• An extremely fast paced ascending and descending run section at the end of the piece

The SPECIFIC challenges: (what makes this challenging?)

1. Being able to accurately hit each and every note within such a fast speed

2. The execution of how I sing the notes, which requires the maintenance of head voice throughout the entire section.

• Developing the technique to transition between fast paced ascending and descending notes fluently by singing these quick cycles of scales.

• Pitching the first note correctly, I don't want it to be sharp or flat - this allows me to practicing pitching the first note of each "do" cycle in the actual song better.

Breath Control

• This exercise requires me to sing cycles of 15 notes.

• As such I am strengthening my core muscles (diaphragm) to be able to provide sufficient breath support to be able to sustain the cycle.

• And, as a result, this strengths my overall breathing support ability and allows me to sing the entirety of the passage in 2:27-3:16 with sufficient breath control.

  
  

Tone/Timbre

- Maintenance of head voice throughout the entire exercise helps me to sing with an even tone in this passage in the song.

• Ascending down the scale, even to the lowest note, this exercise is designed to train me to sing that note in a head voice

• The key feature of this exercise that helps me achieve an even tone of head voice in this passage in the song (what does success look like?), is the high "do" at the end of each cycle. My starting "do" and this end longer "do" should sound exactly the same if I have been successful in maintaining my tone (head voice). This is exactly the skill I need to execute the passage in O Vertigo the way I desire.

Articulation:

• Clear crisp articulation on the "do" in the second half of this exercise reflects how the actual passage is sung. Helps me to work on my ability to strengthen clarity in my constants whilst in a fast passage.

  
  

Dynamics:

• Aiming for an even dynamics in order for the passage to sound clean, I do not want to fluctuate between loud of sound as this creates an uneven feel in the run.

• Issues with clear diction and pronunciation in the first verse of the piece

Specific challenges:

1. Fast tempo. These words have to be sung clearly under a very fast tempo (90 dotted crotchet beats per minute)

2. Issue with common letter phonics. I found that I had trouble specifically with the phonics "ded" and "ti"

   
   

do it with a metronome

faster, forces the lightness

• Light articulation

  Single tongue movement

  • Light single tongued

• Whilst maintaining a fast tempo

  -As the faster I go the more unclear and muddled my pronunciation becomes. Therefore just isolating those syllables itself whilst singing it fast will help with my articulation

• Thus, works on the dexterity and fluency of being to navigate through these voiced and unvoiced constants at a fast speed

Tonal qualities/Tone Colour:

All about the position of your tongue

• Voiced vs unvoiced

Voiced:

"un-bid-den" - 'b' 'd' like biscuit or dog (raw, dense)

Unvoiced:

"light" "heart" - 't' like root or counter (light, airy, softer)

These need to be clearly executed so I can bring out the respect tonal qualities out.

In order to achieve this new expressive outcome:

- Changed the time signature from 4/4 to 6/8

- Changed the key

From Gmajor to Eminor

The specific challenges:

1. Singing in a high range

2. Being able to sing with a open throat and lowered jaw as I have the tendency to constrict my throat and squeeze my vocal cords.

-Resonance

-Can smoothly sing in head voice without straining or a closed, tight throat. We want a OPEN THROAT

All of these to achieve a strong sounding head voice

'Opening the throat'

• raising the soft palate

• lowering the larynx 

• dropping the jaw

The technique of the open throat is intended to promote a type of relaxation or vocal release in the throat that helps avoid constriction and tension that would otherwise cause strain in the tone

"si[ee]nce you've been gone"

" I can bre[ee]athe for the first time"

Particularly, "ee" - Is a very intense vowel and especially when sung in your higher register/head voice as there is a tendency to strain your throat. Therefore if I can train myself to sing this with an open throat always my overall head voice will become much smoother and stronger.

• The exercise must be sliden as this naturally implies relaxing the jaw and dropping it

Practicing singing with an open throat will: produce a pure, balanced tone, as I am no longer constricting my throat and straining the ability of the sound to come out. (dropping the jaw) As such this prevents my head voice from sounding overly bright, thin, or shrill.

Resonance

Gain clarity and power in my head voice, especially when singing in my head voice, as the open jaw technique gets rid of the restraint that makes my voice sound weak.

Pitch

Dropping my jaw and raising the soft palette will allow be to hit high notes more accurately as I am in a more relaxed position, meaning I can reach those notes without strain or struggle.

Dynamics:

-Starting in piano with a gradual crescendo to forte

• As in my reimagined my first chorus is a softer and more delicate vs the second chorus which I am to be more powerful. Hence, I need to be able to sing in a strong head voice both at a softer dynamics and louder dynamics which this exercise showcases.

what range is this in - why is it in my head voice

Regretting letting go of this relationship she has been in rather than happy and relieved about it.

Immediately switching between onsets is extremely hard as they use different positions of the vocal cords.

Articulation:

Articulation indirectly, as the way a note is initiated can affect its clarity, intensity, and emotional expression. As such, practicing this vocalise with the different types of onsets will allow me to choose if I want the note to be sung clear, breathy etc and this will allow me to bring out my intended expressive outcome.

Range of articulation (staccato, slurring) while maintaining the onset, therefore this skill can be applied to a variety of different contexts and songs, rather than just Since U Been Gone

Tone colour:

Bring out the full tonal qualities to really showcase the character of this piece to the highest ability

• glottal - bold, harsh

  - emphasis on "I"

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

• balanced - warm, smooth, full

  more assertive

Phrasing:

Shorter phrases vs longer phrasing

• long phrasing is clearly highlighted in the second part where I am practising not overacccenting the notes into order to achieve a seamless and smooth phrase here.

• General skill of practising shorter phrases verses longer phrases

• FLUENCY: In the longer phrase (second half) being able to seamlessly sing each note without breaks..

Focus on the onset themselves rather than the articulation

D/TA

D/TEH

D/TI

D/TOH

D/TOO - are they both voiced?

Unvoiced: using more air = harder

minor chord descending from the fifth and singing a minor 3rd

Purpose/the challenge:

Understanding the different types of vocal onsets and how they can be used to portray/bring out the full expressive tonal qualities in my reimagined piece - vulnerable, raw character. 

There are 3 types of vocal onsets I wish to strengthen:

• Glottal - closing the glottis, and then beginning to sing. Glottal tension is eased just enough to cause the vocal folds to vibrate and produce sound.

• Breathy - glottis open or partially open.

• Balanced - closing the glottis at the same time as exhalation of air

Important: It is extremely crucial for my pieces that I know what onset to use at which time. This is because I don’t want to overuse one, for example the glottal as this will take a toll on my vocal health. Most of the time I also want to stick to a balanced onset as this is the healthiest for the vocal chords.

-Achieving a clean, crisp articulation on the constant "do".

• Unable to bring out the desired growth in character/story of the piece in the first verse.

• Struggling to use dynamics, and clear articulation and phrasing to be able to convey her mental breakdown.

1. Voiced Consonants:

   • Voiced consonants are produced with vibration of the vocal cords. They typically have a more resonant sound and add richness to the vocal tone.

2. Unvoiced Consonants:

   • Unvoiced consonants are produced without vibration of the vocal cords. They often have a sharper, more percussive sound.

• Rather focusing on "voiced vs unvoiced", more holistic view on the articulation. Being able to sing the sentences with clarity.

• Like Matilda, it features intricate and fast-paced lyrics that demand precise articulation, with quick attacks, whilst This technical work requires a rapid-fire delivery of Amy's inner monologue, which trains my ability to be able to enunciating the words clearly, with the correct articulation

• Light tongue articulation

• Short, sharp attacks

• This exercise will help with me as I was struggling to articulate my words and not being able to portray the full extent of Matilda's frantic breakdown.

Phrasing

• The phrasing of the words is a technique used to highlight the characters inner thoughts and anxiety in both songs.

• "A wedding. What's a wedding?" - phrasing here is dictated by the punctuation - like Matilda

Dexterity + Control

• This exercise demands high vocal dexterity as you have to navigate through these vocal lines at an extremely fast tempo.

• Maintaining clarity and coherence (control over my words) while keeping up with the frenetic pace of the song

• Many tongue twisters such as "fidelity forever" adding to the level of complexity, further demonstrating dexterity if performed correctly.

Dynamics

• Challenge: Not honing in on dynamics to a great extent.

• This exercise does - so I can practice utilising dynamics

• Crescendos on certain phrases such as "and don't tell Paul but I'm not getting married today" to really showcase the intensity of her not wanting to get married. Similar to crescendos used in Matilda such as "But this noise becomes anger, and the anger is light"

• Dynamic contrasts is utilised/showcased in this patter song which reflects the same used to show Matilda's frantic and mental breakdown. (Initial loud first verse, contrasted with the softer second verse)

  
  

completely different song + feel, but the basic technique is still there. being able to pitch so accurately and sing a fast riff in head voice maintaining that head voice

Red - Balanced Onset

Purple - Glottal Onset (The 'I''s)