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1. Compliance with the requirements of the task

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1. Compliance with the requirements of the task

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At least one ensemble work (with one or more additional live performers)

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At least one ensemble work (with one or more additional live performers)

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All my pieces are played with piano accompaniment

Matilda - From "Quiet"

O Vertigo - Kate Miller Heidke

How High the Moon (1st Take) - Ella Fitzgerald

Nobody Wants to Hear Songs Anymore - Ben Abraham

Since U Been Gone - Kelly Clarkson

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 At least one work created by an Australian composer since 1990

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 At least one work created by an Australian composer since 1990

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1. Quiet (From "Matilda") - Tim Minchin

(2011)

2. O Vertigo - Kate Miller Heidke

(2014)

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Since U Been Gone - Kelly Clarkson

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2. Skill in performing a range of music styles and/or characters through a program of works

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2. Skill in performing a range of music styles and/or characters through a program of works

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 A range of music styles and/or characters is presented

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 A range of music styles and/or characters is presented

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Expressive Outcome: Frantic, anxious, vulnerable

Style: Musical theatre

Characteristics for this style:

Character and emotionally driven piece

High energy as it is usually presented to a live audience

Used to convey a story, there is always a deeper meaning behind the pieces

Presents a wide range of techniques from fast paced lyrics, to slow passages

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Jazz standard - How High the Moon by Ella Fitzgerald (1st Take Ver.)

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Jazz standard - How High the Moon by Ella Fitzgerald (1st Take Ver.)

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Expressive Outcome:

Lively, energetic, passionate

Style: Jazz standard

Characteristics:

Swing feel, feeling the 2nd and 4th beats

Many jazz standards are rooted in the blues tradition, adding depth and emotion to the piece.

-Blues chord progression - it does include bluesy elements such as dominant seventh chords.

- Bluesy Melodic Phrasing: features bluesy melodic phrasing, characterized by bends, slides, and expressive vocal inflections.

- Performed with multiple instruments

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Singer-songwriter genre - Nobody Wants To Hear Songs Anymore by Ben Abraham 

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Singer-songwriter genre - Nobody Wants To Hear Songs Anymore by Ben Abraham 

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Expressive Outcome:

Frustration, angsty, acceptance

Style:

Singer-songwriter genre, with elements of folk and indie rock.

Characteristics of this style:

Acoustic guitar-driven instrumentation

Intimate and raw lyrics - this style prioritises melodic and lyrical content, with a strong emphasis on storytelling and emotional resonance.

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Piano Ballad - Since U Been Gone By Kelly Clarkson 

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Piano Ballad - Since U Been Gone By Kelly Clarkson 

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Expressive Outcome: Raw, vulnerable, heartbroken, sorrowful

Style:

Piano ballad

Characteristics:

Solo piano accompaniment

The slower tempo and emotion driven melodies allow for piano ballads to evoke deep emotions such as love, heartbreak, longing etc

Feature a wide dynamic range from soft and intimate moments to powerful and dramatic crescendos. This dynamic contrast adds depth and intensity to the emotional expression of the song.

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Indie & Art Pop - O Vertigo By Kate Miller Heidke 

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Indie & Art Pop - O Vertigo By Kate Miller Heidke 

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Expressive outcome: Enthusiastic, energetic, playful

Style: Indie & Art Pop

Characteristics:

Experimental Sound

-Incorporates unconventional song structures and innovative soundscapes.

Complex Arrangements

-Emphasizes musical sophistication and depth.

Strong emphasis on catchy, memorable melodies.

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Example of that experimental sound/more complex section 

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Example of that experimental sound/more complex section 

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x4

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Intense and intimate lyrics, really about telling a story

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Intense and intimate lyrics, really about telling a story

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Extremely sad, angry even

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High energy, very emotionally driven in the first verse 

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High energy, very emotionally driven in the first verse 

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Major & Dom7th's reflective of a blues style of music 

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Major & Dom7th's reflective of a blues style of music 

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Ability to perform works in a manner that is authentic to the style 

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Ability to perform works in a manner that is authentic to the style 

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Ensuring I uphold those characteristics.

For example, do not sing Quiet by Matilda with a monotonous expression, or How High the Moon in a 6/8 time signature or like a pop song

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3. . Performs a diverse range of techniques to demonstrate 
control consistency and variation of duration

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3. . Performs a diverse range of techniques to demonstrate 
control consistency and variation of duration

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A diverse range of techniques appropriate to the instrument is performed throughout the program and achieves an expressive outcome 

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A diverse range of techniques appropriate to the instrument is performed throughout the program and achieves an expressive outcome 

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VERSE 1: There is quick and clean crisp articulation, showing a technique in portraying clarity in both voiced and unvoiced consonants amidst a fast tempo. I need to be consistent with the way I pronounce each word, ensuring that none of them are blurred together.

This articulation must be executed really well in order to then bring out her anxiety, frustration and mental breakdown. (Understand what is actually saying too)

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example of voiced constant and how that creates  bold and raw tone in the first verse 

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example of voiced constant and how that creates  bold and raw tone in the first verse 

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example of unvoiced constant which creates a lighter tone and character  

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example of unvoiced constant which creates a lighter tone and character  

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Strong and resonant head voice through achieving an “open jaw” technique

Strengthen my head voice ability, not straining (mastering your head voice is a key technique that forms the basis of many other pieces)

Allow me to bring out the passionate and raw expressive character in particular the chorus.

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Executing melismatic runs in an effortless, accurate and light manner not heavy and “difficult” + Even head voice tone throughout

Working on agility, pitch, fluency

This will bring out the pieces light, free and easy and energetic expressive outcome

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Control of tempo, beat, metre, groove and rhythm to play in time as appropriate to the instrument program of works 

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Control of tempo, beat, metre, groove and rhythm to play in time as appropriate to the instrument program of works 

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In both the lyrical component & also the scat solo, I need to be able to maintain a 2/4 feel in order to not only to be able to bring out the swing feel in jazz music, but also be able to play around with the way I feel the piece but still sing in time, bringing out a more relaxed and laid back but also passionate character.

"Jazz groove"

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Hear how the band accents the 2/4 and she plays around in that rhythm 

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Hear how the band accents the 2/4 and she plays around in that rhythm 

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Control is maintained through tempo transitions

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Control is maintained through tempo transitions

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Control of maintaining the 2/4 feel whilst feeling like the tempo has double. (common jazz technique)

Being consistent with where I am feeling the beat/pulse

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Effortless switch from normal tempo to double time feel, remaining on beat

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90 dotted crotchet beats per minute to 60 dotted crotchet beats per minute.

Still controlling and keeping in time with the 12/8 time signature.

Be consistent! The time signature has not changed

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4. Performs a diverse range of tone production techniques

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4. Performs a diverse range of tone production techniques

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Manipulating pitch, dynamics, tone colour, and articulation to produce an appropriate sound for the instrument, work, and style

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Manipulating pitch, dynamics, tone colour, and articulation to produce an appropriate sound for the instrument, work, and style

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Quality, projection, and variety of sound (tone production)  appropriate sound for the instrument, work, and style

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Quality, projection, and variety of sound (tone production)  appropriate sound for the instrument, work, and style

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Belting: (a strong, bolder type of tone, with richer quality in sound as well as more powerful projection of the voice)

Quiet - uses belting to express her frustration and desperation regarding the sounds in her head.  “cannot reach me anymore”

Nobody wants to hear songs anymore - similar to quiet, to express frustration and in this case anger - “how did it all get so bad”

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Belt in Nobody Wants To Hear Songs Anymore 

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Belt in Nobody Wants To Hear Songs Anymore 

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Range of different onsets used (in vocals you use all these different types of onsets for various reasons) [LINK TO TONE COLOUR]

Breathy (glottis partially open or partially open), glottal (closed glottis) balanced (closing glottis @the same time as pushing air through)

glottal - bold, harsh

breathy - airy, light - used to convey intimacy and ambience into my chorus as singing in a vulnerable state.

balanced - warm, smooth, full

more assertive

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Clearer, more “crisp” articulation, contrasted with all these long and held tones:

Several runs, as well as the ending section of “O Vertigo”, producing still full sounding and resonant tones/sounds, but with a more crisp articulation. Short and sharp attacks, without delaying it or holding it.

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Crisp/precise sound and quality in each of her "do"

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O Vertigo! - Kate Miller-Heidke & The Melbourne Symphony Orchestra

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O vertigo - Ending section, hitting each note accurately, both an ascending and descending pitch

How High the Moon: The scat solo extends over a wide range of notes in the G Mixolydian scale over the D7 chord in her scat solo.

Head voice showcased in Since U Been Gone vs lots of belting and chest voice in Quiet & Nobody Wants to Hear Songs Anymore

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The dynamic contrasts particularly in Matilda

Fast paced lyrics and frantic first section with a increasingly growing dynamics reaching to forte

Then immediately dropping it down to a piano in the more reflective section after.

These wide dynamic ranges are a key characteristic of music theatre.

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(Articulation in O Vertigo)

Scat syllables she uses in her scat solo in How High the Moon, "bo", "be", "da" - manipulates/uses these as they tend to sound rounder and fuller, and not as harsh and sharp.

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A range of textures and demonstrates a variety of interactions between the parts, including the balance, empathy, and synchronization between instruments or between parts

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A range of textures and demonstrates a variety of interactions between the parts, including the balance, empathy, and synchronization between instruments or between parts

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In the slowed down chrous passage of Quiet from Matilda

Push and pull of the rhythm, therefore important that the piano follows the vocals. - Interaction

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1st Chorus: Piano will play a thin harmony line - thin texture, supporting the vocals. Vocals then need to fill in that space.

-Texture than grows, thicker chord progressions, and harmony to build a thicker texture to support the growing character of the piece

-Potential call and response section with the bridge. Piano plays call, singer plays response

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Double time feel section - ensure that vocals and piano is synchronised, particularly with this drastic change

Scat solo, push and pull, piano follow me as the vocals when scating.

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This piece is quite light and involves many intricate and delicate runs.

The accompaniment should not overpower the vocals, but be enough to support it

Ensure the piano is aware of that (empathy)

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Ending section:

Silence from the piano "anymore"

Then building the texture frrom nothing into a passage where while the piano is playing harmonic backing, on top of that vocals are singing a melodic line (without lyrics)

Create interaction between, and as each cycle grows (there's 4) the piano and vocals both become more intense.

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Overall:

Ensure that the piano follows the vocals.

Vocals lead! Particulary as there is a lot of push and pull involved/present.

Ensure that the piano does not overpower the vocals at any point in time.- Empathy.

Adjust my volume production as well depending on how loud or soft the piano is

Practice being familiar with starting a section and ending it at the same time as pianist. e.g How long is the intro? When am I coming in?

Also eye contact and body language throughout to communicate is important.

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7. Reimagining of an existing work, manipulating elements of music and concepts in an informed manner to achieve expressive intentions and personal voice as described in the Performer Statement of Intention 

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7. Reimagining of an existing work, manipulating elements of music and concepts in an informed manner to achieve expressive intentions and personal voice as described in the Performer Statement of Intention 

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 Demonstration of performance decisions described in the performer statement of intention which may include aspects of creativity in interpretation and manipulation of structure, instrumentation, and /or other elements and concepts

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 Demonstration of performance decisions described in the performer statement of intention which may include aspects of creativity in interpretation and manipulation of structure, instrumentation, and /or other elements and concepts

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If you read the lyrics they actually sound quite sad, and the person singing is clearly hurt by their past relationship. In the original this hurt is covered up by a upbeat and pop/rock feel of the overall piece.

However, I decided to interpret the SAME lyrics in the complete opposite: what if this person was still in pain, still heartbroken and not over the person?

Rock pop → Piano ballad

Upbeat, lively → Raw, vulnerable, melancholy, passionate

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Usage of head voice vs chest voice: (to showcase a range of vocal production techniques)

In the 2 choruses, they are sang in head voice, allowing for a lighter more delicate and vulnerable tone to be brought out.

--> Still really hurt and coming into terms with the relationship ending

Ending the song with a chorus "down" (sung in chest voice) produces a more grounded, richer tone.. she is coming to a conclusion and is coming into terms with the relationship

Grounded tone (chest voice) also provides a sense of closure

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From 4/4 ---> 6/8

4/4 has a straightforward, steady feel. Also feels very "predictable" Changing it to 6/8 allows a flowing, lilting, and less predictable feel.

The triplet feel of 6/8 time signature creates a more fluid and lyrical rhythm compared to the steady beat of 4/4.

Adds gentleness/delicateness to the piece and more emotional depth.

Change of rhythm in other parts of the song

"How can I put it? You put me on" - Add rhythmic variety

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Onsets indirectly link to articulation as well 

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Onsets indirectly link to articulation as well 

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Articulation indirectly, as the way a note is initiated can affect its clarity, intensity, and emotional expression.

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Link back to "a diverse range of techniques appropriate to the instrument is performed throughout the program and achieves an expressive outcome" 

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Link back to "a diverse range of techniques appropriate to the instrument is performed throughout the program and achieves an expressive outcome" 

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Open, jaw drop technique to achieve that strong, resonant head voice

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Communication through the performance of the stated expressive intentions. 

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Communication through the performance of the stated expressive intentions. 

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Body language, particularly facial expressions is key to deliver this piece with the vulnerable and raw character I wish to achieve.

Taking inspiration from artists such as Adele and Kelly Clarkson herself who sing many "heartbroken" songs and being able to carry my facial expressions in the same way.

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Can clearly see how Kelly Clarkson carries herself in this performance and how she is able to communicate that rawness, regret, vulnerability and pain

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Can clearly see how Kelly Clarkson carries herself in this performance and how she is able to communicate that rawness, regret, vulnerability and pain

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Kelly Clarkson Covers 'Wide Awake' By Katy Perry | Kellyoke

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G Major --> Eminor

Minor keys often use chords that have a darker, more somber quality compared to the bright and cheerful chords in major keys. Changing the key provides me a deeper scope to potray that vulnearble, melancholy, pain filled character.

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"Communication beyond the source material by using appropriate nuances and performance techniques"

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6. Demonstrates a stylistic and informed interpretation of the chosen repertoire

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6. Demonstrates a stylistic and informed interpretation of the chosen repertoire

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Light articulation, clarity in the articulation of my words in the first verse to bring out the desired message

Emotionally driven, facial expressions - telling a story and portray this child having a mental breakdown

Dynamic contrast between the first verse and the softer chorus, that drop in her emotion that then builds again

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Communication beyond the source material by using appropriate nuances and performance techniques

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Communication beyond the source material by using appropriate nuances and performance techniques

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Lara Wollington (West End's Matilda) performing "Quiet"

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Play close attention to her facial expression, communication beyond what is written, really channeling into that character and mental breakdown

Facial expression is CRUCIAL to a music theatre piece

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In order to demonstrate an informed interpretation of this: cohesive and clear runs, ensure all notes area hit accurately on pitch, particularly at such a fast tempo (138 bpm)

Sound light and effortless, all in an even head voice tone

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Expressive communication beyond the notation through the use of appropriate nuances, including tempo, phrasing, articulation, sound and dynamics and instrument-specific techniques, as appropriate to the instrument and the selected program of works

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Expressive communication beyond the notation through the use of appropriate nuances, including tempo, phrasing, articulation, sound and dynamics and instrument-specific techniques, as appropriate to the instrument and the selected program of works

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Singer songwriter style

Understanding what the lyrics are saying, man disappointed and frustrated that no one truly cares for deep music anymore

Portraying this - telling a story as I sing is crucial to the style of this piece as well as the execution.

Beyond what is written, fully understand that

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-2/4 feel, these are the strong beats

-Jazz swing

-Phrasing in the scat solo as well as a clear articulation of the constants being sung.

-Ensuring that accents are brought out appropriately, and phrases that are legato are done so appropriately too.

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Energetic & Passionate performance - actually look like I'm enjoying it!!

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Energetic & Passionate performance - actually look like I'm enjoying it!!

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8. Demonstrates appropriate performance decisions relating to the context of the performance

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8. Demonstrates appropriate performance decisions relating to the context of the performance

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Solveig synger ‘Nobody Wants to Hear Songs Anymore’ - Ben Abraham (Liveshow 3) | X Factor 2021

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Ella Fitzgerald- "How High The Moon/Epic scat" LIVE 1966 [RITY Archives]

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Maintain good posture to support your breath and vocal production. Stand tall, with shoulders relaxed and feet shoulder-width apart.

Especially with the musical theatre piece, appropriate  facial expressions and eye contact with examiners to engage them and tell my character’s story.

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Use of poise and focus throughout the performance as appropriate to the musical and physical context

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Use of poise and focus throughout the performance as appropriate to the musical and physical context

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Ensure all rubric requirements are not only met - but understood and portrayed to the fullest extent in the performance of my pieces.

Ensure that I am striving to maximise the points in the rubric, bringing my performance to the highest standard.

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The ability to adjust to performance conditions 

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The ability to adjust to performance conditions 

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Adjust sound projection depending on the room size: Bigger: I will need to channel and greater volume projection, but if it is a small room careful to not be too excessive. Reduce sound as needed!

Also adjust according to distance between me and the examiners, move closer or further away - also depending on the volume of the piano, may need to step closer to the examiners.

If possible: communicate with eye contact and physical action if the piano is too loud in the examination room.

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The structure and continuity of the program as a whole 

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The structure and continuity of the program as a whole 

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Matilda - From "Quiet"

O Vertigo - Kate Miller Heidke

Since U Been Gone - Kelly Clarkson

How High the Moon (1st Take) - Ella Fitzgerald

Nobody Wants to Hear Songs Anymore - Ben Abraham

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Many varied styles of music, beginning strongly with a fast paced piece to engage the examiners, and it is also emotionally driven!

Alternating “heavy", "light", "heavy" then "light" again character.

Ending with Nobody Wants to Hear Songs Anymore - one of my strongest pieces, furthermore the ending section I am developing I think will end the piece on a strong/nice note.

Also alternating the slow and more upbeat songs throughout, not all at one end. Adds variety to the program!

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The management of any equipment or technologies used

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The management of any equipment or technologies used

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The piano, during soundcheck or warming up with the accompanist, ensure the volume is set at an appropriate level (if electric), all the pedals are working

I myself am not using any equipment or technologies