It’s a little rough, but these are my, Tsunku♂, ability diagnostic results.
I don’t want these comments to be depressing, I want the parts that compel you to grow and move forward to reach you.
First of all, this isn’t about forcing someone to do anything,
be it with music or just the act of standing on stage.
It has to be “I want to do it,” “I want to be on stage,” because the current Kenshuusei like it.
Because if they like it, they should be able to keep on doing it,
so I want them to keep going for themselves and not because someone told them to.
Also, I’m writing things that I want each member of the Kenshuusei to know as well as anyone trying to be a singer, so I don’t want you to think, “Oh, this isn’t my field, this has nothing to do with me,”
I guess I want you to take it all in for consideration.
I do think that if you can get something from this, you’ll see quite a difference in 6 months.
Kaga Kaede/ “SHALL WE LOVE?” (Gomattou’s song): Sense of rhythm is good. Has vocal quality. Probably superior among the Kenshuusei.
Amateurs can be kind of good at singing but even those who are “good singers”
often tend to breathe in too much air when it’s important and crack.
She should take in as little air as possible into her lungs before singing.
If her voice cracking this time is due to
her being “the top batter,” her abilities still have a ways to go after this.
There were times in the past when this girl’s singing and rhythm weren’t matching,
so I thought that she should also practice keeping the count while during a song.
The song she chose this time didn’t match her.
I think number one for Kaga is practice, first and foremost, and assessing different situations.
Yamaki Risa/”Onna to otoko no lullaby game” (Morning Musume’s song): It’s been no time since she started training, but in these past couple of months I think she’s really settled in. She has composure. She doesn’t have an idol face, but it is on the contrary a very Hello!Pro type of face.
The melody of this song goes up and down but even so she managed to sing it without missing the pitch changes.
Judging from this song alone she didn’t know the dance, but her intuition isn’t bad.
If it were a Japanese pop song from a long time ago then she’d be able to sing it like a natural but I want her to feel the rhythm more and more, double,
of current songs so that she can sing the emotions found in current JPOP.
Her image is just bright and excellent, she doesn’t give a simple idol～ vibe,
so I want her to create a new “somethingness” as her personality that hasn’t been in Hello!Pro before. She’s no Fukumura but if she can bring the “Yamaki” character into existence then she’ll be victorious.
Taguchi Natsumi/ “100kai no KISS” (Matsuura Aya’s song): She can sing while reliably keeping the rhythm. And at the time Matsuura couldn’t do that. She’s speedy with her pitch changes and the “sharpness” of her notes, which is good.
She has an individual vibrato. She can jump and sing naturally in songs where she jumps a little (boost in the division of shuffle songs)
so I’m definitely looking forward to seeing her after this. But still, in terms of age, when she suddenly wants to stop her arm movements or the length of the song she can’t stop.
I want to build up her smaller muscle movements. Young as she may be, the women’s table tennis players that played so hard, Hirano and Itou were both 13.
The fact is that girls like that still fight and refuse to accept defeat from adults so it is possible to win against them in life,
so I think that anyone who wants to become a singer shouldn’t let “young” become an excuse. You have to do your best!
Yokogawa Yumei/”Bagel ni Ham & Cheese” (℃-ute’s song): She missed notes, her rhythm was all over the place, but in this performance on this day I think she handled it far more naturally that she would have 6 months ago in the audition. I guess that means that she has present-day idol-ness.
In MCs, during the audition she would look like she wasn’t following the questions a lot of the time,
but this time she read the atmosphere, and I think she was able to do that naturally, too.
She has a good feel for the tempo in terms of character.
However, a place in Hello!Pro isn’t just about seeking “present-day,”
so I want her to build up the musical aspects, with her energy being a plus and of course her intelligence.
Inoue Hikaru/”Otona na no yo!” (Berryz Koubou’s song): Fully loaded with the feeling of how hard she was trying. She was good at being lively, she interpreted the dance in an individualistic way, and she has a lot of good qualities. This girl also inhales too much so no matter what too much goes into the mic, and suddenly her voice will be out and such.
The hold of the mic is very important, if the mic is stable then the voice that you hear in the speakers is stable. I think she has strength, so I want her performance experiences to increase and to make her vocal quality stable.
Returning to the story, I feel that she has a very high level of potential in physical ability,
so I want her to dance more and more as she is and get more dance strength.
She has the ability to stand among the top of the current Kenshuusei.
With her smile and her responses to the MC I don’t think she’ll become disagreeable even if she gets jealous of the others.
Makino Maria/”Happy Summer Wedding” (Morning Musume’s song): She’s the type who seems to have the ability to be self-produced.
When she was little I don’t doubt she was praised a lot with, “You’re such a capable girl～”
She’s about to slide into adulthood, reaching puberty as a child-actor type hitting her head.
I think she’s right about there now. The day of Yoshizawa said it well, but depending on how she throws in the final “idiot” factor, it will change how she makes female fans. She’s equipped with the necessary rhythm and singing ability of a pro, so something to pay attention to is whether she reconstructs herself to become her total self.
The point is that it’s important to not settle for less in the end.
I think the things she’s been praised for up until now are different from the things that are going to be demanded from her,
so getting stage experience and remembering things like that is important.
There’s a high possibility that her growth will stop if she prepares too much in advance. I think she has entered a period where the people around her will leave her as she is.
Fujii Rio/”Tabidachi no haru ga kita” (S/mileage’s song): She has a good way of breaking things down. This level of energy will be essential. Nevertheless, that’s not to say that her singing or rhythm is broken.
During the audition and right afterward she didn’t seem like she had calmed down, so I was worried, but I think she’s matured a little. She has been able to relax.
Well, speaking of which, I don’t think that the energy level she had originally has dropped to zero,
so it has become the overseeing of natural growth.
Her singing rhythm isn’t bad, but I want her dancing rhythm to get a little better.
The “na～” part of ”Ookiku fukurandana～” and other areas where the notes are elongated are evidence
that her singing rhythm suddenly deteriorates. She doesn’t bring the rhythm into her body,
so when she draws out the “naaa” it turns into “going in intervals (a phrase we use),” and the song falls apart. However, this song suits her.
Niinuma Kisora/”Daisuki 100manten” (Morning Musume Fukumura Mizuki and Ishida Ayumi’s song): Including when she makes a fool of herself being in the center,
she’s invincible. She can reliably change pitch, in terms of singing. However, in the chorus of this song
the range is really wide, so it feels like she chose a difficult song.
She definitely fits the image of the song so it’s not a bad choice.
She dropped the rhythm on the “to” of “Higaeri deeto～,” but ultimately she puts out rhythm like it’s as natural as breathing when she’s ending notes. I think she’s doing this on intuition, too. It would be good for her to remember how very important it is in pop to cut the notes like that.
Tanabe Nanami/”Bagel ni Ham & Cheese” (℃-ute’s song)” An outstanding sense of stability. She’s really developed in giving a real feeling of security when you leave something with her. When she came to us as a Hello!Pro Egg, she was really feeble some no matter what she did it felt like, “Huh? What are you trying to do!?” but coming this far she has gotten some power.
Still, her song choice this time was well within her own level of ability so it didn’t have any excitement, and although I was happy to see her face and her hairstyle, her bangs were completely open and maybe it didn’t quite fit today’s Tanabe performing.
One reason for that might be because she was coming out of the prize-winning spot. Well, I wasn’t there to read the atmosphere of the venue so I can’t say anything. She has ability, so I want her train herself in getting the rhythm without focusing on it and bringing out her personality in MCs.
Ogawa Rena/”Sakura Mankai” (Morning Musume Sakuragumi’s song): Her song choice was good. Her haircut was fresh. Of course she wasn’t great at the song, but I think that the overall balance was good.
Her physique has matured a little, and I’m glad she hasn’t been dragging along the image she’s had up until now.
So, conversely, here is where I want to seriously forge her singing.
The things I noticed most were rhythm, length of the notes, going up and down while not maintaining the pitch on long tones. These are the things I want to work on. She’s restricted to listening well to good singers, memorizing things, and mimicking them.
Mikame Kana/”Samidare bijo ga samidareru” (Juice=Juice’s song): I think she’s facing forward and studying Hello!Pro well in her own way, and I think she did well in energetic facial expressions. I’m glad that it seemed like she had been listening to a lot of Hello!Pro.
This is an intense song so singing it is going to be rough no matter what, so at least for times like this, I want to make her mic hold better. The thing I noticed most was the rhythm getting turned inside out.
She’s not at home with the word 16-beat, so it’s possible she had no idea that she was mixing up the inner and outer rhythms…is what I ended up thinking.
The two sides of rhythm are fundamental, so she should practice getting the rhythm down consistently at home every day and if she does I think we’ll be able to see results in 6 months.
Hamaura Ayano/”Yakimochi wo kudasai!” (Berryz Koubou’s song): Her ability coming in is satisfactory. Her expressiveness is also satisfactory. She’s warmed up, in a good way. Her song choice felt like, “You went that way?!” and it was expected of it.
I don’t think she’ll be able to do the “I’m a widdle girl” face forever, so I wonder
if she understood that, too. I felt her at ease. Her bangs looked good, too.
However, she was unstable going from the falsetto back to her regular range,
and with the song choice this time I can’t judge the smaller details,
but she has a lot of “face” in the song. I thought if she didn’t increase her number of expressions, she might get stuck in her own head.
Kishimoto Yumeno/”REAL LOVE” (Berryz Koubou Sugaya Risako’s song): She threw herself into an impressive song. Is that okay?! Can you sing that!?
I thought, but I want to give her fairly high marks.
Her vibrato stays within the rhythm, she tightened her voice in the pianissimo
and in normal range, too, she was stable. It was a bit of a shame that her pitch went up when she drew out the notes, but if she gets more experience in that I doubt it will be a problem.
After this I want to get her to extend down this path. I want her to listen to a lot of Western music and such by herself,
and I want her to develop a funky sort of position that isn’t like Hello!Pro, in a good way.
Ichioka Reina/”Jishin motte, yume wo motte, tobidatsukara” (Morning Musume Takahashi Ai’s song): She chose a hard song. At first listen it’s an 8-beat song, but in reality a lot of the rhythm in it requires a 16-beat.
Considering that, she sang it with stability.
Before the chorus, the “ii” part “shinjitete hoshii～no”」was where she completely lost the rhythm, it was a waste.
Also while I was happy to see the performance aspect of her getting the crowd going by waving her arm, that “arm”
didn’t have the muscles properly built up, and she couldn’t stop it sharply and it lost the effect.
I want her to do her best and not forget to practice building up those little details in the rhythm every day.
Haga Akane/”Nanchatte Renai” (Morning Musume’s song): Skill is required to sing a song in minor. It’s especially difficult to sing songs about pain and heartbreak. It might also be said that it’s tiring to keep up a sad face while singing such sad lyrics.
Her mic hold was good and she took a challenge with the rapping, I think she tried her best in a few different ways.
During the song, her expressions never changed and that was a shame.
Her smile after she finished was sublime, but she got so caught up
in the image of the song that she looked scared and that was also a shame.
Still, what I’m pointing out is fairly advanced, so I don’t think she’ll be able to interact with it immediately.
And that is why song choice is also important.
Please focus on your pitch and rhythm as foundations, in any case.
Danbara Ruru/”Memory seishun no hikari” (Morning Musume’s song): I might have said this on Twitter, too, but what makes her so good is how phenomenal her face is when she’s singing.
Like how Asada Mao or Arakawa Shizuka shine the most beautifully on the ice
this girl has to have the same knack for singing.
Classically trained singers take the “wa～” of “shiranakatta～wa～” into a crescendo,
going beyond the rhythm of most people.
In pop you definitely can’t drop the rhythm, so when singing that “wa” and the extended notes, you have to maintain the rhythm while clearly denoting
where the note ends.
The “neee” of “yonde yo neee” in my mind should be ended in half the time, but I heard her draw it out.
In the same vein she has the muscles to push her arms out and sharply do poses,
but she has no rhythm between notes,
so it runs out.
And, I’ve embellished on this before, but when you’re 10 you sing with a fair amount of reason but that can’t be seen later on. You can only sing with passion now.
Inaba Manaka/”Suki-chan” (S/mileage’s song): She’s the number 1 sharpest dancer in the Kenshuusei.
It’s like she’s been moving like that ever since she was little, I felt the power of her motions.
So even when the dance is intense, without letting the song get to her, her mic hold is good.
In a different way than Danbara, she’s a pro, a girl I want to have on stage as a normal thing.
She can do MCs well, she accurately answered the questions Maki-sensei threw at her,
so in terms of age I can see her as ready ammunition.
I want her to keep breaking out in an Inaba sort of way without getting nervous.
Funaki Musubu/”DESTINY LOVE” (High-King’s song): I think she took this as a challenge. Her dancing still needs work, but I think she could be pretty sharp. I could feel her rhythm as she walked down the stairs.
There were a lot of times when she went out of tune, and there were times when the rhythm got forced,
but losing the rhythm in this case is like when a 4 year old or something sings
and they don’t care about the background performance and just sing.
Or, another thing, I could feel the 16-beat rhythm, but that also
got forced by going to the front rather than focusing on the background things.
She is of course the youngest. If you can just get the rhythm down like this
the current missed notes and voice changes will end and she’ll get more stable,
which means she can get better pitch control. Let’s keep putting in effort.
Sasaki Rikako/”Kiseki no kaori dance.” (Matsuura Aya’s song): She’s been studying staging in different ways, I think she did her best in her own way.
She has strength in expressions and in self-producing. They aren’t odd products of child acting
she has some good stuff.
She’s been tied up with the word “child” up until now, and I’m happy to say that her
“energetic” was “energetic,” but after this,
how will she go forward with “energetic,” that’s going to be the main issue.
She needs to hold the mic in such a way that she could sing ballads as well and she needs to
understand where to cut off the length of her notes.
Nomura Minami/”My Days for You” (Mano Erina’s song): She did very well in the song choice and the outfit choice. She’s an necessary character for the current Hello!Pro.
It’s not that she has power enough to break through with singing and dancing,
but she’s still growing, and even though this song actually has a difficult melody to follow,
she handled it flawlessly, and she had a factor to her that made me think
that that in and of itself is strength.
She was asked, “Are you that serious?” but I want her to turn the tables on that “serious” and build up her character.
Yoshihashi Kurumi/”Naichau Kamo” (Morning Musume’s song): She’s gotten stronger. She’s has some pretty good dancing and expressions.
There was a moment when she went off-key, but when the chorus kicked in she was fine.
She lost the rhythm on the “do～” of “Timing miteta kedo～” and that was a waste.
She’ll improve more and more if she can explain any song she hears in the world, not just those in settings like this, and go “Oh, this place, if it were me I’d sing it with this rhythm.”
If she can understand in her head how to choreograph the melody, without explaining the particulars of the dance or the song, as well as assess her stage, she’ll grow quickly.
Ooura Hirona/”Suppin to namida” (Goto Maki’s song): She made a difficult song choice. She’s the type to naturally have a minute vibrato and hold long tones, but it doesn’t sound bad, so let’s keep practicing singing. She gave the “n” part of “Nandakara airarenai” some undulations as much as she could, and while it wasn’t a 100-point performance, she sang in a way that can’t be done if one doesn’t understand how the rhythm changes, so I was shocked, “Oh!”
Her expressions when she sings are probably her own invention. She sang as if she was doing a musical, which means a couple different things.
Just as Yoshizawa and Makoto pointed out, I thought she had the disposition for acting and the stage.
Murota Mizuki/”Memory seishun no hikari” (Morning Musume’s song): She has matured for her age. Her outfit and makeup were very cool, excellent.
Her body line has matured as well, and I could sense how much she’s grown all-around.
She might have been putting on an act of childishness with the bow.
Although it was a good focal point like in a painting that catches the eye…
I wrote this on Twitter, too, but she inhaled too much and got high-pitched.
She’s prone to going high-pitched. There’s a lot of this in good amateurs.
When I watch videos or something of myself as an amateur I do it a lot, too.
She’s the type that feels good when she’s singing, but doesn’t realize that she’s missing notes.
She studied songs and bringing the rhythm into the body in Hello!Pro, in a very good way.
That moment made me feel glad the Kenshuusei system was there.
However, the “to～” in “aishita hito～” for example, you might think you’ve got the rhythm in it
but it doesn’t come across in the song, so it would be best to develop a vibrato.
Wada Sakurako/”Boogie Train ’03″ (Fujimoto Miki’s song): The costume reveal at the beginning of the performance was good. It made me think that winning the prize last year was fuel for her to do better.
She’s gotten strong in dancing and singing, and her voice projects well.
Above all else her expressions got better. I’m glad I got to meet the version upgrade Wada, who I wouldn’t have thought was the same girl as last year.
I feel her development as her responses to the MC were also completely different than they were before.
I’m very grateful that I can see this kind of growth coming from Hello!Pro.
Speaking of which, her dancing and singing can still likely go further, so without thinking about it too hard, she needs to start to love the songs and do lots of imitations. As much as possible.
Yamagishi Riko/”Aitai aitai aitai na” (℃-ute’s song): Changing her hair makes her whole image change. In a good way.
Her singing and mic hold are stable, it came across very well.
When she missed notes I could hear her missing them trying her hardest,
so that’s fine. Being able to hear the voice is an important topic for a singer,
so first, place the mic where you can get your voice heard. This is number 1.
Her outfit and body were fit, and it might have left a very good impression.
I think she has a necessary personality for the current Hello!Pro.
She isn’t just a fool character but she can also do MCs consistently,
so she’s grown much more than I thought she would.
However, I noticed that she did the same hand choreography during the chorus over and over again.
The original performers might have done so, but when they dance you can’t tell, even when they do the same motions their expressions and posture are different, you might notice. That’s vital study.
Tanaka Karen/”dearest.” (Matsuura Aya’s song): This was a pretty difficult song from Matsuura. She chose it because she wanted a challenge. Of course she’s going to lose against Matsuura who is good at singing, but I appreciate her for wiping away the original image she had with it.
Spirit like this girl has to take a complete challenge is important.
Her voice got turned inside out, her long tones were unstable,
but there are lots of people who sing ballads, but I was able to listen without object or feeling intimated like “Listen to me song～” which I valued most highly.
It’s because she simply liked the song, and she was able to feel how many songs she had sang up to this point. When you’re young it’s all about what song should I sing, but I felt that what song will I like is more important.