also 'it's the one that we sing' okay lauren which one you sing all your songs every time so

anonymous asked:

It seems like you know a lot about singing. Why do you think people say that H4rmony cannot sing? How can they improve? Dinah is always out of breath

H4rmony cannot sing?

People who say this are either haters or they just don’t know anything about music. I wouldn’t trust anybody that does not know how to clap hands on beat or know the difference between two notes on the keyboard!

WARNING: If I say that one of them needs to improve somewhere it does not mean that they are not already great singers! Also, I don’t want to get too technical because 1) that would be too technical; 2) even if I’ve been singing my whole life - not as a pro because I’ve never been interested but definitely in front of hundreds of people - and I have learned so many things from my vocal coaches, I am not a vocal expert. I can only speak as someone who has a trained ear.

I think that out of all the girls, Dinah has a different style of singing. She sings with that beautiful airy voice that Mariah Carey or Leona Lewis have. It’s called “open velaport” and it happens when you let air through - or before - your tone. You can hear this in Dinah’s part in

  • Better Together, “Now that you’re gone, and I sleep alone / I can’t help, I want you back cause I
  • Dope, her first verse (sorry I don’t know the lyrics, I don’t like this song that much :/)

It is unique but not everybody does it well. Dinah can get even more control with this technique. Her transitions from chest voice to falsettos used to be flawless. When you stop using certain parts of your voice, they became more rough. So she could work on her transitions again because they are something special. She has a powerful voice and a beautiful tone. She can really belt and still sounds good while doing it. She has a solid head voice. I think that she could master the way she growls so that she could do it more often. You can hear that in Gonna Get BetterI just want your love oh oh”. She was almost there in the last chorus right after the bridge in Who are you, when she sings literally “Who are you”, or even during the bridge “can make you feel so right, then bring you so much (pain?)”. Growling is really hard so Dinah is pretty much awesome for attempting it. Now, it’s true that she has some issues with breath control. I went to their concert in Paris last October and Dinah truly has the time of her life on stage. She has fun and it shows. Don’t get me wrong, Normani does engage with the public and slays every dance move. But Normani knows how to stay focused! Dinah can get carried away by her energy and the audience; that’s why she forgets how to breathe. But I promise you that it doesn’t sound as bad live than it sounds on TV. She just needs a good balance. But I won’t complain too much because she gives a good show. Some people say that she has asthma and that could also explain it. But singing on a treadmill will help her a lot.

Ally’s voice was made for Broadway. Ally sings perfectly. Her style of singing is free of unnecessary theatrics like adding runs at every corner of the song. Yet she is more able to do runs while she’s in her upper register and head voice. She has a beautiful and clear voice. It’s airy but it has some strong darker undertones. It’s dramatic and it has that spanish influence to it (it’s even funny how she sings with an accent but does not have one qhen she speaks). She has a strong upper register; she’s able to stay right up there and still sound good. That’s the register she’s more comfortable with and that’s why she tends to get to the other octave to sing. When you can’t change the arrangement of a song, every singer knows this trick: you just look for the same note in the upper octave. The way she sings “Can’t have my number put that phone away / Maybe you should just stay in your lane” in some lives of We Know is quite impressive. Ally knows how to do this and is successful most of the time because she knows that she does not sound as good in her lower register. So she can either improve on her lower register OR she can keep on mastering her breathy tone. In the live acoustic version of Worth it she does it very well “Uh huh see me in the spot like, “Ooh I love your style” / Uh huh show me what you got, Now come and make it worth my while”. She does it very well so it could be good if she was able to sing more in that tone, it suits her voice. She has a gorgeous head voice that she does not control at times. She can also be out of breath and when it comes to her, I don’t know if I care that much. She really tries with the dancing so asking her not to be out of breath while she sings is just being mean for no reason. I think that while Dinah’s voice is most versatile, I think that Ally’s persona is more versatile. It means that she can get into character in an instant and her voice will be able to convey that.

Normani is the one that has the most improved over the years. She is truly the example that hard work pays off. She has a soft voice, that sounds really soothing at times. Her voice makes me think of being in a boudoir. It is sexy in its own way and it requires silence to truly appreciate it. She has found her voice thanks to vocal training. She does not have a powerful voice like the other girls and that’s okay. She has the soft voice of Solange Knowles or Jhene Aiko. Her voice is interesting in the sense that she has a beautiful lower register (when she controls it), nice falsettos, sometimes a nice head voice and even a whistle register… but nothing in between. She does not have a solid middle and no upper register in her chest voice. She can reach a higher note but she does not sound good while doing it. And in my opinion that’s okay! We have enough voices that can belt so we can also appreciate those who sound better when they don’t belt. So I think that Normani can improve on what she has learned over the years: her lower register, her falsettos and maybe a better pronunciation (if you want to be picky). I think that with better control of her vibrato in the low notes, she’ll have a true solid low register. In some of her live version of Better Together, you can hear her vibrato is in “Baby I’m a-looking back now / And I really should’ve worked it out / Yeah, I really should’ve worked it out”. A vibrato is beautiful when controlled. She is also good at doing runs but again, sometimes they go off key because of a lack of control. Normani can sing! Their performance on Like I’m gonna lose you may be her best live ever! This is proof that this girl sounds incredibly good in her lower register and falsetto. Some people want Normani to whistle more but that thing is unpredictable! It may come out right, or fail you at the worst time ever. However she can keep practicing because once you stop… Let’s say that it’s been quite a few years since I was been able to whistle. Last thing, in my opinion, Lauren and Normani are the ones who run the less out of breath during their performances which is funny, because Normani dances her a$$ off; while Lauren does not dance with that much energy.

Lauren’s voice might be my favorite voice next to Dinah. I think that because they have such a strong voice, with amazing abilities, their vocal failures are more noticeable. It happens with the best singers. It’s really frustrating but that’s what vocal training is for. When somewhere along the way they stopped giving Lauren bigger parts in Fifth Harmony’s songs, she should have kept with the vocal lessons. I think that this has made her lose confidence in herself. I can tell that at times she does not even like the sound of her voice (We’ve all been there at some point). In Like I’m gonna lose you, she’s nervous as hell, she barely remembers how to breathe. When she finishes her part you can tell that she is relieved and seeks validation from Dinah. In different occasions when asked to sing, she either refrains from singing, or apologizes or looks sorry for the way it sounds. Why girl? You have a unique and beautiful voice: it’s husky, raspy, soulful, strong and round! You can hear Lauren even with a cheap microphone. She has a speaking voice that carries so it is really easy to hear her when she sings. When I think of Lauren, I think that her voice was made for Gospel. Go back to her live performances of Let it be, Silent Night, All I want for Christmas is you… Her voice immediately commands attention and fills the room. Not everyone has that. She is capable of melismas and I can’t think of any of the other girls doing that. Her first solo on Impossible at the Judge’s house was full of that. She can reach for big notes in her sleep. She used to have a beautiful airy voice/open velaport like Dinah. Actually even more controlled and precise than Dinah. You can hear that in their live rendition of Have yourself a merry little Christmas,Here we are, as in olden days / Happy golden days of yore / Faithful friends who are dear to us / Gather near to us once more”. Ally struggles a bit in that technique, Dinah gets better at it but Lauren used to be the best at it. She has lost it because of a lack of practice and a lack of confidence. I said this elsewhere but this girl has a strong and deep low register and she knows how to stay on key! In the acoustic live version of Brave, Honest, Beautiful she sings “I said you’re beautiful uh uh uh…” adding melismas while going very low. In some live performances of this song, she does not go all the way because for some reason she holds back! But in Paris and in another city (I can’t remember which one), she goes all the way down with no fear and let me tell that it is impressive! I don’t even have to talk about the way she sings the chorus in We Know, (”Yeah we”). It takes knowledge and incredible vocal abilities to be able to do that. Lauren has an amazing voice as it is, but she needs vocal training to get every tricks that she has lost other the years back. Her voice needs to go back to that muscle memory. She needs to find confidence in her voice. She needs to let her voice do whatever it wants to do. She holds back a lot when she is capable of so much! Her voice is not damaged! She just needs to train and take care of it. The strongest voices are most of the time more fragile (I’m talking to you too Dinah). She’s still young, she can get all of it back in no time.

I tried to be as brief and clear as possible. It’s still long. But I hope you’ve found some answers to your questions. I hope they will unleash the vocals on 5H3.


(from the january 3rd, 2015 show-will try to add more stuff if i remember it)

alexander hamilton

  • burr just walks out from downstage right and the show starts. like its so lowkey i love it.
  • more and more company members slowly appear on the sides to listen to burr
  • two dancers represent the deaths of hamilton’s mother and cousin (mother is lifted up into the air away from alex, cousin stands on a chair in center stage and mimics hanging himself) 
  • hamilton hands his white jacket to burr, gets a new jacket from eliza, a book from angelica, and a rucksack from laurens
  • everyone leans away from alex on “just you wait” and it’s very dramatic

aaron burr, sir

  • if i remember this correctly this would be really cool: before hamilton starts talking to burr, burr is conversing with a man who is wearing a black cloak and hat, which is an outfit very similar to what is worn during duels
  • hamilton is like an excited little kid lost in new york when he runs into aaron burr 
  • the bar scene is so well constructed. like the trio is rapping and beatboxing but there are other little conversations and scenes done by the ensemble members during the song.

my shot

  • burr hands shots to the four other men when he interrupts, and the four drink on “shot”
  • mulligan shows off his pants to the audience after “i think your pants look hot”
  • during the bridge, the ensemble and the four guys appear to go out on the streets and bang on windows, waking people on the second level up
  • angelica, eliza, and peggy are all watching from the second level and seem to enjoy it for the most part  

the story of tonight

  • they’re all super drunk, and then laurens steps away from the other three to say “raise a glass to freedom”, and the whole mood changes 
  • mulligan’s “tomorrow there’ll be more of us” was directed to the audience
  • hamilton and laurens walk off last, close together with their heads touching

the schuyler sisters

  • peggy is pushed out on stage first by angelica and eliza
  • burr walks on the turntable past angelica, but does a double take and turns back and confronts her 
  • i love watching peggy go from nervous to confident in one song

farmer refuted

  • takes place in the same location as the schuyler sisters
  • samuel seabury is standing on a box, reading his declaration
  • mulligan puts his arm around hamilton on “oh my god, tear this dude apart”
  • hamilton starts to cross over but burr pulls him back on “let him be”
  • while hamilton is talking around him, seabury moves the box to try and obstruct him
  • hamilton has to climb up on the box to fully argue with him. he gets pulled down by burr 
  • lafayette is the one that makes the dog sounds after hamilton throws the dog insult

you’ll be back

  • the walk
  • groff dropped his voice low during “everybody”, which made it a lot more threatening
  • he also moves his shoulders back and forth during the last “da-da-da-da-daaaa”
  • all the ensemble comes out to sing with king george (including burr), but laurens, lafayette, and mulligan don’t sing along and instead mock the people who are
  • burr is the last one to leave the stage after saluting king george; he stays and watches him through the end of the song

right hand man

  • two ensemble members come out and secretly pass a letter. a british soldier catches one of them and cuts their throat
  • everyone looks out toward the audience, worried, on “thirty-two thousand troops in new york harbor”
  • such a big buildup to introduce george washington and then he’s just so frustrated
  • the women are on the second level during this song, and they change positions and hide according to the course of the battle
  • the ensemble members leave the stage one by one to symbolize the soldiers leaving the army
  • washington is so done with burr

a winter’s ball

  • ham says “that’s true” out to the audience
  • no women on stage until “LADIES!” which is directed at carleigh as she walks on stage and she looks a little frightened and quickly walks away only to be danced around by the other soldiers
  • the “hey”s happen during a little shuffle line across the stage


  • both lafayette and washington try to dance with angelica
  • laurens and peggy dance and flirt with each other
  • peggy does a little dance when she gives hamilton’s letter to eliza, but angelica takes the letter and the envelope from them
  • after philip schuyler gives hamilton his blessing, he runs over to eliza and spins her around
  • when alex says “angelica tried to take a bite of me”, eliza looks offstage to confront angelica, but ham pulls her back and this prompts the “no stress”
  • there’s a small interlude during the song where eliza collects letters from every female ensemble member (which kind of foreshadows her saving the letters in burn)


  • the movements are exactly the same, but they are done while angelica is singing her verse
  • ham and angelica get very close during their conversation (like touching noses)
  • after “i have never been satisfied”, every other company member turns and makes a small hiss sound when alex kisses angelica’s hand 
  • during angelica’s second reason, a line of soldiers forms behind alex and through a canon pushes him towards eliza 
  • it pauses during “but when i fantasize at night”. eliza is downstage and hamilton is upstage and he kind of half looks back at angelica
  • the action moves back to the present right at “may you always be satisfied”

the story of tonight (reprise)

  • on the line “i’ve seen wonders great and small” laurens pats hamilton’s head
  • lots of sexual gestures because all of the men are drunk
  • laurens drapes himself over burr while railing on him about theodosia 

wait for it

  • no choreography at all. everyone just watches burr sing
  • when he begins talking about hamilton, he turns towards stage left and a yellow light shines

stay alive

  • ensemble member does this neat little gun thing before firing the bullet which i thought was cool
  • eliza is reading the letter hamilton is writing her on the second level
  • george washington is standing on the second level when he tells hamilton to have lafayette take the lead, so he doesn’t see hamilton’s reaction
  • hamilton gets really close to laurens when he says “do not throw away your shot” and laurens does the same thing in the preceding line

ten duel commandments

  • excellent use of the turntables
  • burr’s defeated “okay, so we’re doing this” 

meet me inside

  • hamilton hugs laurens after he shoots lee in the duel 
  • ham stands very still while washington yells at him and finally breaks at “call me son one more time”

that would be enough

  • hamilton puts his hands on eliza’s stomach twice-first at the beginning in disbelief, then at the end after she comforts him

guns and ships

  • when burr gets to “EVERYONE GIVE IT FOR AMERICA’S FAVORITE FIGHTING FRENCHMAN” he jumps up onto the railing on the second level
  • lafayette jumps about six feet in the air off the table during his verse
  • this whole song is an exercise in human athleticism
  • while george washington is singing about the contents of the letter, the company passes a letter around the second level until it reaches hamilton on the other side of the stage

history has its eyes on you

  • everyone is on stage looking at hamilton


  • there is a pause for applause during “immigrants: we get the job done”
  • the choreography on “it’s either that or meet the business end of a bayonet”
  • laurens does a fantastic little leap in on “and so the american experiment begins”
  • there is more applause after the (amazing) dance break 
  • during the dance break, lafayette, washington and laurens (i think) are all on the second level reloading and firing their guns
  • mulligan blows a kiss to the audience after his rap
  • burr and hamilton each acknowledge that the other is okay after the surrender
  • there’s a look of shock and a smile of relief on hamilton’s face while the company sings “the world turned upside down” 

what comes next

  • when king george sings “i’m so blue”, he slams his scepter on the ground and the light on him immediately turns from red to blue
  • the “awesome, wow” was delivered completely deadpan
  • after “you’re on your own”, he stands there at a loss for words and then just throws his arms up and walks offstage

dear theodosia

  • burr is sitting forward on his chair, super tense, while hamilton is leaning back and relaxed
  • burr crosses himself at one point during hamilton’s verse


  • angelica and alex walk arm and arm during the “i am sailing off to london” part. alex looks amused when she mentions her husband
  • angelica is pulled away from alex via the turntable, which also brings eliza around to ham 
  • eliza looks away on “would that be enough?”, kind of asking herself
  • during the federalist papers bit, three chairs are put on stage in a triangle. two are empty, the third one has hamilton in it facing upstage. the two empty ones are turned toward the audience on “john jay” and “james madison”
  • george washington is pulled out on a staircase during the all-skate
  • burr stands at the front of the staircase but moves out of the way when alex approaches him

what’d i miss

  • lots of applause when daveed returned as jefferson. he reacts to it in character 
  • shakes hands with a company member (who is playing his slave at this point) and wipes his hand on his jacket
  • he blows a kiss to a member of the audience 
  • hamilton literally pushes himself in between washington and jefferson to say “mr. jefferson, alexander hamilton”

cabinet battle #1

  • jefferson and hamilton turn to the audience and try to hype each side up as much as they can
  • the company members place their chair down in syncopation with “the issue on the table”
  • the mics are stored in a little wooden box
  • there’s a part where jefferson and some of the other company members pat/touch their head to symbolize the powdered wigs they would be wearing
  • jefferson drops the mic after his verse and madison catches it

take a break

  • philip is so annoyed with having to play the piano
  • eliza keeps gesturing to philip to keep going while she’s beatboxing
  • angelica is carrying a parasol while advising hamilton what to do in congress 
  • angelica and eliza do a little surprised scream when they see each other and run across the stage to hug each other 

say no to this

  • when maria walks in during burr’s opening lines, the turntable spins to look like she’s walking down the street
  • the “no”s are very aggressive 
  • there’s a huge pause after “so?” where hamilton takes money out of his coat, walks over, hands it to james reynolds, and then says “nobody needs to know”-all while maria is watching
  • maria follows james off, but stops and looks back at hamilton

the room where it happens

  • oh man oh man this song is so good. i still stand by this being the best song in the show.
  • the whole stage lights up for one second when congress is shouting
  • most of “when you got skin in the game” is addressed to the audience, ham doesn’t even bother to look at burr
  • he does turn to burr on wait for it, and burr backs away very frightened 
  • madison and jefferson’s conversation is revealed as taking place right up to when madison said “hamilton” previously 
  • the entire company joins in on the “what do you want, burr”, and burr looks scared, sort of like he’s in a nightmare 
  • ending lighting is the exact same as the ending lighting in wait for it

schuyler defeated

  • eliza and philip receive the news on the top level, while hamilton confronts burr on the lower level

cabinet battle #2

  • burr gets a seat in the senate 
  • jefferson puts the mic close to madison so he can say “france”
  • ham grabs the own top of his head to imitate king louis’ severed head
  • when washington comes back in to call for hamilton, he looks at jefferson and excuses himself  

washington on your side

  • madison pops in on “which i wrote”
  • all the dancers and tjeff, madison, and burr convene and point to one spot on the stage
  • jefferson writes his resignation and it gets handed to washington, which marks the transition into one last time

one last time

  • washington pours hamilton a drink; ham downs it in one gulp and pours himself another one
  • as washington delivers his farewell address, hamilton is standing with eliza and philip mouthing the words of the speech 
  • the males in the ensemble are all wearing hats and they each raise him in turn while washington is speaking 
  • chris jackson’s vocals are amazing in this. the spotlight is literally on him.

i know him

  • as washington walks off, king george walks on and looks at him looking confused as hell
  • groff makes air quotes around “country”
  • an ensemble member comes in to whisper the news about john adams in king george’s ear
  • groff crosses downstage right and the same ensemble member brings out a chair. he orders them to move it directly behind him so he can watch what happens. he stays on stage for most of the next few songs

the adams administration

  • king george dances in his chair at the beginning during burr’s introduction 
  • hamilton drops a book from the second level while the bleep sounds and red lights flash 

we know

  • tjeff does a little hand motion to tell madison to give him the receipts
  • jefferson runs over behind burr to read the letter on “whaaaat” 
  • jefferson’s “my god” is half truly taken-aback, half disappointed


  • maria is the only main character in the hurricane (madison is there but he’s carrying a table) 
  • when things start to move in slow motion, tjeff hands king george a chair. i don’t know why. i just found this amusing

the reynolds pamphlet

  • angelica reads the pamphlet at the beginning of the song on the top level. she disappears behind a pillar centerstage
  • tjeff just has so much fun during this number, he’s bouncing and dancing everywhere
  • jefferson pulls philip to the front of the stage and him, madison, and burr point out specific parts of the pamphlet to him (i believe it was during the line “most of of them at my own house”) 
  • maria stands behind ham for a little while, looking really disappointed and defeated
  • jefferson is equal parts shocked and delighted when angelica walks in
  • ham reaches out to grab angelica’s hand, but she pulls her hand away
  • angelica does not move while she holds her note on “satisfied”. just stands there and stares into alex’s face
  • washington is on the second level reading the reynolds pamphlet
  • king george comes down from his place on the balcony to join in on the fun
  • some company members throw giant clumps of pamphlets into the air
  • jefferson hands a copy of the pamphlet to alex, the conductor


  • eliza’s not alone for the whole time. some ensemble members stand to the side and listen in

blow us all away

  • philip comes out with a line of guys behind him and they do a couple cute little dance moves during the introduction and you think this will be a happy song but you are being deceived 
  • they actually put on a play while philip confronts george eacker, but it stops when the conversation escalates into an argument 
  • after he gets shot, philip is moved from standing to lying down on the table in one motion and is moved around the stage on the turntable during the first notes of stay alive 

stay alive (reprise)

  • philip’s voice breaks in pain during the song
  • eliza emits the most painful and agonized scream after she realizes philip has died
  • alex offers his hand but she pulls hers away

it’s quiet uptown

  • all the women are wearing black 
  • when eliza takes alex’s hand, he appears to tear up
  • when eliza and hamilton exit, the space they walk offstage is lit with an orange light 

the election of 1800

  • there’s so much applause after it’s quiet uptown that the ensemble doesn’t sing “the election of 1800″
  • madison is crying when he comes on
  • all the company members are lined up when they are talking about john adams and aaron burr. burr finds a space to pop in and do a little “yes” motion when he finds out they like him 
  • when burr says “i learned that from you”, he hands his campaign flyer to ham
  • burr freezes entirely after hamilton announces “jefferson has my vote”. he stares straight into the audience
  • jefferson’s deadpan “cause i’m the president”

your obedient servant

  • after hamilton’s “itemized list of thirty years of disagreements”, he hands a separate page to each ensemble member, who take it to burr
  • carleigh takes the last two and does a little dance over, but hesitates to give burr the last page until “a dot ham”
  • “weehawken, dawn. guns. drawn. you’re on” happens at the front of the stage with both characters facing the audience

best of wives and best of women

  • the simplest staging in the show
  • ham is writing his will and eliza comes up behind him and puts her hands on his shoulders 
  • she starts walking back to bed but hamilton catches her hand and sings “best of wives and best of women”

the world was wide enough

  • the actor who plays charles lee is the second to burr in his duel
  • during the line “near the same spot my son died, is that why-”, philip stands in all white to the left of hamilton. when ham realizes this, he moves to philip, who moves back before he can get there, like a ghost
  • most of the choreography is the same as “ten duel commandments”, but burr is adding his own commentary and opinion on it 
  • the company does the choreography of “my shot” during hamilton’s last verse
  • they put ham back up on the block he was on during “my shot”, but then the bullet pushes into his side and he gets more nervous and jumps off 
  • george washington is actually not on the second level, but on the first level. he takes his sword out and points up to laurens.
  • laurens/philip is on the second level, and anthony ramos takes a single step and completely changes his mannerisms to represent the two characters
  • the dancer that represented alex’s mother in the opening number is also standing on the second level
  • hamilton is halfway up the stairs when burr admits his fault, and he looks back at burr 
  • oak and groff are the other two people on the second level (for symmetry)
  • eliza is moved on the turntable to face alex, and when he talks to her his voice breaks. she walks away
  • “WAIT”

who lives, who dies, who tells your story

  • after presidents jefferson and madison deliver their thoughts on hamilton, they change out of their colored coats and into white ones 
  • there’s a small overlap between burr and eliza’s narration where burr is on the lower level, just standing there without any direction while eliza begins, but then he lets her take over
  • on the line “she is buried in trinity church near you”, angelica steps back from eliza with this pained look on her face and you can just see how much she loved alex 
  • the gasp

general things

  • i almost didn’t see the show! we got ripped off by the guy who sold us the tickets online, so we had to go try the cancellation line. luckily, we got tickets-and they were in a better spot than the original!
  • thayne jasperson returned today from his injury-it was great to see him as seabury
  • the dancing is absolutely fantastic
  • king george does the announcement to turn off cell phones
  • there’s a lot to watch on stage, both on the first and second levels. keep your eyes out; there’s lots of little details worked into the show