Download PDF by Amy Lee of Evanescence: Amy Lee (Evanescence) - You (sheet music)

By Amy Lee of Evanescence

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Extra info for Amy Lee (Evanescence) - You (sheet music)

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The field has changed so much since my time. In the sixties, we were separated into two categories in auditions: dancers who sang or singers who danced. If you were lucky, you got to sing sixteen bars of an uptempo and possibly a ballad. ” and the gold standard for belting was sounding like Ethel Merman. Today, you may be singing Millie in Thoroughly Modern Millie one day and Maria in West Side Story the next. Besides this, we have a new generation of composers who mix styles that are extremely demanding vocally.

There was almost no one who could talk about non-classical singing as a serious topic, one worthy of serious study and examination as a pedagogical discipline, and on its own terms, not as something that was “lesser than” classical singing. That’s less true now. There are several people who are recognized nationally or internationally and who share my beliefs, although not necessarily my approaches. Another thing that fuels me in terms of why I teach what I teach, and the way I teach, is that I truly love singing myself.

It’s good to be able to say, “Ah, I didn’t think of that,” or “I didn’t expect that sound to show up. Now, we can use this,” and it could change things in a significant way. Does movement or movement-based training play a role in your teaching? Yes, but I don’t generally do anything much with movement in the lesson myself. I encourage students to go and see practitioners, and I do refer Chapter 04 4/30/07 42 6:42 AM Page 42 pa r t 1 people to specific practitioners or methods of all kinds. I have lots of dance training in my background (more than twenty years total in all kinds of styles), I’m very connected to how I move, and I’ve done a lot of bodywork, but I never wanted to teach any of it.

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Amy Lee (Evanescence) - You (sheet music) by Amy Lee of Evanescence

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