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Author Topic: 11/03/03 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM  (Read 3637 times)

Marilyn

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11/03/03 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« on: April 29, 2010, 11:31:40 PM »
Pamela
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VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« on: November 03, 2003, 01:11:57 PM »   

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Recording Master Class: Clay Aiken’s ‘Measure of a Man’
by Rosanne Simunovic -- 11/03/2003

Voice Instructor Rosanne applies her Vocal Master Class concepts to Clay’s premiere album, Measure of a Man. How does Clay’s singing, along with the writing, music, and production, “measure” up?

Those of you who have read my articles know that I am a huge fan of Clay Aiken. I believe this young man is not only a consummate musician but also a star role model for our young people to emulate and follow. Through his appearances on American Idol, we came to enjoy and marvel at Clay’s charm, charisma, and strength of character as he faced millions of viewers and endured the critiques of the judges.
Regarding this album, I have tried to be as fair as possible in my evaluations. The fact is that this is not the kind of music that I would have liked to hear Clay sing – and I am sure that I echo the sentiments of hundreds of thousands of fans. Why RCA felt that he had to compete with Justin Timberlake or Britney Spears is beyond me. Clay achieved his enviable level of success because he wasn’t like these artists – he filled an artistic void in the music business, much in the same way that Frank Sinatra or Barry Manilow or The Beatles or Elvis did during their era. It cannot be duplicated and it shouldn’t be tampered with – it should be embraced and celebrated as a new era in the music world.
I can only hope that RCA’s vision for Clay is accessed without the blinders on when his next album is released. To me, he will always be Classic Clay –he doesn’t nor should he have to compete with anyone. Clay stands alone – he is Solitaire.
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Invisible
Strengths: This is a really good song with great melodic hooks and productional wizardry. Clay sings with musical conviction and passion throughout this song. The key of the song is a good one for his vocal range as it allows him to display his fabulous lower range in contrast to his ubiquitous upper range. The production of this song is well formulated and there are some wonderfully creative moments throughout the number that really allow this song to shine throughout its duration. The background vocal effects are excellent – really first class all the way. In short, a very radio friendly number for the airwaves!
Critique: My biggest concern – and those of you who are regular readers of my Master Class articles know I have often emphasized this fact – is that Clay is really singing with a great deal of tension in his upper register in this number. As previously stated, the key of this song is not the problem; the problem is how Clay is producing his upper register sound. His tenor range is “too spread” and the ringing pure vocal sound that is so necessary in all styles of singing is noticeably missing here. His upper register lacks focus and head tone resonance – important technical aspects that would enable Clay to enjoy a richer, fuller sound in his tenor register. His vowels lack purity as well – the diphthongs are not handled as efficiently as possible and as a result, the pure vowel sustaining qualities, the ringing head tone, are absent from his singing. If Clay would apply his stellar baritone resonating abilities to his tenor range, then his voice would sound seamless and evenly focused throughout this performance.
Additionally, I feel that, although the overall production of this number is very good, the chorus of the song could benefit from a little more bass and reverberation in the chorus and this would allow Clay’s voice to shine and “cut through” the powerful background vocals and instrumentals.

I Will Carry You
Strengths: Clay sings this number with more vocal purity and better technical control. Although I would prefer an even rounder, more focused sound, his voice still sounds super in this number. Clay sings this song with great passion and musicality – this is always a given with Clay’s performances – recorded or live.
Critique: I felt that the instrumentation was really loud in comparison to Clay’s voice in the refrain. I suppose this is the new edgier way of producing albums – but it gives the impression that Clay’s voice has to compete with the powerful dynamics of the background vocals and/or instrumentals.
Vocally, there is a moment in this song when Clay has to sing a very high note in the bridge – the tension in his voice is very palpable. Again, I can sense that his mouth and jaw are not relaxed, thus allowing for the diaphragmatic muscles to support his upper register. In addition, the word “you” sounds to me like “yeu” in the upper range.
Personally, the song lacks a creative spark within the melodic structure and lyrical content. I really tried to warm to this song, but it fell short in my eyes.

The Way
Strengths: Clay opened with a little country twang in the beginning and it initially worried me. However, as the song progressed, Clay sounded more vocally secure and his vocal presence was more successfully highlighted in this song than in the previous two selections. In addition, the established key of this song selection didn’t tax his upper range focusing instead to showcase the depth and beauty of his lower range. However, when he did sing in to his upper range toward the end of the song, there was more focus and beauty to his vocal sound and the ringing head tone quality became very apparent in his tenor range. Beautiful ending here. Good ad lib in the bridge and ending chorus of this song.
The beautiful background vocals complemented Clay’s voice without overpowering or making their presence an unwelcome reality. This is an excellent production. This song is going to be a huge hit I feel – that hook in the refrain never escapes you.
Critique: I was expecting the introduction to this song to be a little longer as it would have created and reinforced the emotional content of this song. In addition, I didn’t like the verbose quality of the lyrical content in the first verse – it sounded disjointed and tedious; however, the rest of the song was a great listen. This was the best song – artistically and technically – so far in this album.

When You Say You Love Me
Strengths: Vocally, Clay sings quite well in this selection, as the song doesn’t pose any real vocal challenges within the melodic structure (see critique). The background vocals perfectly compliment Clay’s relaxed rendition of this up-tempo ballad.
Critique: Clay’s country twang is back and I have no idea why this is happening – but it’s starting to really worry me. Clay has so much potential to display the classical pop elements in his voice and I don’t feel that this song – or this album, in fact – has allowed him to do this. Once again, the lyrics and melody within the verses are really sub-par. The chorus is excellent, however – that seems to be a running theme throughout this album. However, the repetitive melodic nature of this song is very disappointing. In addition, at this point in my Master Class article, I have to say that all the songs – production-wise and artistically – are really starting to sound the same. It is becoming very difficult to distinguish one song from the other.

No More Sad Songs
Strengths: The background vocals in this song are terrific. Clay performs this song well, even though I do hear the tension in his upper range. The throat sounds pretty constricted, although it seems to work well with the depressing, angst nature of this song. This song is a good one and will do very well on the radio. It is a great composition that is made even better by Clay’s performance and the awesome background vocals. Clay really shines in this number and his upper range sounds – for the most part – beautifully focused and rich.
Critique: Once again, we have another song written in the minor mode and it is again depressing. Is this what they call “the edge”? The instrumentation is very harsh in this song – almost cheap sounding, at times. The introduction, as well, was cheesy and almost ghoulish in musical content. I find it very difficult to become accustomed to this new age recording wave that seems to attract the younger audience.

Run To Me
Strengths: Now, this sounds like the Clay we came to know and love on American Idol. This is a hauntingly beautiful song that allows Clay’s voice and his wonderful interpretive gifts to shine. This is not an easy song – it jumps all over the place and Clay has the voice to navigate these jumps with supreme artistry. Clay’s sensitivity really shines in this number and I have to say that, up to this point in the article, this is my favorite as this song allows Clay to be Clay. In addition, this song has established that he has definitely grown as an artist since his AI days
Critique: I have very little to critique – this was superbly sung and produced.

Shine
Strengths: As in the song “When You Say You Love Me,” Clay sings quite well in this selection as the song doesn’t pose any real vocal challenges within the melodic structure (see critique).
Critique: Once again, we are assaulted by a minor mode introduction – too much use of this tonality throughout this album in my opinion. Clay has to watch his approach to the diphthongs in this song – especially the “shine” word: he sustains his sound on every vowel of this diphthong, instead of the cleaner, purer “ah” vowel. This creates a whiter, vocally spread quality in his voice.  As a musical composition – you can drop the “musical” part and add “mediocre” in its place – this song really falls short. The production of this song has a tinny, metallic quality that probably is in keeping with this “new edge feel.” However, I cannot say that I am a big fan of this approach – it is not uplifting and it does not represent what Clay is all about. Additionally, there is a mundane repetitive nature to this song that never really builds to any kind of climactic musical moment – very disappointing.

I Survived You
Strengths: Great bridge in this song and, of course, the refrain/chorus is always good, in keeping with the theme of this album. Once again, it is to Clay’s credit that he somehow manages to pull this song together – he can make any song sound terrific. He is such a committed artist. Vocally, he sings with good technique, although he has to watch his “r” consonants – they tend to be harsh. It would be better if he would forget that this consonant even existed and concentrate on the vowels before and after it. However, the key of the song is a great one for Clay and he enjoys a more resonant, vocally rich quality in this recorded performance.
Critique: Good heavens – who wrote the lyrics to this song? So many words to sing and so few notes to accommodate the lyrics – especially in the verses. Other than this, the song manages to breeze along in good fashion.

This Is The Night
Strengths and Critique: Remember this song? This is Clay, RCA!  (HERE are Rosanne's previously published comments on TITN.)

Perfect Day
Strengths: This is a really great number and Clay performs a splendid rendition of this song. There is musical variation in this composition and the lyrical content is very good. Once again, there are some wonderful hooky moments in this song that will translate beautifully to radio airplay. The background vocal and instrumentals are excellent and I especially enjoyed the keyboard work in this selection. This is another personal favorite on this album and I enjoy the fact that it allowed Clay to really display the emotional and dynamic depth of his stellar voice.
Critique: I don’t have a great deal to critique in this song – it is well produced and superbly performed by Clay and his musicians. Clay just has to be reminded to allow his diaphragmatic muscles to support his vocal sound on the pure vowel, with relaxed and open facial muscles. However, generally, his excellent performance of this number outshines any technical flaws in this selection.

Measure Of A Man
Strengths: The song begins beautifully, with Clay displaying the soft ringing head tone ability that we have all come to know and love from his American Idol appearances. This song means a great deal to this artist – you can hear the emotion in his voice and how he sensitively interprets the lyrics of this beautiful song. There are beautiful dynamic contrasts in this song and the key change toward the end of the song was effectively done. The production of this song is tastefully done – and the beauty of Clay’s voice is allowed to shine. Another song that will do exceptionally well on the radio.
Critique: At times, I find the lyrics a trifle overdone in creating the intended emotion of the song; however, once again, the chorus of this song saves the day. That said, this is the first time that Clay’s lower range lack the resonance and richness that I am accustomed to hearing. In addition, as beautifully as he interprets this song, Clay has to be really careful of the tension in his throat, his lack of proper bel canto tone placement and proper diaphragmatic breath support – it is disabling the beautiful head tone quality in his upper range when he sings his louder, more powerful phrases. He really needs to enable the sustaining element of singing on the pure vowels and to avoid the diphthongs and/or excessive use of the consonants to weaken his melodic line.

Touch
Strengths: There are some really neat vocal dimensions in this number with the addition of some reverb and echo effects – they add an almost ethereal quality to the song. Clay generally sings very well throughout this number and his outstanding range is really showcased in this number. That beautiful baritone range is back once again – ringing with just the right amount of “head tone” quality to give it clarity and depth. His upper range, as well, sounds more focused in this number – it has more ring and transparency. The production of this number, for the most part, is very good. I like the repetitive guitar riff – not initially, mind you, but it did grow on me after a couple of listens.
Critique: Once again, I feel that Clay’s voice is occasionally lost in this song because of the powerful background vocals and instrumental accompaniment – particularly in the chorus. In addition, Clay, although he handled his voice more efficiently in this number, has to really make certain that his vocal sound is being managed in the correct fashion at all times. There is a strained, closed quality to his voice and, because of this, we are not hearing the true potential within his vocal range. This is such a shame – he has such potential as a recording artist if he is allowed to develop and showcase some of the wonderful classical elements in his voice.

So – there you have it – my take on Measure of a Man. Please check back in the coming weeks for additional Master Class articles on the American Idol Holiday CD as well as Canadian Idol Ryan Malcolm’s debut album, Home.


 
 
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Marilyn

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Re: 11/03/03 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #1 on: April 29, 2010, 11:37:04 PM »
houstonclayfan
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  VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #1 on: November 03, 2003, 05:34:12 PM »   

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Ok.......this is WAY TOO Technical for me.  I just know that I love Clay and I love MOAM, and its selling big..thats all that matters.  Right ?
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Re: 11/03/03 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #2 on: April 29, 2010, 11:37:23 PM »
Jexter
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  Professional Opinion
« Reply #2 on: November 03, 2003, 10:35:17 PM »   

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Thanks for the analysis Rosanne! I always wondered what a professional thought of Clay's voice.

I'm curious to watch how Clay's voice progresses.

It's interesting to me that Clay sang so well without any real formal training. Now that he gets plenty of that, I wonder if his voice will get even better!
 
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Marilyn

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Re: 11/03/03 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #3 on: April 29, 2010, 11:37:46 PM »
Pamela
Assistant Webmaster
 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #3 on: November 03, 2003, 11:12:07 PM »   

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Amen houstonclayfan!
Me like Clay.  Him sing good. <<<---my expert opinion  :

Jexter, it's unbelievable isn't it? 
I really, really hope he just takes good care of  his voice and doesn't blow it out.  That would be a sad and terrible thing.  Selfish I know.  :?
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Marilyn

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Re: 11/03/03 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #4 on: April 29, 2010, 11:38:04 PM »
cjrmax
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  VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #4 on: November 04, 2003, 02:39:01 PM »   

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I was surprised she found no fault with "Run to Me"!  I think the background music on this song is the loudest and most annoying of all.  Its a beautiful song but you can barely hear Clay sing during much of it!
 
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Re: 11/03/03 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #5 on: April 29, 2010, 11:38:20 PM »
sysout
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  VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #5 on: November 04, 2003, 03:50:58 PM »   

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As a former voice student, I thought this analysis was fascinating. I thought one of Clay's many strengths is his intuitive knowledge about when, and when NOT, to use vibrato.

One of the things I've wondered about is the vocal coaching (if any) Clay receives now. Learning the right techniques will not only add depth and breadth to a beautiful voice; it will also help Clay last longer. Singing all the time is not easy.
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Re: 11/03/03 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #6 on: April 29, 2010, 11:38:51 PM »
Pamela
Assistant Webmaster
 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #6 on: November 04, 2003, 06:12:45 PM »   

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sysout Welcome!

I don't think Clay has had any 'formal' voice training, but has had training from his various choir directors and instructors at school; I'm not positive though.

I am concerned that he doesn't blow his voice out.  Kelly Clarkson used to have a lovely voice, but it sounds just ragged lately.  It's very unfortunate.   I hope Clay's management at RCA and 19Evil allow him to do what he needs to do to take care of his voice.   

Will you give us your thoughts on the CD?
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Re: 11/03/03 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #7 on: April 29, 2010, 11:39:14 PM »
root4clay
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  VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #7 on: November 05, 2003, 01:33:36 AM »   

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Pamela, thanks for posting the article by Rosanne S.  The analysis is such an 'eye-opener' and shades some very interesting insights.  Clay has such a powerful and beautiful voice which emotes as he sings.  Have the same reflection as 'SYSOUT' .... often wonder if he has the proper guidiance and technique to 'maintain' and nuture this wonderful gift.  I also share the same concern as you and I honestly pray that he has these resources available to him.
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Re: 11/03/03 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #8 on: April 29, 2010, 11:39:41 PM »
sjmcdona
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  Valid observations
« Reply #8 on: November 05, 2003, 09:22:20 AM »   

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I too, wanted to thank Pamela for posting Rosanne's analysis of MOAM. I have been a weekly voice student for 2 years now, as I wanted to develop my upper register, and to correct problems I have had. It has really helped me, and I really hope Clay is working with a vocal coach who knows what they are doing. We all know Clay has a wonderful voice, and to say he could benefit from some coaching by no means diminishes his talent. Rosanne is correct when she says he needs to fine tune his note placement in the upper register. Simply put, he sings too much from his throat and he has too much tension.  Kelly Clarkson lost her voice because of poor vocal technique (and lack of rest) which led to nodes on her larynx. I would hate for the same thing to happen to Clay, as I love him to death!!!!
 

 
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Re: 11/03/03 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #9 on: April 29, 2010, 11:40:18 PM »
root4clay
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  VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #9 on: November 05, 2003, 10:01:33 AM »   

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Agreed!!  I would be devastated  :oops: :oops:   if Clay's voice is deteriorated when such preventive measures can be taken.  Don't want to see it happened to such a fine and lovable young man who is unassuming, down-to-earth, caring, kind, polite, well-mannered; and carries himself well with such a charming persona and chrisma.  He'll always have a soft spot in my heart!!  :  :  How could we get this message to him?
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Re: 11/03/03 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #10 on: April 29, 2010, 11:40:36 PM »
caramel131
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  moam analysis
« Reply #10 on: November 05, 2003, 03:18:31 PM »   

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I, too, was glad to read her critique of Clay's voice.  I am so glad that Run to Me is one of her favorites.  It is certainly mine.  You can hear the emotions in his voice.  I can't wait to hear him sing this one on a live concert tour.
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Re: 11/03/03 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #11 on: April 29, 2010, 11:41:01 PM »
cjrmax
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  VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #11 on: November 06, 2003, 10:48:56 AM »   

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I hope Clay doesn't blow his voice out either, but I have a feeling he won't.  I remember in AI1, by the end Kelly was so horse she could barely talk.  I remember in AI2, by the end Ruben's voice was sounding a bit horse and ragged (Oh, I forgot, it was because he had a cold! Right!).  But Clay's voice sounded as strong and pitch perfect as ever.  I have never been a voice student (although as a drama major and sometimes actress in my past I did learn something about how not to abuse one's voice) so I do not know the technicalities involved with preserving one's singing voice, but his seems pretty durable.
« Last Edit: April 30, 2010, 12:05:58 AM by Marilyn »
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Re: 11/03/03 VOICE INSTRUCTOR ROSANNE SIMUNOVIC ON MOAM
« Reply #12 on: April 30, 2010, 12:07:58 AM »
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