IYLM

• back to unison ‘ah’ pitch (as Ruth walks to the end of the chorus, everyone follows her with body and eyes……she’ll signal the pitch, we take the unison ‘ah’ and she’ll walk back toward the centre and out to acknowledge the audience (we follow her the whole time!) and we build our sound even more as she walks out to the audience…..)

• keep passion and heart and think about the words….throughout the intro, make it more musical!

• what is it? “the greatest love of all” (go somewhere with all… it’s an important word… don’t cut it off!)

• tell me more… “is this love of mine” (bass – have fun on the barbershop swipe on ‘of’ …. everyone - don’t give your all on ‘of’ - give more on ‘mine’ for extra points!)…. the biggest word is ‘mine’

• what else? “please say that it will last” (be more tender and musical and more begging…..more of a drama queen…. bass – gentle swipe up on last (hide in it), make it pretty… hit it then do something with it)

• when? “till the end of time” (passionate, hold “end” slightly and move “of time” quicker together, do the ‘fade out’ on time…just go away on your own, play with it)…. if you’ve ever been privy to someone at the end of their time…. put that feeling in here.

• people are doing the ‘wiggle wiggle stop’ move – don’t!…..put the feeling into your face… through the pelvis and up through your chest keeping it high…..

• “if the sun should tumble from the sky, if the sea should suddenly run dry” – think childlike (kindergarten) and put that delivery on your face….. (forget about the singing well…. we already do that… we need to do the expressive singing to move to that next level)

• have fun (more childlike stuff)… “shall we drift”….everyone lift first ‘star’ and building again on ‘shining star’ (but keep the ‘ah’, don’t slide through the ‘st’)

• body move (dance) a bit with ‘clouds are dancing by’

• everyone stay out on “last” (when at last)…leads stay broad on bottom of ‘last’… baritones are overbalancing ‘last’…. back off a bit

• hang out 3^rd part of ‘love’ chord (bar 40) even more… best part of the song! (we’ve been on autopilot here, so we’re going to do a triple sowcow instead of a double sowcow)…. leads – don’t sharpen on 2^nd to 3^rd move on ‘love’ (bar 40)….don’t back off, just don’t shout (everyone keep your hands soft)

• don’t scream through ‘care’ (bar 43/44)… don’t fall into the trap that everyone does…. (basses – don’t look like “watch me do something I hate!”…. go home and practice your face in the mirror…. also keep your mouth shape tall – hands to face)  also…. 2^nd move note should not be louder than the last…. basses – think of the staircase… hit the note & expand, hit the note, expand… etc.

• don’t over sing the last ‘care’……EVERYONE think and sing to the tenor note (leads – back off! send more air to your note and give more musical presentation….)… we don’t need to sing loud here…hit the note with air, then everyone build

Goody Goody  

• needs the delivery sound change to get the next level…. get the attitude in and have fun!

• unison ‘ah’ pitch

• make your voice reflect the move on “hooray and halleluiah” (burst on ‘reh’ and continue with the Baptist move….don’t bring hands down until ‘cause now’. (don’t do ‘thru ya’ move until vocal can support it… it’s not together)

• take a step to the side on the breath between pitch and “I’ll shout”… burst the bubble!

• BUILD/LIFT/SWELL both “YA’s” on “halleluiah” and “through ya” for MORE POINTS! (takes stamina) (especially the halleluiah – that’s the one that tends to drop off)….. put a pause in after ya..

• front row come out to judges (I’ll shout hooray…. Maureen/Judy peak around Ruth at “through ya”)

• everyone put childlike tone and face into echo of “you little rascal you”, make the pouty face!

• keep together on your attacks starting at chorus….

• have more fun throughout song/be sassy – have FUN! starting at “so you met…….”…. use your microphone, be in that karaoke/jazz bar!! (we’re ready for the fun factor… we’ve worked our form and it’s good, now we have to have fun and show that!)

• every time you sing “goody goody” sing it like a big buxom lady!

• and she “broke” – dirty up “broke” (more “umpf”)

• “and now (breath) how do you feel” – lift then drop off the “now”

• basses echo of ‘how do you do’….. make it more a pouty staccato as opposed to full

• sing the stomp “hooray and halleluiah” like a ballad – put more “sultry” in your voice (you’re already on his lap, so you don’t have to work)…. need more lift on ‘ia’ (of halleluiah) don’t let it drop off!

• sing the “howdy-do…..do-ya” (put the sexiness into this… tease – it’s not the howdy do-ya puppet show!)…..do-do him twice! (baritones, sing ‘ya’ with puckered lips!…. reign it in)

• “hooray and halleluiah, now who’s gonna howdy-do, do-ya” - keep the whole phrase in the pouty ‘oo’ space… don’t move it!  (catch a raindrop on the bottom lip – some people have too tight an upper lip)

• make the move on “you never should’ve lied” higher at your shoulders, instead of at your waist (you’re a little kid at a table, so it’s higher)… and keep your hands moving…… angle body for echo move of “run and hide”

• finish the word “hide”

• don’t pull your upper lip down over your teeth on any vowel… it takes the ring out of the chord.

Chris’ thoughts……

don’t put your music away - ever…. bring it out before every performance (it’s amazing what leaves!)….

remember…..it’s all about the director and the next Tuesday…. we want to keep her to keep wanting to come back the following week

You’ve got to get what you want out of it and not wait for someone to buy you a drink… buy your own drink or ask someone for it……make sure you get what you have control over.

Aristotle said… it’s the mind in the morning, the body in the afternoon and the spirit at night….

START visualizing the plan NOW (warm-up rooms, through the pattern, on-stage….)

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