that was a great show last night, wasn’t it? All the singers performed exceptionally well, some better than others, grant it, but still they all came out fighting in new and different ways!

The funniest moment of the night for me was when Paula suggested to Scott- who is visually impaired – that he needs to move around the stage and connect with the audience a bit more. To which Scott replied: “I could move the piano closer to the edge of the stage”. hahaha Good one Scott! A comedian as well as a singer/pianist = triple threat! You rock that stage, Scott!

So, who is leaving tonight? This is going to be a heartbreaker as all the singers really displayed enormous potential and growth during last evening’s show.

Also, tonight, Randy Travis and Carrie Underwood will perform. I thought Randy was exceptional with all of the singers and he guided and mentored them patiently and meticulously.

The Masterclass Doors are now open for business! Enjoy the show!

Oh – and don’t forget to download the Top 13 performances on I-Tunes. And, while you are there, catch a couple of songs from one of my three CDs. (shameless self-promotion – couldn’t resist. haha)

By: Rosanne Simunovic

Well, this was quite a night! American Idol listeners were treated to fantastic performances highlighting the musical repertoire of Michael Jackson and, for the most part, all of the Top 13 finalists delivered admirably well.

Welcome, everyone, to another Vocal Masterclass season of American Idol!

I have to say that this year’s crop of singers are quite the diverse group! And to be given the opportunity to select songs from Michael Jackson’s songbook must have been such a fulfilling musical experience for these young artists.

This was an absolutely brilliant way to “kick off” the eighth season and, additionally, it showcased the current elements that permeate MJ’s music. His music has easily withstood the passage of time -after all, genius is genius at any point in time.

Now, let us move forward to my Vocal Masterclass evaluations and I welcome your commentary and suggestions after the read!

Here are my evaluations and, remember, I am reviewing each singer in (first name) alphabetical order. Your comments are always welcome. To quickly access individual singers, simply click on the singer’s link below.

Also, I am experiencing some technical issues with the inclusion of YouTube videos for the various performers.

When I updated my article, some of the videos were “stripped” from the  final copy.

Is this a forecast of things to come? Probably not, but I just wanted to explain that the lack of a video for some of the performers was not intentional.  I will try to remedy this problem ASAP!

Adam Lambert, Alexis Grace, Allison Iraheta,

Anoop Desai, Danny Gokey,

Jasmine Murray, Jorge Nuñez, Kris Allen,

Lil Rounds, Matt Giraud,

Megan Joy, Michael Sarver, Scott MacIntyre

Strengths: Adam-you are a consummate performer and your enviable background in musical theatre equipped you with a solid foundation for this week’s Michael Jackson theme.

Throughout this number, you provided the viewers with an extraordinary visual and aural experience. This was a strong performance in every respect – expressive vocals, fantastic stage skills and authentic communicative ability.

Your strong theatrical background obviously prepared you for this phenomenal moment in time. You waited for the right time and place to audition for this show and the wait was well worth it – for you and for us.

The key to success is realized when preparation and opportunity collide and you are a stellar example of this statement. You have obviously worked extremely hard to hone your craft and to develop into the confident performer we have recently had the privilege to meet.

I feel you will be an unstoppable force in this show, as you are like a chameleon and wear a coat of many colors in your singing style. A true Cabaret Idol! How I have been waiting for this day!

Bravo and congratulations on bringing such a high level of disciplined artistry to the American idol stage!

Critique:  Adam-over the coming weeks, be very careful that you “rein in” the screaming aspect of your vocal delivery. You have strong diaphragmatic breathing skills, so I feel that you understand the fundamental aspects of solid technical singing.

However, you do not want to over-extend the natural capability of your vocal gift, so always make certain that the more potent sections in your songs are delivered through the support of your diaphragmatic breathing muscles.

And, make absolutely certain that you practice both the vocal and choreographic elements slowly and meticulously, in order to ascertain that one performing element is not over-powering the other. We never want your voice to take a back seat to your stage performance nor do we want you to perform like a robot. Ha!

However, you are a stellar performer and I do look forward to what you have to offer in the weeks ahead.

Congratulations Adam!

ALEXIS GRACE 21-years-old: “Dirty Diana”

Strengths: Alexis-this was a phenomenal performance, respendent with artistry and vocal excellence. What a star you are on that stage!  Your vocal skills were generally technically solid and, unlike Paula’s critique, I did not feel that you were over-stepping your singing boudaries at all!

I thought that you were in complete control of the stage and really solidifed the power of your natural singing voice with superb technical skill.

The very naughty communicative aspects of this song were well done – you characterized the song exceptionally well and played the role to perfection.

I also love the bright timbre of your voice – it is resplendent with natural head voice and, as a result, your pitch and focus always remained centered.  You sustained your melodic line on the pure vowels, thus rendering a seamless quality throughout your entire range.

Excellent work, Alexis. Kudos!

Critique: Alexis-I found little to critique in this performance. However, just make certain that you work on your articulation skills. At times, I found it difficult to understand your words, especially when you vocalized within your lower range.

Make sure you spin out those consonants quickly and crisply – before and after you grab those beautiful bel canto vowels.  Also, make certain that your mouth remains perfectly round at all times. There were a few moments, albeit brief, that I noticed a stretch to your mouth position, thus causing some intermittent tension in your voice.

Remember: round mouth, relaxed jaw and liberated diaphragmatic breathing skills are key to a successful vocal delivery.

ALLISON IRAHETA  16 -years old:  “Give In To Me”

Strengths:  Allison-what a great song choice. This was a very strong, very confident performance. I loved your vocal presence and fire – it was absolutely phenomenal with a capital “P”. You possess strong technical skills and a rustic artistry that I am growing to love more and more with each performance.

Additionally. your “look” suited your rockstar persona . Your voice is ridiculously strong and potent – so muscular, in fact,  that it defies logic given your young age.

I was so impressed with this performance because I was expecting less. Well, you showed me, didn’t you?  You have an “Avril Lavigne” quality about you which is something quite different for this show. Most 16 or 17-year old female singers on American Idol have leaned toward the pop genre, but you? You are rockstar all the way and I am loving it!

Critique:  Allison – don’t push the chest voice, sweetie. Easy does it!  At times, the clarity of the head voice element was obliterated by too much chest voice in the vocal mix and, as a result, your voice lacked the ringing quality that I look for in each and every singer, regardless of the style of music.

Make certain that you channel that choirboy quality in your voice and then allow the vocal sound to increase through the application of pressure from the diaphragmatic rib cage muscles. Never push from your throat – the throat must remain open and free, so that your voice can project freely in and toward your vocal masque (facial muscles).

Great work, Allison. I was very impressed. Brava!

ANOOP DESAI 22-years-old: “Beat It” 

Strengths:  Anoop-you snagged one of Michael Jackson’s best-known and most successful songs. It was a good move on your part in the sense that the entertainment value of this particular song is extremely high.

Overall, I thought you made a great effort to deliver this song with a saucy and angry stage persona. Good for you! You moved around the stage quite well and used the area to create some visual dimension to your performance.

I especially loved the clarity of your upper register voice; it was so transparent – pure head voice.

Good work, Anoop!

Critique:  Anoop- because you needed to apply a great deal of choreography for this song, your vocals were diminished in the process. Although the song held a high degree of entertainment value, it was not the best selection to highlight your vocals.

There is a great deal of repetition in this song – in the melody and in the lyrics – and if the vocal delivery is not expressive and resplendent with nuance, the song will fall flat. And it did!

In order to have created a more convincing performance, you needed to work slowly and meticulously with the vocal and the choreographic aspects of the song, so that one element complimented and elevated the other.

Also, never rely on the natural markebility of a song to sell your performance. Sometimes these songs are the most difficult to convey to your audience, as it allows the singer to  relinquish his artistic guard in the rehearsal/performance process.

As much as you did your best to internalize the attitude and passion of this song, it was not the correct fit for you in a stylistic sense and, as a result, the performance felt less than genuine.

Hopefully, you will select a better song for next week’s showcase, so that we can truly hear the vocal artistry in your voice. Tap into your artistic identity, Anoop, and choose songs that mean something to you – to which you can relate.

Good luck!

DANNY GOKEY  28- years old :  ”PYT”

Strengths: Danny – from the opening notes of your terrific song choice, your voice and presence commanded the stage. You moved with absolute ease and professionalism. What is there to say but “wow, man!” Who knew? I have goosebumps here. This was an incredibly potent performance – in.cre.di.ble!

Your powerful, muscular vocals  projected the absolute depth of your technical strength.  And, I loved the dancing – it’s truly “who you are” – and I wouldn’t change a thing.

This was natural and effortless performance and meticulously rehearsed. How I admire this level of discipline in a performer.  You remind me of Season Five Top 3 Finalist Elliott Yamin and that has to be a good thing, given his great success post-Idol. You appear to be channeling both his R&B style of singing and his genuine persona. Great combination – nothing could be better than this!

Also, the resonant quality of your voice was consistent and true. You grabbed those pure vowels and adhered your vocal sound in the true “bel canto” vocal style of singing. As a result, your voice sounded rich and robust throughout this showcase.

Excellent work Danny and truly inspiring!

Critique: Danny – I found no fault in this performance. It was excellent all the way. Your nuances were perfect, the technique was concrete and the communicative aspects genuine and meaningful. Bravo! I look forward to next week’s showcase very much.

JASMINE MURRAY 17 -years old: “I’ll Be There”

Strengths: Jasmine – this was a stellar song choice, perfect for your voice and your gentle style of singing.  I particularly adored the beautiful use of your head voice at the end of this song.  You looked radiant on stage and I was extremely impressed with your level of professionalism at this young age.

Vocally, your voice is quite developed for your young age and you appear to have some evidence of proper diaphragmatic breath control.  You approached your melodic line in a musical way and really added some wonderful expressive moments to this song.

 Critique: Jasmine – be careful that you do not push that chest voice  when producing your power vocals. When you did so, this allowed the notes to flatten. Too much chest voice does this time and time again.

Remember to ease onto your upper notes, accessing the head resonance in your voice and then creating a stronger dynamic sound by applying pressure and support from your diaphragmatic muscles. Never push and never attack the upper and/or louder notes. You will always fall short if you do and the pitch will suffer immensely.

A little trick that I have used seems to always work: when singing through your upper range, slightly or dramatically (this works for the louder dynamic)bend your knees and squeeze your butt muscles.  However, while doing so, make certain that you have maintianed a circular mouth position and a relaxed jaw, thus allowing the rib cage muscles to begin the supportive process in a liberated manner. 

And remember to fully breathe from your diaphragm – allow the stomach muscles to expand during the inhalation process and contract/flex during the vocalization process. Good luck, Jasmine!

JORGE NUNEZ  21-years-old: Never Can Say Goodbye”

Strengths: Jorge -this was a great song choice for you. You are quite the romantic presence on stage and you moved with ease and effortlessness on that stage.

I love the dark, expressive timbre of your voice; as your vocal cords mature, I sense you are going to develop a very strong, very potent vocal range. With proper vocal training and conditioning, your true vocal potential will be realized in a monumental fashion.

I loved the rhythmic motions you added to this song via your hands and facial expressions. I wait for the day when you can really break free and sing a song that is more up-tempo and rhythmically challenging. I suspect you are a great dancer, therefore, you need to find songs that heighten both aspects of your performing ability – dance and voice.

Great work. Jorge! Bravo!

Critique: Jorge- watch that you do not implement too much chest voice into your vocal timbre. This recurrent problem caused some poorly pitched notes throughout the majority of your melodic line. 

Additionally, be very careful to avoid undue tension in your upper body – your shoulders were very constricted and your facial features extremely tense. You need to adopt a more relaxed approach in your upper body and allow the rib cage muscles to support and direct your vocal sound.

Always remember that the energy for proper vocal support occurs in your lower body; your upper body has to be open and free, so that the air can spontaneously vibrate the vocal cords to whatever frequency or dynamic you desire. Upper body tension will impede the process.

Additionally, your facial features as well must be open and relaxed – this is where you want to focus your vocal sound and if there is tension in your vocal masque (face), your voice will sound diminished and poorly centered.

Also, I wish that the composers could have been more inventive in the arrangement of this song  – it sounded very pedantic at times and almost robotic. It gave you no room to expand your vocal delivery and/or deliver a more nuanced approach in your singing style.

Hope this helps Jorge. Good luck!

KRIS ALLEN 23- years old: “Remember The Time”

 Strengths: Kris -I thoroughly enjoyed watching you perform with your guitar. You are as cute as a button and, although you have a light timbre to your voice, you generally use it technically well.

Performance-wise, this was a good and solid showcase and it is obvious that you and that guitar are meant to travel together on that stage. You are an engaging performer to watch, very genuine and real. Although I still do not have a sense of who you are as a performer, I feel that this will become evident with time and patience.

Good work, Kris!

Critique: Kris -there was so much tension in your mouth and jaw;  you need to learn to relax these muscles ASAP.  As you have a light timbre to your voice, you would most definitely gain more depth to your vocal sound by maintaining a circular mouth position on all your pure vowels. Also, a relaxed jaw – and an extended one when you navigate your upper range – is crucially important to a cohesive, seamless vocal sound.

Allow the diaphragmatic muscles to hone and direct your vocal sound. However,  at the same time, make sure that your throat remains open and free from constriction so that your vocal sound can travel in uninhibited fashion toward your vocal masque. Once it reaches your vocal masque (facial features),  the resonation process begins as you glue your vocal sound to the pure vowels in your lyrics.

And relax your knees and “butt squeeze” your way to the top of your range. It’s a no-fail trick, as long as your upper body is truly liberated and you have inhaled the proper amount of air for solid diaphragmatic support.

All of this does require some solid effort on your part, but, with proper coaching, this is not as difficult as it seems on paper. Watch American Idol David Cook or Top 2 Finalist David Archuleta – they had the right technical  approach in their singing style last year, singing contrasting genres of music, and it worked in a huge way!   Watch their mouth position and listen to their vowels – very pure and always grabbing the melody.

You have so much potential Kris and I hope that this little bit of advice will assist you in realizing it!

LIL ROUNDS: 24- years old   “The Way You Make Me Feel”

Strengths: Lil -you possess such a resplendent vocal instrument, due to a wonderful compilation of your natural vocal ability and exceptional technical skills. And, this week, you exuded a relaxed, yet strong vocal and artistic presence on stage.   I loved the circular formation of your mouth during this great number; your exceptional diaphragmatic support allowed your voice to float effortlessly from your body.

I loved the relaxed choreographic elements your brought to this song -truly living and breathing the joyous aspect conveyed through the lyrics and bouyant melodic line. 

Additionally, you paced this song extremely well; I always had a sense that you were  in perfect control of this number from begining to end. Your rhythmic movements beautifully complimented your expressive vocals and it became obvious to my eyes and ears that this was one well- rehearsed performance. Kudos! I love singers who do their homework!

I also appreciated your expressive nuances – the revelation of your lovely head voice toward the end of this song provided wonderful contrast to the rich timbre of your mid-register voice.  

Wonderful work, Lil! Brava!

Critique:  Lil – you have a very solid technical approach to your singing style, so I could find little fault after this week’s performance. However, make certain that you consistently maintain  a circular mouth position on all your vowels. I did notice that you had a slight spread on the “ee” vowel when you sang the word “feel”   in your head voice.

Also, on your final note, your mouth and jaw were slightly trembling  on that upper note. Trust the  diaphragm  to harness and direct your vocal sound and always remember to relax that  jaw

MATT GIRAUD 23-years-old:” Human Nature”

Strengths:  Matt -what an absolute treat to watch you tickle those ivories while you sang this great number.  As a pianist myself, I truly admired your piano skills – the phrasing and the musicality were absolutely first-rate.  You really dig into those keys and  your aggressive, but expressive approach to your piano accompaniment signaled to me that you are a confident, well-educated musician.

I loved your bluesy, introspective approach to this song very much and the generous manner in which you exposed every possible layer in your vocal range and dynamic. You take risks, Matt, and I like that very much.  You obviously possess some gorgeous head resonance, as we could so appreciate toward the end of this song.

You, along with a few others, bring a new dimension to the Idol stage this year and, in your case, it is a relaxed, soulful style that looks and sounds folksy and contemporary at the same time. Very neat! Very distinctive! Very singular! And that spells success in my book.

Superb work, Matt!

Critique:  Matt-okay, we need to get you some vocal lessons stat!   Would that you could apply as much energy into your diaphragmatic support as you do when you play the piano!

Throughout this song, your voice  lacked direction.  You suffered some pitch problems and your overall vocal timbre was very vague, almost wispy in content. I completely understand that you are going for a very relaxed, carefee style here, Matt, but, yous till have to harness your vocal sound with potent technical skills.

You encountered some problems when you soulfully engaged your upper range and your voice, unfortunately, lacked the clarity and ring that is necessary in this part of your range. Therefore, your pitch was off-center and you lost control of the reins, even when you moved back to the lower part of your voice.

And your mouth! Oh my! The position of your mouth was far too horizontal; a circular mouth position while you focus your melodic line on the pure vowels is the way to go, Matt! And, drop that very tense jaw – loosen up those facial muscles and let your stomach and back muscles do the work. 

Remember to keep your throat open and free, thus allowing your voice to float effortlessly from your body. Of course, this means that the diaphragmatic muscles have to be thoroughly engaged to release the perfect amount of air to create the purest vocal sound possible at every dynamic level.

You are an extremely musical young artist and I hope that this advice will help you to advance and achieve your true potential on this show.

MEGAN JOY    years-old : “ Rockin’ Robin”

Strengths:   Megan-I love you so darn much! You are a signature artist.  I absolutely enjoyed this song and you certainly added a great deal of your sparkling and vivacious personality to this number.

This was a delightful showcase and provided a wonderful contrast to the other performances this week. Therfore, in a huge way, you distinguished yourself from the “rest of the pack” and that is always a good thing indeed at this stage of the competition.

And what a great song choice! It was a perfect fit for you, as the light-hearted aspects of this song complimented your naturally buoyant and carefree persona. You looked and sounded totally relaxed with this song and communicated the essence of this song in a genuine and real manner.

I loved the earthy, expressive quality in your voice; when you sang, I heard a wonderful array of nuance and inflection. Because of your jazzy and singular interpretive style, this classic song went through a renewal process and was the recipient of a new and refreshing “Megan” sound.

Great performance, Megan! Kudos!

Critique: Megan – make sure you continue to work on your stage skills. I actually love some of your quirky movements, but be very careful that the arms and hands do not become too busy in the process. Many times, excessive body movement can diminish the technical process when you sing, as it consumes energy that could be utilized in the diaphragmatic breath support system.

And, make certain that you diaphragmatically support your vocal sound. Presently, you use a great deal of chest resonance when you sing and I would like to hear a little more head resonance in the vocal process. I sense that there is some knowledge of proper voice technique, but want to make sure that you are using this knowledge on a continuing basis.

However, that being said, you are one clever lady, as you have made certain, this week and in past weeks, that the key selection of your songs lies in your natural mezzo singing range. Good for you!

Hopefully, we can hear a ballad from you next week, so as to better evaluate your sustained vocal ability. You have a musical way of phrasing your melodic line and a ballad would further highlight this element in your singing style. Also, a slower song would encourage you to provide further focus on the correct breathing process.

Congratulations once again, Megan! Great performance!

MICHAEL SARVER:  “You’re Not Alone”

Strengths: Michael – you exuded a relaxed presence at the beginning of this song which never dissipated throughout this passionate performance. And your vocal technique was generally good, especially when you sustained some of your longer notes in your upper range.

I also appreciated your subtle stage movements, starting from a seated position (which helps to set the mood and ground the singer) to a standing position where you were able to freely walk across the stage.

This enabled you to not only communicate your song more effectively to your audience, but also to create a multi-layered visual effect throughout this performance.

Also, the standing/walking element is such a “freeing” element for any singer that I am often surprised that more singers do not use this opportunity to liberate and relax the tension in their body. Also, it energizes the breathing muscles to work in a more efficient fashion.

Overall, I thought this was a very strong performance and your vocal instrument sounded extremely resonant and seamless throughout this showcase. Good work, Michael! Oh – and I loved your song choice very much. Kudos!

Critique:Michael -try not to raise your head for those upper notes. This increases vocal tension and you lose communicative attachment with your audience. Keep your head level with the camera and bend those knees when accessing your upper range. And a “butt squeeze” or two will not hurt. Try it – it works!

Also, be very careful to keep your mouth round and your jaw relaxed when grabbing those pure vowels. I saw a great deal of tension in your mouth when you performed this song.

For the most part, you adopted a horizontal position with your mouth, particularly when you vocalized the trickier vowels such as “ay” or “ee”. These vowels need to be sustained through a circular mouth position and relaxed jaw. This will add further depth and brilliance to your voice and relieve undue tension in your facial features and throat.

Also, make certain that you avoid singing all the vowels in your diphthongs. For instance, when you sing the “ay” vowel, focus and sustain your voice on the first pure vowel in this diphthong – “eh”. It is a great deal easier to sing when all you have to think of is “eh” instead of “eh -i -ee”.

In other words, adopt the more refined British approach when you sing, grabbing pure vowels and sustaining them for as long as possible while crisply articulating those initial, middle and closing consonants in all of your words.

So, there you have it! Masterclass homework just in time for next week’s country-theme!

SCOTT MACINTYRE 23-years-old:  “Keep The Faith”

Strengths:  Scott -I loved this song choice. It truly complimented your creative artistry. Your  voice sounded very controlled from the very beginning and your charisma on camera was absolutely stellar.

Also, your piano accompaniment skills were superb and it speaks volumes about the depth of your musicianship that you just learned the piano score this week. It looked and sounded as if you were playing and singing this song for a lifetime. Your piano skills were exceptional and further elevated the musical standard of this performance.

Vocally, you exhibited flawless elements in this performance. You moved effortlessly into the upper range, signaling a seamless quality thoughout your vocal range. You definitely have a sense of where proper vocal technique can take you and, with a little refinement, your voice will continue to grow and flourish.

More important, you communicated the inspiring essence of this song in a genuine and sincere manner and the expressiveness in your voice reflected this. The clarity of your diction, the musical and creative phrasing, the inherent passion in your voice and so much more added to the nuanced approach in this performance.

You are a consummate musician Scott and I look forward to hearing some more performances from you – with or without the piano. Now, how about we aim for an upbeat song next week? Let’s loosen you up a bit!

Great work Scott! Bravo!

Critique:Scott- my biggest concern was that horizontal postion of your mouth. Actually, it was somewhere in between a horizontal and circular position formation.

You have to make absolutely certain that you maintain a rounded mouth formation on all your vowels, especially the trickier ones such as “ay”, “ee” and “i”. Also, you need further work in the relaxation of your jaw. Your eyes are beautifully open and expressive; now we just have to relax and liberate the lower half of your face. Once this is achieved, you will have perfectly positioned every feature of the facial masque so that your vocal sound can resonate freely in that area.

Also, when seated at the piano, make absolutely certain that you are accessing full support from the diaphragmatic breathing muscles. Energize those elevated muscles and allow the lower half of your body to create sound in the upper half of your body, directing it always toward the vocal masque (facial features).

However, this was a great, great showcase Scott! Kudos!

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