#I will be singing the alto/sop harmonies but i need more than just my voice

[severevoiddragon]

Made a song for my fantasy wip :D Quite proud of it tbh

I rlly wanna put the singing to it as well, can you DM me/reply to this post if you can sing & wanna be involved? :O This will just be for a demo, if I commit to making this a full musical, I'll do separate casting calls n stuff (but I'm not committing rn, I just wanna see the song with singing and I can't sing everything-)

More info under the cut if you're interested :D

* NOT AN APRIL FOOLS THING I JUST HAPPENED TO POST TODAY /gen

I'll need:

A few sopranos (Range: D4-G5, doesn't matter if you can't hit all of that range)

1 Alto (Range: G3-B4, sings solo)

A few altos (Range: B3-C5, doesn't matter if you can't hit all of that range)*

A few tenors (Range: C3-D4, doesn't matter if you can't hit all of that range)*

A few basses (Range: G2-G3, doesn't matter if you can't hit all of that range)*

*: Also may have a few solos/spoken lines if you're interested!

I deliberately made them all roughly an octave, with the notable exception of the sopranos, but then again it's sopranos so...

I'll send lyrics and guide tracks if you are interested, also if you want to take over the role of the Alto/Tenor solo, I may ask you to record a harmony for the other lines (probably the alto line?) Gender doesn't matter for any of this, it's just what your voice sounds like :D

I don't have enough friends who ik can sing, so I'm asking random people on Tumblr xD

[asmolbirb]

A semi-comprehensive list of sexy moments in Love Run (2019) by The Amazing Devil

In honor of them hopefully releasing their new album today, I listened to their first album for the seven thousandth time and wrote down every moment that made my soul sing. I will not be talking (much) about lyrics here because I simply do not have the space to do so!

Love Run (Intro)

When Madeleine joins Joey on “love’s worth running to” and her voice goes up when his goes down. Ya bitch loves contrasting vocal harmonies!

The buildup of the “ahhh”

The quiet amalgam of lyrics from other tracks underlying the “ahhh” in the focus

King

The fact that King is in triple time is already Supremely Sexy

When Joey joins Madeleine on “let the seabirds cry” and the percussion drops out so it’s just vocals and guitar

How breathy Joey’s voice gets at “burning there”

The rhythmic buildup of the percussion under the second set of “let the seabirds cry”

“Every unwanted daughter” is just. Yeah.

Madeleine’s vocalizations under Joey’s “I’ll keep the king”s at the end of the song

Pruning Shears

Can I say “the whole song”? No? Fuck, okay, here we go

The percussive sound of the first verse, made all the more sexy because Joey has a tendency to close to consonants really quickly

(Also in the live version, the way Joey says “car is so kitch”)

The way Madeleine’s lines have overlapping syllables with Joey’s!! This is an Amazing Devil constant but it still FUCKS ME UP

How Madeleine’s line is actually lower than Joey’s at “had it all planned” emphasizing that this line/experience is from Joey’s POV whereas her verses are higher than Joey’s suggesting that her verses are her own POV

The vocalization under the second half of the final chorus !

The “whoa oh whoa oh” after the final chorus !!!

The percussive sound of Joey’s final “in the back” hhhh

Shower Day

Joey and Madeleine’s unison for the entirety of the first verse and chorus really underscores the way they split into harmony afterward

Just. The bi/pan solidarity of the “you” character both “lov[ing] him” and “kiss[ing] her sister” (OR, if you interpret the song like I sometimes do, the closeted struggle of “know[ing] you should love him” but wanting to “[kiss] her”)

The syncopation (hemiolas specifically) at “we’ll wear our eyeliner” !!!! Fuck me up!! (Also the solidarity of the male POV character/Joey wearing eyeliner too! We need more men in eyeliner, this is the future liberals want)

THE REVERBERATING PERCUSSION THAT JOINS IN AT “WELL I’M LOOKING BACK” AND ALSO LITERALLY EVERYTHING THAT FOLLOWS. This whole portion of the song is full of so much heartache and desperation and emotion!!

The way Madeleine and Joey sing “For Christ’s sake just say something” in a round

The way Joey says his S’s in the repeated “say something” section at the end

Elsa’s Song

Okay so the fact that this starts off a cappella is massively sexy

How every verse ends with “forget me not”

Everything about Madeleine’s harmony!! It’s the return of the contrasting vocal harmony but turned up to 11. If I listed out every sexy piece of contrasting harmony I would simply have to list out the whole song

The introduction of the rhythmic percussion in the third verse

In general, how Madeleine is really leaning into her sop range here! It’s such a lovely contrast to Joey’s baritone. It’s a treat to hear her sop range shine when she tends to stick to mezzo/alto lines.

Pray

How Madeleine closes to a hum on “mean” in “what holy men really mean”

How Joey echoes Madeleine in the second verse

(How Madeleine ad libs the repeated “I won’t, I won’t pray for” section in the live version)

Madeleine’s ad libbed vocalization directly after the “I won’t, I won’t pray for” section. Heart eyes motherfucker

The repeated “oh oh oh” under Madeleine starting at “why you cannot sleep for sighing”

The harmonic buildup of all the background vocalizations under Madeleine’s final chorus. Like every new measure adds another layer of harmony and it’s just SO SEXY

Little Miss Why So

Suddenly I can’t see through the fucking waterfall taking up residence on my face

This is such a poignant description of depression and how difficult it is to explain to people who don’t get it

The part that fucks me up the most is the accelerated repetition of “it’s so boring” that releases into the a tempo “etc”, simultaneously emphasizing the lover’s frustration and encapsulating the narrator’s apathy. The buildup and release of tension is exquisite.

Also every time Joey joins in is just....incredible. The desperation of “For Christ’s sake, just say something” kills me every time.

But I can’t really in good conscience call anything in this song sexy because it’s all so...gentle and it just hits home so hard

So. Moving on

New York Torch Song

DID U MEAN. MY LIFEBLOOD.

The “fuck you”s both at the beginning and in the bridge

The slide on “tomorrow” in the intro right before the percussion kicks in

Joey’s “bright with every hum, ah-ah”

Joey’s humming under Madeleine’s “watch the fire” in the choruses

How the section starting with “god or devil” speeds up and adds more percussive complexity

The way Joey closes to the consonants when he sings “from within this”. It’s so delightfully sibilant !

How Madeleine laughs as she says “can’t we just talk about this”

The way Joey says “tippy toe tin rooftops” hnnnng it’s already a sexy lyric because of the alliteration but he makes it so much more percussive

THE WAY JOEY FLIPS UP ON “LIGHT” IN “TRICK OF THE LIGHT”. THE WAY HE HAS TO GO INTO HIS HEAD VOICE. THIS WHOLE POST IS SIMPLY AN EXCUSE TO DIE OVER THIS WORD. 

Two Minutes

The fact that it’s a live recording and not a studio recording and there are all these little noises and echoes in the background

Madeleine harmonizing with words that are just barely intelligible, right up until she finally sings “I can hear the children calling,” is so damn haunting

The moment when the piano picks up !!! 

Not Yet / Love Run (Reprise)

Buckle in kids !!! This song is 8 minutes long and every second is sexy!

The contrast between the gentleness of Joey’s voice and the almost anthemic determination of Madeleine’s voice in the verses, plus the alternation between acoustic guitar and heavy percussion

Madeleine’s “seams” vs Joey’s “seems”, Madeleine’s “hell” vs Joey’s “I held”, Madeleine’s “she’d howl” vs Joey’s “she’d hold”

Just. Everything about the Not Yet chorus. It makes me so fucking tender

Especially Joey’s diphthong in “pirates”; he closes to the long i sound almost instantly and it w r e c k s me

The way Joey says “everyone knows sex is better when you’re unemployed,” especially in the bridge right before the breakdown

(The way Joey says “you can’t dance for shit” in the live version)

The way Madeleine basically growls “Where is God, ma / Where’s the vodka”

The harmonies under the bridge right before the breakdown

The fact that Madeleine sings Love Run (Reprise) when Joey sang Love Run (Intro)!!! Inversion bitchesss

Joey’s entire verse in Love Run (Reprise) hhhhh -- it’s just rife with all his little vocal tics that make me absolutely feral

The vocalizations beneath the main track that start at Joey’s verse and continue through the end of the song

The tradeoff of “love run” between Joey and Madeleine

Madeleine’s “all that matters is that you’re here, all that matters” is so haunting and beautiful and sexy

The brief moment of acoustic respite at the start of the third verse

THE SHOUTED/GROWLED “RUN”S UNDER THE SECOND AND THIRD CHORUSES AAAAA

In conclusion:

This post was brought to you by a bisexual disaster who is an Amazing Devil stan first and a functional human second

I’m almost definitely missing some moments because I only listened to the album like twice while I made this post so please feel free to add your own sexy moments 

Please, Joey and Madeleine, for the love of god release The Horror and The Wild, I am starving--

[rosaharrisonlma32]

Beautiful

Due to unfortunate circumstances I was not able to attend the first week of rehearsals in which we were blocking ‘Beautiful’. Jessie stepped in for me and learnt Martha’s part so she could teach it to me and I could catch up. I found that being a week behind people was difficult at first but once I practiced over and over outside of uni it became a muscle memory and I was soon on track with everyone else.

We started harmonies for the opening number ‘Beautiful’. I helped suggesting a note to our tutor that was a third above Veronica’s, and I was then asked to move from the Alto group to the Soprano group for this number as they needed one more person to create a stronger sound. I found it difficult at first adjusting to the sopranos line at first as I had just learnt the Alto’s, but with a bit of practice and repetition I was back on track with the Sop’s group. The musicality in Beautiful is very staccato and accented with many spoken parts also. This changes as the Heather’s enter and it becomes more legato and dramatic. The humanistic theory behind this number is a combination of direct & strong fight effort at the beginning and as the Heather’s enter it becomes a more light and sustained indulging effort. We use Humanistic Theory to help us make decisions about the songs we sing and how we want them to sound and come across, through emotion, acting through song and different styles of the voice. 

The choreography for beautiful is similar to the style of the music itself. Dramatic staccato movement and lots of freeze frames, it is crucial to remember where and when the freeze-frames happen and to create movement big enough to catch the attention of the audience. Without properly portraying your individual characters the whole number does not work, as it is set in a High School and the audience really need to see the story behind it and that can only come to life through every single character and their actions. It is a fast paced dance that needs the acting to keep the energy up as many of the movements are small yet significant. I only come in half way through the number, as my character Martha is introduced to the audience, I have to be frozen still in a position leaning over with my hand out straight, I have to make sure that I use my core muscles to stay frozen as coming out of it can really ruin the effect of the freeze frames and the number in general. During my short scene with Veronica my facial expressions are wide and smiley and my body language is relaxed I move around freely and confidently as I am with my best friend making plans for a movie night. As Ram and Kurt approach whilst shouting my name, I swiftly change my body language into shoulders hunches, leaning forwards, arms to chest and feet pointing inwards stance. This is the first but certainly not the last time we see Martha’s vulnerability and gives a glimpse into my character and her shy, self conscious and scared personality. If I portray this correctly I will be able to have the audience engage with my character and feel for her which straight away is exactly what we want as a cast as it helps them then engage with more characters.

My first part of choreography in this number is the Heathers’ entrance and Veronica’s entrance at the end with the Heathers, I join in then in creating a tunnel for them to walk in. It is important that we are all lined up correctly behind each other as one person out of place can ruin the whole look of the tunnel, and it is an iconic moment in the show where we are first introduced to the Heathers. A note that I was given is to make sure while I am holding my arms up that I keep my fingers apart and stretched out, and my arm needs to be strong enough to not be knocked down. I was also given a note to remember that as we turn and in out of tunnel it is key to remember to bend knees and go low before turning in and out again. 

There is another small section of choreography at the very end when Veronica comes out as her new self, and our tutors note to the class was to look ecstatic  for Veronica because the Heathers have finally accepted a ‘normal’ girl, however my specific character would not be happy because she has intact lost her only friend to the popular girls, so while everyone else is dancing and celebrating, I am pretending to have fun and fit in but also obviously not happy about losing Veronica. The choreo in the end was taken from a section of a dance that we have been doing in our skills classes, therefore I found it easier to pick up as we had learnt it before but slightly different. It is so important in this number more than any other to focus on face and character whilst dancing the whole time because otherwise the moves mean nothing.