Gethsemane

[ronws]

Earlier today, I was youtubing Robert Lunte and found a vid of him and then another one of a student of his performing "Gethsemane" from "Jesus Christ, Superstar." I used to sing all parts of this opera for practice, back in the early 90's. I probably haven't done this song in about 10 years. But I was so inspired by their performances that I just had to try. I rehearsed the vocals to the store and back. Came home, took one practice run-through to remember the chords. The original sheet music I had started it out in the key of Eb(minor). So, the guitar is one take. The vocal track is a second take. And I still overload the mic. On the high notes, I have the mic 2 feet away from me and I still flattened the mic.

And thank you Robert Lunte for the inspiration of this song and your performance had so much emotion in addition to technical prowess.

[Jens]

good try ronws, this is one of my favourite songs. A tip I would give is work alot more on your expression and storytelling when singing a song like this, add that extra emotion.

this is the best "jesus" all time, get some inspiration from him on how he uses the words to express the feelings in this song.

[ronws]

Thanks for replying, Jens. I know my rendition was rough. I noticed other versions of this song where singers include more high parts and different emotional levels where I was going off the memory of Ted Neeley's original screen performance. I saw that movie when it first came out. And I had not sang this song in at least 10 years. But I will work on the expression.

I've noticed in myself that the more I relax in a song, the better my expression and intonation get. I may have stiffened up on this because I wanted to hit the right notes and have some decent overtones, which are not coming through in my recording, and I had not rehearsed it nearly long enough.

[Jens]

Well in a song like this(from a rockopera, written for the stage) it's very important that you sing from character as it really is half of the song. and that my friend is a whole science in it self, but one thing that helps is being verygood with pronouncing consonants, maintaining a flow to the lyrics so it feels like your moving forward in the song.

[Steve]

I reckon this was pretty good given how little time you had to practice it.

A strange analogy but is some ways this song seems a bit like a toddler's temper tantrum. The common features are being tired and grumpy at the start, finding a difference of will and rebelling with new found energy and then finally resignation.

[ronws]

I reckon this was pretty good given how little time you had to practice it.

A strange analogy but is some ways this song seems a bit like a toddler's temper tantrum. The common features are being tired and grumpy at the start, finding a difference of will and rebelling with new found energy and then finally resignation.

Steve, once again, you hit the nail on the head. How do you do that?

For me, especially as I remember Neeleys' movie performance, he had angry moments in there and the mood I got, (which may be mixed with my own view of religion, now and then) is that the principal character has some doubts, some anger at what may seem like a needless event, even some indignation that this sacrifice may fall upon deaf ears. At the end is resignation, with just a slight sarcasm, hence my attack on the word "cup". So, yes, I think my viewpoint informed my inflection and emotion. In the video Jens linked, the performer shows fear and instability of emotions quite well. A wonderful performance. However, I understood the feeling of the piece differently and I think a lot of that comes from Neeley's performance and my take on that, as well as the way I would think that I would feel had I been Jesus' sandals.

Even in times past, I have sang this song with somewhat of an angry tone, not for vocal effect to hit a certain note, but my interpretation of what is going on in the mind of the principal character. From what I remember of reading the Bible, Jesus was not a man who was afraid but he expressed love, and anger, at specific times.

So, yes, something of an angry child. Well done, Steve and thanks for providing your astounding insight.

[analog]

good try ronws, this is one of my favourite songs. A tip I would give is work alot more on your expression and storytelling when singing a song like this, add that extra emotion.

this is the best "jesus" all time, get some inspiration from him on how he uses the words to express the feelings in this song.

Jens...one of the best voices I've ever heard. Holy shit that dude's got tone for days!

ronws,

Hat's off to the accompaniment and vocals. Hell-a-tough song to tackle. Kudos brother.

[EDIT]

Sorry Ron...in the spirit of all your trivia, had to add this link(I'm off tonight and home alone and bored so...)

Here's the SAME GUY(Steve Balsamo) singing this pop crap. WARNING: head may explode if you just listened to his Gethsemane:

[Jens]

You know marcus form this forum actualy had some masterclass with his vocalcoach steve balsamos that is

That was when he went to studymusical theatre here in our city :P

[ronws]

Here's the SAME GUY(Steve Balsamo) singing this pop crap. WARNING: head may explode if you just listened to his Gethsemane:

I guess if I could survive "Sugar" by Def Leppard, I could survive Balsamo singing a song just for the ladies. Trivia and a dark secret for me - I like "I've got a Feeling" by the Black-eyed Peas for the use of harmony.

I liked Balsamo's version of "Gethsemane." And obviously, he's a success. He's the one singing it in a play, as well as appearing on Top of the Pops. Whereas, I am likely to appear in a ditch not too far from Steven (we live about 40 miles apart).

I just approach the song with a little more indignation and anger from my own perspective and remembering Neeley's film performance, which appears to be not all that different from his stage performances, and less abject fear. And my age, too. I'm old enough to be Balsamo's dad, more than likely. That may influence me, as well.

Neely, in his 60's now, In an interview, he feels that his decades of performing this role has strengthen his faith. And it has touched the lives of so many, as well. He said, at times, it felt like a ministry.

[analog]

I hear ya brother....as a music whore myself I have to survive "Sugar", BEP's, Lady Gaga, etc. on a weekly basis. Interestingly, I never listen to rap at home, but love to perform it. Same goes for hard rock. About the greatest high in the world(for me) is running and wailing like a demented rock banshee onstage. While at home my Itunes will be shuffling from Nina Simone to Waylon Jennings

I just approach the song with a little more indignation and anger from my own perspective and remembering Neeley's film performance, which appears to be not all that different from his stage performances, and less abject fear. And my age, too. I'm old enough to be Balsamo's dad, more than likely. That may influence me, as well.

I love the subtext you put in. I think some people(myself included for sure) tend to "mail it in" when performing certain cover tunes.

[ronws]

I hear ya brother....as a music whore myself I have to survive "Sugar", BEP's, Lady Gaga, etc. on a weekly basis. Interestingly, I never listen to rap at home, but love to perform it. Same goes for hard rock. About the greatest high in the world(for me) is running and wailing like a demented rock banshee onstage. While at home my Itunes will be shuffling from Nina Simone to Waylon Jennings

I love the subtext you put in. I think some people(myself included for sure) tend to "mail it in" when performing certain cover tunes.

Thanks for the kind words, Analog. Since I'm not in a band right now, I have to settle for wailing and twanging while on the highway. So, watch out for a grandpa with what looks like a weird smile in the left-hand lane.

[Robert Lunte]

Earlier today, I was youtubing Robert Lunte and found a vid of him and then another one of a student of his performing "Gethsemane" from "Jesus Christ, Superstar." I used to sing all parts of this opera for practice, back in the early 90's. I probably haven't done this song in about 10 years. But I was so inspired by their performances that I just had to try. I rehearsed the vocals to the store and back. Came home, took one practice run-through to remember the chords. The original sheet music I had started it out in the key of Eb(minor). So, the guitar is one take. The vocal track is a second take. And I still overload the mic. On the high notes, I have the mic 2 feet away from me and I still flattened the mic.

And thank you Robert Lunte for the inspiration of this song and your performance had so much emotion in addition to technical prowess.

Well now, A whole hearted thank you Ron. Im glad it inspired you. "Gethsemane" has become a staple at The Vocalist Studio, many of my vocal athletes choose to dive in and learn this piece. I would be hard pressed to find too many other songs that match "Gethsamane" for training a student how to interpret text, carry an emotional journey and chop through demanding technical phonations. Anyone who learns "Gethsemane", I mean, really can make it their own, with their own ideas... will grow as a singer. I will soon be organizing a "Training Vocal Athletes" Boot Camp for singers to train with me and two associate TVS instructors for 1-2 weeks in Seattle. Each Student will be required to have "Gethsemane" worked out and somewhat prepared for the boot camp.

http://www.youtube.com/watch?v=LcQJw92TkIA

... I think I will do it again with a better production, better audio sometime in July or August.

[ronws]

That would be way cool, Robert. As a student or learner of these things and others, I feel it's worthy to have a goal, even a specific song a person wants to accomplish. And I think students would do well to choose "Gethsemane" as the goal, though it is something of a big bite to start out with. Most any other pop song, you are expected to sing, maybe move about the stage a little bit, wave at the audience, whatever feels handy at the moment. But a piece like this, where you have essentially made a movie, not just recording a song, which you could have done as a .wav or mp3, requires more than just the technical ability to hit a high note. If it was only about the high note, you could crank out singers all day. It's also about the emotion of the piece and how you relate that, which as another member has put it, acting. Something we'll all do as singers if we are to have any success or inflect anything other than a monotone.

Then look at the different recordings shown here. Balsamo's scared, want-to-hide prayer. My pissed-off show me why because it's stupid to do this for nothing vibe, And yours is a bit more mature than mine, perhaps (our actual ages being insignifcant, maybe) with a viewpoint more resolved to the will of God but not so sure on the effectiveness of the sacrifice for the wave of humanity. The way you sing "Let them hate me, hit me, hurt me, nail me to their tree ..." Sounds as if you were talking about children playing with their action figure dolls. Well done. Granted, we can see your face, your body posture, etc. But it comes out in the voice, as well. Just as Steve could hear the mindset of mine in what I did.

I think a good reason for people to tackle this piece is from a technical perspective, setting aside the interpretations. The song covers quite a range, requiring you to watch your resonance more than anything. As well as singing volume. It's not all a top-of-the-lungs screacher. Just the shifting from roounded tones to twang an dback again, it's quite a workout. You can't settle into just one exercise and carry it through the song. It's a tri-athelon.

I noticed your student sang quite a bit of it high. Over the years, I have become more comfortable singing mixed and I can imagine that your students will start out high but will progress to singing a lot of mixed. And I think you show quite well the two main registers, three if you want to call it a separate resonance, of chest, mixed, and head.

Anyway, cool beans.

[Robert Lunte]

... ya, ya... I know guys... there are a few notes that seem to be a big #... ... but in my defense, this was for a live TV performance. One take, one shot at it, no "do-overs"...

[ronws]

... ya, ya... I know guys... there are a few notes that seem to be a big #... ... but in my defense, this was for a live TV performance. One take, one shot at it, no "do-overs"...

I thought your performance was well done and very much on point for getting the message of the piece across. And it helps to know what the conditions for this was in making it, too, but I can't see how it takes anything away from the inspirational quality I found in it. Maybe even more so, to nail in one shot.