American Idol Vocal Masterclass: Top of the Class

Well, here we are at the end of the road. I received many urgent requests via e-mail for this final critique of Ruben and Clay as well as further requests for my opinions re Kelly Clarkson and Justin Guarini. I will provide the latter at a later date; my focus, for now, will remain on Clay and Ruben.

Many people wrote to ask me if I agreed with the outcome of American Idol 2. Well, yes and no. I do agree that the two most talented singers were our two finalists; however, from a music educator's/voice coach's perspective, I really felt that Clay deserved to be the winner this year. He exhibited all the qualities that I look for in a performer - intelligence, charisma, authenticity, perseverance, sense of humor, and, of course, stellar talent. He added new meaning to the term "grace under fire" - always displaying an optimistic and cooperative persona in the face of criticism - and he had his share.

On the other hand, Ruben possesses a genuine and sincere personality that automatically endears him to his audience and has a relaxed, natural pop style that can be further developed and nurtured through the opportunities that lie ahead. Even though he was obviously exhausted toward the end of this competition, he still remained true to his art and to his audience - striving to achieve and entertain through passionate and fervent vocal performances. Very commendable, indeed.

As Simon Cowell stated: the real battle has just begun - on the record charts. I feel that both will have very good careers. Clay's crossover appeal will open up many doors for him; this is only the tip of Clay's musical iceberg. Ruben, on the other hand, armed with his song-writing skills and natural, unique vocal talent and style, will be a solid fixture on the music scene for an equally long time.

So - congratulations to both! Ruben and Clay - you can go to head of the class - but not before you read my Masterclass Critique of the Finale and promise that you will heed some of this advice. Enjoy!

Please check out my article on vocal terminology, which I put together after people asked about some of the terms I was using.

Strengths: After his final performances, I feel that Clay's greatest overall strength - if I had to select one - is his impeccable attention to detail when performing his concert material. Regardless of whether the actual vocal performance is superb or less than stellar, what Clay brings to each and every performance is his skilled professionalism when preparing and performing a song. It really is a very difficult quality to master and, yet, it is the most important one that a singer must learn to cultivate early on in his/her career. The audience will most often forgive the odd memory slip or pitch problem; what most people will not tolerate is sloppiness or carelessness during the course of a performance or concert. Clay certainly has proven, over the course of the last few months, that he is capable and committed to achieving the very best in his vocal performances. Each song has been meticulously rehearsed, every nuance acknowledged, every stage movement carefully planned.

His first song, "This Is The Night," had me mesmerized. Clay's expert delivery of this very difficult song combined with his always "in the moment" stage presence was exceptional. In addition, the beautiful nuances within this song - the soft, hushed tones in contrast to his strong, richer ones - were absolutely beautiful. He handled the key transitions brilliantly and with perfect pitch and used his characteristic "knee bending" to open up the vocal resonators in the stronger and higher sections of this song.

In Paul McCartney's "Here, There and Everywhere," Clay was able to showcase the rich, resonant baritone part of his range. Boy, I would like to hear more of this part of his range - it resonates naturally well in the vocal masque and has a "head tone ring" and clarity to it that is absolutely gorgeous.

Then, as if he could predict my thoughts, Clay turned the auditorium upside down and sideways with his stellar rendition of "Bridge Over Troubled Waters" - starring that rich baritone range once again and then featuring a very quickly revived and rejuvenated tenor range - and he sealed his superstar fate with a luminous and brilliant performance. It was a shining moment in Clay Aiken's career - a moment in time when everything that he had worked so hard to achieve in the last few months was finally realized.

Bravo, Clay - you are an exceptional and gifted young man and we have all learned lessons in humility, dedication, optimism and persistence by watching you develop and mature - many times in the face of adversity - before our eyes on national television.

Critique: Okay, this is the hard part, but, Clay, I am sure you have "grown accustomed to my jargon" and will use this critique as a vehicle for further improvement so that your voice can be managed more efficiently. Longevity in a singer's voice is vital and only technique can guarantee this attribute.

First of all, nerves were at a premium this evening - and so was its 'partner in crime,' tension. You have to remember that "bel canto' approach - singing on the pure vowels within the words and avoiding those messy diphthongs that interfere with the beauty and clarity of the human voice. For instance, the word "fly" in "This Is The Night" should have been sustained as "flah" for as long as possible, followed by the rest of the diphthong (the "eye" part) when you were ready to enunciate the next word. You would have noticed and felt a remarkable openness in the throat, allowing for the diaphragmatic breathing muscles to manage the air necessary to vibrate your vocal cords.

Shallow breathing pattern was an intermittent problem during the course of the evening and it was most evidenced during the "Here, There and Everywhere" number. Those shoulders were moving up and down; you have to breathe into the back and allow your rib cage to expand to its full capacity.

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