By: Rosanne Simunovic
Well, I am back once again and I thank all my readers for their “get well” wishes. I thoroughly appreciated your feedback and comments after Neil Diamond week. That was a great show, wasn’t it? Great performances and Neil Diamond was THE MAN on the Results show last week. Brilliant performance!

However, this week, we are concentrating on our diverse Group of Four in their interpretation of two song selections from the Rock and Roll Hall Of Fame. I thought that this was a good showcase and there were some performances that, to me, were the best I have ever seen on this stage.

Agree or disagree? Read on and feel free to comment. But, remember, I am still recuperating, so please be nice! (smile)

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.
David Archuleta, David Cook
Jason Castro, Syesha Mercado

DAVID ARCHULETA: “LOVE ME TENDER” and “STAND BY ME”

Strengths:David A. –this was an absolutely exquisite duel showcase this week. Your artistic forte reached fruition for a variety of significant reasons, centering on the essential fact that you are indeed a vocal prodigy, blessed with superior vocal gifts far surpassing your young age.

Both song selections were impeccably selected to suit every attribute of your performing style. The variation between the mood and emotional tone of each song was well- formulated indeed.

During your performance of ”Stand By Me”, you highlighted your increased ability to encompass a mid- tempo rock selection into your showcase, allowing yourself to effortlessly establish contact with your audience. Your hand movements and your forward body language unobtrusively complimented the solid vocal delivery of this very complex number.

Also, although no one made any mention of this during the judging segment that followed this performance, I should draw attention to the fact that you flawlessly performed an a cappella version of this number, accompanied only by back-up vocalists and percussion. Therefore, the listener was able to fully connect with the lyrics and the brilliantly focused tonal quality of your soulful singing style.

Your pitch was beautifully centered throughout the sustained and scale-like portions of this song, indicating, once again, the depth of preparation that you continue to bring to this competition.

And, that beautiful falsetto note at the end on the word stand? It was clear as a bell and was only surpassed by that surprise dip into your lower register on the word “by”. The clarity of this final melisma, especially since it was preceded by a sustained upper note, was nothing short of breathtaking.

Your well- crafted diaphragmatic breath control allowed you to render a seamless, uncluttered vocal texture through every area of your vocal range. And, given the fact that you chose the a cappella route for this song, you not only established the freedom to select the perfect key selection for this performance, but also further highlighted your undeniable strengths as a vocal artist.

Then you offered us a poignant – yet singular – performance of the Elvis Presley classic, Love Me Tender. Oh my, what more is there to say here! The camera never left your face, thus providing emphasis to the visual and aural expressiveness in your performance. It was heartfelt and sincere and every word in this tender love ballad was articulated with impeccable inflection and nuance.

The melodic variations you incorporated throughout this number were musically inspired – yet, thankfully, not overdone. The emotional core of the song remained intact, as you singularly interpreted this number in a way that will certainly raise the eyebrows and perk the ear lobes of record producers around the world. Pure brilliance

Also, once again, you were musically naked on that stage, backed only by a beautiful piano accompaniment. Therefore, the beauty and magic of your incredible singing voice was once again firmly established in the ears of the listener.

There was no clutter, no distraction, no smoke and mirrors with either performance. All the focus was directed to what this singing competition is all about – creating phenomenally strong and memorable vocal performances with sincerity and with love and with passion. And nobody delivered this “package” as well as did you, young David.

You did indeed capture not one, but two moments on stage this week.

Bravo, David. Somehow, I knew this would be your week. Kudos times a zillion.

Critique:David – once again, I can’t offer any suggestions on how to make two perfectly secure performances more perfect. Except for the minor vocal crack on the second last note, probably from a glitch in the air supply, every aspect of both performances was smooth as silk.

And, actually, that vocal glitch was a neat inflection to insert at this point of the song – it sounded appropriate given the final emotional message of this song.

Also, despite the slight and inconsequential break in the vocal armor, the last note was strong and true, once again indicating your proficiency in making certain that the last note was projected and sustained in the proper technical fashion. Nothing flusters you. I love it! Three cheers for strong technical skills!

See you next week, tiger!

DAVID COOK: “HUNGRY LIKE A WOLF” and “BABA O’RILEY”

Strengths: David C. –once again you selected songs that thoroughly reflected the artistic strengths you bring to this competition. Your outstanding classical technique, coupled with the natural raw intensity of your rock- generated performances, have resulted in extremely memorable and distinct showcases throughout the entire season.

Your first selection, Hungry Like A Wolf was very good indeed. Actually, the first thing that struck me – since I am such a stickler for articulation –was the crispy crunch quality of your “t’ and “”d” consonants. Would that more singers could adopt this approach when enunciating the lyrics!

The decisive articulation of your consonants easily propelled your voice in a forward fashion onto those pure vowels. As a result, your pure voice, when mixed with your rustic vocals, maintained a powerful resonating presence throughout this showcase.

During the first part of the song, you mingled as best you could with your audience and part of me was hoping that you would leap forward, “like a wolf”, and capture their enthusiastic response with more intimacy. However, whether on or off stage, you have unbridled, natural enthusiasm when you perform, always making certain that the emotional mood of the song is front and center in every one of your performances.

In your second song, Baba O’Riley, I absolutely loved the variety of nuances you incorporated into your personal interpretation. You have a pretty predictable formula that seems to work for you David – vocalizing in a teasingly soft manner in the opening segment of your song that easily crescendos to the muscular power vocals in the second half of your song. It’s part of your style – your signature, if you may – and I like it very much!

Finding a stylistic or artistic formula that works for you is an important performing component to achieve, as it distinguishes you from other musical artists of the same genre.

And yet, you are not a one- trick pony, as was evidenced during Andrew Lloyd Webber night. You do indeed have many layers to your performing ability. However, I think that, in order to establish strong performances in such a constricted time frame as 1:30, you long ago arrived at a formulaic decision at how best to achieve this. And it does work! So kudos to you for maintaining this intelligent and disciplined approach to your showcases each and every week!

As was the case in your first song, you made certain that the technical elements were channelling the vocal dynamics you brilliantly sustained throughout this number. You paced this number extremely well, indicating to me that every turning point in the song had been meticulously rehearsed and seamlessly connected.

This was wonderful work, David C! Congratulations!

Critique: David C. –although you arranged these numbers utilizing a very careful thought process, I think the abbreviated time frame for both song selections hindered the overall lasting impression of these numbers. It seemed that the songs were just beginning – and then they were over! The climax came a little too late in the 90- second time frame.

This was especially true in your strongest number, Baba O’Riley. As good as this song was, you were just getting warmed up, ready to rock it out and then –poof – it was over. Would that you could have subtracted some bars from the beginning of this song! Then, perhaps, the performance would have left a stronger impression.

So, I suppose what I am trying to say is that the song selection and/or arrangement were not the very best fit at this stage of the competition. The performance – yes! But not the song!

The better of your two songs – in terms of selection – was Hungry Like A Wolf. However, the performance aspects fell a little flat and, midway through this song, you seemed detached or distracted.

Also, as I said above, this would have been a wonderful opportunity to jump off the stage and grab your audience at their level, like a wolf.

In fact, the recap - taped during the dress rehearsal- at the end of the show, showed you stalking crouched- style on the stage toward your audience. That was perfect! Why did you not do this during the live televised performance? Perhaps that would explain your detachment in this song? Did something hinder you from performing this wolf-like manoeuvre? Ah –so many questions, so little time! (smile)

Also, I should caution you on that elevated head position when you sing through your upper range. It wasn’t too bad this week, but that upward tilt was still pretty obvious. Because of this, we lost the very important contact with your eyes and this not only creates a less confident stage demeanour but also it generates a level of tension in the vocalization process. The stretching of the neck muscles constricts the throat and, therefore, the free resonance of the singing voice.

Also remember to sing over the notes when moving through your upper range. Never reach for those notes, as it will cause you to deliver a more pinched, less efficient vocal timbre in this area of your range.

And bend those knees and squeeze that butt! The bending will keep the soft palate properly elevated and the butt squeeze will access the powerful back and rib cage muscles, thus solidifying the full extent of your diaphragmatic breath support.

However, never fear, you are David Cook and you are still a fascinating and charismatic performer to watch on stage. Your level of musical sophistication is a refreshing breath of fresh air and you have created many exciting performing moments over the past two months.

See you next week! Bravo David!

JASON CASTRO: “I SHOT THE SHERRIFF” and “MR. TAMBOURINE MAN”

Strengths: Jason–well this was more like it! I thought both song selections this week reflected the authentic vibe you have been trying to achieve all season on this show. The laidback, folksy nature of these numbers were absolutely the perfect fit for you and, as a result, you came alive on stage like never before.

Throughout your performance of “I Shot The Sherriff”, you established a strong connection with your audience. Your arms, when not playing the guitar, were moving with ease and comfort to compliment the rhythmic and lyrical flow of this song. I was very much hoping that you would “rock it out” on this stage this week, Jason, and you certainly did with this number. You looked relaxed and, more important, you looked like you were enjoying yourself.

Therefore, without that sense of trepidation and tentativeness that permeated so many of your other performances from previous weeks, we were finally able to recognize and appreciate the distinctive style that you have generated in this competition.

Your particular style of singing is better suited to a smaller, more ambient setting and, although the Idol environment is certainly not that, you did try very hard to create a communicative intimacy that could work so well, given the proper circumstances.

Also, the heightened physical energy you exerted during this number was transferred to your singing voice. Your vocals sounded more muscular and resonant and, even more important, extremely expressive.

Oh the miracles that will happen when a singer just “throws caution to the wind”! Even though your technical skills were still lacking, your buoyancy and resilience throughout this performance actually assisted the resonating presence of your voice.

Moving on to your second number, Mr. Tambourine Man, I felt that the less than stellar reviews from the judges after your first number truly affected the overall positive impression of this performance. However, as mentioned above, I did like the song choice very much

Once again, your voice maintained a wonderful presence throughout. Your timbre was crystal clear and extremely transparent. I am hoping - although it was hard to determine with that guitar in front of your body - that the diaphragmatic breathing process was assisting you to achieve this end. Your shoulders looked pretty relaxed, so that is always a good sign! It indicates that there was less tension in the upper body.

Also, this was a true acoustic performance – just you and the guitar – and I applaud your courage in taking this route. It shows that you are a performer who is truly comfortable in his own skin and prefers to focus on the communicative elements of a song at his own discretion. This element is always at the core of folk-generated music – creating an intimate and comfortable performing environment for the singer and his audience.

And, yes, you had the memory lapse, but, to your credit, you handled it perfectly. You have such a laidback personality and, although this laidback style quite possibly hinders a more disciplined approach in the preparation of your songs, it actually is a plus on stage. Nothing fazes you and this is a very strong component to possess as a performer. You are there to entertain –and, during live performances –all sorts of glitches do happen, even to the most seasoned professional. No one stays in the moment better than you Jason! Good for you!

Critique: Jason – as mentioned above, you ran into some performance issues during your second number, Mr. Tambourine Man. Perhaps your confidence was deflated after the judges’ comments following your first number, “I Shot The Sherriff”? Was it lack of preparation?

On the other hand, some of the other performers in Round One received lukewarm reviews as well and they managed to render quite strong performances in their second number. However, I will agree that your reviews were the most abrasive, but I sensed that the judges have reached a personal level of frustration with your general performance history.

Whatever the case, always remember that your audience comes first. Critics and judges and reviewers mean nothing in the end – it is your fan base that counts and you obviously have a very strong group of fans to have reached this stage of the competition. So I hope you find comfort and gain confidence in this fact alone. You do have an audience out there that truly love the gentle, relaxed performing style you have brought to this competition.

So, unfortunately, when you began Mr. Tambourine Man, you started out with a twinkle in your eyes, that very quickly disappeared after the memory lapse. I could almost read your mind during the remainder of your song: “Oh boy, am I going to get ripped by the judges!”. Wrong approach, Jason! You have to fight harder at this point – pull out all the stops! I mean – everyone has memory lapses, right? The last time I looked around, we were all still human, correct?

Vocally, you still have some issues to correct, the most important of which is that very tight, horizontal mouth position. I hope you will continue to work hard on the relaxation of your facial muscles – particularly your lower facial muscles.

You need to circulate the mouth as you grab the pure vowels within your lyrics and allow the jaw to gently extend as you sing though your upper range. Only then will your voice enjoy the freedom that comes with the proper placement in your vocal masque.

Also, remember to elevate your posture when seated with the guitar. During your first number, you were standing and this technical glitch was not problematic.

However, it is only natural to slump over the guitar when seated and this is what happened during your second number, Mr. Tambourine Man. Therefore, the breathing muscles were slightly more deflated and were not able to work as efficiently or with as much buoyancy as was the fashion in I Shot The Sherriff.

However, it has been a great pleasure to review your performances each week, Jason. With proper guidance and mentoring plus a dash or 2 of disciplinary study, I suspect that you will enjoy a wonderful career, one that will, perhaps, extend beyond your folk -inspired musical calling! Bravo!

.
SYESHA MERCADO: “PROUD MARY” and “A CHANGE IS GONNA COME”

Strengths:Syesha –you certainly proved why you deserve to be a chosen contender at this stage of the competition. This week, you created many exciting visual moments for the Idol spectators and I was equally thrilled that you received a lot of lovin’ from the judges’ table. It was long overdue, in my opinion.

Your first number, Proud Mary was a very sexy and tantalising visual and aural experience. You created the perfect mood for this provocative song composition. You are quite the little dancer, Syesha, and the choreographic elements you added to this number looked absolutely effortless.

However, at the core of this very busy, highly energized performance was an impeccable attention to detail. You made absolutely certain that both the choreographic and vocal elements complimented each other. One never overpowered the other, as your vocals were precise, finely tuned and exquisitely positioned in your vocal masque, signifying that the rhythmic dancing steps were not hindering the correct diaphragmatic breath support

And speaking of rhythm, your dance movements provided proper accent to the rhythmic components within this song. “Rollin’ (Syesha bends), rollin’ (Syesha bends again!). And I loved the pirouettes as the band introduced the up-tempo portion of this song. They were perfectly placed and what is more astonishing was the lack of breathiness in your voice once you began to sing immediately after this choreographic element.

This signified that you paced this song extremely well and rehearsed the vocals apart from the choreography, making certain that all the important vocal components were in place and free from any discernible tension in the upper body.

What a wonderful performance of this very oft repeated classic rock song. I have heard this song many times, but never enjoyed it as much as when you performed it. And probably never will! You have the body, the voice, the look and the style for this number. Just perfect!

Then we moved on to a dramatic change in mood as you presented your interpretation of A Change Is Gonna Come. I thought that you established such presence and power during the opening lines of this glorious song and this level of momentum never relented. You performed this number with honest passion and real emotion, lending a new way of hearing and/or understanding the poignant message in the lyrics.

This was a very good Top 4 performance indeed, Syesha! Congratulations!

Critique: Syesha- as much I loved the song choice of your second number, A Change Is Gonna Come, I felt that, vocally, so many problems ensued during the performance of this song.

First of all, the background arrangement was plodding along in a tempo that had zero flexibility or animation. As a result, your phrasing elements were very mechanical and you were breathing far too often within the individual phrase lines. That all-important forward momentum that is so important to the natural ebb and flow of any song was noticeably absent.

Therefore, the song lacked a creative sense of musicality and finesse. The whole showcase appeared and sounded very one-dimensional. The variety of nuances necessary to expressively communicate the musical message was conspicuously absent. Your dynamic range was either loud or soft, with nothing in between. Therefore, your voice sounded uneven as you moved from your lower/softer vocals to the higher/power vocals.

Also, you carried far too much chest voice into the upper range and it was further aggravated with that spread mouth position. As a result, your upper vocals sounded extremely overwrought and the vocal timbre lacked clarity and focus. It signalled to me that your breath support was minimally assisting the vocalization process.

This statement was further highlighted when you vocalized into your lower range. Your lower notes sounded poorly centered and lacked ring and clarity. Also, your diction became less precise in this area of your range and this removed vital energy and comprehension from these segments of the song.

Always remember to maintain the head voice element in every part of your range, as it will allow you to sing with a more aesthetically pleasing vocal sound. And never slam on to your upper notes with full force. It is better to ease on to the notes, grabbing the head voice to center and purify your vocal sound. Then, having done that, your voice will be perfectly placed to grow in volume by utilizing the diaphragmatic breath support system.

Also, articulate at every dynamic and range level! Most singers tend to become a less vigilant with their articulation as they sing lower or softer and this is what happened with you in your second number, Syesha. Therefore, your voice lost presence and the emotional intensity during these segments of the song became less potent – almost disconnected from the power vocals in the higher portions of this song.

However, you have earned a worthy place in the Top 3 and I do look forward to your performances next week. Brava on your fine achievements during this year’s season of American Idol. You have been one of my favourite female performers throughout this competition! Kudos!

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

.

Well, let’s hear your comments. Was there a moment or two or three during this evening’s much anticipated Top 4 showcase?

I was thrilled with the singers tonight. This was the best I have heard any of them sing in a long while. Bravo and Brava~ Vocal Masterclass will be up in the next day or two.

What say you readers?

Although I am still feeling the repercussions of this evil flu virus, I am slowly trying to gain some sense of normalcy in my life.

Therefore, I thought I would start a new discussion regarding our Final Four: David Archuleta, David Cook, Jason Castro and Syesha Mercado - four truly distinct singers whose performances will render an interesting and diverse ride for the viewers.

The Rock and Roll genre is also diverse enough that each of the singers should be able to find songs that truly address their singular style of performing, while highlighting the strengths of their distinct vocal ability.

However, I will be very interested to see which of these singers will capture the moment on this stage with astonishing and stimulating artistic performances. This is where it is going to get very interesting, as I think all four singers are more than capable of giving artistically honest and musically solid performances.

Song choice has never been more important and we shall see who has done their homework or not.

C’mon Tuesday. My Vocal Masterclass fingers are ready to roll.

I have been so sick here with some wicked flu and thought that nothing would garner any strength or comment from me for a while. Additionally, I wasn’t able to watch the Top 5 show because of my malaise, but this morning, after reading all the vague “Paula-Jason” comments on my Vocal Masterclass Discussion Thread, I figured I must have missed a doozy of a telecast!

Paula just never stops , does she? Critiquing Jason’s second song before it was even performed? I thought this was the most incredible “Paula” event I have ever seen, superseding the “Corey Clark” debacle as well as the time that Constantine Maroulis was unexpectedly voted off the Season 4 line-up. When his elimination was announced, there was Paula, weeping uncontrollably in the arms of Randy Jackson. It was quite the spectacle.

This lady should quit her day job -or, in the case of American Idol, her questionnable job as a judge - and sign up for a reality-based sitcom. The ratings numbers would be gangbusters

However, all kidding aside, can she, along with the Idol honchos, find it in themselves to issue an apology to the person who was unfairly maligned by this nonsensical mess last evening - Jason Castro? I truly hope so. It should have happened last evening, but, I suppose, the shock value was still too fresh.

But, to go on all the talkshows today and simply cover her huge guffaw by more excuses, without taking Jason’s feelings into account, was, to me, unconscionable.

Yes, I had my brief laugh this morning and it bouyed my stuffed up spirits for a small span of time. But then, the reality of what she had done emerged on Jason’s confused and deflated face. Is it no wonder that he had trouble delivering his second song? I still think that this song would have been a marvellous moment for him, but Paula and the Idol franchise dashed whatever confidence remained in this young performer.
]]> http://masterclasslady.com/2008/04/30/paula-abdul-chicken-soup-for-masterclass-ladys-soul/feed/ Masterclass Lady American Idol http://masterclasslady.com/2008/04/29/vocal-masterclass-discussion-thread-for-american-idol-top-5-performances-the-music-of-neil-diamond/ http://masterclasslady.com/2008/04/29/vocal-masterclass-discussion-thread-for-american-idol-top-5-performances-the-music-of-neil-diamond/#comments Tue, 29 Apr 2008 22:33:50 +0000 masterclasslady http://masterclasslady.wordpress.com/?p=188

I am looking forward to the show tonight. I really love Neil Diamond. I was fortunate to see him in concert years ago and he staged a superb show. He is a passionate, intense performer and absolutely adores and respects his audience.

So, I think he will give these singers excellent advice on what it takes to arouse and stimulate an audience with authority and conviction.

I am now entering week two with this horrible cold and flu virus. I have re-arranged my teaching load here, but I am still pretty wiped.

I will do my best with this week’s Vocal Masterclass and have it online ASAP.

By: Rosanne Simunovic
Personally, this week’s show was one of the highlights of the American Idol 7th season. The opportunity to watch and learn from Sir Andrew Lloyd Webber’s interaction with the Top 6 was indeed an exciting and memorable one.

I thought Andrew Lloyd Webber was absolutely amazing and tirelessly patient with these singers. What an opportunity for these 6 young vocalists to remember and take back with them once the show completes its run in May.

I am running late this week, so let’s get to it, shall we?

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.

Brooke White, Carly Smithson,
David Archuleta, David Cook
Jason Castro, Syesha Mercado

BROOKE WHITE: YOU MUST LOVE ME
Strengths: Brooke- once again, I fell in love with your song choice. I thought the lyrical mood and the melodic range of this song were absolutely perfect for you. Additionally, you complimented the emotional significance of the song by creating a very pensive, yet forthcoming demeanour throughout this performance.

Your collaboration with Sir Andrew Lloyd Webber was a palpable presence throughout this showcase. As was his goal with all the performers, he insisted that you tell your story and so you did. Your voice brimmed with speech- like inflection and you told this story in a manner that was extremely sincere and poignant.

Also, interestingly enough, the fragmentation in the phrase lines -due to your less defined breathing skills –actually worked to your advantage in the performance of this song. Whether you realized it or not, you selected your breath spots at the appropriate points in the song, making certain that the verbal emphasis was directed to key words within the lyrical line. Therefore, the ubiquitous gaps in the melodic line generally augmented the intensity and power in the words.

It was also very wise, from a performance angle, to stand up midway through this song – as the change in position visually created a powerful finale to this number, while allowing you to take advantage of the freedom in your body through movement.

I always tell singers that even a little movement is better than none at all. It will lessen the appearance of stiffness in their demeanour, thus relaxing any tension in the upper body. I employ this technique all the time while teaching my students. It is quite amazing how much better they do sing when they permit themselves to use the space around them.

Although the diaphragmatic breathing muscles were not fully engaged, as was the case with you, it still created a more assured stage performance, even when –inside –you were shaking like a leaf.

This was, for me, one of your best performances because you allowed yourself to be truly vulnerable. By focusing on the words and not the music, you actually elevated your performing ability tremendously.

Congratulations, Brooke!

Critique: Brooke – okay let’s start with the memory lapse at the beginning of this song. First of all, how can you have a memory lapse at the beginning of a song? This tells me that your mental preparatory skills before a performance need to be further developed.

Before you begin any song, establish the mood of a song in your mind and mentally say the first two lines of the song. Not only will this help you establish the proper emotional focus before you begin, but, wonder of wonders, you will fortify the opening lines of your song. It’s a very simple and sensible to technique to grasp. How else can you begin?

The rest of my focus lies in your poorly developed breathing skills, something that I explored in depth last week. Now I know that, stylistically, it did not hinder the overall performing aspects of this song – as you told your story extremely well and with utmost sincerity.

However, one can only wonder to what heights this performance would have grown had you come equipped with a solid technical foundation. Certainly the performance would have gained in stature and dimension.

Also, as I said last week, because the diaphragmatic breathing muscles were not properly accessed, you exhibited extreme tension in the throat, signifying that your vocal projection was being controlled from the muscles in your upper body rather than the stronger and more effective support from the diaphragmatic breathing system located within your rib cage and back muscles.

This hindered your throat from maintaining a relaxed and open formation, thus rendering a tense, overwrought timbre to your voice. Yes, some of this vocal color enhanced the emotional impact of the song and that was all fine and good.

But, as a singer, you must learn to heighten the nuances in your voice through the correct technical process. If not, your voice will not project with consistency or clarity and you will lose the vocal security that comes from utilizing the diaphragmatic breathing regimen.

However, you did maintain the story element in a truly theatrical manner and I applaud you for this. Now, you must work as judiciously on the technical support for your voice. Rest assured that, once you grasp the concepts attached to true bel- canto singing, you will become a more confident, more dynamic vocal artist.

Best of luck next week, Brooke!

CARLY SMITHSON : JESUS CHRIST SUPERSTAR

Strengths: Carly – as much as I prefer the original male version of this song, I thought you performed this very intense and artistically ambitious song with exceptional vocal style and substance.

When you started to sing, the first thing that struck me was: “Goodness! That song is set really high for a female singer!” The key for a male singer was probably perfect, but it takes quite the female songstress to tackle this song in that key. But tackle you did and hit the finish line with strong vocal momentum and determination. Good for you!

I would also like to add that your formidable background vocalists were right there with you every step of the way, adding their treble vocals with pitch-centered assurance and artistry. There was an exceptional blend and cohesion between the solo and background vocals throughout this showcase and it was powerfully evident that a high level of co-ordination between all singers developed over the course of the week.

Additionally, you paced this song extremely well. The song, quite easily, could have run away from you, but you made certain that the tempo you established at the beginning of this song remained synchronized. By doing so, the rhythmic components during this song palpitated with resounding power and control.

Additionally, the relaxed position of your mouth and jaw just continues to improve with each passing week. You have the determination of a pit bull when it comes to honing and crafting the finer –yet important-details of correct singing.

In fact, part of me was sensing that you chose this higher key simply for the opportunity to challenge yourself in the correct expansion of your upper range. If this is so, it would not surprise me at all. You have a remarkable work ethic that just doesn’t quit and this, in and of itself, is a highly admirable trait to possess. It will continue to take you very far in this business- long after the neon lights of the Idol stage have diminished.

Brava once again on a well rehearsed performance!

Critique: Carly –vocally you followed the task set before you and ran with it!

However, I would have preferred to see you deliver the rage and frustration that formulates the basis of this song. After all, it is Judas who sings this song about and to Jesus. He has betrayed Jesus and is expressing his disillusionment and cynicism towards his belief that Jesus Christ is indeed the Saviour of the World.

Therefore, taking this into account, you looked far too happy prancing about the stage – to me it just seemed a little bizarre and, more important, emotionally inaccurate.

If you recall, Andrew Lloyd Webber stated that the story elements must rise above the musical elements and, taking in to consideration that his is the composer and not the lyricist, then his comments indeed gain in importance and credibility

Instead of championing his remarkable musical score, he is indeed emphatic that the story is imperative to the end result of a memorable theatrical performance.

Therefore, the appropriate stage demeanour was a conspicuously limited component when you performed the iconic song, “Jesus Christ Superstar”. I felt that, generally, you were immersed in the musical elements and not the lyrical elements.

So, for me, this posed a problem in terms of rendering an artistically believable performance. This is not to fault the vocal excellence you displayed throughout this performance – it was impeccable. However, if you do continue to perform repertoire from the musical theatre genre, I hope that you will continue to work on solidifying the correct emotional approach to your song delivery.

Finally, as much as the music energized the dynamic approach you maintained throughout this number, I just felt that this song selection, when performed out of context from the entire musical, just did not work. Actually, I found it to be a very irreverent, religiously incorrect song selection, creating a sense of confusion and disconnect in the listener when performed apart from the entire production.

I wouldn’t be surprised if this song was the final nail in your coffin toward the alienation of your fans. Given the content of the storyline, not everyone is going to view this performance with objectivity and detachment.

However, you are a very talented songstress, Carly, and I wish you only the very best in your musical career. It has been such a pleasure to provide Vocal Masterclass reviews for you each week.

Congratulations on your wonderful showcases. I will, indeed, miss you next week! Brava!

DAVID ARCHULETA: THINK OF ME

Strengths:David A. – this was indeed a beautiful rendition of this well known song from “Phantom Of The Opera”. Someone struck gold with this arrangement, because it was truly inspired. How you managed to create and then perform this innovative approach to this song in the time span allotted was nothing short of spectacular.

You delivered your distinctly soulful approach to this song with enviable ease and artistic excellence. The fluid component within your phrase lines provided strong testament to the consistent vocal reinforcement accessed through your diaphragmatic breathing skills.

And, that falsetto run at the end of this song? A very pleasant surprise and a star-making moment if ever there was one! If this song sounded this spectacular live, I can only imagine the marvellous end result from the studio recording.

Additionally, the melodic variations you infused throughout the song’s original melodic structure were beautifully inspired and impeccably vocalized. And when you entered the key change – another Arculeta innovation -you did so with pitch perfect vocal assurance, once again creating the impression that all your lower body work was effortless yet athletically toned.

Your technical foundation was and is absolutely spectacular and will only become more developed as time goes by. However, it does seem surreal to think that you will improve with time and maturity because you are presently so advanced in your technical and artistic skills at the age of 17. Everything is in place. The only thing left is the obvious physical growth that you – and your precious vocal cords – will experience over the passage of time. Amazing!

Finally, I cannot forget your sensitive and poignant communication of the song lyrics. The forward placement of your body –another strong technical trick – allowed you to establish powerful contact with your audience. This aspect, when combined with your always sincere, always genuine demeanor, resulted in a very moving and memorable performance.

In terms of innovative artistry and vocal excellence, this was, for me, one of the best performances I have seen this year on American Idol.

Bravo and kudos times a zillion!

Critique:David – apart from the “airiness” problem that you have experienced over the past couple of weeks, I have very little to critique in this week’s performance. I suspect that the audible inhalation has more to do with your past health issues than with a fundamental problem in your technical breathing skills.

Your phrasing skills are very refined, indicating that you are using your air properly in the resonation of your voice and the elongation of your melodic line. Also, as your natural voice develops and increases in strength, you will not need as much of the air supply to support and focus your voice, as your inherent vocal power will resound with more presence and depth.

That is not to say that you do not need the diaphragmatic breath support at a later age – on the contrary. You never should abandon your supreme technical skills. However, you will find that, over the course of time, your diligent efforts in vocalizing with solid technique will naturally expand your vocal possibilities, rewarding you with even more options when selecting and interpreting your future repertoire

Also, that head tone component in your voice is an omnipresent element , one that I hope will always remain as your vocal timbre gains muscle and depth. Your voice always sounds so focused and pure and even though there was still a hint of fatigue in your voice, the placement of your vocal sound rested beautifully in your vocal masque.

Finally, let’s talk about those eyes. Is it just me, or did you have more problems with your eyes this week as a result of Andrew Lloyd Webber’s comments? I think that, generally, you are very communicative with your eyes and, yes, there are times when you get lost in the music and close them.

However, this must have been a bigger problem in this week’s preparation of your song, so I guess he felt the need to correct this technical glitch. He is correct – so much emotion is conveyed through a singer’s eyes. Also, open and expansive eyes increase the resonating dimension of a singer’s voice, adding more energy and focus to the vocal timbre.

Nevertheless, your increased awareness of this problematic element resulted in a less open, more constricted eye formation. It seemed you were trying so hard to keep your eyes open that your concerted efforts to correct this problem added more tension in that area of your face, more than I have perceived in past weeks.

My advice: there are 4 weeks left in this competition. This is not something that you can correct overnight on live television –in fact, it is extremely difficult. Given the short time frame left in this year’s American Idol season, you must approach the remainder of your songs utilizing the security of your fully ingrained performing and technical regime. Everything else will come with time and patience – both of which you possess in abundance.

Best of luck with your rehearsals next week David! Don’t change a thing!

DAVID COOK: THE MUSIC OF THE NIGHT

Strengths: David C. –I applaud you for selecting one of the most difficult tenor solos from the Andrew Lloyd Webber songbook. I thought you managed this number extremely well and your simplistic approach to this number provided ample contrast to the rock- infused vocals we heard in many of your previous performances.

The first thing that struck me when you began this song was your impeccable diction. The clarity of the words and your ability to add a speech-like inflection throughout the lyrical line were strong and important components in the successful delivery of this song. All those “t” consonants were crystal clear and precise, yet seemed effortless and instinctive.

Furthermore, your vowels were wonderfully “British” – very pure and extremely centered – as you propelled them toward your vocal masque. And the expressive quality in your voice was so genuine and so very real. It made us listen and grasp the message of this poignant song. This is such an important artistic element in any singer’s performance – to capture and retain one’s audience with the musical message.

Additionally, your vocal instrument is very light David - one that could have easily been overpowered by the force of the background instrumentation. However, through the diaphragmatic breathing process, you honed and crafted your natural vocal gifts – never overextending your natural capabilities and never abandoning the important head tone element throughout your vocal range.

A properly produced vocal sound – even at a softer level – will always carry further than a poorly produced vocal sound. When the vocal cords are encouraged to vibrate freely, the sound is easily generated toward the back of the concert hall. It has wings!

Also, you established a very controlled pace throughout this performance – perhaps tentative at times, but still nicely managed and evenly measured. You looked relaxed and poised, always making certain to conserve valuable energy for the dynamically louder sections of this song.

And therein lies the rub! This song really demands a great deal of focus and stamina from the performer. At first, it appears to be a quiet, gentle ballad and then, like a chameleon, the song challenges the singer to showcase the superman strength and range of his vocal gifts.

So, taking all things into consideration and understanding the problematic performance aspects of this song, I think you approached the task set out before you with determination and grit and rendered a wonderful, intelligently rehearsed performance.

Good work, David! Congratulations!

Critique: David C. –the one thing missing from this performance – and it’s a big one – was your emotional commitment to the lyrics. Yes, the words were expressive and all, but the animation and passion to compliment the storyline were clearly absent from your facial expression and physical mannerisms.

As I said above, you did look relaxed and this rendered an overall sense of control throughout this performance. However, I believed that you possessed too tranquil a demeanour throughout this showcase, when what was truly necessary was a high degree of intensity and fervor in the overall delivery of this song.

Given the emotional content behind the storyline in this song, it would have been wonderful to see a heightened degree of drama in your body movements to compliment the passion contained in the words and music.

The Phantom is not a happy camper at this point in the musical. I was, therefore, waiting to distinguish some of the Phantom’s angst in your facial expression and edgier raw vocals. And, based on the history of your past performances, I know that you are more than capable of theatrically driving your performances to supreme heights.

Also, your upper notes were fairly well placed, but do be very careful of stretching your mouth and constricting your throat in order to obtain dynamic color in your power vocals.

I felt that, particularly during the final two notes of the song, less would have been more. Not only were you driving your vocal sound from your throat, but also that elevated head truly heightened the tension in your throat muscles- and hence your voice. And, more important, we lost eye contact with you during the final moments of this song.

However, I still very much appreciate and applaud the intelligent and sophisticated musical experience that you bring to this stage each and every week. Bravo!

JASON CASTRO: MEMORY

Strengths: Jason–I understand your determination to perform this song. The lyrics and music, when blended together, create a heart rendering and poignant backdrop, one which could be transmitted to a variety of memorable experiences. Unlike Jesus Christ Superstar, this is a song that stands alone when performed out of context from the musical setting.

Worldwide artists, instrumentalists and choral groups – mine included- have performed this number in a variety of concert formats and styles, so, I dismissed the original version when evaluating your performance of this song this week. I truly wanted to see what you could do with these lyrics.

Emotionally, I felt that you were establishing a strong connection to the storyline, allowing the lyrics to live and breathe in a new way through your very gentle and tender delivery of this song.

It would have been interesting to see how much stronger this song would have been had you accompanied yourself on a classical guitar, although I have to say that the orchestral background was absolutely breathtaking. However, I always find that you are truly within your comfort zone when you perform with your guitar, so part of me wishes that we could have seen two versions of this number.

At any rate, I thought you delivered many poignant and meaningful moments throughout this performance and I congratulate you for challenging your artistry by selecting one of the most signature musical theatre songs of all time.

Good work, Jason!

Critique: Jason –I hope you continue to follow the technical advice given to you through these Vocal Masterclass articles and through the vocal coaches associated with American Idol.

However, it does worry me that you did not take advantage of Sir Andrew Lloyd Webber’s legendary experience in the world of musical theatre. You were working with the very best there is and to not take full advantage of this enormous opportunity is madness. You can only grow, develop and expand your artistry by polishing your craft with the proper mentoring utensils.

Okay – I am off my platform. Let’s dissect the problems that ensued this week. Once again, your shallow breathing pattern wreaked havoc with your vocal projection. There was a permanent airy quality in your voice because of your lack of ongoing support from the diaphragmatic breathing muscles.

Additionally, your collapsed posture throughout this number just aggravated your technical problems. Always remember to elevate and expand the rib cage muscles, creating space and freedom in this area of your body. This will not only encourage you to take full advantage of these muscles but also heighten your awareness of their existence.

Furthermore, this song presented some inherent challenges to you, especially given the less than stellar refinement of your technical support. The melodic structure in this song is quite extensive and, if a singer is not properly trained to handle this inherent challenge, then the voice starts to sound uneven and asymmetrical.

Because of this, you encountered some projection problems in the bridge of this song, where you were forced to sing through your lower range. I have always found this part of the song to be extremely tricky and for you, Jason, it was a tough ride. Your natural voice needed the reinforcement and enhancement of strong diaphragmatic support and, without it, your voice sounded emaciated and fragile.

Also, I am curious as to why you remained seated throughout this performance. In the final segment of this song, I was waiting for you to rise from your seat and move toward the audience. A change in position when you began the phrase, Touch me, would have heightened the visual dimension in this showcase, creating a powerful impact in the closing segments of this song.

And the ending: “Look – a new day, has begun”should have been underscored through a slower and more deliberate tempo – with an emphasis on “Look” – allowing your gaze to move toward a solitary point in the room, and accented by a close visual by the studio camera.

Had you done this, you would have potently concluded this song- sending a strong, lasting message to your audience. I know this for a fact, as my choir, the Timmins Youth Singers, performed this song with two original male cast members from the Canadian Production of “Cats” and this is exactly how we ended this song. There was not a dry eye in the house.

In conclusion, I have to say that it would have been more beneficial to you had you selected a song that played to your strengths – one that contained a more youthful emotion in the lyrical and melodic content. This song challenged you far beyond your inexperienced technical capabilities, especially for a live performance.

However, I am most anxious to hear the studio production of this song. From all reports, I hear you have a fabulous recording voice. Therefore, I look forward to hearing the final product, if for no other reason than to enjoy an extended version of this very beautiful, very poignant song.

See you next week Jason. And don’t forget to drop that jaw. Pretty please?

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SYESHA MERCADO: ONE ROCK AND ROLL TOO MANY

Strengths:Syesha –from the very beginning, you strongly established the playful and mischievous mood of this great song choice. I loved the whole finger snapping backward pose you maintained as the orchestra brilliantly provided the introduction to this song. It was an exciting glimmer of what was to transpire over the next 2 minutes!

And, I was not disappointed. Everything worked for you, Syesha! Both the song and key selection were perfect for you, highlighting your glorious vocal sound in the middle range of your voice. Yet, every area of your voice sounded just splendid, beautifully resonating in your vocal masque with a noticeably improved mouth formation.

Additionally, you revealed oodles of personality via your sassy and sexy choreographic style. You are definitely an excellent dancer, as your dance movements were fluid and relaxed. You moved about the stage, interacting beautifully with the orchestra, in a manner that was graceful, elegant and sinuous.

Your flowing, jazz inspired vocals wonderfully complimented your rhythmically animated stage movements. You moved with absolute ease on the stage, making ever certain that you maintained a controlled pace throughout the entire performance.

Yet, even though I sensed your artistic control during this performance, the whole performance package looked and sounded so spontaneous and so relaxed. Your hard work and determination in the preparation of this song established an air of confidence and security, one that easily catapulted this performance to a high standard of musical excellence. It was polished, sophisticated and technically sublime.

Now, what you need to do is shimmy and shake yourself over to the neon lights of Broadway and I have no doubt that you will. This was a star making moment -a revelatory performance – one that symbolized the distinctive path that will harvest your future success in the music business.

Bravissima, Syesha! A standing ovation from Masterclass Lady!

Critique: Syesha- this was as good as it gets on the stage of American Idol. Therefore, I am at a loss for words in terms of my critical evaluation of this performance.

I think, if nothing else, you have discovered the importance of selecting the proper song vehicle, one that will not only showcase your stellar vocal and choreographic ability, but also one that will uncover the dynamic personality that you possess as an artist.

Congratulations once again and I do look forward to your performances next week.

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

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It’s Andrew Lloyd Webber night and I have the flu. So, I will be watching the show from the comfort of my bed. I love his music and nothing - I tell you - nothing will deter me from experiencing this show.

Hopefully, the performances will cure all ills - especially mine - because I want to “Masterclass” these performances in a very big way.

I will have the Top 6 Masterclass article online late Thursday. If not, then sometime on Friday. I had to re-organize my schedule because of this annoying little virus, so please bare with me.

Here is the song list -not necessarily the order-courtesy of TMZ and MJs Big Blog. The order is now official.

Syesha Mercado — “One Rock & Roll Too Many” from “Starlight Express”
Jason Castro — “Memory” from “Cats”.
David Archuleta — “Think of Me” from “Phantom of the Opera”
Brooke White — “You Must Love Me” from “Evita”
Carly Smithson — “Jesus Christ Superstar”
David Cook — “Music of the Night” from “Phantom of the Opera”

MCL Note: I find it interesting -and it gave me a chuckle -that the two Davids both chose music from “Phantom Of The Opera”. And so the race to the Finale begins. I love it!

Comments anyone?

I am extremely upset regarding the recent news of Jordin’s Sparks health problems.

According to MJs Big Blog, Jordin’s career is temporarily (I hope) on hold until the inflammation in her vocal cords subsides.

When will the mentors/managers/agents of these young singers realize that pushing these artists to the brink of exhaustion while singing with poor technique is an absolute recipe for disaster.

Please share your comments and news about Jordin, as we watch for further developments about Jordin’s health.

When I listened to the opening refrains of “Ave Maria”, I was actually worried. Kelly sounded a bit breathy and fragmented within her approach to her phrase lines.

However, Kelly being Kelly, the end result was absolutely glorious. She added some lovely vocal embellishments during the second verse of this song. Yet, in the end, it was Kelly’s genuine grace and poise that stole the show.

Hope you enjoy it.

By: Rosanne Simunovic
The Top 7 singers performed exceptionally well this week, and, on a couple of occasions, I was pleasantly surprised by some of the performances. I thought Mariah Carey was absolutely wonderful with the singers, providing constructive and positive support to all of them.

It cannot be easy to work with this year’s crop of vocalists -they are so diverse in style and substance. So I highly commend Mariah Carey for her fine work with these singers. I think that all of them flourished under her guidance and advice

Brava Mariah!

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.

Brooke White, Carly Smithson,
David Archuleta, David Cook
Jason Castro, Kristy Lee Cook,
Syesha Mercado

BROOKE WHITE: HERO
Strengths: Brooke- first of all, I absolutely loved your song choice. I have coached a few singers over the years in the preparation of this song and have always found the lyrical and melodic elements of this song to be very challenging for the artists. I think that we take for granted how truly talented a singer must be to correctly interpret this inspiring song classic.

Generally, I felt that the emotional elements of the song beautifully complimented your sincere and genuine demeanour. I always enjoy watching you perform at the piano – I feel that the combination of piano and vocals lies in your veritable comfort zone.

Additionally, the key selection of this song highlighted the strength and presence of your mid and lower range. You have always been very meticulous in ensuring that the melody line is absolutely perfect for the inherent strength of your singing range. Good for you!

This was a lovely performance, Brooke. Thank you for singing one of my favourite “Mariah” songs.

Critique: Brooke – oh dear, where to begin. Well, I guess at the beginning, where I noticed that your breathing was extremely shallow and very emaciated. The audible gasps for air accentuated the fact that you were inhaling in an ineffectual manner, not allowing the diaphragmatic breathing to take full effect.

Therefore, because the diaphragmatic breathing muscles were not properly accessed, you exhibited extreme tension in the throat, signifying that your vocal projection was being controlled from the muscles in your upper body rather than the stronger and more effective support from the diaphragmatic breathing system located within your rib cage and back muscles

In addition to and because of the ineffective breathing process, I could hear a strong push from the throat in the vocalization process. This problem continued throughout the song, actually worsening as the song progressed because of other problems that you encountered during this performance.

Then, when you hit the bridge of this song, you ran into greater difficulty. As you were vocalizing into your upper singing range, the lack of technical support became more evident. Where you needed to access the pure, pitch-centered ring of head voice in this area of your singing range, you were forced –literally and figuratively-to carry the full complement of chest voice.

The result was a reedy, poorly focused vocal, one that did not in any way resemble the natural timbre of your lyrical singing voice.

Add to this, the problematic incidents in your piano accompaniment (misplaced chords and incorrect notation) and the combination noticeably increased your anxiety level to the max. Your panic was evident in the increased tempo of the song, a sort of “I want to get this over with” decision that overtook your thought process. This accelerated tempo caused the final portion of the song to unravel and that was truly a shame.

Always remember to remain calm and “in the moment” – because mistakes inevitably happen in any performance; you have to make split second decisions on how to handle the faux-pas – and then move past it. As a performer, you must remember to stay in control and just perform. It’s not easy, but meticulous attention to detail in the rehearsal process will tremendously heighten the confidence level.

And speaking of the piano accompaniment, I noticed that you were playing block chords throughout the entire song. I think this stilted piano accompaniment impeded the natural flow of this song. It would have been more beneficial to adopt an arpeggio-like style in the piano accompaniment, thus initiating a forward momentum to the entire song presentation.

If an orchestra was supporting you, then, perhaps, the linear chord progression would have been fine, as the orchestral background would have filled in the musical gaps.

However, with a pure acoustic piano accompaniment, you needed to adopt a rhythmically fluid arrangement on the keyboard, one that would have also encouraged and inspired you to sing with creative passion and artistry.

Also, I was also wondering if you devoted a generous block of rehearsal time on the technical support of your vocals? Apart from your work with Mariah Carey, did you practice this song away from the piano or did you always rehearse while seated the piano? I suspect the latter statement was true.
Both instruments – voice and piano – needed your undivided attention – so that you could focus on the areas of difficulty that need to be refined and/or corrected. Always remember that excellence is in the details and there is a plentiful supply of details in any song performance.

Preparation is key here Brooke, as it will allow you to approach your future performances with confidence and assurance. You have much to offer as an artist, but you must make certain that you are adopting a structured approach in your rehearsal regime. This will allow your vocal artistry to grow as it should.

Best of luck next week, Brooke!

CARLY SMITHSON : WITHOUT YOU

Strengths: Carly – I thought this was an exceptional song choice for you and I loved and appreciated the breathtaking nuances you vocalized throughout this lovely performances. You produced a crisp, resonant timbre throughout your range and this important vocal aspect, combined with your outstanding technical ability, allowed you to present an exciting showcase that glimmered with vibrant scope and dimension.

The gentle bending of the melodic line in the opening section of this song was just beautiful and added to the depth and beauty of your lower and softer vocals at this stage of the song.

Additionally, your vocal artistry was further punctuated by the brilliant 8ve jump in the melodic line when you sang the heartfelt refrain: “Can’t live, if living is without you etc.” It colourfully highlighted both the seamless, even quality of your vocal range from top to bottom, as well as your exceptional ability to retain the head voice component throughout your extensive vocal range. As a result, your pitch was immaculate and centered. Good for you!

As observed in last week’s performance, I noticed that your mouth retained an increased circular position, coupled with a relaxed jaw, when you vocalized through your upper range– a technical element that is showing vast improvement with each passing week.

This signifies that you have been working very hard to refine this technical component and, boy, does it ever make a difference in the timbre of your upper vocals! The clarity and transparency is significant. Gone is the strident and abrasive vocal sound from previous weeks.

And the purity of your vocal timbre beautifully complimented the pure, raw emotion you displayed during this performance. It was heartfelt and real and you exceptionally demonstrated that you are more than capable of internalizing the emotional components of this- or any –song. The communicative elements in this number were stellar.

Also, your fashion makeover appearance was more refined this week and I cannot tell you how much of a difference it made in the overall presentation of this performance. You exuded star-quality and professionalism all in one lump sum. It was quite the transformation, so do not modify this new stylistic direction. It was just perfect!

Brava on a brilliant and well rehearsed performance!

Critique: Carly –last week, I wrote a detailed critique for you but you flipped it around on me this week! It just goes to show how things change on this show, depending on song choice, level of fatigue and stress, technical advancement, correct stylistic choices – physically and vocally etc.

I thought this was a gorgeous performance and, apart from the fact that, yes, your mouth did wander over to the horizontal side at times, you truly presented a strong showcase brimming with artistic style and substance.

I hope that you continue to rehearse in this meticulous manner and I suspect that you most definitely will. You have a strong and powerful career ahead of you and a voice that will lend itself to a variety of musical styles.

Kudos Carly!

DAVID ARCHULETA: WHEN YOU BELIEVE

Strengths:David A. – the first thing I noticed when you began this song was your strong and distinct articulation skills. Even while singing within the restricted confines of your lower register, you made absolutely certain that the words were clearly understood. The consonants were crisply articulated, allowing you to initiate a springboard motion toward the purely sustained vowels. This was an important technical component that never faltered throughout this showcase.

And what a showcase! You planted your feet firmly on the stage, one foot slightly ahead of the other, and made certain that your knees were very relaxed, especially for the more dynamic singing that was yet to come. And, when that moment did arrive, your high range once again sounded so fortified, so brilliant, indicating the proper resonation of your voice in the masque (facial features).

And need I say anything more about your stellar mouth formation? It is a constant in each of your performances, always round and ready to grab and sustain those beautifully pure bel canto vowels.

I also liked the fact that you walked forward in a relaxed manner while singing the opening strains of this number. Not only did this increase the communicative aspects of this performance, but also the gentle movement energized and freed your body. This is a great technique that all singers should utilize. It prevents the occurrence of a stiff and rigid deportment that can, obviously, hinder the correct vocal projection.

And where did that falsetto come from? Thank you Mariah Carey! It was wonderfully supported –crystal clear, similar to the vocal sound you would hear in a young treble voice. Never lose this pure head tone element, David. It furnishes your voice with its distinguishing ring and clarity, while at the same time ensuring that your pitch is beautifully centered and true.

This was such a multi-dimensional performance in so many ways. Your ability to alternate the sustaining elements with the outstanding classical runs highlighted the depth of your technical skills and demonstrated your flawless, meticulously rehearsed ability to incorporate a multi –layered texture to this song.

Finally, I loved the arrangement of this song, as it so beautifully fortified the “believe” emotion, thus encouraging you to be fully immersed in the soul of this song. You displayed the most passionate singing to date, adding a rawness and grit that I haven’t seen in previous performances.

Through this performance, your technical skills were only surpassed by your genuine and heartfelt emotion – and that is saying a lot! You took quite the artistic risk with this song and it paid off in a huge way.

The final result truly resembled a classical-pop style of vocalization that afforded an exciting glimpse of what the future holds in your development as a vocal artist.

Bravo David and congratulations on a stellar artistic showcase!

Critique:David – as I mentioned last week, you still possess a youthful airiness to your sound when vocalizing in your baritone range – all within the normal developmental limitations for a young male voice.

This vocal problem will diminish with time and practice; as your body develops, so will your voice. Your vocal instrument will grow with you and the natural timbre of your voice will become deeper, more resonant and lush.

However, at the beginning of this song, your breathing was more audible than in previous weeks, indicating that your air intake was not as deep as it should be. It appeared that you were inhaling from your chest cavity instead of utilizing the proper diaphragmatic breathing apparatus located below your waist.

Perhaps the airiness in your lower range was compromised because the air was escaping with the vocals instead of supporting the vocalization process. Only when the diaphragmatic breathing muscles are properly inflated and then slowly released will the support process be truly effective.

Shallow breathing from the chest will not only close the throat cavity but also will result in wasted air, so be careful that you consistently access the diaphragm for the lower and/or softer sections of your song material.

However, overall this was an absolutely stellar, consummate performance. Kudos once again, David!

DAVID COOK: ALWAYS BE MY BABY

Strengths: David C. –as I listened to and watch you deliver another distinctively stellar performance, I came to a sudden realization: You always manage to harness the emotional center of a song and then musically expand from this center to find exciting new dynamic levels in the song’s basic harmonic and melodic structure.

You took this Mariah Carey song and artistically shaped the original musical sculpture, creating a 21st century replication of the original model. This requires intelligence, creativity and, most of all, courage, because an artist is at definite risk when he takes on the challenge of arranging an original song by an extremely famous artist like Mariah.

Nevertheless, the song gained new life through your superb interpretive ability and was delivered in a confidently passionate and expressive singing style. This was indeed a significant performance and the technical pros or cons became less important as the song progressed. This performance was about creating a musical memory that could and would stand the test of time.

However, this week your vocals were indeed back on track and I could see and hear the open quality of your vocal projection. Back in full force were the relaxed jaw and circular mouth formation, as you grabbed the vowels in your lyrics with a renewed sense of tenacity. Good for you!

The vocal technique was superb and it honed and crafted your voice to achieve remarkable depth in this performance. Your voice still had traces of fatigue when you were singing, but your technical foundation was your saving grace. I suspect that, like so many of the other singers, last week’s Idol Gives Back three-day extravaganza greatly exhausted your natural resources.

Hopefully, you will be able to pace yourself more evenly as this season quickly approaches its final weeks. Bravo, kudos, bravissimo and more, David Cook!

Critique: David C. – I am pleased and proud to grant you a critique-free Vocal Masterclass evaluation. I thought the artistry far surpassed any vocal flaws that were evident in this week’s performance.

I felt very comfortable knowing that you were vocalizing with a more disciplined and accurate technical approach. However, watch that fatigue does not impede the energy necessary for powerful and consistent support from the diaphragmatic breathing muscles.

Warm-up your entire body before you sing. Sit-ups to strengthen the abdominal muscles are extremely beneficial, as is some kind of aerobic activity, such as running, power walking, cycling or swimming (the absolute best)

I do look forward to your performance from Andrew Lloyd Webber’s songbook. There is a plentiful supply of musical goodies from which to choose, so enjoy the ride and see you next week.

In closing, I have to say that I was deeply and enormously touched by the poignant vision of your courageous and loving brother in the audience. What a special memory for the entire Cook family. Please know that my thoughts and my prayers go with you at this very difficult time.

JASON CASTRO: I DON’T WANNA CRY

Strengths: Jason–you are full of surprises aren’t you? Technical issues aside, I thought this was an extremely good performance this week. I loved the relaxed calypso-styled vibe in the arrangement of this stellar song choice. It encouraged you to perform with a comfortable and genuine demeanour, thus creating a more pronounced visual and aural presence throughout this showcase.

I thought your singing was extremely expressive, brimming with a variety of nuances and speech-like inflection. There was a wonderful forward momentum to the entire performance – a comfortable ebb and flow within the melodic structure – that accented your high degree of relaxation throughout this showcase.

Visually, you were absolutely “in the moment” and, while watching you, I sensed the direction that your musical inclination will follow as the years unfold. You are truly a throw-back to a simpler time in musical history, very acoustic and intimate in your artistic delivery.

Quite frankly, I welcome and embrace this folk-style revival, simply because the musical center embraces the pure vocals of the singer and his or her ability to establish a strong rapport with his or her audience.

You established this palpable connection with the audience this week, Jason, and in doing so, many of your vocal deficiencies became blurred in the process. This is not to say that you should ignore the technical development of your singing voice –on the contrary.

However, in the end, a memorable showcase always boils down to the art of performing with sincere conviction, one that establishes strong communication with and respect for your audience. Therefore, in this respect, you were truly successful and I congratulate you on your excellent work with Mariah Carey this week. Kudos!

Critique: Jason –last week, I gave you a plethora of technical advice for you to follow. So, I welcome you to click back to last week’s performance and continue to refine the technical problems that are adversely affecting the full extent of your vocal ability.

As you are presently immobilized in the earliest stages of your vocal development, I sincerely hope that you do yourself the important favor of finding a strong vocal technician to harness the true potential of your singing ability. You have a very good vocal instrument living inside your young body, but it needs to be developed and protected as methodically as an athlete would do if he or she wished to expand his or her potential as a runner or swimmer.

Natural talent will only take you so far. You need to develop a more disciplined and structured approach in the development of your vocal range. By doing so, you will increase the possibilities of your vocal artistry, creating more expansion and diversity in your stylistic approach.

Presently, your biggest problem lies in your poorly defined breathing skills and this is being further aggravated from the tension in your mouth and jaw. Only when your mouth retains a circular position and the jaw feels relaxed and free, will you be encouraged to breathe more effectively from the diaphragm.

Until then, you will continue on your rocky road in your vocal approach, pushing the vocal sound forward from your upper body muscles – particularly your throat – thus increasing your chances of causing permanent harm to your vocal cords.

Once you sense the liberating effects of supporting your vocal sound from the diaphragm, you will kick yourself for not pursuing this approach earlier in your career.

However, you are still young, Jason, so make certain that you attempt to open up your vocal sound in the correct fashion – if not during a performance, then in the rehearsal process.

It takes a long time for the technique to become ingrained in any singer, so be patient and continue to work hard. The more diligent you become in breaking those bad habits, the more progress you will notice in the coming weeks.

Good luck next week, Jason and, as I said last week, drop your jaw!

KRISTY LEE COOK: FOREVER

Strengths: Kristy Lee –once again, you selected the perfect song for this performance, highlighting the unique strengths in your vocal delivery. This song contained an anthem-like component in the lyrical and melodic structure, something that has worked so well for you in past weeks.

Throughout this compelling performance, I became conscious of the fact that you are exceptional at delivering the powerful musical statement behind these signature songs –from God Bless the USA to Martina McBride’s Anyway and, presently, to Mariah Carey’s Forever.

As in previous weeks, you transmitted this song with conviction, lending credibility to the fact that you are a very intelligent young performer with strong musical instincts, very much in touch with the emotional core of each and every song you perform.

Vocally, you exhibited a wide range of dynamics throughout this song. It was beautifully expressive and meaningful.

And again, your consistently elevated posture not only complimented the strong delivery of this performance, but also assisted you in accessing the full extent of your diaphragmatic breathing skills. Your exceptional breathing skills were wholly accented toward the end of this song, when you carried your final phrase with sustaining brilliance, allowing your voice to freely resonate in your vocal masque.

To me, this was the highlight of the entire performance – it took me by surprise, but what a pleasant surprise to receive at the close of this song. You left nothing on the stage when this showcase was completed – you sang with passion, with stellar vocal ability, with sensitivity and with grace.

This was just a beautiful showcase, Kristy. Congratulations!

Critique: Kristy-Lee –thanks to the excellent observation of one of my faithful readers (thanks KatharinesMom), I noticed that you maintained a slight elevation of your chin when you performed this week and in weeks past.

Therefore, make absolutely certain that you keep your chin level with the audience. By raising your chin, you are actually causing tension in your throat muscles, which is never good of course, and, additionally, we lose eye contact with you while you are singing. A singer communicates with her/his eyes, so we need to fully distinguish the emotion in your eyes when you sing.

Also, by elevating the chin/head, you diminish the forward projection of your voice, as some of the vocalizing moves upward instead of forward toward your audience.

Also, as I said last week, make absolutely certain that you are enunciating you consonants and supporting your voice with energy and momentum when vocalizing within the softer/lower part of your vocal range.

If I may quote from last week’s critique: Don’t save your energy for the louder and higher dynamics, Kristy. You have to ensure that the diaphragmatic support is as energetic and as buoyant in the softer/lower sections of your melodic line as in the louder/higher segments.

Additionally, you have to spin those consonants crisply and cleanly on to the vowels, thus ensuring that the words are understood and/or expressive at every dynamic level.

Also continue working on the correct position of your mouth when you sing. You possess a very bright vocal timbre, one that allows you to sing with pitch-centered security. Lots of head voice in your vocal mix, so you are one lucky lady! However, the circular formation of your mouth will add necessary depth and color to your voice, allowing you to discover further nuances when you explore the dynamics of your voice.

Additionally, the round mouth and relaxed jaw combo will allow your breath support to work to full efficiency. Your voice will enjoy even more freedom than you are currently experiencing.

However, I was still so moved by this wonderful performance, Kristy. I wish you only the very best in your musical career. It has been an immense pleasure to evaluate your performances each week!

SYESHA MERCADO: VANISHING

Strengths:Syesha –you presented a very sophisticated and complex bluesy rendition of this Mariah Carey classic. As always, you challenged your vocal gift to go to places that were truly remarkable. Your vocal delivery was exceptional and you beautifully instilled a multi-dimensional format throughout this showcase.

No one can challenge you on the high standards you have generated in the artistic components of any of your songs. This week, as in past, you established yourself as a consummate artist, bringing impeccably rehearsed musical and stage skills to this performance.

Your upper level vocal turns on the word “vanishing” were brilliantly executed and were truly the highlight of the song for me. It was different from the usual ascending and descending runs we normally hear from singers and, therefore, added an element of artistic surprise to the entire performance. I loved it! Do it again! (smile)

However, the relaxed and haunting mood you established at the beginning of this song was just perfect and provided such an unbelievable contrast to the louder, passionate dynamic vocals midway through the song. You paced this number extraordinarily well, Syesha, and I always sensed that you had full control of the many musical components in this number.

I also loved the controlled intensity you established when singing within your lower range. Unlike some of the other singers this week, you managed to support this area of your range extremely well, while, at the same time, to articulate the lyrics with clarity and sensitivity. Good for you!

Once again, this was a strong visual and aural performance. Congratulations once again. Bravissima!

Critique: Syesha– as I said last week, you must be very careful to maintain a circular mouth formation. This week, especially when you increased the dynamic level in your voice, your mouth position moved to that extremely inefficient horizontal position. As a result, I thought that your upper level singing was compromised.

Spreading the mouth only encouraged you to add far too much chest voice into your vocal mix and your overall upper level vocals sounded less centered, lacking clarity of focus. Additionally, you lost full support from the diaphragm, as the throat muscles were far too active in the vocalization process.

You really have to make certain that you ease into those dynamically strong phrases – allowing the head tone to center and purify your vocal sound. Otherwise, you will encounter pitch problems and lose the inherent beauty of your natural vocal timbre.

However, I did detect a hint of vocal fatigue, very understandable of course, and this aspect quite possibly hindered you in accessing the full support system located in your diaphragmatic breathing muscles. You need energy to sing with true efficiency and, under these very stressful circumstances, it would seem like an impossible situation to overcome.

In the end, though, the artistic merit of this performance truly impressed me. Hopefully, you can power nap in between rehearsal sessions and refuel your energy resources to the max! Good luck next week, Syesha!

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