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Fun with new sheet music

Yes, this is me still not finishing my Stargate post. Deal. ;-)

Okay, y'know how I said the last note of "I'm Not That Girl" is the lowest pitch I'm physically capable of producing? What I didn't realize is that it's a note I didn't know I could produce. Last I checked? I did NOT possess an E below middle C. Last I checked, I could touch an F (the pitch of both "curl" and "pearl" in this song, on which I can get a fairly audible clean tone with vibrato) about 75% of the time.

Holy. Crap.

(This would be why I'm generally glad to learn things by sound first, even though it means I have to be careful not to absorb somebody else's stylistic input. If I'd seen this before I sang it by sound, I would have completely psyched myself out of it.)

"Defying Gravity" will take a bit of practice before I'm comfortable handing the accompaniment to Dan and doing it in front of people, just because of the restructuring to leave out the "Glinda, come with me" section and still have it make sense. It's a good solution -- the "unlimited" bridge borrows more of the same lyrics from the one in "The Wizard and I" instead of talking about being a team, and then transitions back with "I swear someday I'll be...up in the sky, defying gravity..." Makes perfect sense, but will take some getting used to.

Linda Eder book is good, although I wish they'd stop publishing her stuff in arrangements that cut out the showoff sections. ;-) "Vienna" is published without the big instrumental bridge and key-changed repeat; it's still a good song without them, but not the big sweep-you-away dramatic build that I fell in love with on her first album. Same thing with the arrangement they did for her of "I Don Quixote," which is just too fun to sing along with on the album and float the little coloratura bit before launching back into full belt for the last chorus. As published it just finishes after the second chorus. But it is still in the good woman's-belt-voice key -- as originally written, it's too low for most women to do in the tenor key, and too high to belt if you take it up the octave. And it really cries out to be belted. Plus this arrangement is structured as a solo so you don't have to work around the Sancho bits. Will probably do it tomorrow night.

Will definitely do "The Wizard and I" tomorrow night, although the planned back-to-back of that and "Over The Rainbow" will have to wait -- I only have a copy one of my summer stock roomies gave me, and she didn't notice that the ends of most of the lines have a full beat cut off, as well as the bottom of the lowest bass clef on a couple pages. Putting that in front of any pianist would earn me gobs of Really Bad Accompaniment Karma, and I like Dan too much to do that to him anyway. Even if it were a clean copy, I don't much care for the key -- I can sing it, but it's more sopranoey than I prefer for that song. I don't think it's a full octave up from where Judy Garland did it (although she did it pretty darn low), but I'm betting it's up a fifth. Down a third from where this is would be ideal. Hopefully I can find that somewhere, and have the opening verse ("When all the world is a hopeless jumble...") with it too. Hardly anyone ever does it (it's not in the movie, and to my knowledge Judy never did it), and I just think it's lovely.

"The Girl in 14G" is going to take a while to learn (unless I go ahead and buy Kristin's album and cheat with that), but it's going to be FUN. :-D The jazzy mock-scat bits are going to be the hardest, as that's not a style I've done much, and when I have played around with it, I was actually improvising. I've never tried to do something like that while reading specific notes before. Once I learn it well enough, of course, I'll be able to riff on it a bit, which I think is kinda the point, but it's going to take a little while to learn those notes first. Shifting gears from one "character" to another is easier than I expected it to be -- it's only tricky in a couple of places, and of course those involve the scat bits that I don't quite get. The swing belt and opera bits are mostly pretty easy, although there a few odd little intervals that will need to be drilled a fair amount -- they're not discordant, but they're not where one would "naturally" expect to go from the note before. As I guessed from listening to Tess do it last week, the little Queen of the Night bit is a third down from where Mozart intended, which means (a) it only goes to a D, so it's a little less work, but (b) it feels WEIRD because I'm used to singing that same phrase in a key where it goes to an F! (Always think of Beverly Sills' opinion of the Queen of the Night, which is, um, not her favorite: "The role consists of five high Fs. If you hit them all cleanly, you're a resounding success. If you don't, it doesn't matter what else you do.") And I completely missed last week that one of Opera Girl's bits near the end isn't an opera quote at all, but Swan Lake! It is definitely a number for the singer to show off with, and the geeks in the audience to giggle at.

When I have it ready to do at Gentry, I'll try to do it on a night when Tess isn't there. Because I'm pretty darn sure I'll do it better. ;->

Comments

( 2 comments — Leave a comment )
(Deleted comment)
wiliqueen
Jul. 20th, 2004 10:44 am (UTC)
Jealous of Gentry's. Wish I had a place to go sing like that.

There might be, you never know. Check around. (Possibly helpful hint: Gentry is very much a gay community thing.)

Five. High. Fs? *keels over, dead* I think the highest I've ever managed is the high E of Christine's part in Phantom. And there, all you had to do was sing "Ahhhhh".

That's all the QotN ones are, plus they're staccato eighth notes. (It's the bit they transition into in Amadeus from the mother-in-law screaming at him.) Most coloratura stuff doesn't expect you to actually hold anything over a C, and certainly doesn't have actual lyrics up there.

QotN is actually pretty easy because of the way it's structured -- a little string of popcorn staccato notes, and you basically pop right up the chord progression (let's hear it for Mozart and his instinctive math brain), and you're there.

I've told you the first time I sustained that E clearly was accidentally, on the Demon Drop, haven't I? Jack heard it from fifty feet away at Cedar Point and knew we'd be the next people coming off the ride...

Must get back into singing. Must, must, must.

I should send you a copy of 14G. Kristin is way more your celebrity twin than mine.
( 2 comments — Leave a comment )

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