If I love again
and
Happy Days Lonely Nights
If l love again
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let the magic spin, feel it before you even breath
Onset - we want simultaneous!
o simultaneous –air and sound
o Glottal – sound then air (like ‘uh oh’)
o Aspirate – air then sound (try saying ‘hello’ breathily)
I often wonder why you came to me, brought such a flame to me, and let it die
o Kame with a hard K – emphasise the importance, energise the word
o Flame – energise the word. Focus on the F, quiet the ‘la’ and emphasis the ‘mmm’,
same for K-ay-mmm
o Cammeto me and flammmeto me
FL
MMM
ae
Leads: keep the line flowing forward, no bumps, air consistency
Bass: first line be very clean – place it in lower voice the whole time so it’s less jumpy. Speak
the word ‘die’ until you repeat it sung with the same relaxed way, use less effort
o Basses are underpinning the sound with the voice placement
o The first word ‘I’ is slightly under pitch, be relaxed and land on the note from above
o Keep the word ‘wonder’ in forward placement
Tenor, sing as one voice
All – keep the ‘ahh’ sound in ‘why’, turn the diphthong and keep it forward. It should be
smooth, move as little as possible
Keep ‘remaahynde – my heart’ soft, so the ‘d’ of mind isn’t hard.
*it’s you I’ll see – pull out the YOU not ‘I’ll’
*with every new love you’ll come back to me – you’re arriving on the emphasised words
It’s you I see
Bari – it’s you – reach for the you and land on top
Bass – speak ‘it’s you I’ll see’, don’t try to resonate ‘you’. Relax!
Lead and Bari – air on ‘you’ll I’ll see’, and softer for some bass loving
All – ‘I’ll see’ – say ‘ahh’ll see’, quick and tight, don’t linger on the word but get the
diphthong
*it’s you I’ll see must have loads of passion and expectation, followed by a ‘tension pause’,
hold it and savour the expectation
(Second page whooo!) 1st chorus
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If I love again – really relax that phrase (honest quality); warm and gentle
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Sing it quite gently, all the way through the phrase. It’s easy to get tension in the lower jaw
by the end of the sentence
Basses – say “if I love again” in a lower voice. Say the low notes with no effort.
o Add a bit more “woof” (Sara says, “great dane!”)
o feel the space all around, all the energy. Fill the space on both high and low notes
All – maintain the resonance all the way through the vowels, don’t interrupt the smooth line
Take the breath as if you’re saying the next word of the line
Add a little ‘tall’ into the softness, baritones especially
*If I love again, though it’s someone new, if I love aga-ain, it will still be you
Don’t anticipate the ‘all’ of still, and let the natural rhytm of the phrases play out
Second time we sing ‘If I love again’ make the I quicker and pull out the again.
More air at the end of the phrase ‘still be with you’ as we get quieter/diminuendo
*Quite quickly through onto ‘in someone else’s fond embrace’ – that means a very quick
breath!
I’ll close my eyes and see your face
Quickly on the ‘I’ll’ and bring light into ‘close my eyes’, make it personal, to yourself
Tenors – really light on ‘face’ to let the tune come through
Echo of ‘your face’ make sure it’s faaa-ceyour-face, no loose sss
Bass and Bari – really caress the echo of ‘your face’
*Bass – ‘embrace’ – don’t say ‘ce’ , to enable a pick up breath
Baritones hold the echo of “embrace” even more – be a lead there!
Leads – “opera” on “em-braaaaace”
*Bass – “I’ll close” – Sara directs a bass diminuendo after the ‘power sound start, then the
other 3 come in, very quietly + softly, with lots of support and a gentle fuff as directed
Breath points are part of the story- they help make it believable. The song is always moving
forward, and as you breath, think about the next line to be sung – it will shape your face,
your body, your breath and you will breath in the vocal place needed
All – draw them in, softer, airier, caress every word
Feel the emotion of the word sounds
Enjoy the music in the silence
Contrast is often with air and placement rather than simply volume
All – bring the forward momentum and tension at the end of close my eyes and see your
face, so we can pause and pull audience in, really feel the line
2nd chorus
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Soft start; keep the tension out “if I love again” – use the ‘nnn’ there and on ‘I’ll find other
charms’ pronounced ‘fin-dother’
“But I make believe” has the urgency back. Volume change in the second half of the phrase,
from “make believe”. Follow Sara! Pronounced ‘may-(k)believe’ . Aim for the k of make, but
don’t say it, it’s implied
Stronger on “my lips whisper, ‘I love you’”, then diminuendo. Use the ‘vvvv’ of love to keep
building strength, only diminish volume on ‘you’ when directed
Leads – reallg ring and ‘ping’ the word ‘lips’ – fat, not attack!
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Baritones – say ’lips’ together as a section a few times, and then sing it together. This
eliminates the differences between the way each person says the word – just have to
remember how to you all say it together
*my heart will not be true (quick ‘my’, get to the important word ‘heart)
As quiet as can be – make them come to you
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I’ll be loving you a-gain
Every time I love again
Tag
Happy Days Lonely Nights
Intro
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*Out on the town, lonely and sad
vvv first line, “Taah–wn”; pull it forward
then make sure on “lonely” to pull it forward in front of you
Keep the presence of strength on the 2nd line
Bass – don’t move placement “the”, “and” – woof not v!
ALL “Lonely ‘n’ sad” – don’t drop it back!
vvvv – lead / bari – forward placement, energised + depth
huh / boh – basses, practise talking like that, with section unity
pointy – tenor
“feeling so bad” – say it a few times for rhythm
Feeling ‘sah-ohh’ bad” – push the “oh” sound
Whop ‘em between the eyes in the intro!
Deliver the contrast between the 1st and 2nd lines!
Any “ah” vowel must be really fat and tall – hit the target vowel
“Ah–wt on the tah–wn” – make it fat
Energise “town”, “had” and “sad”; don’t cut them off
*“Worst I ever haa– / dwith the parting”
Dwith the parting
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Putting emphasis on the 3rd beat:
o From “DWith the parting” to “Oh these lonely nights”
o “Broke my heart a million ways when you took my happy days”
Baris – always energise the end of the lines, especially echoes
All - those lonely night – naah-iyts, and energise the ‘iyts’
Sara will direct the words she wants to emphasise
Keep the same volume ‘oh those lonely nights’ to ‘I feel your arms’ and change the contrast
through the each line, not hard/abrupt beginning and end of phrase
I feel your arms around me needs strength and quiet and smooth
HD section
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Every night I’m looking good
*this is a very quiet section, insistent and contained
treat this as a new song, it has a new rhythm
tenor – good and bad, check pitch, might be sharp
leads – million ways keep pushing forward
sound has to come from the whole head and travel forward on this section, quiet and
intense, ‘ooking goood’ give it a bit of opera
Basses don’t back off
Smooth the echo ‘for you for you’
Energise the ‘refuse’ oooh ooh ooh /Im singing the blues to build up power to the next line
and enable the bass pickup
Bass – Im singing the blues – loads of oomph and boh in the pickup. Check ‘yeah’ tuning
*wanting you back right now – yeah- looking good – get a clear space either side of ‘yeah’
and keep the ‘yeah’ sharp and tidy
*changed the hand move to a push and keep them up, then push down when moving into
the next ‘looking good’ section
I feel your arms around me – channel Marlene Dietrich! Use the deeper, sultrier tone (rather
than the coy cuteness as before) and keep it deep until ‘just cant forget’
Feel your arms ,your kisses linger
Tag
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Side parts keep moving when posting at the end until your turn to turn and do the
charleston to show there’s still more to come
Follow sara for the cos/hey/yeah begins so it’s a clear start of the word (try singing it as
kos/kay/keah to get the feel)
Energise, energise!
At the end, energise “Left me / you only / left me”